Tag Archives: Pierre Huyghe

Fresh start (among the ruins)

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Pierre

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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Recollections of Frieze

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Pierre Huyghe, Recollection, 2011 (live marine ecosystem, glass tank, filtration system)

In these early days of the year, I want to think back to work I’ve seen in the last year to see what’s stayed with me. A good starting point for that is to think about the big stuff: the days when art overload is a significant threat. Days like Frieze Art Fair. I don’t always get to Frieze; some years I just can’t face it. The scale of the thing puts me off somewhat and I’m really not a fan of the art world en masse. It’s possible I’m just slightly allergic to art fairs. Art needs time and at Frieze the pressure to see everything can be overwhelming so last year I decided to browse in a really unsystematic way and just spend time with the things I chanced upon that interested me most. Perhaps inevitably that means that what I remember most clearly are some of the things that were tucked away in corners, works that could be seen in isolation rather than against the backdrop of the fair.

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