Mutu

(bombmagazine.org)

In the realm of contemporary art, where the ephemeral often masquerades as the profound, Wangechi Mutu’s Preying Mantra stands apart, a piece that demands not just viewing but contemplation, not just contemplation but confrontation. This work, with its fusion of the grotesque and the beautiful, the mythical and the real, is a slap in the face to the complacency with which we often approach art, and indeed, life itself. The grotesque and beautiful elements are seamlessly blended together in the figure, challenging the viewer to reconcile the contradictions. Close inspection reveals intricately detailed textures and patterns inked across the body that draw the eye in for further examination. 

Preying Mantra, like much of Mutu’s work, delves into the complexities of identity, particularly the female identity, and the cultural and historical narratives that shape it. But to say just that would be to grossly oversimplify what Mutu achieves in this piece. Here, she does not merely explore these themes; she lays them bare in all their contradictory, often uncomfortable, glory. The figure takes on aspects of both human and animal forms, with the head of a mythical creature and wings protruding from the back, yet the body maintains curves and features recognizably human and feminine. 

The figure in the piece, a hybrid of human, animal, and machine, is both a deity and a demon, a symbol of power and subjugation. This is no passive subject of the male gaze, nor is it a straightforward emblem of feminist liberation. Mutu’s figure challenges the viewer to reconsider their understanding of femininity, of beauty, of power. It is an affront to the neat categories into which we often seek to place women, and indeed, all those deemed ‘other’ by the dominant discourses of society. Close observation reveals elements that could symbolize both power, such as the claws and fangs, and objectification, like the exaggerated curves of the body.

The wordplay inherent in the title Preying Mantra is highly significant and adds further depth to Mutu’s critique and commentary. On the surface, “preying” evokes a sense of danger, violence, and consumption that is reinforced by the monstrous, hybrid figure depicted. However, it also shares phonetic similarities with “praying,” alluding to religious or spiritual devotion.

This duality reflects the complex, contradictory nature of the figure as both a threat and an object of veneration. It also comments on the historical dynamics of power in which African and female bodies have been both preyed upon and exoticized in the Western gaze, as well as spiritually revered in some contexts. The title hints at the tense coexistence of these opposing forces.

The wordplay can also be seen as a play on the relationship between predator and prey. The figure maintains characteristics of both, challenging assumptions about such power dynamics. She both consumes and is consumed, praying and preying, in a cycle reflecting the intertwined nature of identity, representation, and the systems that seek to define them.

Mutu’s use of materials in Preying Mantra is also worthy of note. The piece, a collage of ink, acrylic, and a myriad of other media, is a testament to the complexity of its subject matter. The disparate elements are not harmoniously blended but coexist in a tense, dynamic relationship, mirroring the tensions inherent in discussions of identity, race, and gender. Layers of various textures and colors are visible upon closer inspection, with no single material dominating the work. 

Moreover, Preying Mantra is a cutting critique of the historical objectification and exoticization of the female body, particularly the bodies of African women. Mutu subverts the traditional artistic narrative, reclaiming the agency of her subject in a way that is both empowering and deeply unsettling. The figure maintains an air of strength and power despite also clearly displaying aspects meant to elicit the male gaze, challenging preconceptions. The viewer is forced to confront their own complicity in the systems of power and representation that Mutu challenges.

The piece utilizes a mixture of Western and non-Western artistic traditions to fully dismantle preexisting modes of representation. Mutu draws from a range of cultural influences and artistic styles that do not typically intersect. In doing so, she comments on the hybrid and complex nature of modern identity while also critiquing the tendency to silo creatives and art within narrow categories.

Wangechi Mutu’s Preying Mantra is a powerful, provocative piece. It is a work that refuses to be ignored, that challenges the viewer at every turn. It is a searing commentary on identity, power, and the art world’s often superficial engagement with these concepts. Mutu does not offer easy answers; instead, she presents a complex, layered narrative that demands our attention and our engagement. The piece merits close study to appreciate its subtle complexities and multilayered symbolism.

Portrait of a Tourist by Izquierdo

(thearstory.org)

In Maria Izquierdo's Portrait of Tourist (Portrait of Mr. Henri de Chatillon), we encounter a sophisticated play of dualities and artistic liberties that defies conventional portraiture. This painting, a portrait within a portrait, cleverly blurs the lines between reality and artistic interpretation, revealing Izquierdo’s keen insight into the nuances of representation and identity. 

