Hoohewahewa | Tinka Bechert 'READYMADE #1

Oonagh Young Gallery; 28 ʻApelila – 7 Mei 2022

ʻO Tinka Bechert, nānā hoʻonohonoho, 'Readymade #1' [L to R]: Killer Whale Song, 2020 a me nā Mini-Winners, 2022; kiʻi ʻia e Louis Haugh, na ka mea pena kiʻi a me Oonagh Young Gallery. ʻO Tinka Bechert, nānā hoʻonohonoho, 'Readymade #1' [L to R]: Killer Whale Song, 2020 a me nā Mini-Winners, 2022; kiʻi ʻia e Louis Haugh, na ka mea pena kiʻi a me Oonagh Young Gallery.

'READYMADE #1' na Hana ʻo Tinka Bechert ma ka Oonagh Young Gallery i ʻelua mau kuhikuhi i nā readymades, ma ke ʻano he hui hoʻokipa o nā hōʻikeʻike pōkole pōkole, a ma ka Object Trouves, hoʻopaʻa ʻia i loko o nā ʻano totemistic, hoʻonoho ʻia e pili ana i nā hana i kau ʻia ma ka paia a me nā textiles a puni ka lewa. ʻO ka mea mua he kahua agile a wikiwiki e kuhikuhi pono ana i ka hana a nā mea pena kiʻi ʻehā mai kā lākou studio a i ka pōʻaiapili hale kiʻi; ʻO ia ka mea e hōʻike ana i ka pōloli o nā manawa kūpono no nā mea pena e hōʻike i ka hana i ka wā hou, i loko o ka pōʻaiapili o nā papa hana kiʻi kiʻi kiʻekiʻe a i kaupalena ʻia nā waiho ʻana. Hoʻopuka ka mea hope i nā kumu i loaʻa maoli e kuhikuhi ana i ka ʻōlelo i hiki ke hoʻonohonoho ʻia i ka abstraction o kēia manawa, ʻoiai e hoʻokomo ana i nā textiles a me ka hoʻonohonoho ʻana.

Ua loaʻa i ka Abstraction kahi hoʻokipa hoʻokipa ma nā haʻiʻōlelo koʻikoʻi i nā makahiki he ʻumi i hala. ʻOiai ʻaʻole i hoʻokumu i nā huaʻōlelo iā ia iho, ua hoʻolaha ʻo Jerry Saltz i ka snarky putdowns 'Crapstraction', 'Aesthesized Loot' a me 'Zombie Formalism' i kāna hoʻohewa ʻana, 'Zombies on Walls'. home home – he mea hoʻonanea hoʻoluʻolu a ʻae ʻia e hoʻopuehu ana i nā hana hana kiʻi ma ke ao holoʻokoʻa o ke komohana a ua nalowale kona hiki ke hoʻokūkū a holomua paha - ʻo ia paha ka pena like me ka 'landfill indie'. ʻO kēlā me kēia hoʻololi hou i loko o ke kenekulia iwakālua, he hōkū make i mamao loa mai ka radicalism keʻokeʻo o kona hoʻomaka ʻana. Eia nō naʻe he nui nā laʻana o nā hana abstract e hana i nā hihia hoʻohuli no ka ikaika mau a me ka hiki o kēia wahi o ka hana pena. Ma ka pōʻaiapili Irish, ua komo pū kēia mau mea ʻo Ronnie Hughes 'pin-ball eye candy a i ʻole Fergus Feehily's esoteric provisionality, ka mea me ka ʻike maopopo i kekahi o nā kānalua o ka abstraction o kēia manawa e hoʻohuli nui i nā ʻāpana o ke ʻano i mua. 

ʻOi aku ka pili o Bechert i ka abstraction i nā kumu hoʻohālike o ka Bauhaus a i ʻole ka Black Mountain College - nā moʻomeheu hoʻonaʻauao ʻelua i hoʻokomo ʻia i loko o ka maʻemaʻe ideological o ka modernism ma ke ʻano he kumu no ka haumia o ka pāʻani, ka hana a me ka hoʻokolohua. Hoʻokumu ka nui o nā hana a Bechert i kahi pilina ma waena o nā mea kiʻi kiʻi a me nā hana abstract ʻelua-dimensional i haʻahaʻa loa i ka unahi a me ke ʻano. 

