Annual update

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Greetings once again. Happy New Year (?)

I’ve been on a longer hiatus than usual on delivering any news through this blog. I am now aiming to write a few shorter entries with a bit more frequency. So, today the 30th anniversary edition of the Outsider Art Fair opens in New York. I would love to be there! But I am at home, making worm costumes for my son, and trying to evict a squirrel from the loft instead.

 

 

Outsider Art Fair, New York. Metropolitan Pavilion, March 3-6th, 2022 – Jennifer Lauren Gallery / Booth C14

Venue: Metropolitan Pavilion, 125 West 18th Street, New York, NY 10011 (between 6th & 7th Ave)
Dates: 3 March, VIP preview and Private View, 12–8pm
4–5 March, 11am–8pm
6 March, 11am–6pm

 

Jennifer Lauren Gallery will be showing my work alongside works by Robert Fischer, Shinya Fujii, Keisuke Ishino, Jesse James Nagel, Pradeep Kumar, Cara Macwilliam, Chris Neate, Makoto Okawa, Valerie Potter, Shinichi Sawada, and Agatha Wojciechowsky

Should you be present, a wall at booth C14 will reveal my

 

Diary (22.6.21 – 21.10.21)
Ink pen on paper, 15,118 words
21x15cm (8.3×5.8 inches)

     and another text drawing from The Disadvantages of Time series. The Disadvantages of Time part XV – The Wasteland Tape (part II) to be specific. You can click on the image above to experience with some more detail. 

It’s an exciting program aside from a lot of the interesting work being shown by some great galleries. There is a showcase of Bruce Bickford’s work which I feel is a lost opportunity to see his creations first hand. I already missed the chance when he was still alive and showing at The Horse Hospital in London, where my work was first shown also a couple of years later. There is also the interesting and potent looking curated space titled Field Trip: Psychedelic Solution, 1986-1995 which includes work by Joe Coleman, Alex Grey, H.R. Giger, Robert Crumb, Rick Griffin, Gary Panter, Spain Rodriguez, Gilbert Shelton, and S. Clay Wilson among others. There is also a curated space dedicated to the collection of Michael Stipe, which is intriguing.

 

I will post again soon with any updates regarding the fair and may also post a bit of back log, or other things moving forward.

Onwards!

Carlo.

Channeling the chronomancer

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Greetings. As we try to channel our inner chronomancer, the significance of these devices and means of communication acutely rings true. In the midst of everything, I’m just getting on with my diary writing/drawing, seemingly obsolete but also perhaps an important time to be recording thoughts and observations. Fathoming the unravelling repercussions and predicaments triggers a knee-jerk reaction into the foetal position, and the over-load of analytical elements and angles factored in diffuse any potential succinct message, but broadly amount to The Mess Age. It is not unique of course, and like other times and places, transformations will result and continue. As I’ve not posthumously written here about the wonderful Monochromatic Minds: Line of Revelation exhibition that took place not long before everything changed, I’ll include some reflections in this instalment. I will also touch on other bits and bobs. Onwards..

 

Monochromatic Minds – Jennifer Lauren Gallery – Candid Arts Centre, London, UK. 25th Feb – 4th March, 2020

As anticipated, this celebration of black and white art works within the field of Outsider/Self Taught/Neuve Invention/Visionary art did not disappoint. The majority of artists’ names who’s work was included, alone, made for a very exciting cumulative concoction. The actual works aligned well to that aura. The space was also very well suited. The majority of works in the show could easily command your attention for an indefinite amount of time individually. Imagine a room full of that. The show was on for a mere week or so but felt alive while it was on the entire time with a variety of events taking place within the programme. There were art workshops and artist talks delivered by artists from around the globe. Below are some photos that should help contextualise things if you couldn’t be there and care to absorb an attempt at documenting my experience. 

There’s Jennie, the star of the show!

 

Vibrant (even in black and white) works by Liz Parkinson, myself alongside, being observed carefully (I think).

 

A wall of Ted Gordon, Liz Parkinson, myself, Harald Stoffers, and Dan Miller work among others..

 

Nick Blinko‘s corner

 

Chris Neate on the left, a mesmerising piece by Cathy Ward centrepiece, two fascinating works by Evelyne Postic above and below a commanding work by Margot.

 

Beautiful works by Rashidi on the left, and Gerard Sendrey top right.

 

 

A haunting Agatha Wojciechowsky piece cut off at the left side, and a magnificent Judith McNicol.

 

Poignant works by Albert.

 

I spotted the octopus in the room, in this joyful Leslie Thompson piece (detail).

