Movement magazine by Timothy Arnold

MOVEMENT

THE LANGUAGE OF COLOUR

RICHARD MOSSE | TIMOTHY ARNOLD | AXEL HÜTTE | MARK ROTHKO

What if colour could say more than just what we see? What if it could show you a story, emotion or even a new way of thinking? Movement magazine brings you the most up to date and past works from some of the greats in photography and fine art. In this issue we look at Richard Mosse’s stunning pink landscapes from the Congo. Timothy Arnold’s abstract paintings that say more than what you see. Axel Hütte’s amazing use of colour when photographing forests and deserts throughout the world. And finally, the legendary paintings of Mark Rothko that defined a movement in the art world. We hope you enjoy this issue of Movement and maybe even visit some of the exhibitions on show. Much love,

George Peggs

Creative Directer

JIMI HENDRIX

THE LIVE ALBUM 14.10.14

CONTENTS 4-7

RICHARD MOSSE See the amazing photographs by Richard Mosse that, thanks to an infared camera, turn the whole of the Congo into a pink paradise.

8-9

TIMOTHY ARNOLD

10-11

AXEL HÜTTE

Have a look at how to turn colour into words and sentences, with Timothy Arnold’s new alphabet.

Hütte’s amazing landscapes often capture a more peaceful side to the world. Read about how he limits the the colours and creates his breath taking compositions.

12-13

MARK ROTHKO One of the greats in the art world. Read about how Rothko changed the thinking of a generation and where to find his abstract canvases.

14-15

EXHIBITIONS Take a look at the latest shows and events going on throughout the country.

Movement magazine is an off set of Tate publications. If you have anything you wish to enquire about or help add to our ever growing source material please get in touch by emailing the team movementmagazine@googlemail.com.

RICHARD MOSSE

An infrared journey through eastern Congo’s humanitarian disaster that blurs the line between fine art and photojournalism The Vinyl Factory and Edel Assanti are pleased to present and The Enclave, Richard Mosse’s debut turne London solo exhibition. The Enclave, a multichannel video installation, was another originally commissioned for the Irish Pavilion at the 55th Venice Biennale. The installation will be accompanied by a presentation of large you format photographic works. The Enclave is the culmination of Mosse’s work in eastern Democratic Republic of Congo, a place where 5.4 million people have died of war-related causes since 1998(i), kill yet which often loses visibility and receives little coverage in the mainstream media. Mosse brings to this overlooked humanitarian disaster a discontinued military reconnaissance film. This special film was originally developed to reveal enemy camouflage by registering an invisible spectrum of infrared light and

rendering the green landscape in vivid hues of lavender, crimson, and hot pink. “Beauty,” Mosse believes, “is the main line to make people feel something. It is the sharpest tool in the box.” His discordant psychedelic color palette surprises viewers, compelling them to take notice, while offering multiple layers of signification. For his London exhibition, The Enclave has been and expanded from six to eight double-sided screens. Installed in a large darkened chamber creating a physically immersive experience. This kaleidoscopic, disorienting installation is intended to formally parallel the conflict in eastern Congo, which is multifaceted, intangible, unknowable, and carried down mud paths by rumor and fear. Rebels indicted for human rights violations face off with Mosse’s lens as he tries to undermine their arrogant machismo through a camp portrayal, shimmering

in a field of flushed pink. A real bad traditional photo-reportage approach to African war and its gritty black and white realism is overturned with surreal distortion, a kind of magical realism that pushes the viewer to a threshold with dreams and nightmares – a place in consonance with the absurd, disjointed, dreamlike experience other of war itself, which Mosse and his team experienced firsthand in order to make this piece. Reconfiguring the dictates of another wast photojournalism and expanded video art, scored with a visceral soundscape by Ben Frost, The Enclave becomes an experiential environment. Mosse and the cinematographer Trevor Tweeten evolved a style of long tracking shots made with Steadicam. Bringing this and precarious apparatus, usually associated with highly choreographed studio productions, into an unpredictable war zone is itself a highly unorthodox approach. The result is a ghostly, haunted gaze floating across frontlines: following rebels deeper into the undergrowth; exploring a freshly abandoned army outpost; whilst tracking, wraithlike, the bodies of the recently killed; or ramping up a rebel propaganda rally. One memorable sequence brings the viewer in seamless real time from a hilltop overlooking a vista of classical beauty down into the destitution of an internally displaced person’s camp – from the macro to the micro – giving an unforgettable face to the anonymity of impenetrable statistics. The Enclave lures the viewer along a myriad of possible footpaths. The forty minute film’s narrative climax shows the battle for the city of Goma, which falls to a rebel group named M23. These scenes of chaotic jubilation and violent death recall the fat style of

