Showing posts tagged Craigie Horsfield.


Craigie Horsfield – Slow Time and the Present

My Art Guide
Press Release for “Slow Time and the Present”
June, 2012

Craigie Horsfield new exhibition Slow Time and the Present conceives of different ideas and perceptions of history as not being the thing of the past, separated from our experience, but as the expression of a profound present, a deep present which we together engender. The exhibition traces a complex array of notions of relation and conversation that recur in Horsfield’s work, of the negotiation and the understanding of the individual and the community, of “slow time” and of the present, and of the nature of consciousness and the material world.

For the exhibition at Kunsthalle Basel, Horsfield has created two large-scale works, using recently developed technology that transfers contemporary imagery into the historical medium of fresco and, on this occasion he has been working together with Andre Van Wassenhove for the preparation of data drawing from digital image material collected over a period of five years spent in Italy. The two new works Processione dei Gigli, Via Cocozza, Nola. June 2008 (2012) and At 99 Posse concert. Via Gianturco, Naples. February 2010 (2012), are the result of a collaboration with the artist Adam Lowe and his artists’ collective Factum Arte Madrid who are at the forefront of 3D facsimile production. These works are based on stills from films Horsfield made at “Festa dei Gigli” in Nola (Italy), and stills from a film made at a concert of the Italian group “99 Posse” in Naples.

The exhibition also includes three new tapestries conceived by Horsfield with his long time collaborators Marcos Luduena-Segre, and Roland and Christian Dekeukelaere at Flanders Tapestries in Belgium, The Arciconfraternity of Santa Monica, Chiesa SS. Annunziata. Sorrento, April 2010 (2012) and Above the Bay of Naples from Via Partenope, Naples, September 2008 (2012). The last tapestry, Broadway, 14th day, 18 minutes after dusk. New York, September 2001 (2012) has as its subject the site of Ground Zero shortly after September 11.

— 2 years ago with 2 notes
#Craigie Horsfield 
Opening: Craigie Horsfield at Kunsthalle Basel, June 9th

Craigie Horsfield: Slow Time and the Present
June 10 - August 26, 2012

Kunsthalle Basel
Opening: Saturday, June 9, 7pm
Introduction by Adam Szymczyk, Director of Kunsthalle Basel

Guided tours through the exhibition: Each Sunday at 3pm
Further events of the education department:
Thu, 21.06., 16.08. and 23.08., 1pm: Art break - a short guided tour for lunch
Sun, 16.06., 3pm: Guided tour in English
Sun, 19.06., 3pm: I Spy with My Little Eye! - Guided tour for children

The exhibition is generously supported by LUMA Foundation. With the support of Stanley Thomas Johnson Stiftung.

Steinenberg 7 - CH-4051 Basel
Tel +41 61 206 99 00 - Fax +41 61 206 99 19info@kunsthallebasel.ch
Opening hours: Tue/Wed/Fri 11am-6pm · Thu 11am-8.30pm · Sat/Sun 11am-5pm
Admission: CHF 10.-/6.- incl. S AM Swiss Architecture Museum

— 2 years ago with 1 note
#Craigie Horsfield 
The Lookout: A Weekly Guide to Shows You Won’t Want to Miss

Art in America
by AiA staff
March, 2012

Craigie Horsfield at Marvelli, through Mar. 24

Making their New York debut, Craigie Horsfield’s recent mural-size tapestries are as astonishing technically as they are intellectually evocative. Playing with notions of the audience and how it views a work of art, these circus images are made of countless strands of wool fiber in a textile factory in Belgium under the artist’s supervision. The lush black-and-white surfaces of these pieces correspond to the dense black surfaces Horsfield achieves in his large photos, a selection of which are on view in a side gallery.  

— 2 years ago
#Craigie Horsfield 

The New Yorker
by Vince Aletti
March, 2012

The London-based photographer’s first New York exhibition in fifteen years opens with two spectacular, mural-size black-and-white panoramas of circus performers, each thirty-nine feet wide and machine-woven into tapestries. Seen over the silhouetted heads of the audience, acrobatic elephants, leggy showgirls, and a tiger in a cage appear grainy and atomized, like Seurat drawings, and vaguely nostalgic—not so much seen as remembered. Further on, four more modestly sized photographs can only hint at Horsfield’s range and unconventional sensibility. The best of these—a portrait of a seated couple disappearing into Horsfield’s signature gloom—is almost comically melancholy and immediately contradicted by the flirtatious Neapolitan stud beckoning from the opposite wall. Through March 24.

