• Hop_1
  • Hop_2
  • Hop_3
  • Hop_4
  • Hop_5
  • Hop_6
  • Hop_7
  • Hop_8
Art

Livia Marin - Broken Things

Posted by Alex Bec,

House of Propellors is a gallery I’ve wanted to write about for a little while now, and what better excuse than the opening of a fantastic show by Chilean artist Livia Marin. Instantly fascinating, but with a depth of concept that left us eager to find out more…

Hi Livia, your new show looks really interesting – can you tell us a little about what you do and why you’ve decided to exhibit the pieces you have?

I pursued an art career in Chile. I have exhibited widely both in Chile and abroad (Argentina, Brazil, Sweden, USA). I have lived and worked in London for five years and am currently completing a practiced led PhD programme at Goldsmiths College. Regarding my practice and this specific show, Broken Things, is a project I have been developing during the last two years and inquires into the issues of brokenness and recuperation. For the wall piece I’ve appropriated the museum style of restoration which pieces together existing fragments with blank sections to recover the full form of the original. The industrial production of mass-produced pottery used transfer printing for decoration.

The other works in the show somewhat parody this technique by a kind of slippage, which puts the integrity of the object in question. The exhibition as a whole came about as the result of a discussion with curator Cecilia Brunson who invited me to show in The House of Propellers. She had seen some earlier works of the Broken Things series in a two-person show that I took part in earlier this year in Santiago.

The sculptures are all interpretations of everyday objects – what fascinates you about them?

In broader terms, in my artwork I use themes such as the serial, repetition and estrangement of what is familiar. In this sense I have a particular interest in the everyday, specifically in the material objects that give shape to it. What fascinates me about everyday objects are the traces of humanity that are lodged in them and which it is possible to bring to the fore in art. These traces embrace both their processes of making or construction and the daily use-relationship we establish with them.

In this particular show, the figure of something broken is what hinges that relationship: when something breaks it goes out of use, it can be discarded, but it might enter a new phase of signification if its owner has a strong attachment to it. It’s that moment of decision or indecision that interests me and that I try to recreate by building the object as an ambiguous figure. Within this, it is important that I have worked with mass-produced, non-noble objects, whereby things that were not important in the first place achieve a value or significance by the attachments that people form with them.

How do you go about making each piece? Do you use existing objects or start from scratch?

I do both. For some pieces I build them from scratch, and others I start from alerting already existing objects. For example, the piece that it is formed by a series of broken cups, bowls and the like is a combination of both methods: the broken objects that we can recognise, are actual objects that you can get from the market, and the, so to speak, formless part of the object which is attached to it I have made from scratch. For the applied decoration I have used a number of techniques, running from silkscreen, transfer-printings, and commercially available patterns that I re-work digitally. For some objects I have repeated the existing pattern, and for others I have decorated both parts from scratch.

House of Propellors
5 Back Hill
London EC1R 5EN

Show runs until 7 November
Tuesday to Friday 10am – 6pm
Saturday 11am – 4pm or by appointment

Ab-300

Posted by Alex Bec

Alex is one of the directors of It’s Nice That who now oversees our sister creative agency INT Works. For several years he oversaw the Monday Morning Music Video feature until it came to an end in 2014.

Most Recent: Art View Archive

  1. Anniedescarteaux-collage-7home-int

    Annie Descôteaux’s work is confident, engaging and straight-forwardly slapstick. The Montreal-based artist works with installation, drawing and collage and has seen her work exhibited and discussed at conferences on colour theory. In equally impressive outings, it’s also appeared in Bloomberg and Pica magazines, among other publications. Annie’s collage work is well-balanced with clean lines, sharp colours and discreet humour; each piece littered with raw steak, fried eggs and shuttlecocks.

  2. Oliviervrancken-untitled-1-inthome

    Olivier Vrancken is a graphic designer and artist based in Holland. Painting and drawing his way through commissions and personal work, he is inspired by everything from primitive art to the great lyricists that are Black Sabbath. Olivier has exhibited all over Europe, his Cubist aesthetic and visual references laden with nods to cut-outs, still life, architecture and the human form. There’s a great colour palette to his work and some nice titles like Bad Hair Day and Wanderlust. Olivier’s work reminds me of the prints that appeared all over the T-shirts of the 1980s, in a good way.

  3. Menutnutnut-drawing-4-int

    Me nut nut nut was one of Jason Murphy’s daughter’s first utterances, and is now the name for his drawings of awkward stories of fear and incompetence. Inspired by the physical comedy of The Young Ones and The Ren & Stimpy Show, Jason’s drawings rely on comic intuition and references to real-life moments, like dropping a potato on his cat.

