Other than knowing that they’re very rare and eat bamboo, I know very little about pandas. But the continued survival of the panda triplets born in China in late July gives me an excuse for a long overdue post about the work of Liu Bolin, the art world’s invisible man. Liu somehow manages to paint himself into the landscape allowing himself to disappear into the city. The resulting photographs are intriguing not least for the tension between the challenge of finding the artist – not always easy – and thinking about the significance of the scene and why Liu has chosen to hide himself within it.
Mel Brimfield, Vincent (Portrait with Fur Hat and Bandaged Ear), 2012
Mel Brimfield makes art about art in a very different way to others that I’ve written about here before (the reworkings of Hogarth’s A Rake’s Progress by David Hockney and Yinka Shonibare or Gregory Crewdson’s remained Edward Hopper picture, for instance). As with Shonibare’s Diary of a Victorian Dandy, Brimfield’s work is performative but there’s a humour in the work that feels more connected to Nina Katchadourian’s Self-portrait as Sir Ernest Shackleton though in Brimfield’s work the performances are collaborations between artist and performer. The resulting works – photographs, videos and sculpture – reference not only the artists Brimfield is looking at but also our ideas about art and the way the artists have been represented in films. Brimfield’s exhibition Between Genius and Desire at Ceri Hand Gallery Project Space – the gallery’s first show in London – gave me a lot to both think and smile about.