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Thai contemporary artist Jakkai Siributr’s ‘Karma Cash & Carry’ exhibition is opening at Tyler Rollins Fine Art today. Siributr primarily works with textile and he’s known for producing meticulously handmade tapestry and installation works that make strong statements about religious, social, and political issues in contemporary Thailand. A main preoccupation of his art is the interaction of Buddhism and materialism in modern life, and the everyday popular culture of Thailand. Alluding to the way contemporary Thai popular religion incorporates such practices as fortune telling and winning lottery number prediction, Siributr organizes the exhibition around his conception of a karmic convenience store, where merit can be bought and sold. He makes use of found objects associated with bringing good fortune, integrating them into his elaborate compositions of Thai fabrics, embroidery, and hand stitched sequined work.

An Art Patron's Extraordinary Life

Peggy Guggenheim was no ordinary art collector. In her lifetime, she acquired a treasure trove of Cubist and Surrealist artworks at bargain price right before the onset of the Second World War; she ran art galleries in London and New York championing then-little known artists such as Jackson Pollock and Robert Motherwell; and she also played a significant role in positioning Venice as a contemporary art city after she moved there permanently in 1948. After her death in 1978, her Venetian home, the 18th-century Palazzo Venier dei Leoni, was transformed into a permanent exhibition space housing the Peggy Guggenheim Collection. It is now the second most visited museum in the city after the Dodge’s Palace with over 427,000 visitors a year. But while her collection is primarily renowned for its Cubist, Surrealist and Abstract Expressionist masterpieces, the new exhibition “Peggy Guggenheim: The Last Dogaressa” – running until January 27, 2020 - is aiming to showcase how wide

Helen Britton, The Artist Jeweller

From a young age, Helen Britton used art as a form of communication and was soon making jewellery. She still has a cow horn bracelet she made when she was 12 and some earrings made from old beads and fuse wire. As an artist-jeweller, Britton approaches her practice without distinguishing between forms of creative production: “Some bodies of work contain jewellery, sculpture and drawings; some only one or another — it depends on what I am trying to say.” Britton is one of the world’s most established artist-jewellers and is known for creating colourful pieces that are just as likely to include recycled plastics as precious stones. “Preciousness is a construct and culturally driven. All materials are interesting and carry their stories with them,” she says. “I choose the materials because of what they have to say and for no other reason.” Over the years, she has set blackened silver rings with diamonds and sapphires, or combined silver and pearls with plastic or glass. Her creations are

Interview: Erwin Wurm on his Humanoid Sculptures

Erwin Wurm likes to distort forms. Over the years, he has slimmed down houses, fattened up cars, and used his own body to redesign the shape of furniture. “A lot of my work is about destroying one thing to create another,” the Austrian artist says of his process. One of his latest series, Stone , continues this exploration by setting small rocks on a pair of legs, giving a twist to the expression “carrying the weight of the world on your shoulders”. The small humanoid sculptures recall the Hypnosis series Wurm created in 2008, when Wurm used potato-like shapes to form the torso and head of a body in a highly polished aluminium finish on top of legs, in a contrasting matte finish. In the Stone series, the shiny aluminium potato shape has been replaced by a rock covered in greenish moss. Each work has a distinct and expressive personality due to the treatment of the white acrylic resin legs (variously posed, either standing, running, barefoot, or dressed). Inspired b

Can the Art World Change its Wasteful Ways?

Blink and you would have missed it, but as art lovers rushed toward the entrance of Art Basel’s Unlimited section, a small group of students and young artists were staging a brief silent performance. Slowly moving around each other gesturing at key words (heatwave, sea level, and drought) on their t-shirts, they aimed to raise climate awareness, engaging visitors positively. Meanwhile inside the mammoth art fair, galleries had brought relatively few artworks with explicit environmental messaging, but there were some, such as a series of Olafur Eliasson’s pictures taken inside glacier holes, Doug Aitken’s aluminium lightbox spelling the word THINK with chromogenic transparency in acrylic a sunset over a bare landscape, and Jack Pierson’s ominous warning ‘There is still time’ written on a wall. The artistic value of such efforts is being recognized (the Lithuanian Pavilion’s climate change-themed opera “Sun & Sea (Marina)” won the Golden Lion award at the Venice Biennale

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