1310 PENDLETON STREET CINCINNATI, OH
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THE
ANNEX
GALLERY
Held on the 27th as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s works and in the reflections on identity and gender presented through Ivonne Ferrer’s ceramic selection.
Textiles and Ceramics
On my way home, on one of the trains at Miami Airport, I took this photograph. A passenger had left a sticker on one of the metal poles inside the carriage. Whoever it was—judging by the code—came from Guayaquil and carried it on their suitcase. The author, it would seem, now lives on these shores.
Everyone in Cincinnati’s artistic community knows Katherine Hurley. They have for a long time. In my own case, for just under ten years. And we all know her solid career and her exceptional body of work, delicate and subtle as few others. I have always found it difficult to comment on the genre of landscape. Not because I do not like it, but because, when it reproduces what nature itself has taken millennia of patient execution to achieve...
Human genius can be observed in many of its works. Nowhere is it more detectable than in the arts: music, literature, and the visual arts. As a species, seen from above, we are all fairly clever. But some are—or were—truly exceptional. What did they require to rise above the rest? What made them singular, beyond the reasoning most of us share?
I have not the faintest idea why The Times, in its February 16 edition, informs us—by a delay so un-British—that Damien Hirst’s Saint Bartholomew, Exquisite Pain has been installed in the Camellia House at the Yorkshire Sculpture Park. Not only that work: The Watchtower, by Auke de Vries, and Muamba Posy, by Vanessa da Silva, both outdoors in the Country Park...
The Petrie Museum of Egyptian and Sudanese Archaeology, part of University College London (UCL), houses one of the most important collections of Egyptian artefacts in the world. It preserves more than 80,000 objects recovered from excavations conducted between the late nineteenth and early twentieth centuries. Among them are hundreds of shabti, small funerary figures that formed part of the ritual equipment of tombs in ancient Egypt...
Entering its final week: Dossier Havana, photographs by Pedro Abascal.
There are cities that return the gaze: they do not yield docilely to the frame, but instead address the viewer directly. They demand a way of looking that does not reduce, that does not close off meaning. Havana, in this Dossier conceived by the Cuban photographer Pedro Abascal, appears as an entity that observes, folds, and tenses itself; it refuses to become a mere setting or backdrop.
Politics as Form in the Work of Kina Matahari
Within Next to Nothing, we will present an exhibition whose name is, precisely—and paradoxically—Next to Nothing. The Annex Gallery will host a pop-up show by the Cuban multidisciplinary artist Claudia Ricardo, known in the Cuban art circuit under the pseudonym Kina Matahari. Next to Nothing explores how tensions between opposites generate new realities—paradoxical thought, an oxymoron that, from within dilemma, produces a result free of ambiguity. Here, contradiction itself becomes the discourse that underlines it.
Featuring the formative body of work of a young Vietnamese photographer.
I met Mark at Annex Gallery, where he is working as an intern. Before I knew he made photographs, and therefore counted as an artist, I thought of him simply as someone who always needed a drink bottle within reach. One of those insulated flasks used by athletes or hydration fanatics that seemed to follow him more faithfully than his own shadow. I also knew, before seeing a single picture, that he supported Barça, a very popular club in this ecosystem and reason enough to label him an “irreconcilable enemy”...