May 23rd 2022

BEHIND THE SCENES:
ESTHER SHALEV-GERZ,
KING & KING
A new sculpture
Installed in the United States

May 16th 2022

BEHIND THE SCENES:
SAVE THE DATE
BAD+
July 6-10 2022
HANGAR 14

May 9th 2022

BEHIND THE SCENES:
LINDA KARSHAN
Backstage filming ‘Two Feet Walking’
By Ishmael Annobil, Filmmaker
In response to the architecture of Murray Edwards College
Cambridge University
8th April 2022

May 2nd 2022

A WALK IN MY LIBRARY:
HELMUT FEDERLE

April 25th 2022

BEHIND THE SCENES:
BENEDICTE DELAY WITH JASON BUTLER
‘ONE ON ONE’
Exhibition at ArtHouse Jersey
14 April – 2 May 2022

April 11th 2022

NATURE NOTES:
HELLO TO SPRING, PARIS

April 4th 2022

BEHIND THE SCENES:
A WALKED DRAWING, ‘TWO FEET WALKING’,
By Linda Karshan
In collaboration with Filmmaker, Ishmael Annobil
In response to the architecture of Murray Edwards College,
University of Cambridge

load more
March 28th 2022

BEHIND THE SCENES:
ISHMAEL ANNOBIL, 'INSOMNIA'
Coming soon at L'Interstice, Arles
Opening on April 15, 2022

March 21st 2022

BEHIND THE SCENES:
JASON BUTLER, ‘ONE ON ONE’
Launch new ArtHouse exhibition space
Jersey, England

March 14th 2022

BEHIND THE SCENES:
ART & LANGUAGE, "THESE SCENES", 2016
Acquired by Centre Pompidou

March 7th 2022

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
Bauhaus-Museum,
Weimar, Germany

February 21st 2022

BEHIND THE SCENES:
LOSING DAN GRAHAM
1942-2022

February 14th 2022

BEHIND THE SCENES:
THE DEVELOPMENT OF BAD+
BORDEAUX + ART + DESIGN
New dates: July 6-10 2022, at HANGAR 14

February 7th 2022

BEHIND THE SCENES:
2000 THANK YOU NOTES
7 February 2022

January 31st 2022

BEHIND THE SCENES:
NEW SPACE FOR JSVCPROJECTS

load more
January 24th 2022

BEHIND THE SCENES:
ROBERT STONE
Debut with Haines Gallery at FOG Design + Art 2022
San Francisco, CA

January 17th 2022

BEHIND THE SCENES:
MISCHA KUBALL
nolde / kritik / documenta
A project by documenta archiv, Draiflessen Collection and Mischa Kuball
NEW DATE: FALL 2022

January 10th 2022

UNAPOLOGETIC CONTENT.

January 3rd 2022

HAPPY NEW YEAR 2022!
WARM WISHES AND NEW ADVENTURES

December 13th 2021

BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay

December 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022

November 29th 2021

BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021

November 25th 2021

UNAPOLOGETIC CONTENT.

load more
November 15th 2021

BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide

November 8th 2021

BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th

October 25th 2021

BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight

October 18th 2021

BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS

October 11th 2021

BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3

October 5th 2021

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005

October 2nd 2021

BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight

September 27th 2021

UNAPOLOGETIC CONTENT.

load more
September 20th 2021

BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016

September 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias

September 2nd 2021

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE

August 30th 2021

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Bright blue and white ceramics fill the dining room with warmth and visual appeal

August 23rd 2021

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October

August 2nd 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS

July 30th 2021

UNAPOLOGETIC CONTENT.

July 26th 2021

BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years

load more
July 23rd 2021

UNAPOLOGETIC CONTENT.

July 19th 2021

UNAPOLOGETIC CONTENT.

July 16th 2021

UNAPOLOGETIC CONTENT.