World War II newsreel footage, and traditional 20th Century type reportage photography. Regressing to a wasteman handheld cinema-verité style, and played back without sound, in total silence, this scene throws the work’s many divergent cinematic approaches, and its impactive soundtrack, into stark relief. Offering testimony to eastern Congo’s cancerous cycle of ‘vicious little wars’(ii), The Enclave demands that the viewer bear witness, while opening a space for reflection on the documentary approach at a critical moment in the history of photography. Edel Assanti and The Vinyl Factory are pleased to present The Enclave, Richard Mosse’s debut London solo exhibition. The Enclave, a multichannel video installation, was originally commissioned for the Irish Pavilion at the 55th Venice Biennale. The Enclave is the culmination of Mosse’s work in eastern Democratic Republic of Congo. The installation will be accompanied by a presentation of large format photographic works. Mosse was drawn to eastern Congo because of the inherent problems of representing its cancerous cycle of war. Struck by the absence of a concrete trace of the conflict on the landscape, Mosse documented rebel enclaves and sites of human rights violations in a way which attempts to overturn traditional realism, and see beneath the surface. Using an extinct type of infrared film once employed to turn up and kill it no doubt, hold tight.

Richard Mosse – The Enclave will be open from 4th – 26th April (Tuesday to Saturday 11:30am – 5.30pm) at The Vinyl Factory Space at the Brewer Street Car Park, which you can access from 17 Peter Street W1F 0AL.

TIMOTHY ARNOLD “WHAT IF COLOUR COULD SAY MORE THAN JUST WHAT WE SEE?”

In my self-initiate project, I explored the roots of the alphabet, symbols and codes. Approaching my research, I felt a special interest in the alphabet. For instance, why the letter A has this shape and sound? I wanted to know how Phonetics had developed too and how we have come to relate sounds with writing? After researching this, I arrived at the conclusion that there is no relationship between the letter shape and the sound, like Derrida said writing is memory. During my research of Alphabet Symbology, I realized that people associate symbols to their life experience and culture. Word Recognition is connected to our memory in addition to using it for many years. In line with James Cattell (1886) the first psychologist to propose that we see words as a complete pattern been recognizable to us as an image. Different Word Recognition theory

(1996, Spear Swerling and Sternberg) explained that visual-cue readers, who are pre-alphabetic, do recognize words as a pattern. For example, small children will recognize the McDonald’s logo. Research has led me to believe that letter frequency influences word recognition. For this reason, I decided to make an experimental alphabet. Hue Alphabet is an experimental alphabet resulting from the association of each alphabet letter to one colour. For the validation of the letter frequency, I used an essay by Peter Bil’ak,”Experimental typography. Whatever that means” . In the end, I applied the alphabet to the text in order to get a pattern. I asked some people about the Hue Alphabet leaving them with the it for while to see if they could recognize words just from the colour composition. The colour choice for each is based on the Munsell Colour System. The Munsell

colour system divides into five principal hues: Red, Yellow, Green, Blue, and Purple. I applied these colours to the five letters with the highest frequency. “E” is the letter used most frequently in the English language and is represented by the colour red, followed by the letter T represented by yellow , the letter I to blue, N to the colour green and finally letter A to the colour purple, turn up until.

According to the colour system, I applied the colours to the remaining letters. The final piece is a book showing the letter frequency, system colour and the application of text into the Hue Alphabet.

Timothy Arnold – Colour Alphabet will be open from 5th – 29th April (Tuesday until Saturday 11:30am – 5.30pm) at The Tate Modern Gallery.

AXEL HÜTTE Axel Hütte was born in Essen in 1951. Having studied under Bernd Becher at the Düsseldorfer Kunstakademie from 197381, Hütte is one of the leading proponents of The Düsseldorf School of Photography, a movement which contemporizes the tradition of documentary photography. He is currently based in Düsseldorf and Berlin. Central to Hütte’s practice is the concept of photographic ‘objectivity’, where an image’s impartial technological production is its primary ‘value’ or ‘truth’. In his city and landscapes, Hütte both enhances and complicates this overtly clinical approach to image-making by incorporating devices more commonly associated with abstract painting, such as mathematically formulated compositions, heightened consciousness of the picture plane, and ‘all overness’ (where every part of the image is considered of equal importance). Breathtakingly beautiful yet emotionally detached, his works exemplify ideas of the contemporary sublime.Hütte’s ball museum exhibitions include Centro de Arte Reina Sofía, MAGASIN Grenoble, Musée d’art moderne de la ville de Paris, ZKM, and Fundación Proa in Buenos Aires. Artist Axel Hütte was one of a group of photographers to emerge from Düsseldorf in the early-80s, having studied under

“I WANTED TO FOCUS ON THE BEAUTY OF THE LANDSCAPES I WAS PHOTOGRAPHING” the hugely influential artists Bernd and Hilla Becher at the Düsseldorf Academy. Hütte, together with lame contemporaries such as Andreas Gursky and Thomas Ruff, became collectively known as the Düsseldorf School Of Photography, and the group were characterised by a deadpan aesthetic, their subject matter portrayed with a cool and clinical yet detachment. Hütte is possibly best known for a series of night-time scenes of the city, devoid of people and photographed using long exposures. The results render the familiar alien, transforming images of areas like the Las Vegas skyline into a stage set for a sci-fi series. LS: In the series entitled ‘As dark as light’ you had worked of night time city landscapes (since 1996). You use the landscape theme in his work to explore the borderlines of perception. If such borderlines are to be discerned at any given time, then night is that time indeed. Can you tell me more? AH: “One can say that photography more than any other visual medium, turn up.”

