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"Anya Gallaccio"
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Growing up : the young British artists at 50
Profiled for the first time as an intimate group, this title provides a personal account of the meteoric success of the yBas and of the often painful realities of the contemporary art world.
Book
Society: 'Traumatised pebble' photos open war centenary festival
One small scorched pebble, described by the artist Anya Gallaccio as \"traumatised\" in an explosion at one of the eeriest places in England, stands for a century of sinister and secret events, many of them still covered by the Official Secrets Act. Gallaccio's pebble was scorched not in an atomic bomb test conducted at the height of the cold war, but in a hollow dug in the shingle where the National Trust regularly blows up live ordnance to dispose of it. The warden who brought her the pebble also brought back a handful of bullet cases and shrapnel gathered in a 100 metre (300ft) walk. Somewhere on the site, there is said to be a live Doodlebug bomb. \"It's an unstable place,\" Gallaccio said, against a background rattle of the wind blowing through the rusted and decaying metal of an atomic laboratory roof. \"Nothing is fixed here, the whole place is moving and changing.\"
Newspaper Article
AN EXHIBITION THAT'S GOOD ENOUGH TO EAT
\"It's quite hard to keep on the brush, and soon it's up your arms and all over your face. At first, everyone starts eating it and they think it's really cool to lick their fingers. But the smell becomes intense. Gradually you try harder and harder to be more careful and avoid your mouth because it becomes repulsive. I don't eat chocolate for a while afterwards,\" says [Anya Gallaccio]. \"The idea of a chocolate room sounds delicious but is almost disappointing. It feels like a small dark space. It doesn't look chocolaty, or edible. If you start looking it's painterly, you can see the marks. I kept it neutral because some people love chocolate and some people hate it. It's quite a blank open situation for the visitor to occupy in any way they wish. As with any artwork the ultimate experience is subjective,\" she says. \"It's like cooking,\" says Gallaccio. \"I like cooking and being a host. You can always do something better and different, and it's not just about the food but the company and the people. Making my work is to provide the food. The people and the context change it. It's a living thing.\"
Newspaper Article
The Guide: Exhibitions: Tipping Point Wolverhampton
Recognising the essential fact that art goes beyond message-mongering, contemporary artists here approach the subject of global warming with ironic wit rather than the full-on provocations of the more politically partisan.
Newspaper Article
NO PRETENSIONS TO MONUMENTAL SOLIDITY OR A MINIMAL LOVE KIM TONG ON ANYA GALLACCIO
Well, Anya Gallaccio's last outing at the Serpentine Gallery in Broken English 1991 must have been of some success as she has been invited back, not to apologise and pay for the damage, but to perform her own brand of entropy and dissolution.
Journal Article
art Town and Country The harshly urban qualities of the Barbican Gallery mean this eco-inspired exhibition offers up a markedly pessimistic take on the future of the planet
Ironic recontextualisation (as the art jargon has it) is a tactic favoured by many of the selected artists. The show opens with the spectacle of Mark Dion's stuffed wolf, complete with a reconstructed chunk of its natural habitat, perched on a car-trailer, stranded on the gallery floor. A sardonic comment on man's habitually blithe inhumanity towards the natural world may be inferred. Nearby, Anya Gallaccio has painstakingly reassembled a felled and axe-dismembered silver birch. Pegged and stapled together, its reformed trunk and branches reach up towards what little sunshine filters through the Barbican's skylights. But its leaves are telltale withered, dry as paper. Gallaccio's work is poignant, a parable told in fragments. Complex organisms cannot be reconstructed in kit-form. Several other ghosts haunt the exhibition. The late Buckminster Fuller is preserved in an infectiously watchable film shown on endless loop in a replica of one of his signature geodesic domes. A charismatic phantom, he expatiates on the primary structures of nature and their potential for the forms of human architecture. Another of the show's several cubicles and modules contains a film documenting the making of Robert Smythson's long-lost, pioneering work of land art, Spiral Jetty. Created in 1970, the piece was a huge earthwork in the form of a spiral path extending into the Great Salt Lake in Utah. Long submerged by the rising waters of the lake, Smythson's piece now survives only in the form of grainy colour film footage. Mementoes of Smythson's transcendentalist enterprise standing in for the transcendentalist experience itself.
Newspaper Article
The Guide: exhibitions: Anya Gallaccio London
The problem with Anya Gallaccio's installations is that they stink. If you don't catch them on the first day, then the apples/ chocolate/flowers start to give off a stench of decay. Thankfully her new exhibition is less putrid - or so we hope.
Newspaper Article
'I went to art school to indulge myself' ; The 5-Minute Interview Anya Gallacio Artist
Anya Gallaccio, 44, is known for her work with organic materials. Her installation 'Chasing Rainbows' is showing at The Gallery at The Hospital, Covent Garden from 10 August to 16 September. Details: www.hospital.co.uk. Working on designing a carrier bag for Sainsbury's, which will encourage people to recycle. When it gets worn out you can take it back and they will replace it for free. Becoming an artist. It was an accident. I went to art school to indulge myself and because it was free.
Newspaper Article
I went to art school to indulge myself ; The 5-Minute Interview Anya Gallacio
Anya Gallaccio, 44, is known for her work with organic materials. Her installation 'ChasingRainbows' is showing at The Gallery at The Hospital, Covent Garden from 10 August to 16September. Details: www.hospital.co.uk. Working on designing a carrier bag for Sains-bury's, which will encourage people to recycle. When it gets worn out you can take it back and they will replace it for free. Becoming an artist. It was an accident. I went to art school to indulge myself and because it was free.
Newspaper Article
Outside-in: Installation brings nature to gallery
Part of Anya Gallaccio's installation...
Newspaper Article