Mona Lisas of the Surburbs makes light of the ambiguity of the original painting by photographing a panoply of young ladies on the cusp of womanhood. The real Mona Lisa could have been anyone, indeed in the Mahler’s re-imagingings, she is anyone.

Shot during their commutes to work or school on the outskirts of Reykjavik, Liverpool, Florence, Minsk and Berlin, the works are the result of the girls being asked to give their ‘best Mona Lisa’. Their spontaneous poses aping the painted lady – whose image is thus clearly etched in the collective European consciousness – poke fun at the mystery surrounding the iconic painting. Consequently the famous half-inviting, half-detached almost-smile is diluted and re-contextualised.

At Dittrich und Schlechtriem, Tucholskystraße 38, 10117 Berlin from 4th November 2011 until 7th January 2012.

All images © Ute Mahler und Werner Mahler, 2011 / courtesy Dittrich & Schlechtriem, 2011

Words by Katie Rose

Twin’s Art Editor Francesca Gavin has always been at the forefront of championing new artists. So it makes sense that her latest book should be dedicated to the work of artists who are busy creating the art that will set the aesthetics of the next decade. Having scoured art shows and exhibitions across the globe from Berlin to Tokyo, 100 New Artists brings together a new generation of artists whose work covers sculpture, performance art, video and new technology.

Twin spoke to Francesca about the art of tomorrow…

Where did the idea for the book come from?

I’m a book addict. I used to go to my local Waterstones with a notebook when I was 12 and go through every shelf writing down all the books I wanted to read… After writing three books in 18 months for the same publisher, it felt really natural to come up with an idea for a fourth. I wanted to make something very art focused and a survey book seemed the most direct way to do that.

Did you have a clear idea of what you wanted to achieve before you set out?

Yes. I knew I wanted to do Q&As rather than prose texts. I wanted to make it different from Cream or Art Now or any of the other survey books that you can find. My angle was very much about taking a step back and letting the artists talk about their work rather than describing or making any judgement about what they do. I knew I wanted to focus on the freshest and least know artists around that I thought were interesting. New names that even people who are obsessed with art could discover. Nothing is better than creating a book that is useful – and beautiful. My aim in everything I do is always to make people who don’t necessarily know tons about art become involved and interested.

Was there specific criteria that you were looking for with each ‘new’ artist?

All the artists were under 35 when I wrote it. Older than that and they seemed to be heading to biennale territory! No more than ten came from any specific country. I wanted to keep the work really international which in our internet friendly world really seems the focus on contemporary art.

What did it take for an artist to excite your interest?

I look at so much work and am excited by such a breadth of approach. I noticed some threads in my taste – an interest in technology, or disintegrating environment and failed utopias, or an increased focused on technical skill, or subtle humour. I’m also really drawn to being who take the imagery and rubbish that already exists in the world and our minds, and reconfigures it in inspiring ways – whether that film footage or plastic toys. I also get really bored if something is so conceptual it cannot function on other levels. I hate reading academic press releases – they can be very pretentious and intentionally obtuse.

Can you give some examples of the diversity of artists’ work featured in the book?

It’s got the whole gamut – installation to painting, cut up films to sculptural interventions, drawings to photographic work. Contemporary art has never been broader I think.

In reference to the quote on the cover of your book, “Despite moments of clarity there is no ‘ism’ in this book”, do you believe it’s no longer relevant for artists to belong to or be defined by a particular movement?

Completely – the idea of the ‘ism’ so old fashioned, which I think most people in the art world would agree but perhaps isn’t an idea that people who aren’t staring at artworks everyday think about. In the Twentieth Century it was all about largely politically motivated, easy to brand collectives and movements (though arguably in many cases that was fabricated by writers or wiley artists).

From your research for the book, what would you say the particular mood in the art world is right now?

I really fight against generalizations but it is definitely less pop and brash than in past years. Intimate rather than obvious. Intelligent rather than jokey. Other work is being made of course but it is all about what resonates at different moments in time.

