Joan Fontcuberta, Braohypoda frustrata from Herbarium, 1984
Still firmly back with the best of the shows I saw but failed to write about last year, I find myself wondering how it can possibly be true that I have been writing this blog on and off for three years and I have yet to write about the work of Joan Fontcuberta despite having loved his work for many years. I guess in part it comes down to there not having been a major exhibition of his work here until Stranger than Fiction at the Science Museum, which is now on show at the National Media Museum in Bradford (so even though it’s taken me an age to write about it you haven’t actually missed it yet).
For me there’s a lot to like about Fontcuberta’s work. Firstly, there’s a sense of the absurd running through his practice that I enjoy. In some works the earnestness of the conceit is such that it can take time to peel back the layers and work out what’s fact and what’s fiction; other series are altogether more gentle and, of course, the work is often laugh out loud funny.
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Pierre Huyghe, Untitled (Human Mask), 2014
It’s that time again. The year turns and I conclude it might be time I got back to writing about art a bit. This year I plan to be better at keeping it up but I’ll aim for regular(ish) but not especially frequent posts, perhaps two or three a week but with no long gaps. Maybe. And, probably inevitably, I’ll start things off by thinking back at the work I’ve seen over the past year and withering on about the works that have stayed with me. As usual, I’ve managed to miss a lot of shows I really wanted to see and some of the shows I did see were forgotten pretty much as soon as I’d left the space. So what managed to work its way into my head and stay put? The first thing that comes to mind is Untitled (Human Mask), a film work by Pierre Huyghe which I saw at Hauser and Wirth in October in Huyghe’s exhibition IN. BORDER. DEEP. Huyghe is an artist whose work I know rather less well than I should given that I think I’ve liked pretty much everything I’ve seen by him and writing about this work reminds me that I would love to get to know his work rather better.
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