Na Lanakila Mini ʻO (2022) kahi puʻupuʻu paʻakikī o nā mea i ʻike ʻia e like me nā pine bowling; noae he hui kūʻokoʻa o nā kāwele liʻiliʻi ʻano ʻano like ʻole e kū pololei ana ma luna o nā ʻāpana pena lima. He lua Na Lanakila Mini hoʻonohonoho i nā seramika i hana ʻia e ka lima, kahi plinth i hoʻopaʻa ʻia, a loaʻa nā mea i nā ʻano like me ka milo. 

ʻO kahi kiʻiʻoniʻoni ʻoniʻoni poni ʻulaʻula ʻulaʻula mai ka pāʻani wikiō seminal e noho like ʻole ma luna o hoʻokahi ahu (ʻo ka ʻokoʻa o ka pitch a me ke ʻano o ka leo o kēlā pāʻani he mea kūpono e noʻonoʻo e pili ana i ka hoʻololi mau ʻana o nā tonal i ka laulā a me ke ʻano o nā kiʻi pena). Untitled ʻO (2022) kahi pale kūʻokoʻa o nā mea i loaʻa me ke ʻano o ka pohihihi i humuhumu ʻia a hōʻike i kāna mau hana ma hope.

Aia nā puka makani ʻike a me nā ʻokoʻa e holo ana ma ka hōʻikeʻike, e like me nā kākoʻo i hōʻike ʻia a pentimenti. Me he mea lā ua hoʻokumu ʻia nā hana ma luna o ka strata monochromatic kiʻi liʻiliʻi a laila e hoʻololi i nā mea hana i ke kala lua a me nā ʻulaʻula wela, nā melemele anu a me nā ʻulaʻula cobalt, e hana ana i kahi tonality kala ʻokoʻa. Hoʻokani ʻia nā mākia e kūʻē i ka hoʻohana ʻana i ka gestural circular a me nā kaha. Aia kekahi la'ana me he mea lā 'a'ole e hahai ana i ke ka'ina ho'onohonoho pono; e uhi pinepine ʻia nā wahi o lalo o ka pena pena i kekahi kala ʻokoʻa. Hoʻohana ʻia ka pena ma nā ʻano he nui: hoʻohui ʻia, ʻōpala, huki ʻia. Ma kēia ʻano e hoʻomanaʻo ai lākou i ka palaho ʻōnaehana o nā mea pena abstract e like me Thomas Nozkowski a i ʻole Phillip Allen, me kā lākou hoʻohuli ʻana i ka hana kiʻi a me ka hoʻolālā kiʻekiʻe. 

ʻOiai ʻoiaʻiʻo, aia nā ʻano like ʻole a me nā kuʻi e hana ai i ka spine ʻike maka, kūʻē lākou i ka hoʻonohonoho ʻana i ka seriality a me ka formalism, hana kēlā me kēia me ka hoʻokahe ʻana i ka ʻili a i ʻole ka hoʻololi ʻana i ke kuanaʻike e hana i kahi pilina me kekahi. Aia kahi haptic intuition e hoʻomaopopo i ke ʻano speculative o ka pāʻani ma waena o nā mea a me nā ʻano. Hoʻohana lākou i nā ʻano ʻano hōʻike like ʻole, e hoʻoikaika ana i ka hana o kēlā me kēia hana. Me he mea lā ua ʻike koʻikoʻi ʻo Bechert i nā pitfalls a me nā ʻano o ka abstraction o kēia manawa, a ke ʻimi pinepine nei ʻo ia i nā mea hiki i loko o kā lākou mau papa kuhikuhi ponoʻī, a ʻoiai ʻaʻole lākou e hoʻonā i nā manaʻo ʻole o ka paradigm o abstraction holoʻokoʻa, ua ala a ola lākou. i kona hiki mau.

He mea pena ʻo Colin Martin a he poʻo kula ʻo RHA. 

Notes:

1 ʻO Jerry Saltz, 'Zombies on the Walls: No ke aha i like ai ka nui o ka hoʻopalekana hou?', New York Magazine, 16 Iune 2014.

2 Ua hoʻokumu ʻia ka huaʻōlelo 'landfill indie' i ka makahiki 2008 e Andrew Harrison o ka Logou e wehewehe i ka saturation o nā hui kīkā homogenous ma nā palapala kiʻi UK.