• Antony Gormley
    Feel
    October 18, 2019 - April 19, 2020
    Busan Museum of Art
    58 APEC-RO
    HAEUNDAE-GU
    BUSAN, Korea

    This exhibition represents the inaugural event in a new series called “Lee Ufan and His Friends” at Space Lee Ufan. The first solo exhibition in Korea of new works by Gormley will include sculptures FALL II, DOUSE, STREAM, and REACH III from his ’Rooter’ series, together with 16 drawings.

    While Antony Gormley and Lee Ufan belong to different generations, their works have much in common in terms of artistic context. When Lee spoke with Gormley for this exhibition, he said, “Although I do not represent my body in my work, I feel a deep sense of familiarity with you regarding the fact that my body mediates my work.” In turn, Gormley remarked, “The body is our spaceship, the vehicle or vessel through which all our impressions of the world come and through which all expressions of vitality are communicated. I have no interest in telling stories, but I do want to engage with life - that is art’s only purpose.” The two artists share more than that. In their work, both actively invoke the contextual meaning of the space in which a work is installed, and they go beyond the conventional aesthetics of representation or reproduction to explore relationships with the world and with society. Having the two artists’ works mounted within the same space makes this exhibition particularly significant, in that it will allow viewers to compare the two artists’ approaches to their work and to the world. Such comparisons promise an intriguing experience, as both have moved beyond the minimalist or conceptual trends found in American art to subvert the conventions of art. In viewing works by two artists whose interpretation is never confined to the criteria of conventional “beauty,” viewers may find this a pivotal moment for absorbing renewed artistic meaning.

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  • Oliver Beer
    FIAC 2019: new performance
    October 16, 2019 - October 16, 2019
    Palais de la Découverte
    Avenue Franklin Delano Roosevelt
    75008 Paris

    Oliver Beer’s new performance for the FIAC and the Palais de la Découverte works with radio waves and Electronic Voice Phenomena (EVP). Also known as “stray voices”, EVP are unclear and unknown vocal sounds that occur in-between radio frequencies and permeate empty space. These vocal radio phenomena have been used by spiritualists – and even early scientists such as Thomas Edison – to try to contact voices from the afterlife.

    Building on his work with acoustic resonance, Beer turns to resonance in radio waves to transform the strings of an upturned grand piano and a 19th Century bronze sculpture of Giambologna’s famous Mercury, the messenger of the gods, into functioning radio antennae.  Like any metal object, the bronze limbs of Mercury and the copper piano strings can be used to pick up hidden radio waves; their form and dimensions determining the wave frequencies heard.

    Activated live in the Palais de la Découverte, these antennae reveal the ‘stray voices’ reverberating within the historic dome. Beer will collaborate with Lebanese electro-indie band Mashrou’ Leila alongside sopranos Michiko Takahashi and Marie Picault to weave together a composition working with these fugitive sounds. In the composition, these 'Stray Voices' evoke the scientists, artists and musicians across history who have been marginalised and obscured, their voices left unheard.


    Performance time: 7pm & 7:30pm

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  • Yan Pei-Ming
    Yan Pei-Ming/Courbet: Corps à Corps
    October 15, 2019 - January 26, 2020
    Petit Palais
    Avenue Winston Churchill
    75008 Paris

    On the occasion of Gustave Courbet's bicentenary (1819-1877), the Petit Palais presents Yan Pei-Ming / Courbet, Corps-à-corps, thus extending the exhibition organized at the Courbet Museum in Ornans earlier this year. Major works by Courbet, all from the Petit Palais collection, will be shown alongside some fifteen monumental paintings by Yan Pei-Ming, some of which were created in Courbet's studio in Ornans. They will be presented in a display deliberately inspired by the 19th century Salons, an unprecedented experience for the artist.

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  • Bjarne Melgaard
    Julia Stoschek collection
    October 11, 2019 - January 5, 2020
    JSC BERLIN
    LEIPZIGER STRASSE 60
    10117 BERLIN

    JULIA STOSCHEK COLLECTION announces a collaboration with Acute Art, London to present a Virtual Reality exhibition programme, premiering with a new work by Norwegian artist Bjarne Melgaard and AR works by Koo Jeong A in October 2019.

    Bjarne Melgaard’s new virtual reality artwork, My Trip (2019) takes the viewer on a journey to the farthest reaches of the dark web. Melgaard compares the experience to taking Dimethyltryptamine (DMT), a naturally occurring drug, which is produced by a gland in the brain. DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth. Melgaard’s work is influenced by authors Stig Sæterbakken, David Benatar and Paul Ehrlich; The Sofa: A Moral Tale, a 1742 libertine novel by Claude Prosper Jolyot de Crébillon; and, Black Metal band, Darkthrone.

    Featuring characters that have recurred in the artist’s practice for over 25 years, including Lightbulb Man and Octo, in addition to new mutants and personalities created in collaboration with Acute Art, My Trip is a strikingly stimulating visualization of the illusions of a DMT experience.

