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Myla DalBesio Studio

Model-turned multi-disciplinary artist Myla DalBesio [..] turned heads
when she blurred the lines between performance art and pornography
with her controversial Young Money piece at Ramis Barquet Gallery last
summer. As part of the Glutton for Punishment show, a topless DalBesio
gyrated seductively on the floor, rolling around in dollar bills to
the tune of Lil’ Wayne’s Young Money, as an LED screen flashed
corresponding cash messages. Willing audience members were treated to
a lapdance by the artist, who poured champagne on herself and her
participants’ crotches. DalBesio said this act reversed the role of
subject-and-object, transforming the dancer into a figure of power.
For her finale, the artist incorporated Evangelical Christianity's
“faith healing”, thumbing the sign of the cross on participants’
foreheads. She says Young Money “confronts questions of our own
morality and desires, and what drives us to act on them. I’m often
aiming to expose people to parts of themselves that they may never
have acknowledged before.”

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Text: http://www.mutualart.com/OpenArticle/Performance-Art-Pushes-the-Envelope---bu...
Photos: http://www.myladalbesio.com/index.php?/performance/young-money/

Illustrations of mothers and their babies underwater are among works
of art displayed in a new exhibition of the work of Quentin Blake at
the Foundling Museum in Holborn, London. Included in the exhibition is
Quentin Blake's biggest project 'Mothers and Babies Underwater'
commissioned by the maternity unit of the Centre Hospitalier
Universitaire in Angers, France. Each of the 11 delivery suites will
be animated by drawings by Blake based on the theme of the mother
meeting her new baby.

http://www.telegraph.co.uk/culture/culturepicturegalleries/9010454/Quentin-Bl...

http://www.foundlingmuseum.org.uk/events/view/quentin-blake-as-large-as-life/

One of the "20 unique life-sized plaster human sculptures".

"This exhibition is a monumental installation made of two labyrinths.
The first is in the Cretan fashion with a one-way path leading to the
core where there is a video projection. The second is a deconstructed
labyrinth with a path through iron blocks with 20 unique life-sized
plaster human sculptures, each about 1.6 meters in height, positioned
along the way"

LONDON.- On January 11 the Corfu-based artist, Eva Caridi, opened her
first solo show in London, at Ambika P3, University of Westminster.
This exhibition is a monumental installation made of two labyrinths.
The first is in the Cretan fashion with a one-way path leading to the
core where there is a video projection. The second is a deconstructed
labyrinth with a path through iron blocks with 20 unique life-sized
plaster human sculptures, each about 1.6 meters in height, positioned
along the way.

The installation stages a representation of time as a human condition.
There are no dead ends, no illusions, but only constant walking ahead
in one direction. The visitor proceeds through the corridor surrounded
by iron walls, and sound flows from the labyrinth’s depths compelling
one to continue the journey. The path culminates in the artwork’s
core: a space in between walls that hosts a video installation
depicting females in their three stages of life: girl, woman and
elderly lady. During the course of our life we tend to lose
connections with the child part of ourselves and memories are locked
in the secret alleys of our soul.

The second room features a deconstructed labyrinth filled with nude
human sculptures frozen in multiple body positions. The artist says
that the plaster sculptures resemble the fragility of human nature
when it comes up against the impenetrable iron walls of the labyrinth,
which in this case symbolizes the world and reality that we live in .
Ms Caridi is intimately involved with her creations, and she tries to
establish a bond with the public. Plaster and iron are the means to a
sensorial experience and their molding quality makes into almost
living beings that speak to us.

Ms Caridi’s monumental interactive installation unwinds over a floor
surface of around 14,000 square feet, and the walking distance is
about 75 meters from the entrance to the central area. The walls are
about 2.4 meters high, and the labyrinth uses about 11 tons of steel.
It is made by S & W Limited, based in the Midlands, and will take
about five days to install.

“The labyrinth is used as a symbol to represent a threedimensional
feeling, to concretise feelings. It forces you into a pilgrimage, a
journey through time. People lose track of direction and of the
outside world, ascending towards a personal state of mind. Despite
feeling confused and lost, one finds the way to the end which is, in
fact, just the beginning. ” Eva Caridi

Eva Caridi is a Greek–English artist who lives and works between the
UK and the island of Corfu in Greece. She was educated and trained in
Paris where she graduated from the Academy Julienne. Since 1997, she
has exhibited her works in the art world’s most prominent cities –
Paris, New York, and San-Paolo. She has participated in and won awards
at prestigious shows such as the Cairo, Florence and Alexandria
Biennales.

http://www.artdaily.org/index.asp?int_sec=2&int_new=53012

Blindspot Gallery is proud to present “Memory and Fiction”, featuring
Wong Wo Bik, one of Hong Kong’s most accomplished photographers, as
well as one of a small number of female photographers active in the
territory. The retrospective exhibition will feature selected works of
Wong dated from the 1980s, including photographs of Hong Kong's
historical and notable landmarks, such as Lai Yuen Amusement Park and
the Eu family mansions that were now demolished, and the Main Building
of the University of Hong Kong.