What does the future of art look like?

Shiny, interesting and full of stuff placed in front of a big deep hole which may be the end of capitalism.

What are you working on next?

I’m busy curating the collection for Soho Houses internationally – which is a really different kind of curation process. I’m waiting for inspiration for book number five! I’ve make scrapbooks for the past seven years or so, culling all my favourite images and articles from the stupid amount of publications I buy. Leafing through those pages usually leads to an idea. I’m sure I’ll want to curate some exhibitions in the meantime.

100 New Artists by Francesca Gavin is published by laurenceking.com

roughversion.com

Words By Boudicca Fox-Leonard.

But more than that, the idea of Polaroids excited Newton: he published Pola Woman, a book exclusively made up of his Polaroids, in 1992.  Shooting down accusations that the images in the book didn’t stand up to his usual standard he said: “but that was exactly what was exciting – the spontaneity, the speed”.  Indeed in some ways this attitude prefigures the speed of photography – particularly street style photography – today.

The romance of a Polaroid picture is most definitely back in vogue again.  See the 300 works on display until 20^th November 2011.

Helmut Newton Foundation, Jebensstraße 2, 10623 Berlin

Words by Katie Rose

Vutuc’s latest show, Something In-between at Gallerie Michael Janssen in Berlin features a series of monochrome photographs hand printed on Baryt paper. Like the dilapidated buildings and rough terrain of his mis-en-scene, Vutuc scratches and scrapes at his image, engaging with his work in the same way as a skateboarder does with his environment.

“I don’t give any description to my images,” he says. “I leave them to speak for themselves. It’s not about where I shoot them or subject,  it’s more like a collection of fragments – moments and building stories… The mouth can never say, what eyes can see…“ Vutuc’s camera is a view from inside the subculture.

SERGEJ VUTUC: Something in between is at Galerie Michael Janssen, Berlin until July 30.

galeriemichaeljanssen.de

Words By Boudicca Fox-Leonard.

Burkhart’s work in video, assemblage and painting engages the viewer with ideas of gender, sexuality, celebrity and performance.  In one painting the word ‘eikel’ (Dutch slang for ‘bell-end’) is emblazoned across a depiction of a passive Taylor.  Here, the dominating male reveals Burkhart’s feminist stance towards women on film.  Elsewhere, Taylor is depicted in pop art portraits as a majestic Queen and exotic deity.

With near-obsessive articulation Burkhart offers a fresh take on an issue that’s far from over – the power and dominance of the male gaze in Hollywood.  We think she’s one to watch.

Ubercunt. Selections from the Liz Taylor Series is at Exile, Köpenicker Straße 39, 10179 Berlin until July 2, Exile Gallery.

Words by Katie Rose.

This month sees the opening of the project’s new exhibition space, kicking off with a solo show of Richie Culver’s work. Ahead of his show, Too Dark One Light, Twin asked the maverick artist a bit about LN-CC, himself and his art…

How did you link up with the LN-CC guys?

I’ve known John Skelton for a long time and was blown away when I saw the LN-CC store for the first time. He has risen the bar for everyone in the fashion game. It’s by far the best and most forward thinking store in the world at the moment – no-one’s doing what they’re doing. The collaboration kind of happened really naturally. In career terms, LN-CC and I are kind of at the same place, so when John mentioned he was opening two new rooms within the store it just seemed like the right thing to do for both of us. My work fits really well with what they’re doing.

You take photos and make art – what drives your creativity and style?

I do take photos, but I’m far from a photographer – the photos on my website were taken over the past ten years – it’s just me documenting people that have been in my life and situations I’ve been in. Although some were taken in NY when I was living there, I think of my art & photography as very British. I try to tell stories and ask questions from a British point of view. Things haven’t always been so rosy in my life and that comes across in both my art and photography. Kinda like The Smiths or The Cure are very British, my work also comes across in that same way. I just try to tell stories, although sometimes bleak they are always honest about the way I look at the world.

