Vital Force at October Gallery offers a deliberate reflection on how contemporary art engages with cross-cultural and global conversations. writes Joanna Metodieva
Installation shots courtesy of October Gallery
Curated by Elisabeth Lalouschek, Vital Force stormed into October Gallery this September with an electric charge to the start of the autumn art scene. Offering a deliberate reflection on how contemporary art engages with cross-cultural and global conversations, this dynamic mix of interactive forms and explosive colours challenges the eye, daring audiences to go beyond passive appreciation. It highlights not just aesthetic concerns but also the underlying motivations and socio-political forces driving the artists.
At first glance the works appear rooted in abstraction, but soon begin to speak not just to the viewer but to each other—forming a cacophony of international voices as part of a larger exchange across borders. This curated conversation reflects distinct cultural imprints, yet these works are united by an uncontainable pulse of vitality—the force that drives us, wounds us, and still pushes us to create.
Chili Hawes, Director of the gallery, captures the essence of the exhibition:
What is vitality? It is something that makes you think, ‘Oh, life is worth living again,’ despite of the difficulties and whatever happens in your life.
At the heart of this chaotic harmony are the works of Japanese artist Kenji Yoshida and Ghanaian artist El Anatsui. Yoshida’s monumental elliptical compositions in shimmering gold and silver leaf weave together modernist abstraction with the intricate delicacy of Japanese tradition. His piece, La Vie (1993), is a meditation on survival, part of his Life & Peace series, which he dedicated to life after enduring the devastation of World War II.
Kenji Yoshida, La Vie, 1993
In dialogue with Yoshida's work is El Anatsui’s large tapestry Continents in Gestation (2024), made from reclaimed bottle caps. His use of discarded materials, transformed into shimmering metal fabric, speaks of rebirth and comments on consumption. Anatsui’s exploration of texture and shape brings a metallic rhythm that complements Yoshida’s quieter forms, creating an unexpected harmony that reflects strength and passion.
Lalouschek’s curatorial brilliance shines through in the subtle balance between these two artists, whose methods and cultures might seem disparate at first. The eye is seduced by the rhythmic conversation between metallics, blues, and golds. The tension between destruction and creation is palpable, yet soothing.
Korean artist Jukhee Kwon sharpens the focus on destruction and rebirth with her sculpture Blossom (2023). Crafted from the remains of discarded books, her work challenges the boundaries of material and questions the very idea of permanence. The act of reanimating these forgotten objects speaks to the cycles of birth, death, and regeneration. Each fragment pulses with a quiet intensity, telling stories that we have either forgotten or overlooked.
Lalouschek’s own contribution, Nierica - Caressed By Fire (1990), evokes the divine. Exhibited for the first time since 1990, this piece channels the spirit of the Huichol people, layering Mexican cultural history with personal mythology. Amid the bold, modernist forms of the exhibition, Lalouschek’s spiritual touch grounds the display, reminding us that this vital force—this energy—draws from something ancient and enduring.
In many ways, Vital Force is a conversation about the human condition. The diverse mix of cultures and traditions represented here reminds us that, despite our differences, we are all driven by the same vital force. The exhibition wrestles with what makes us human: the relentless, beautiful drive to create in the face of destruction. It doesn’t shy away from discomfort or chaos but instead invites viewers to sit with it, confront it, and perhaps find peace within it, echoing Lalouschek’s words: “Let all the vital force—because it is there.”
Jukhee Kwon, Blossom, 2023
Beyond the gallery walls, Vital Force underscores art’s role in fostering cross-cultural understanding. By gathering a diverse collection of voices, the exhibition demonstrates the power of art to transcend boundaries, spark dialogue, and connect us across different experiences and worlds. In a time marked by division, it is this shared vitality—this common thread—that reminds us we are more connected than we often realise.
Vital Force is on view at October Gallery until 28 September.
Joanna Metodieva is a London-based contemporary art writer, exploring the intersection of creativity, culture, and society.
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