 

Jennifer Lauren Gallery commissioned several artists in the show to draw/paint on chairs acquired from second hand shops, which also function as actual chairs that people could sit in during the exhibition if they need a rest. Though I don’t think I saw anyone sit in any. This one is by Kate Bradbury.

 

People at the opening watching the short documentary film. The film highlights 5 of the 61 artists in the show, including myself (on screen), Cathy Ward, Terence Wilde, Valerie Potter, and Jan Arden.

 

Liz Parkinson was in town speaking on the bush fires in Australia, her drawings, authoritarian neighbours, and having her works purchased by Jean Dubuffet.. from the series of artist talks.

 

A somewhat absurd image capturing me doing my artist talk whilst I’m also on screen in the documentary playing on a loop behind, facing the same direction. My drawings are documentation, the documentary documents me documenting, the photo documents the documenting of the documenting, and so on. Could it get more meta? Photo by Andrew Hood.

If you’d like to check out the short documentary I mentioned above, you can do so here.

 

Diary drawing and Deviations…

I’m working on the first A4 size diary drawing since 2016. There are several reasons why the format changed and I haven’t returned to A4, though was intending to. Anyhow, the time arrived. After I’d finished drawing in it a few days ago, I realised that I could see that day in the drawing. The reason being, I changed both the nib on the pen and its ink at the same time before starting that day. Usually these occurrences don’t coincide. The result being a distinction that is visible on the page. I took a photo so as to see what a day of drawing looks like when it’s not at the very beginning (as that is the other time/place where it is easily discernible, on day one). There are other contrasts on the page where the text takes on different shades and textures, for other reasons, but this one highlights a single day of drawing at this stage. Of course, after working on it again the following day, it won’t be visible anymore. Hence the significance of photographing it when I did. You might assume the lockdown is driving me to such pedantic measures. I’ll let you assume!

The current diary page, with one day’s entry visible.

Last month, I had an email exchange with the the good people over at Deviation Street and they included some of that in their lockdown series of posts. You can find that post here.

 

I feel like there was something else I wanted to include, but if it was significant I’ll get it in next time. I’ve incrementally been returning to this post for weeks now, so who knows anymore. Stay smart, and until the next time…

Carlo.

As we enter 2020, part II: New York, Manchester, Geneva, London

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Greetings. Here it is, part 2. Part 1 had me tying up last year’s loose ends. Part 2 looks at the near future and which walls you’ll find my work on. As usual, everything happens at once. I’m in exhibitions at the Portico Library in Manchester (UK), the Centre d’Art Contemporain in Geneva (Switzerland), and with Jennifer Lauren Gallery at the Candid Arts Center in London (UK) as well as at the Outsider Art Fair in New York (USA).

 

Outsider Art Fair – Jennifer Lauren Gallery /// January 16-19th. Metropolitan Pavilion. New York, USA

I’m not sure exactly what happened during the fabrefaction of my July 31st – November 28th, 2019 diary drawing, but the result is 12,627 words in my bubble text on A5 card. This is almost 2,000 more words than were recorded on the previous page and by now more than have been recorded on any of the ten A4 size diary drawings. If you want to go see the combobulation for yourself, find yourself at the Jennifer Lauren Gallery booth for their third year at the fair. Jennifer Lauren will also be showing work by Shinichi SawadaAkio Kontani, Margaret Mousseau, Leonhard Fink, Chris Neate, Norimistsu Kokubo and more.

For further info on the fair, opening hours, special events etc.. see here.

Outsider Art Fair, NYC 2020

Diary, July 31st – November 28th, 2019

 

Talking Sense: The Changing Vocabulary of Mind and Brain. /// January 17th-April 13th. The Portico Library. Manchester, UK 

James Moss curates the works and minds of 50 artists in this playfully conceptual exhibition fitting to the ethos of the Portico Library, a 200+ year old subscription library in Manchester’s city center. The exhibition “explores the idea of “mind/brain-then/now” – combining 18th and 19th century literature with new artworks to create a space for conversations around the vocabulary of neurodiversity, mental health and psychology”. Sugar Glider vs. Octopus, a painting I did in 2009 will be included along with works by the homies Darren Adcock and Dolly Sen. Quite pleasantly, we are accompanied by 47 artists I can’t say I am aware of by name. I look forward to discovering their work and how all this might fit together in the context! The public preview is from 6-8pm on Thursday 16th January.