Your art is very personal, from your ‘I Loved You’ project to your work with old family photographs  – has it ever got you into trouble

The ‘I lOVED YOU’ pieces come from a time when I was trying to get a girlfriend back and as a last option I climbed onto the roof of her new house and painted the words ‘I loved you’ above her bedroom window. I thought it was a very poetic and heroic thing to do at the time, but it didn’t work and I didn’t get her back. It didn’t get me into trouble, but from that came that piece. Everyone can relate to it . With regards to my family photos – again this a really personal set of work . Some people said I shouldn’t cut up such old pieces of family history but, fuck it. I’ve shown some family members and they’re cool with it.

Your known for your aphoristic collages, like the Jesse Owens image – What’s your life motto?

I’m not sure I have a motto, I just try to keep positive no matter what shit-balls life throws at me. I guess a lot of it is kind of a cry for help, living in this modern world and sometimes feeling hopeless and alone. The Jesse piece is asking a question, as are most of my collages and work in general. I still don’t have the answers yet. It’s nice to be known for certain things, but with my new work I’ve tried to bring in more positivity and hope. I guess with my new work, it can either make you laugh or cry. There’s not really any middle ground.

What was it like being in the Tate Modern group show

That was great! It was kind of the start for me. After the Jesse piece being in the Tate, things just started to happen really fast – doors opening and people knowing my name. It was nice that piece got such a good reception. I’ll be showing the original Jesse collage in the LN-CC show – so far I’ve only ever shown the prints I did of it. The original was taken and cut out of a really old New York newspaper from the 1940s, which I found in a crack house in the Lower East Side. The piece won’t be for sale though – I don’t think I’d ever sell it.

Who or what do you love right now?

Miles Davis, Gil Scott-Heron, James Chance are all big influences on me as is Chet baker. Not just as musicians, as people. I’m more interested in the people that make the music than I am in the music itself. I like to think of my work as songs or parts of songs for walls.

What scares you most?

Things like stuff happening to my family or friends  – deaths etc. I don’t deal with things like that too well, as most people don’t.

What’s up next?

I’ve got a really busy year ahead.  Apart from my LN-CC show, I have a solo show in Berlin in September, possibly another solo show later in the year in London and a few group shows – a piece in a group show in Soho House and maybe a photography show also. I’ll be making some new short films and album artwork I’ve made will be out soon too.

Late Night Chameleon Cafe presents Too Dark One Light, a solo exhibition of new work by Richie Culver from Wednesday June 15.

richieculver.com

Words by Boudicca Fox-Leonard.

Images by Sophie Allen. You can see the full set of images here, Twin and Urban Outfitters party

Gavin grew up making music, performing below fleapit cinemas; steeped in the embrace of jazz and folk. Her grandmother’s record label Dial Recordings, which released Charlie Parker and Mile Davis’ records, sparked a love of soul, jazz, hip hop and black music culture and its relation to art.

The show presents the work of artists and musicians Cory Arcangel, Frankie Martin, Jeremy Shaw, Matt Stokes (pictured, top) and Mark Titchner, and is one part of a bigger exhibition – Despina Stokou’s project ‘D12’. Like the Detroit rap group who failed to find twelve members, instead asking six MC’s to create alteregos, Stokou has invited six artists to showcase theirs.

Head to the private view to catch a live lounge jazz performance by Gavin, accompanied by Julien Quentin.  The party continues at Bierhaus Urban from 11pm with Jeremy Shaw and Gavin on the decks.  Deeply buried true selves may just be revealed.

21.10-31.10, Grimmuseum, Fichte Straße 2, 10967, Berlin, open daily 2-7pm.  http://grimmuseum.com. The after party is on the 21.10, Bierhaus Urban, Urban Straße 126, corner Graefe Straße

Words by Katie Rose

Jayson Scott Musson, How to Hip Hop, 2010, video still.

www.doyoureadme.de

www.dont-shoot-the-messengers.com

photographs by Maxime Ballesteros

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