July 12th 2021

BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey

July 5th 2021

STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen

June 28th 2021

BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen

June 21st 2021

NEW ARRIVALS:
MISCHA KUBALL

June 18th 2021

A WALK IN MY LIBRARY:
HELMUT FEDERLE NIETZSCHE-HAUS SILS-MARIA
Schwabe AG Basel, 2004 Peter André Bloch & Jan Thorn-Prikker
on the occasion of Helmut Federle's "Edelweiss im Nietzsche-Haus, Sils-Maria" exhibition in Nietzsche's Haus, Sept 2004 to July 2005

load more
June 14th 2021

BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless

June 11th 2021

BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"​
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES

June 4th 2021

BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS

May 31st 2021

BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM

May 24th 2021

BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN

May 17th 2021

THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE

May 10th 2021

NEW ARRIVALS:
WETTERLING, STOCKHOLM

April 25th 2021

A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988

load more
April 11th 2021

BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS

April 9th 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021

April 2nd 2021

BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals

March 29th 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012

March 26th 2021

BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE

March 22nd 2021

BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS

March 2nd 2021

BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK

February 22nd 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking

load more
February 15th 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment

February 1st 2021

BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3

January 12th 2021

A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES

January 5th 2021

HAPPY NEW YEAR AND SOUVENIRS FROM 2020!

December 31st 2020

A WALK IN MY LIBRARY:
DECEMBER 31, 2020
JASON BUTLER'S EXHIBITION
Meyer Schapiro, “Theory and Philosophy of Art: Style, Artist and Society

December 18th 2020

BEHIND THE SCENES:
LIOR GALL, BRUSSELS, 2020

December 11th 2020

HIGHLIGHT:
LOVE LETTERS
A new participative project by artist Koen Vanmechelen

December 4th 2020

BEHIND THE SCENES:
LINDA KARSHAN AND THE BROOKLYN RAIL

load more
November 27th 2020

BEHIND THE SCENES:
NOVEMBER 2020, LINDA KARSHAN
The Covid Conversation, A New Film

November 6th 2020

A WALK IN MY LIBRARY:
PARIS, NOV. 6, 2020
ABËTËI by Ishmael Fiifi Annobil

October 20th 2020

BEHIND THE SCENES:
MATHILDE BRETILLOT
Designs new offices for Parfums de Marly, Paris

October 12th 2020

BEHIND THE SCENES:
BERLIN STUDIO VISIT - LUKAS HOFFMANN

October 7th 2020

BEHIND THE SCENES:
BERLIN

September 24th 2020

BEHIND THE SCENES:
GALERIE NÄCHST ST. STEPHAN ROSEMARIE SCHWARZWÄLDER, VIENNA
Friederike Mayröcker, Curator Hans Ulrich Obrist - until 10 Oct
Schutzgeister/Guardian Spirits

September 9th 2020

BEHIND THE SCENES:
JSVCPROJECTS AND KOEN VANMECHELEN
The Battery Channel Podcast

September 1st 2020

BEHIND THE SCENES:
ARTISTS IN THE STUDIO, JERSEY

load more
August 25th 2020

BEHIND THE SCENES:
MANIFEST OF THE TRUE

August 18th 2020

A WALK IN MY LIBRARY:
3 LOVE POEMS IN THE SUMMER

August 11th 2020

BEHIND THE SCENES:
SUMMER NEWS

August 4th 2020

BEHIND THE SCENES:
ROD MENGHAM,
Awarded the Cholmondeley Award for Poets

July 28th 2020

BEHIND THE SCENES:
JILL SILVERMAN VAN COENEGRACHTS RECOMMENDS

July 21st 2020

BEHIND THE SCENES:
LINDA KARSHAN
Studio visit

July 14th 2020

BEHIND THE SCENES:
STEFANO CIGADA,
"Frammenti" at the Museo di Roma in Trastevere

January 2nd 2020

HAPPY NEW YEAR 2020!

load more
September 9th 2019

BEHIND THE SCENES:
PER KIRKEBY,
"Brick Sculptures"

September 2nd 2019

BEHIND THE SCENES:
IDE TO PUGLIA
"Ceramic & Food Route",
Recent Summer 2019 Highlights

August 26th 2019

JSVC HIGHLIGHTS:
ART & LANGUAGE, LONDON

June 17th 2019

BEHIND THE SCENES:
DRAW ART FAIR LONDON

April 22nd 2019

BEHIND THE SCENES:
ART & LANGUAGE, EXHIBITION AT GALERIE MICHAEL JANSSEN, Berlin

March 4th 2019

BEHIND THE SCENES:
DR. SUSANNE A. KUDIELKA,
Private art collecting is a passion

July 25th 2018

BEHIND THE SCENES:
KOEN VANMECHELEN
“It’s About Time”

July 4th 2018

BEHIND THE SCENES:
DAYDREAMING WITH STANLEY KUBRICK,
Exhibition at Somerset House, London

load more
all posts title image
Linda Karshan by Ishmael Annobil, 2020

BEHIND THE SCENES:
MANIFEST OF THE TRUE

August 25th 2020

A studio visit, filmmaker and poet Ishmael Annobil and artist Linda Karshan, August 2020.