— 2 years ago with 1 note
#Craigie Horsfield 
Chelsea Gallery Notes: Eric Fischl, Craigie Horsfield, Tom Friedman, Alec Soth, Adel Abdessemed, Mary Corse, Will Ryman, and Motoyuki Daifu

make it red
by Christopher Giglio
February, 2012

I was trying to remember the last time I saw Craigie Horsfield’s work. It turns out it was 1996, the date of his last show in New York. I did remember large, refined, marvelously gritty, black and white photographs. So it was a real treat to see his most recent work playing off of what I had recalled: two monumental tapestries, based on photographs of a Russian circus, in which the texture of the fabric serves as a visual parallel to the negative’s grain. The work is spectacular and darkly mysterious.

— 2 years ago
#Craigie Horsfield 
Weaving in the New: The Spectacular Tapestries of Craigie Horsfield

by Daniel Kunitz
October, 2010

Modern Painters executive editor Daniel Kunitz chatted with Craigie Horsfield as the British artist oversaw the installation of his new solo exhibition at the Museum van Hedendaagse Kunst Antwerpen, which runs through January 16 and features lush photo-based tapestries.

What led you to do tapestries in the first place? Where did the idea first come from?

It was actually chance, in a way. These things can be fortuitous. I was in Madrid at a bank foundation, with Jeff Wall, and Bill Viola, and a couple of other guys. And we were supposed to respond to this collection — a big collection in a very strange place. It was a “banking city,” as they call it, which took care of the workers, from birth to death almost, so they would never go out of it; there were doctors, hairdressers, shops. It was like a Jacques Tati movie, in a way. The art collection was in a bunker beneath the main building — enormous, enormous. And the Flemish tapestries were moved there, and they had just come down from Flanders. And within an hour, Catrina [De Zegher] who was in San Francisco, telephoned me and said, “Craig I’ve just seen a tapestry here in San Francisco.” Made by, I think, Chuck Close. And it was too much of a chance. Well what does this mean? Things sort of picked up from there.

— 2 years ago
#Craigie Horsfield 
The Dilation of Attention

by Carol Armstrong
January, 2004

I begin with an admission of animosity: As long as I have been aware of it, I have been prejudiced against the big photograph. Some of the reasons for my bias are personal. I tend to be drawn to the quieter, domestic-inflected nuance of the lower genres, the lesser media, the small statement, and the quirky, offbeat artist who doesn’t fit within the major categories and heroic lineages. I tend to feel some remove from, if not an upwelling of sheer contrariety in the face of, the herculean and the grandiose, the large-scale enterprise of playing ball with the Olympian big boys. Others of my reasons for distrusting the big photograph are more specifically photographic and have to do with my sense of the photograph as some-how an innately small medium: something the scale of the quarter-size daguerreotype plate and the Kodak snapshot, something that could be held in the hands, placed in an album or a drawer, or reproduced in a book, a scrap of copper or tin or a jaundiced and friable bit of paper, something not singular but multiple, not valuable but cheap, not epic-proportioned but idiosyncratic and uncanny, having to do not with grand narratives but with small details and happen-stance conjunctions, not with invention but with the aleatory, not with permanence and posterity but with the small frisson and delicate shudder, the poignance of the passing of time. My sense of the photograph, in short, is regressive: the nineteenth-century “fairy picture.” And to me the photograph is a medium with a fragile chemical surface marked by its indexical ties to the objects, moments, and faces that it records; its material surface and medium-specificity, which slip so easily through the fingers as it is, seem utterly voided in the trend toward the big photograph. 

— 2 years ago
#Craigie Horsfield 
Bittersweet Tapestry

Pam Bristow
January, 2011

Just returned from Antwerp where I checked out the Craigie Horsfield show at MuHKA, Antwerp’s museum of contemporary art.  The English Horsfield has revived the age-old Flemish tapestry-making with a series of hangings made in collaboration with some of the finest tapestry weavers in Belgium.  Some are portraits, one is an amped up crowd, but my favorite are the images of the Moscow Circus from a performance in a former Barcelona bullring.  Amazing.

— 2 years ago
#Craigie Horsfield 
Time and materials: Carol Armstrong on Craigie Horsfield and tapestry

by Carol Armstrong
October, 2008

LOCATED JUST OUTSIDE GHENT in Belgium, oil painting’s Northern Renaissance site of origin and, coincidentally, one of the prime centers of modern machine-made carpet production, there is a place called Flanders Tapestries that specializes in weaving jacquard tapestries from photographs: scanning ambitious photographs by contemporary artists and creating digital files that guide the weaving of large modern wall hangings that are then exhibited as artworks in galleries or museums, rather as medieval, Renaissance, and Baroque tapestries used to adorn palace walls, combining the function of high-ambition pictorial representation with that of the decorative warming of large, cold interiors. Flanders Tapestries is not the only contemporary tapestry works ever to have done such a thing, but its photo-tapestries are different from other desultory efforts in this direction in that they are remarkably—and paradoxically—high-resolution. 

— 2 years ago
#Craigie Horsfield