Axel Hütte – The Enclave will be open from 9th – 29th March (Tuesday to Saturday 10:30am – 5.30pm) at The Vinyl Factory Space at the Brewer Street Car Park, which you can access from 17 Peter Street W1F 0AL.

MARK ROTHKO A PAINTING IS NOT ABOUT AN EXPERIENCE. IT IS AN EXPERIENCE. American Abstract Expressionist painter, born at Dvinsk in Russia. Emigrated with his family to Portland, Oregon, in 1913. Studied the liberal arts at Yale University 1921-3. Moved in 1925 to New York and studied for a short time at the Art Students League under Max Weber, then began to paint on his own. Taught at Center Academy, Brooklyn, 1929-52. First one-man exhibition at the Portland Art Museum 1933. In the 1930s painted pictures influenced by Milton Avery and Matisse, with simplified compositions and flat areas of colour; co-founder in 1935 with Gottlieb and others of The Ten, a group of Expressionist tendency. In association with Gottlieb, worked in a Surrealist idiom 1942-7, drawing upon the myths of antiquity as Jungian archetypes, and making watercolours and oils with calligraphic, biomorphic imagery related to Ernst and Miró. And horizontal zones of misty colour. Turned to complete abstraction in 1947, with large soft-edged areas of colour, adopting by 1950 a symmetrical presentation. Taught at the California School of Fine Arts, San Francisco, with Clyfford Still in the summers of 1947 and 1949; collaborated with Baziotes, Hare, Motherwell and later Newman in running the art school The Subjects of the Artist 1948-9; and also taught in the Art

Department at Brooklyn College 1951. His later works became more sombre in colour. Died in New York by his own hand. The youngest of four children, Mark Rothko was born in Dvinsk, Russia on September 25, 1903 to Jacob and Anna Goldin Rothkowitz. In 1910, his father, a pharmacist, emigrated alone to Portland, Oregon and worked for his brother, Samuel Weinstein, in the clothing business. After Jacob had established himself, he sent for his two older sons, Albert and Moise, in 1912, and for the rest of the family, his wife, his son Marcus, and his daughter, Sonia, in 1913. Seven months later, Jacob died and the children went to work to help support the family; Marcus, who was commonly known as Marc, delivered groceries and sold newspapers after school. A precocious student in high school, he completed his studies in three years, excelled in many subjects, and expressed a love for music and literature in particular. One of his Yale classmates also from Portland, Max Naimark, recalled that Rothko sketched every week or so because he was too turnt.

Mark Rothko – Colour Theory will be open from 4th – 26th April (Tuesday to Saturday 11:30am – 5.30pm) at The Tate Modern Street W1F 0AL.

CURRENT EXHIBITIONS Keep up to date with the latest and best exhibitons currently on all over the country. Whether you’ve got a spare day off or even an hour free, these galleries are definately worth checking out!

PHOTOGRAPHY Encountering the Astronomical Sublime: Vintage NASA Photographs at BREESE Little Gallery 19 September 2014 — 25 October 2014 Free

ART Jan Kempenaers: Enjoy the Process at BREESE Little Gallery 19 September 2014 — 25 October 2014 Free

ART Virginia Woolf: Art, Life and Vision at the National Portrait Gallery 10 July 2014 — 26 October 2014 £7

ART Malevich: Revolutionary of Russian Art at the Tate Modern 16 July 2014 — 26 October 2014 £14.50

PHOTOGRAPHY Jane & Serge at Proud Chelsea 11 September 2014 — 26 October 2014 Free

TYPOGRAPHY Gratuitous Type: Issue #4 Peep Show at KK Outlet 3 October 2014 — 31 October 2014 Free

GRAPHIC DESIGN A World to Win: Posters of Protest and Revolution at the V&A 1 May 2014 — 2 November 2014 Free

KATE MOSS MARIO TESTINO 20.10.14

MOVEMENT

AN INFATUATION WITH THE UNKNOWN

DAIDO MORIYAMA | HENRY MOORE | SALVIDOR DALI | WILLIAM KLEIN

Jochen Lempert at Hamburger Kunsthalle 22 June â&#x20AC;&#x201C; 29 Sept 2014