Talking Sense: The changing vocabulary of mind and brain

Sugar Glider vs. Octopus, 2009

 

Scrivere Disegnando (‘Writing By Drawing’): When Language Seeks Its Other /// January 29th- May 3rd. Centre d’Art Contemporain. Geneva, Switzerland

I’m thrilled to have several diary drawings included in this near-exhaustive exploration of writing as drawing and how this leaves the communicative aspect in ambivalence and/or ambiguity, focussing on work from the early 19th century to the present day. At least that’s my reading of it so far. I impatiently await experiencing the exhibition for myself at the opening on Tuesday, January 28th. I understand the exhibition will be accompanied by an elaborately produced book of 300+ pages. I will report back with details regarding that as I learn them. Co-curated by Andrea Bellini (Centre d’Art Contemporain, Director) and Sarah Lombardi (Collection de l’Art Brut Lausanne, Director), it will be interesting to see works by artists associated with Art Brut side by side with contemporary artists, brought together through the context of this theme. On those walls I’ll be in the very good company of Nick Blinko, Gaston Chaissac, Aloise Corbaz, Jean Dubbuffet, Susan Hiller, Henri Michaux, Laure Pigeon, Luigi Serafini (Codex Seraphinianus!), J.B. Murray, August Walla, Melvin Way and Adolf Wolfli among others.. In my previous blog entry I spoke on the writer Michel Thevoz and the artist Carlo Zinelli. Thevoz is contributing text to the book published in conjunction with this exhibition, and there is a big Zinelli exhibition at the Collection l’Art Brut in Lausanne, so I’ll also be able to experience that, which should be wonderful. I’ll report back upon returning.

 

Monochromatic Minds: Lines Of Revelation – Jennifer Lauren Gallery /// February 25th- March 4th. Candid Arts Centre. London, UK

I can’t help but feel this will be a historic exhibition relentlessly championing works in black and white, through a roster of 62 artists, most of which I admire immensely, and some I’d not heard of or seen but am thus far impressed with based on images revealed here. Jennifer Lauren has taken on quite a task and brought together an extremely impressive group of artists, which I’m overwhelmingly excited to see curated together in one space. On these walls I am joined by my PPP crew (Posca Pen Pals) Liz Parkinson and Julia Sisi, the highly potent Albert who I’ve met through the Bethlem, Madge Gill who needs no introduction, the great Aradne, it’s an endless list and I’d love to think of specific words to describe each artist but I must go and do my tax returns. It’s very tempting though.. Ody Saban who’s work I’ve admired over the last fifteen years, Cathy Ward whom I’ve crossed paths with since encountering her work at The Horse Hospital (which is in grave danger of being shut down after over 25 years, spread the word to your powerful and caring friends please!) around the time they offered to show my work for the first time in 2007/8, Nick Blinko who I’ve written about quite a lot over the years (here are a couple of bits: 2011, 2016), Rashidi, Margot, Harald Stoffers, George Widener, Ben Wilson, Malcolm McKesson, Dan Miller, Kate Bradbury, Nigel Kingsbury, Daniel Goncalves, Michel Nedjar, Evelyne Postic, Agatha Wojciechowsky, Ted Gordon, and the list goes on! I just wish brother Phil was here. Right,.. I feel like I’m about to malfunction. For full details check this  and I’ll reiterate all this in a more succinct and informative manner within the next blog entry in a few weeks, with updated specifics regarding the series of events surrounding the exhibition including presentations by some of the artists and more. 

 

Roger Cardinal (1940-2019)

It was saddening to hear that Roger Cardinal, the man who first used the controversial term ‘Outsider Art’ with having his book titled as such (published in 1972), has transcended the Earth at the end of last year. The forthcoming issue (104) of Raw Vision magazine will be a special tribute edition. I was privileged to meet him several times. My first encounter with him was interesting, I had been writing in my diary drawing for a couple of hours, alone at a table and he walks into the room and asks if I mind him sitting beside me. He then asked if I minded him taking some notes as we conversed. We went from there into another smaller room where a video interview with Jean Dubuffet was showing and we sat there for a short time before he nodded off for a while in an armchair. We crossed paths a handful of times or so after that and began a somewhat intense email exchange, which began with him actually saying he would be “honoured” to write about my drawings (too much!). He could also be quite playful in his approach. Referring back to that email, he wrote: I would be honoured to write something about your work, which is definitely on my personal list of a site of “outstanding natural beauty” (that’s a quotation from the Kent County Council road sign that you’ll find at the entrance to our local villages!). I regret not having resolved the unusual and perplexing tone of our last emails. Irrespective of that, Roger Cardinal will forever be gargantuan. 

 

 
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