  4. Seamus_murhpy_pj-harvey_-recording-in-progress_-2015.-an-artangel-commission.-_1_int

    While we wait to take our turn to become a sort of strangely sanctioned voyeur as PJ Harvey records her ninth album, thinking about what’s ahead feels peculiar. Essentially, we’re going to see PJ (Polly Jean) Harvey, her band, producers Flood and John Parish, a photographer and two engineers making an album in a Something & Son-designed box, formed of glass that allows visitors to see in, while the musicians can’t see out.

  5. Atelierbingo-list-int

    Up to the point when I opened Atelier Bingo’s new zine Wogoo Zoogi I’d never wondered what two aliens in heated conversation might look like. Having had a read I can now confirm that the answer is “they are speaking, singing very strangely, and they have a hair on their tongues." The newest bout of work from French illustration and surface design duo Adèle Favreau and Maxime Prou is a wonderful celebration of playful, dynamic, abstract art; blending shapes, colours and patterns in a glorious puddle of chaos thinly disguised as alien chat. In fact, it’s everything we’ve been led to expect from the pair, who we’ve dolloped praise on in the past.

  6. Faigahmed-carpets-list-2-int

    Faig Ahmed is an Azerbaijani artist doing remarkable things with carpets. He takes traditional Azerbaijani rugs – enormous, beautiful intricate creations – un-weaves them, and reconstructs them to create new patterns and shapes, subverting traditional usage of rugs as domestic objects to be walked all over, and rejuvenating them with optical illusions and techniques reminiscent of contemporary internet art. 

  7. Slavs_tatars-loveletters-home-int

    The work of Slavs & Tatars is awash with unlikely cultural references, balloons, archives and carpets. Identifying “the area east of the former Berlin Wall and west of the Great Wall of China” as the focus of their work, their projects are generous, engaging and genre-crossing. Starting as a reading group before shifting into making their own work, Slavs & Tatars have recently been working on a continuation of their Long Legged Linguistics project, a multi-faceted study of language as a source of emancipation. The somewhat secretive collective were kind enough to tell us more about this and their “bazaar” approach to making work.

  8. Davidbatchelor-october-13-int

    If you go down to the Whitechapel Gallery anytime between now and early April you’ll be sure to come across a huge breadth of work chronicling the adventures of the black square, from 1915 all the way up to the present day. It’s fairly monochromatic, as you might expect. Upstairs, however, things get drastically more colourful – especially once you come to David Batchelor’s specially “disrupted” issue of October, one of the most respected art journals out there, first published in 1976 and edited by esteemed writers Michel Foucault, Richard Foreman and Noël Burch.

  9. Alexdacorte-easternsport-1-int

    Perennial student artist Alex Da Corte has qualifications, residencies and awards coming up to his eyeballs having studied Film, Animation and Fine Arts at New York’s School of Visual Arts, Printmaking and Fine Arts at The University of the Arts, Philadelphia and then a cheeky MFA in Sculpture at Yale. Busy guy!

  10. Duane_hanson_-_karma3

    Karma Books have just published a catalogue of Duane Hanson’s post-humous exhibition Flea Market Lady. Shown at New York’s Gagosian Gallery, Duane’s flea market ladies are taken from real-life characters and cast in bronze. An incredible feat of observation and skill, his work captures the character of his models and creates a very real atmosphere of flea-ing. Karma have kindly let us publish an extract from the imaginary conversation Maurizio Cattelan has with the artist in the foreword to the book:

  11. Hdl5_copy

    Hubert de Lartigue paints photo-realistic portraits that “serve the beauty” of his models, and his muse. He considers “emotion and soul” the most important part of a painting and spoke to us about his working process, inspiration and the impact of his muse, Octavie.

  12. Main_10.00.34

    If I won the lottery I’d open a gallery, and when I opened my gallery I’d totally rip off everything that David Kordansky Gallery does. From the big stuff like the very well-curated, cool list of artists they represent, to the impeccable printed matter they produce, to the matter of their easily navigable and well designed website – these guys are celebrating people’s work in the best way possible.

  13. List

    For all its simplicity – the limited use of colour, the seemingly straightforward shapes – there’s something about the work of Jens Wolf that’s undeniably intriguing and complex. Bringing to mind the likes of Josef Albers and Frank Stella, his abstract pieces set off their precise geometry with deliberate imperfections that add a human element to its formality. With his first London show opening in March, we had a chat with him about the creative process, the evolution of his work and why his London is forever foggy.