Curatorview [Alfredo Cramerotti]

Ian Breakwell: The Elusive State of Happiness on Art Monthly

Posted in nEws and rEleases by Curatorview on April 5, 2010

David Briers / Art Monthly

Issue 5 April 2010


[…] This exhibition, in Breakwell’s home town, is the first retrospective survey of the artist’s work since his death in 2005.

[…] Selecting a representative but not unwieldy group of works cannot have been an easy task, but one which the exhibition’s curators have achieved with perfectly judged restraint – this is the best exhibition of Breakwell’s work that I have seen […]

DAVID BRIERS is an independent writer and curator based in West Yorkshire.

Ian Breakwell: The Elusive State of Happiness on Art World

Posted in nEws and rEleases by Curatorview on April 4, 2010

Paul Carey-Kent / Art World

4 April 2010
Hi Louise / Alfredo

I just thought I’d congratulate you on The Elusive State of Happiness, which I thought was a fabulously put together show, as good as anything in the country at present. I did already like Ian Breakwell’s work (see eg my blog review for March 8 on the recent Anthony Reynolds show)┬ábut I didn’t expect such a comprehensive and effectively-installed presentation of his virtues.

Best wishes,

Paul Carey-Kent
(Editor at Large, Art World – currently suspended)
Recommended London shows @ blog:

Ian Breakwell: The Elusive State of Happiness on Arts Council England

Posted in nEws and rEleases by Curatorview on March 2, 2010

Arts Council England

2 March 2010

by Kate Stoddart
Arts Council England Assessor

The exhibition celebrated this Derby artist with a national and international reputation by showing several bodies of work dating from the 1960’s to 2005. Not presented as a retrospective, the exhibition gave a vivid impression of his life’s work and his main preoccupations – finding the extraordinary in the ordinary, the Diaries (diary making across several formats, sometimes fusing fiction and fact). He worked with the media that best expressed the idea – photography, film, drawing and text, and collage. The exhibition was curated by QUAD, in partnership with the artists widow and gallery .
Unlike some conceptual artists, there is a close attention to the viewer, a desire to communicate clearly. There was a melancholy dark humour that was communicated via this work, part of the artists personality and presence.
50 Reasons for Getting out of Bed 2005 – a poem presented in large format vinyl letters on the wall, was very moving – a list of the ordinary things the artist loved seeing, doing, feeling, eating ending with a give away line abut the nausea accompanying the treatment for his cancer, the reason for the poem. Yes, I felt the artist’s’ voice’ (as stated in the introduction panel and in the companion book) was well explored, as was his way of working. The work will leave an impression with me.
The publication was a strong addition to his current published works however. One of the best publications accompanying an exhibition in that it will help give a comprehensive recall of the works in the show but also gave a strong feel of what it felt like being in the show.

Ian Breakwell: The Elusive State of Happiness on Nottingham Visual Art

Posted in nEws and rEleases by Curatorview on February 26, 2010

Nottingham Visual Art (eds. Jennie Syson and Andrew Cooper)

by Wayne Burrows
This resistance to containment within any particular interpretation or genre across a body of work that spans drawing, photography, writing, film, audio, performance and television generates its own confusion about the fundamental nature of Breakwell’s project, and this extreme fluidity has almost certainly contributed to both his widespread influence on younger artists (without Breakwell’s example, it’s unlikely that artists as different in sensibility as Jeremy Deller, Heather & Ivan Morison and Tracey Emin would be working quite as they do) and his relative neglect inside the art world since the 1970s.
The exhibition begins with a 1964 etching, The Regent Snooker Hall, Derby, made in the year that Breakwell graduated from the local art college. It’s a canny choice of starting point by the joint curators Louise Clements and Alfredo Cramerotti, because despite its apparent straightforwardness – an elegant, roughly rendered evocation of a dimly lit space populated by shadows, perhaps looking back to the 1950s kitchen sink realism of John Bratby and Joan Eardley – it also points forward to the perspective that would inform everything that followed. It’s all here, in embryo form: the mundane urban setting and oblique viewpoint, the snatched quality of the image, the glancing fascination with an otherwise unobserved corner of everyday life. These things would become the raw material for all Breakwell’s later work.
The addition of material from the AD period of 2004 onwards makes this the first retrospective to follow the threads of Breakwell’s practice to their inevitable, if premature completion. Yet even as Breakwell’s death becomes the main subject of the work, he never allows autobiography to dominate: instead, it’s as though the art – from which Breakwell often removed himself, acting more as engaged, bemused and fascinated observer – obliges him to stand slightly detached even from his own physical decline, bringing that experience into sharp universal focus. Despite the roots of all his art in his own immediate life, he exists here as a figure defined by what he has observed and experienced, rather than a protagonist, and his literal absence makes the web of incidental details he leaves behind seem all the more solid.

complete review at

Ian Breakwell: The Elusive State of Happiness on METRO Newspaper

Posted in nEws and rEleases by Curatorview on February 22, 2010

METRO Newspaper

22 February 2010

Ian Breakwell: The Elusive State of Happiness on Derby Evening Telegraph

Posted in nEws and rEleases by Curatorview on February 12, 2010

Derby Evening Telegraph

12th February 2010

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