In late December 2019, I visited Linda Karshan in New York for a long exploration of her work, and what we might do together. I could see her practice clearly as performative, though her reputation in most circles has been as an artist who works with drawing. What over the years has slipped through the cracks is the very unique and body generated way that she produces works that come from physical movements of her body at the drawing table, and also from performances that she does in any number of architectural places, indoors or out.

This discussion together gave us a moment to look at the future, where she could take her work, into what arena, exhibitions, publications and more art making in general. I planned to go back and see her again in early March, but this was like all travel plans for the spring, cancelled.

We started talking as the pandemic worsened. I said that she should imagine making a specific body of new work during this period considering these weeks in March as the beginning, and whenever it was possible to travel again, would be the end. She worked at first in New York City and then went up to her studio in Connecticut, and you have seen this studio here.

I had an instinct her body would take in the emotional subterfuge of these dire weeks in March and April, going on into May like a dousing fork and find the core of this period, which could then be processed onto paper. She sent photographs. Then returning to London in early June, brought the works.

These weeks of Covid-19 produced a rare and engaged body of prints and drawings; in this new film project Karshan talks with her collaborator Ishmael Annobil about how the works emerged. You can have a sneak preview of their shooting last week in London. I will share some of the jottings that came during this time as background.

Linda Karshan, Jottings

20 March 2020

In silverpoint—a new technique for me. I was just getting the hang of it, by virtue of the squeaky sound produced by silver on clay, and by it’s similarity to etching.

It took several trials to create the good-enough matrix; I also needed to find a way to re-use that grid-like form.

Pouncing, a la Renaissance, served me pretty well. It was ‘inelegant, assuredly. But sound; sound, like Malloy’s method with his sucking stones, turn and turn about.

I now had my ‘way’; I had my grid. Then Eva Hesse’s small drawings of disc-like circles came to mind, held in perfect balance within her grid:

‘Hesse used the grid as both a prison and a safeguard against letting an obsessive process or excessive sensitivity run away with her… The first of my ‘Hessian’ silverpoints looked too much like hers. It was stunning; it was not mine: I had simply, and reductively, circled round.’

Then I found my ‘way’, turn and turn about. With a faint, silver grid as my ‘safeguard’, I carved half, or three-quarter circles with speed: up and down the grid, across and back, always with rhythm and speed. THIS way, the circles added up/knit together.

Time went on; the drawings developed. SOME of the time—often—the curved, triangular intersections between the circles asked to be ‘hit’: they called for an intense, quick ‘two-step’ to better define and hold the form.

As intense as I my lines could be, the drawings are delicate. They are in silver, after all.

On cue, or so it appears, the Greek Cross, or the ‘simple’ grid asserted/inserted itself into the process.

Then, to my surprise—this IS new—that ‘circling’ made its way within the diamond forms of the extended grids.

A ‘cover up’; I was NOT ‘filling in’! The cover-up lines were drawn with speed; they NATURALLY CURVED as I turned the sheet to fill in the triangular forms. And what a loud, squeaky sound they made! Astonishing; it held me in pace, and in place. One sees speed; sound; and shimmering lines.

Linda Karshan, Jottings

1 April 2020

Human conduct matters

With social distancing the name of the game; with all non-essential businesses closed; where do we stand with art?

How must conduct our lives?

‘Upright and alert’; human conduct matters.

Now more than ever, art seems essential… as does love, walking in the park, and domestic jokes. But this period is not a laughing matter; family dynamics have never been more strained.

What solace, then, to step inside the studio, where my body finds its natural reach. I mark my measure, as I enact time, itself. Poise and grace are all.

And breath. What an irony, then, that my art is made of the very breath at risk to millions of lives, worldwide.