Since the 1980s, Wong took all possibilities to photograph historical
architecture threatened by demolition in Hong Kong. “I paid particular
attention to landmarks or buildings that were not considered 'built
heritage', but carried historical significance or were once frequented
by locals. Because their demolition was inevitable, the only thing I
could do was to document them photographically. It was for me of
paramount importance to capsulate them in the photographic space1,”
Wong says. Yet Wong’s photographs of these architectures are not
merely documentary of history, they are also the artist’s subjective
narrative of her personal experiences at these sites, as well as
depiction of traces left behind by others.

Wong Wo Bik
Memory and Fiction
11 January - 4 February 2012
at Blindspot Gallery, Hong Kong

Opening Reception: Tuesday, 10 January 2012, 6:30 – 8:30pm
Artist will be present.

Blindspot Gallery
24-26A, Aberdeen Street, Central, Hong Kong
Tel.: +852 2517 6238
Opening hours: Tue - Sat, 11am - 7pm
Closed on public holidays

http://www.blindspotgallery.com

Goddess Durga, Vietnam or Cambodia Kingdom of Funan. Pre-Angkorian
period, 7th century, Sandstone. Height: 31½ in, 80 cm.

NEW YORK, N.Y.- John Eskenazi, the highly-respected London dealer in
Indian, Gandharan, Himalayan and Southeast Asian works of art, will be
presenting outstanding sculpture in his annual New York exhibition at
Adam Williams Fine Art and Moretti Fine Art, 24 East 80th Street .
Recent Acquisitions will be on view from 14 to 25 March 2012, as part
of Asian Art Dealers New York and coinciding with Asia Week.

The timeless beauty of the finest Southeast Asian sculptures is
evident in a graceful figure of the goddess Durga holding a discus in
her upper left hand. The sandstone sculpture dates from the
Pre-Angkorian period, 7th century and comes from the ancient kingdom
of Funan , situated on the Mekong Delta, which was once a great centre
of international maritime trade. Indian merchants who were established
there probably introduced Durga and other Hindu deities into the
region. The 6th/7th centuries are known for such fine stone sculptures
of gods in regal, stately poses. Durga is a heroic figure who,
according to legend, was created by the Hindu gods to conquer the
demon Mahishasura who had unleashed a reign of terror and who could
not be defeated. Each god armed Durga with his most fearsome weapon.
For example, Vishnu gave his discus which also symbolises the
continuous cycle of creation and destruction of the world. The discus
also represents the power of the mind, capable of destroying ignorance
in the same way that the goddess eliminated the demon. Durga, whose
victory is so energetically depicted in Indian art, is represented
here as a serene authoritative figure, dressed in an elegant,
unadorned skirt and a tall headdress.

http://www.artdaily.org/index.asp?int_sec=2&int_new=52826

Fascinated by the mysteries of the human psyche, the Swiss-born
painter Albert von Keller (1844–1920) is remembered today more for his
spectacular subject matter than for his exceptional artistic ability.
In fact, although Keller was a founding member of the Munich
Secession, an influential artists’ association, and was highly
regarded in Europe and America at the dawn of the twentieth century
for his “modern” psychological painting, he has never before been the
subject of a solo exhibition in America.

Keller’s close association with the Munich psychiatrist Dr. Albert von
Schrenck-Notzing (1862–1929), and his participation in séances and
occult experiments, placed him at the center of passionate debates in
fin de siècle Germany on Seelenleben, or the life of the soul. While
fascinated by the paranormal, Keller was equally enthralled by
traditional Christian narratives such as the raising of the dead, the
powers of mystical healing, and the mysteries of stigmata. He engaged
in a lifelong search for new techniques and visual forms to describe
shifting, uncertain states of being and becoming.

Images: http://artandlair.blogspot.com/2010/10/albert-von-keller-1844-1920.html
Text: http://fryemuseum.org/exhibition/3687/

Hubertus Giebe (German, 1953)

http://www.mutualart.com/Artwork/Liegender-Akt-von-vorn/FCB991AFBA6F1124

Emil Wachters - "Roter Akt" (1993)
source: http://www.stimme.de/heilbronn/kultur/sonstige-Die-Welt-in-der-Nussschale;art...

Happy new year!

http://en.wikipedia.org/wiki/Ghosts_in_Mesopotamian_religions