Yinka Shonibare MBE: FABRIC-ATION

Revolution Kid (Fox), 2012
Courtesy the artist and Collection Museum Beelden aan Zee, Den Haag- Scheveningen (The Netherlands). Acquired with the generous support of the BankGiro Loterij.
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Wind Sculpture, 2013 Image 2 of 9
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Alien Man on Flying Machine, 2011
Courtesy the artist and Anna Schwartz Gallery, Sydney and Stephen Friedman Gallery, London.
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New York Toy Painting (detail), 2012
Courtesy the artist and James Cohen Gallery, New York
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Fake Death Picture (The Suicide - Leonardo Alenza), 2011
Courtesy the artist, James Cohen Gallery, New York and Stephen Friedman Gallery, London.
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Cannonball Heaven, 2011. Courtesy the artist and Stephen?Friedman Gallery, London.
Commissioned by La Comunidad de Madrid
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Alien Child and Alien Woman on Flying Machine, 2011. Courtesy the artist and Anna Schwartz Gallery, Sydney and Stephen Friedman Gallery, London
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Alien Woman on Flying Machine (detail), 2011. Courtesy the artist and Anna Schwartz Gallery, Sydney and Stephen Friedman Gallery, London Image 8 of 9
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02.03.13 - 01.09.13
Underground Gallery, YSP Centre & open air
Taking place in three of YSP’s indoor galleries and the open air, FABRIC–ATION features over 30 vibrant works from the period 2002 – 2013 including sculpture, film, photography, painting and collage, with many works never before seen in the UK.

This major exhibition is sponsored by Guaranty Trust Bank.

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Born in London in 1962, Shonibare moved to Nigeria when he was three, later returning to the UK to study art. His work shrewdly explores and confounds stereotypes of race and class, engaging with ideas around identity and authenticity as well as dislocation, multiculturalism, global food production and revolution, often addressed through playful conceits. This approach is part of his determination to avoid being categorised: Shonibare accepted an MBE in 2004, adopting the title into his working name, saying, “it was the last thing you would have expected of me”.

FABRIC–ATION is a unique opportunity for audiences to trace Shonibare’s creative development over the past decade at a time when he is increasingly active in creating work for public space. Two major commissions, the first works in a new series for the UK, premiere in the Park’s Arcadian landscape. Standing over six metres tall, Wind Sculptures (2013) are richly coloured, painted with Shonibare’s signature batik-inspired surface pattern. Although constructed in fibreglass, they appear fluid like fabric caught by the breeze. These follow the recent success of Shonibare’s commissions for the Royal Opera House, London (2012) and the Fourth Plinth in Trafalgar Square (2010).

Further new work on show in the galleries includes Revolution Kids (2012), half-human, half-animal embodiments of an insurrectionist spirit, waving replicas of Colonel Gaddafi’s golden gun and carrying an obligatory Blackberry. Marking the first time that Shonibare has used taxidermy in his practice, these hybrid figures embody the artist’s response to the London Riots where social media was used as a revolutionary tool, and the Arab Spring with its overriding sense of transformation through insurgence. These powerful works reflect the currency and topical fervency of Shonibare’s work in this timely exhibition.

Highlights also include two Flying Machine sculptures (2012) piloted by fabric-skinned aliens, one of which will be suspended from the ceiling as though coming in to land. Alien Man on Flying Machine (2011) and Alien Woman on Flying Machine (2012) reference the artist’s interest in early flight, space exploration and science fiction while connoting ideas of foreign citizenry and strangeness. Another thematic concern, which particularly resonates with YSP’s 18th century-designed landscape, is Shonibare’s ongoing preoccupation with the historic pursuits of the aristocracy.

Shonibare has described his use of bright batik fabrics as “signifiers of ‘African-ness’ insofar as when people first view the fabric they think of Africa”. Ironically this archetypal, ‘authentic’ African fabric was first mass-produced in Holland, based on Indonesian batik, and sold into West Africa in the 19th century. Fabric–ation examines how Shonibare brings together two seemingly irreconcilable tropes in works such as Little Rich Girls (2010), where batik fabrics are fashioned into Victorian high-society costumes from the height of the British Empire. The clothed body is at the heart of Shonibare’s practice, also figuring in works such as Fire, Water, Earth, and Air (all 2010), and this exhibition explores how Shonibare subverts the ability of clothing to fix identity in place and time.