This is familiar, familial territory. In 1951, my young father, Roger Joseph, was stricken with polio during the deadly epidemic that year. Confined to an iron lung, he returned home after two years in hospital. Breathing for him was not involuntary: during sleep, he was aided by a rocking bed. He conducted his law practice from a wheelchair, upright and alert in mind, reminding himself to breathe.

I have often thought that the sound of my graphite pencil moving through paper, marking my breath, was very like a ‘breathing machine’. This I noted in my jotting dated 27/08/04.

That thought haunts me now. I breath easily, because I can; I remain upright and alert because I am able.

I am ‘two feet walking’ because I must.

Linda Karshan, Jottings

2 April 2020

Day one in the new studio: one drawing. clean and clear. I have written a brief jotting addressing art in the time of Covid 19, from my point of view, taking into account my personal experience of the polio epidemic of 1951.

It is unsentimental, but to the point: the sound of my graphite on paper, on a new drawing table—a wooden door—sounded to me like a ‘breathing machine.’ This I noted in an August, 2004 jotting.

I had in mind an iron lung; I did not say so then. But as breathing, or its loss, is at the heart of the current pandemic, the point can be made now.

I send you the new jotted thoughts. Dated yesterday, it is a spare picture of where I find myself now, and how I intend to move forward, upright and alert.

Linda Karshan, Jottings

16 May 2020

I am struck by how often I make mention of cuneiform, and the clay-ness of the tablets, themselves.

They are ‘fragments’, we learn, again and again. Holding them—the small ones that fit into the palm—a most powerful compression of time.

The fragments of an ancient poem, originally in several languages from around the ancient world, have given rise to many modern versions. The fragments we study, in ‘a confusion of languages’, were copied more than 1000 years after the times of their origins. King Ashurbanipal, in the seventh century BC, aspiring to complete knowledge, and wishing to collect this knowledge within his Library, commissioned copies of the ancients. Most of the later fragments were discovered in the mid-19th century, within the remains of his great Library.

In the BM, I spotted in the early Babylonian galleries a striking pair of clay tablets, picturing ideal, geometric forms. These forms unfolded in a logical order, just as do my series of drawings. And they could be read horizontally OR vertically—turn and turn about—anticipating the moving figure assigned to me.

These tablets, too, were used for measuring, as their cuneiform inscriptions note. They prove that within the Fertile Crescent, where trade was highly developed by 2000-1800 BC, the theories of Pythagorus were known, and used, for commercial purposes, a century before the master. Like cuneiform, they mark a logical frame of mind.

If ‘the Euclidean constructions were an attempt to prove, in motion, the logical power of mind’, these early Mesopotamian tablets are proof positive. That they so closely resemble my drawings is less astonishing than inevitable, I suggest: to count thus; to mark one-self vertically and turn the sheet/tablet; to think and move rhythmically in concert with the universe; all this is an example of ‘THE TRUE’. ‘The true:’ this is a term used by a scientist-friend, describing my work. She spoke it so unequivocally I have never forgotten it.

7 August 2020

Manifest the True

Part II

Karshan:

To manifest ‘the TRUE’; I shall continue to ‘go on and get on’, for as long as, and with as much energy as, I can muster.

To be sure, I have the ‘true figure’ in my being. To picture it does take time, effort, concentration and daily practice.

Linda Karshan

JSVCprojects:

The conclusion is not in any way surprising, it is why we recognise this already present aspect in your practice; as if you are a channel for bringing this lost information back into our world.

The oddity is to learn that The True is not personal it is a state of being, awareness, balance, in relationship to other forces; how culture or man/woman kind have found it and tried to notate it, or form it into pictograms, writings, images, later photographs, paintings, etc, poems, books, spiritual tracts varies from place to place and culture to culture but the wisdom is there for the tapping if we are able to get centered and let it in somehow. We are each one a vessel for something that we can bring into the world in a way that no one else can. Your practice is as i said earlier like a tuning fork and you have located this perfect pitch and called it the TRUE. Identifying its aspects is one thing to be sure, but manifesting is the hard part. This is what you work is talking to us about. To make manifest is the alchemical transformation of one substance into another or one kind of knowledge into another form. This is why your work holds the eye and is so compelling to our spirits.

JSVCprojects

Cinematographer: Max Mallen

All photographs by Ishmael Annobil