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  • Rosemarie Castoro Estate
    October 9, 2019 - February 2, 2020
    MAMCO
    10 Rue des Vieux-Grenadiers
    Geneva, Switzerland

    Traversing the most recent modernist narratives—namely Minimal and Conceptual art—Rosemarie Castoro’s work tirelessly explores the things that elude the latters’ grasp: the context of enunciation, of course, but also the psychological and social implications of the body as a physical instrument. She explores the potential of abstract and monochrome painting, then expands their sphere and modes of operation, in formal terms, to incorporate the body, and even the exhibition space—a conceptual extension, both diagrammatic and linguistic. In so doing, Castoro applies a hitherto structuralist, reductionist language to poetry, and distorts elementary forms by her haptic, integrated, sexualized treatment. As an erstwhile participant in the reflections of the Art Workers’ Coalition, she approached the modernist heritage from a social and political perspective.  

    From 1965 to 2015, Rosemarie Castoro developed a body of work in which “contingency” may be seen as a connecting thread, signifying a determination to free herself from the rhetoric of the masculine values of permanence and the absolute. Organised into chapters, the exhibition offers a retrospective journey through the practice of an artist who favored transgression and metamorphosis over orthodoxy and linear progression.

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  • ELIZABETH PEYTON
    Aire and Angels
    October 3, 2019 - January 5, 2020
    National Portrait Gallery
    St Martin’s Place
    London, UK

    Created in close collaboration with the artist, the exhibition is accompanied by a series of displays within the Collection, positioning Peyton’s art within the context of historic portraiture. Having occupied a central place within visual art since coming to prominence in New York in the early 1990s, her work demonstrates an intensely personal and increasingly expansive understanding of the genre.

    Elizabeth Joy Peyton (b.1965) is one of the preeminent artists working today. She paints still lifes and landscapes, but above all, portraits: of friends, lovers, heroes, admirations, inspirations and fascinations. Her subjects include artists, activists, actors, athletes, dancers, musicians, queens, princes, politicians and poets. Captured from life, memory, literature and imagination, through found images and photographs, amongst many things her art explores love, individuality, beauty and the passing of time

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  • Yan Pei-Ming
    October 1, 2019 - January 19, 2020
    Musée d'Orsay
    1 Rue de la Légion d'Honneur
    75007 Paris

    When he arrived in France in 1980, aged twenty, Yan Pei-Ming immediately headed to Paris to discover the works of Gustave Courbet, then exhibited at the Musée du Louvre. Thirty-nine years later, considered one of the most masterful painters of our time, he was inspired by A Burial at Ornans, a masterpiece of realism, to create A Burial in Shanghai, specially designed for the Musée d’Orsay to celebrate the 200th anniversary of Courbet’s birth.

    On the occasion of this anniversary, Yan Pei-Ming has realized A Burial in Shanghai (Celestial Mountain, My Mother, The Farewell), a work consisting of three panels, in three different styles, from the most expressionistic to the most minute.

    The first piece features mountains painted in an expressionistic style, verging on abstraction: “It is an idealized landscape, heavenly perhaps, where I would hope for my mother to reside.”
    The portrait of his late mother is monumental. “My mother was an ordinary person,” he says, “but I painted her on the same scale as icons of political power.”
    The third panel, his mother’s funeral is painted on exactly the same scale as A Burial at Ornans (1849-1850): Here, every detail is meticulously depicted. The scene is no longer set in Ornans, but in Shanghai, birthplace of the artist.

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  • Tom Sachs
    Timeline
    September 22, 2019 - April 26, 2020
    SCHAUWERK Sindelfingen
    Eschenbrünnlestraße 15
    Sindelfingen, Germany

    The SCHAUWERK Sindelfingen shows the first retrospective exhibition of the American artist Tom Sachs (born 1966) in Germany in over 15 years. Tom Sachs is known for his bricolage objects made of found materials and objects, where traces of his work remain clearly visible. The artist borrows his motifs from everyday culture, the consumer world, or history: Hello Kitty figures, the corporate design of McDonald’s, the space shuttle or even Chanel handbags. They are appropriated, decontextualized, and redesigned in his own aesthetics of the self-made.

    In addition to works from the Schaufler collection as well as international loans, a part of the show will be dedicated to the multipart installation Tea Ceremony, which has already been exhibited in the USA and Japan. Tee house, garden, sinks, koi pond, tea cups, and further utensils have been elaborately reproduced. As a further highlight, Sachs will design a large-format sculpture specifically for the museum: the twin towers of the World Trade Center before September 11, 2001.

    In the more than four-meter-long wall work Timeline, which gives the show its name, the artist traces his life’s path. Not only does the timeline include depictions of his own works and biographical events as well as documentary photographs from politics and world events, but also album covers and book titles. All these elements and influences are the basis from which Tom Sachs builds his alternative worlds. With inventiveness and irony, the artist critically questions the value of products and the meaning of existing rituals and ways of life.

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  • Antony Gormley
    September 21, 2019 - December 3, 2019
    Royal Academy of Arts
    Burlington House
    London, UK

    From the British coastline to the rooftops of Manhattan, Antony Gormley’s sculptures are recognised across the world. With work from his 45-year career alongside major new installations created for this exhibition, the Royal Academy presents his most ambitious exhibition in more than ten years.

    The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. The RA will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.

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  • Gilbert & George
    The Great Exhibition
    September 13, 2019 - January 5, 2020
    Astrup Fearnley Museum
    Strandpromenaden 2
    Oslo, Norway

    THE GREAT EXHIBITION comprises works from the period 1971 to 2016. The exhibition is packed from floor to ceiling with pictures that are grotesque and terse, surrealistic and symbolic, but consistently within the strict grid that is emblematic of the duo.

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