A new film, Addio del Passato (2012) played in the sublime surroundings of YSP’s 18th century Chapel (2 March – 30 June 2013). This visually seductive and moving piece features a singer in the guise of Lord Nelson’s estranged wife Frances Nisbet, performing Violetta’s poignant death aria of the same name from Giuseppe Verdi’s 19th century opera La Traviata. Shonibare investigates both the possibilities presented by the fanciful re-enactment of historical events and the complex symbolism represented by Admiral Nelson in many of his works. Another example in this exhibition include Fake Death (2011), a photographic series which re-imagines Nelson’s death in painting, including the pre-Raphaelite painter Henry Wallis’s The Death of Chatterton (1856); Cannonball Heaven (2011).

The dramatic work Egg Fight (2009), inspired by Jonathan Swift’s Gulliver’s Travels, demonstrates Shonibare’s consideration of conflicting ideologies. This large-scale scene references the ‘Big-Endians’ and ‘Little-Endians’ from Swift’s tale, who argue over which end of a boiled egg should be broken: a foolish and superficial difference used to satirically represent contemporary divisions between Protestants and Catholics.

Similarly political, and opening up a debate surrounding contemporary issues, Shonibare’s eye-catching, child-sized Food Faeries (2011) and intricate Climate Shit (2009) collages feature in this exhibition, engaging with discourses around global food production and referencing famine, damage to the environment and the oil industry.

FABRIC–ATION offers invaluable insight into this challenging, political, frivolous and celebratory artist, providing the rare opportunity to enjoy the range of Shonibare’s diverse practice through the dynamic setting of YSP’s indoor exhibition spaces and the open air.

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So pleased this artist at YSP as I find his work interesting esp. the use of fabric, also recently bought some "african fabrics" that were made in Europe. I am interested in the use of textiles in "fine" art as opposed to its craft or clothes connotations
M. Heywood on Yinka Shonibare MBE: FABRIC-ATION | See all (11) comments
I found Yinka Shonibare MBE's work inspiring and joyful. Thank you for bringing it to us. Dave Johnson on Yinka Shonibare MBE: FABRIC-ATION
Thoroughly enjoyed this amazing exhibition. Beautifully crafted and displayed. Interesting, thought-provoking and FUN!! Jackie Knowles on Yinka Shonibare MBE: FABRIC-ATION
Visited this exhibition yesterday and loved it. Not au fait with Mr Shonibare's work but really thought provoking. Well worth a visit. Amanda T on Yinka Shonibare MBE: FABRIC-ATION
Really brilliant exhibition. Really colourful, fun and intriguing. I went with six children too, and the curators spent time explaining the meaning of the installations. Really appreciated their time and attention. Going back again next week! Ali Wilkinson on Yinka Shonibare MBE: FABRIC-ATION
Truly revolutionary work... quality, concept and implementation second to none!!! Vindaloo britishness at its best Tony Free on Yinka Shonibare MBE: FABRIC-ATION
We visited YSP on 26 July with a group of 35 high school students and found Yinka's work so inspiring and the use of vibrant African colours in the manner they were uplifting. Mercy Mandevhani on Yinka Shonibare MBE: FABRIC-ATION
I visited Joan Miró last year; I wish I had managed to see Yinka's work, it looks amazing online. I have seen some before in London, stunning. YSP is a fabulous place and wondrous setting for a variety of art. A magical setting in Yorkshire!! Susan m wallis on Yinka Shonibare MBE: FABRIC-ATION
I would like to see if you actually design fabrics or is that you just use fabrics in your designs? I am a hand sticher of patchwork pillows and love your work and if you had fabric yardage, I was interested to see your collections. Please advise. Thank you. Pamelah Antoine on Yinka Shonibare MBE: FABRIC-ATION
Hi Pamelah. Yinka has designed a handful of fabrics – that seen on Spacewalk, the sails for Nelson’s Ship in a Bottle and Wind Sculptures. Other than that they are all bought from Brixton Market or Vlisco Nina at YSP on Yinka Shonibare MBE: FABRIC-ATION
Yinka is an inspiration to me as he is working in such wonderful textiles, I second M Heywood on her comment that the use of textiles in 'fine art' is viewed as art today and not craft. Yinka's culture enables him to look at the textiles from his heritage. Brilliant! Thomasina Freeman on Yinka Shonibare MBE: FABRIC-ATION

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