Galerie Gugging, AustriaLeopold Strobl until February 17, 2019 light works – 3 variations – lejo / leopold strobl / august walla "Light work" is the focus of this exhibition which brings together the work of three contrasting artists. Collages by Lejo, overdrawings by Leopold Strobl and vintage as well as documentary photographs by August Walla are presented together, showing three different approaches to photography. Gallery Gugging – Nina Katschnig Japanese Art Brut at Collection de l'Art BrutItsuo Kobayashi November 30, 2018 – April 28, 2019 "Art Brut from Japan, Another Look", curated by Edward M. Gómez, features 24 art brut creators who are working in Japan today, and who are being shown in a European museum for the very first time. Works include paintings, drawings, ceramic sculptures and mixed-media assemblages. Collection de l'Art Brut New Outsider Art Gallery in Portland, ORPortland Art & Learning Studio, photo: Paul Landeros A new, 10,000 square-foot gallery, which exhibits works created by adults experiencing intellectual and developmental disabilities, will open on December 1 in Portland, OR. The gallery, which doubles as a maker-space with painting, drawing, ceramic, textile and digital media studios is named the Portland Art & Learning Studio and currently serves close to 200 artists. The Portland Art & Learning Studio Copenhagen Outsider Art Galleryuntil January 5, 2019 Works by Julia Sisi and Straiph Wilson are being shown at Copenhagen Outsider Art Gallery. Titled "+2", the exhibition presents Sisi’s powerful portrayals of faces, along with Straiph Wilson's seven ceramic heads. Copenhagen Outsider Art Gallery
Julia Sisi Hiroyuki Doi in Tokyountil December 25, 2018 Japanese chef-turned self-taught artist, Hiroyuki Doi’s artwork is now on view at OZU WASHI, Tokyo through December 25. Doi creates images that consist of many small circles made with black-ink drawing pens on washi. He draws his unique circle drawings every day. OZU WASHI Miniature Raw Vision #1!All subscribers will receive a free miniature facsimile of Raw Vision #1 in their copy of RV #100. This will be a free gift for subscribers only. Subscribe now for your copy! Our Editor, John Maizels, trying to read the mini #RV1! Don't miss it! Raw Vision 99 Article PreviewTHE POLICEMAN WHO CAPTURED THE MONSTERS OF THE IMAGINATIONAuthor: Graciela Garcia A strange creature looks out at us with its bulging insect eyes, opening its red-lipped mouth that is filled with large fangs. It has the front legs of a lion, the rear legs of a horse, the tail of a rodent and the horns of a bull. Its back bristles with reptilian scales, but, despite its efforts, it doesn’t manage to appear truly menacing. Frontispiece for the first biological family “Animals and Wild Beasts” of the bestiary of Josep Baqué, from a total of nine families This is the first imaginary being in the bestiary of Josep Baqué. Impossible creatures have been assembled by the whims of this Spanish policeman, who joined together the parts of various animals, mythological beasts, humans and inanimate objects. A total of 1,500 creatures await our gaze in the pencil box where Baqué catalogued and stored them, biding their time for captions that they would never receive. All we know of the captions is their absence, highlighted by the blank spaces reserved at the foot of each monster having never been filled in by their creator. Sheet 244. Second family, “Primitive Men” What could have impelled this secretive man, about whom even his family knew very little, to devote his free time over the decades to the creation of a bestiary? We can only speculate as to his motives, but one thing is obvious: Baqué was busy playing, and entertaining himself. When we enter his world of mocking hybrids, then observe how he learns as he progresses from one monster to the next, and how the combinations multiply or incorporate the odd feature that inspired him, we see the enjoyment of a child at play. We can discern Baqué the child imprisoned in an adult body, wearing a uniform (which he was ashamed of) and having little or no desire to exercise authority. Baqué was an atypical policeman. He walked his beat slowly, to warn street vendors of his approach and give them time to gather up their items and make off. Sheet 286. Third family, “Bats and Insects" It is possible that this collection of images was a kind of regression to the warm coziness of his solitary childhood. A way of retreating to that bastion of pleasure where serialisation and variations create a comforting setting that enabled him to feel like a demiurge. Julio Cortázar wrote an inspiring text, “The Feeling of Not Being Quite There”, about the child-adult (or converse) which may shed some light on Baqué: “I will always be like a child about so many things, but one of those children who from the very start bear the adult within them, so that when the little monster actually reaches adulthood he too still bears the child within him, and in the middle of his life experiences a rarely peaceful coexistence of at least two outlooks on the world.” The bestiary’s introductory page. The text translates as: “Interior of the great wonderful islands at 2 million metres above sea level, unknown, uninhabitable for civilised beings. The land of warm snow, discovered by the brush of Josep Baqué in the year 1932.” Read the rest of this article in Raw Vision 99, out now! Calling All Film Makers!Raw Vision is excited to announce a short film competition! Don't miss this exciting opportunity to have your film promoted online, screened at the Outsider Art Fair in New York, and win $2,000! |