At the heart of this work is the depiction of an artist painting Mr. Henri de Chatillon. The inner portrait shows de Chatillon sitting on a wooden chair in front of an easel. On the easel we see the beginnings of the portrait taking shape. The artist, whose face we do not see, stands to the side, palette in hand, focusing intently on capturing de Chatillon's likeness. However, Izquierdo's portrayal diverges from a straightforward representation in subtle yet significant ways. In the inner portrait, the artist has taken liberties with de Chatillon’s appearance: his shirt is rendered in a more vibrant and darker blue than what he was likely wearing in reality, and he is depicted wearing his hat, which in the act of sitting for the portrait, he holds in his hand. 

This artistic license speaks volumes about the nature of portraiture as an act of creation, not just of replication. By altering the colors and accessories, Izquierdo does not merely capture the likeness of de Chatillon; she captures an essence, an artist’s impression that goes beyond the mere physical attributes of the subject. This approach challenges the viewer’s expectations of fidelity in portraiture, suggesting that a portrait can convey deeper truths that transcend literal accuracy. A portrait is able to reveal aspects of personality and character that may not be immediately apparent from a straightforward likeness.

The nested structure of the painting, with its portrait within a portrait, adds to the meta-narrative quality of the work. It invites viewers to contemplate the layers of reality and interpretation in art. The outer portrait, showing the act of painting, reveals the process behind the creation of an image. We see the artist standing to the side, palette in one hand, brush in the other, intently focused on her work. The inner portrait demonstrates the outcome of this process—an outcome that is as much about the artist’s perception as it is about the subject’s reality. 

Furthermore, the decision to enhance the color of de Chatillon’s shirt, making it a richer, bolder blue, and to alter his pose with the hat adds a dimension of vitality and character to the subject. These changes, though seemingly minor, transform the subject from a passive sitter into a more dynamic figure, suggesting personality and presence that might not be as apparent in a more straightforward depiction. The hat, which he holds in his hand, gives him a sense of motion and life when compared to a literal portrayal.

The painting, in its entirety, becomes a meditation on the nature of artistic representation. Izquierdo, through her skillful manipulation of reality and artifice, encourages a dialogue about the role of the artist in shaping how subjects are perceived and remembered. She asserts that portraiture is as much about the artist’s interpretation as it is about the subject’s reality. A portrait reveals one perspective on its subject, necessarily shaped by the artist's individual vision.

In Portrait of Tourist (Portrait of Mr. Henri de Chatillon), Maria Izquierdo masterfully demonstrates that the truth of a portrait lies not in its faithful replication of reality, but in its ability to capture the intangible—the personality, spirit, and essence of the subject—filtered through the artist’s unique lens and perception. What emerges is one view of the subject, necessarily subjective but no less revealing about it.

Yang’s Works

(moma.org)

Haegue Yang’s sonic sculptures embody a fusion of the sensory and the conceptual, a hallmark of her work. These installations, often comprising everyday objects like venetian blinds, bells, and light bulbs, transcend their mundane origins to become something altogether more enigmatic. The way Yang manipulates these materials demonstrates a command over the aesthetics of form and the dynamics of space. Through her precise arrangements of forms and use of both light and sound, Yang is able to imbue simple materials with layered symbolic meanings and transform the experience of the spaces they occupy.

The use of venetian blinds in her installations, for instance, is particularly noteworthy. On a superficial level, they might appear as mere domestic objects, but in Yang's hands, they are transformed into complex, layered structures that play with light, shadow, and space in nuanced and sophisticated ways. Their slats and cords take on an architectural quality as Yang manipulates them into elaborate shapes and patterns that divide spaces rhythmically while also connecting disparate areas. They become, in effect, a medium to explore themes of visibility and invisibility, of revealing and concealing through the way light passes through or is blocked by the blinds. The blinds do not just divide space physically; they create a dialogue with it through the interplay of light and materials, offering a commentary on the nature of boundaries—both physical and metaphorical. 

Moreover, the sonic elements of these sculptures add an immaterial yet potent dimension to the work that engages additional sensory experience. The gentle ringing of bells or the subtle hum of electronics imbue the installations with a sense of movement and life. They create an auditory landscape, with sounds emanating from different areas, that complements the visual experience and invites the viewer to perceive the space differently. This aspect of Yang's work invites reflections on the ephemeral nature of sound and its ability to evoke memory and emotion through a non-visual medium.

Yang’s work also speaks to a broader cultural narrative through her choice of cross-cultural materials and influences. Her Korean heritage and experience of living and working in Germany infuse her art with a unique cross-cultural perspective. With their blend of Eastern and Western aesthetics and everyday materials, the sonic sculptures become sites of cultural intersection that challenge preconceptions of national or regional styles. They encourage the viewer to consider the fluidity of cultural identity and the interconnectedness of global artistic traditions in an increasingly borderless world.