- Taipei Dangdai 2019 | Booth D07
- January 18, 2019 - January 20, 2019
Taipei Nangang Exhibition Center, Hall 1 (4th Floor)
No. 1, Jingmao 2nd Road, Nangang District, Taipei City
We look forward to welcoming you to Galerie Thaddaeus Ropac’s booth at the inaugural edition of Taipei Dangdai, Taiwan’s first international art fair. Highlights will include important historical works from the 1980s by Georg Baselitz, Gilbert & George, Robert Mapplethorpe and Andy Warhol, as well as new works by Lee Bul, Robert Longo and Yan Pei-Ming. The gallery will also be offering significant works by Ali Banisadr, Tony Cragg, Jules de Balincourt, Adrian Ghenie, Antony Gormley, Alex Katz, Anselm Kiefer, Daniel Richter and Erwin Wurm, among others.
我們期待在第一屆台北當代藝術博覽會的 Galerie Thaddaeus Ropac 展位中歡迎您。本次博覧會也是台灣有史以來的第一次世界藝術博覧會。本次藝術博覽會將展出包括格奧爾格·巴澤利茨 (Georg Baselitz)、吉爾伯特和喬治 (Gilbert & George)、羅伯特·梅普爾索普 (Robert Mapplethorpe) 和安迪·沃霍爾 (Andy Warhol) 的八十年代重要歷史性作品，以及李昢 ( Lee Bul)、羅伯特·隆戈 (Robert Longo) 和嚴培明的最新作品。本藝術畫廊也會展出阿里·巴尼薩德爾 (Ali Banisadr)、托尼·克拉格 (Tony Cragg)、吉爾·德·貝蘭庫爾 (Jules de Balincourt)、阿德里安·吉尼 (Adrian Ghenie)、安東尼·戈姆利 (Antony Gormley)、亞歷克斯·卡茨 (Alex Katz)、安塞爾姆·基弗 (Anselm Kiefer)、丹尼爾·里希特 (Daniel Richter) 和爾溫‧烏爾文 (Erwin Wurm) 等人的重要作品。
In contrast to his crowded cityscapes from the preceding decade, German artist Daniel Richter’s Monday Morning (2012) features a lone green figure teetering dangerously on the edge of a mountain precipice. Richter’s works from this period employ a linear vocabulary, used here to define the contours of the mountains, and a hallucinogenic colour palette. With its solitary traveller and emphasis on the sublimity of nature, Monday Morning reveals the influence of German Romanticism.
德國藝術家丹尼爾里希特 (Daniel Richter)的「星期一早上（2012年）」描繪著一個孤獨的綠色人物站在山崖邊緣的險象環生搖晃景象，這與其十年前的擁擠城市景觀作品形成鮮明的對比。里希特在這一時期的作品採用線性詞彙來定義山脈的輪廓，以及充滿幻覺的色彩。「星期一早上」以孤獨的旅行者來強調崇高而雄偉的大自然，揭示了該作品深受德國浪漫主義的影響。
In Suzanne (2018), Chinese painter Yan Pei-Ming depicts a female figure, stripped to the waist, but wearing the black stockings and white cap that suggest a housemaid’s uniform. The title references the Biblical tale of Susanna, who was secretly observed by the Elders while bathing, and became a frequent Old Master subject. In Yan Pei-Ming’s retelling, the female nude is rendered in gestural strokes and drips of paint, with the viewer cast in the role of voyeur. Yan Pei-Ming’s paintings will be shown alongside those of Gustave Courbet at the Musée Courbet, Ornans, from 10 June – 20 September 2019.
中國畫家嚴培明的 「蘇珊 (2018)」描繪的是一個女性形象，她的衣服脫至腰間，並穿著黑色絲襪和白色帽子，暗示所穿的是一套女傭制服。這個標題所引用的是聖經中蘇珊在洗澡時被長老秘密窺視的故事，而這個故事已成為古老大師經常採用的主題。嚴培明在複述這個故事時，女性的裸體以描畫姿勢的筆觸和油漆滴落的方式來呈現，讓觀眾扮演著偷窺者的角色。嚴培明的畫作將於 2019 年 6 月 10 日至 9 月 20 日在 Ornans 的 Musée Courbet 畫廊與古斯塔夫庫爾貝 (Gustave Courbet)的作品一起展出。
Lee Bul’s Untitled Yet (2018) forms part of her recent series of velvet and silk paintings, in which the Korean artist creates ethereal abstract forms using organic materials including flower petals and strands of her own hair. Strongly linked to natural forms and the human body, Bul’s painting treads a fine line between beauty and abjection. Related works were included in Bul’s recent retrospective at the Hayward Gallery, London and Martin-Gropius-Bau, Berlin.
韓國藝術家李昢 (Lee Bul)的「無題（Mekamelencolia - Velvet）」（2018年）是她最近的絲印畫系列的一部分，作品中使用有機材料創造出空靈的抽象感覺，包括花瓣、珍珠母和她自己的頭髮。李昢的繪畫與自然形態和人體緊密相連，在美與賤斥 (abjection) 之間劃出了一條細線。該系列的相關作品被收錄在李昢最近在倫敦海沃德畫廊和柏林 Martin-Gropius-Bau 畫廊的回顧展中。
Der Bote [The Messenger] (1982) epitomises German artist Georg Baselitz’s turn towards religious iconography in the 1980s, representing traditional Biblical scenes in a radically new way. The title suggests associations with the Annunciation, when the angel Gabriel appeared before the startled Virgin Mary to tell her she would bear the son of God. In this work, Baselitz’s uniquely iconoclastic blend of abstraction and figuration results in a deeply ambiguous scene, with the monumental, brightly-coloured figure appearing in relief against an indeterminate dark background. Baselitz was the subject of a major retrospective at the Fondation Beyeler, Riehen and Hirschhorn Museum, Washington, D.C., to coincide with his 80th birthday last year.
信差 (Der Bote [The Messenger])（1982 年）展示了德國藝術家格奧爾格·巴澤利茨 (Georg Baselitz) 在上世紀八十年代轉向宗教圖像誌，他以一種激進的全新方式來代表傳統的聖經場景。這個標題是指天使報喜，即當天使加百列出現在驚嚇的聖母瑪利亞面前，告訴她將懷有上帝的兒子。在這作品中，巴澤利茨將抽象和形象以其獨特的反偶像崇拜方式融合起來，營造了一個非常模糊的場景，而巨大、色彩鮮豔的人物則在模糊的黑暗背景下浮現出來。巴澤利茨是去年華盛頓特區基耶勒基金會，里恩和赫希霍恩博物館的一次重大回顧展的主題，而這年他也剛好 80 歲。
Gilbert & George’s historic Food from The Believing World Series (1983) exemplifies the London-based duo’s newfound use of models other than themselves in their work and their attempt to counter negative stereotypes about male adolescents as hoodlums. In this 15-part photomontage, the upright figures of the artists in their characteristic suits are surrounded by three disembodied heads, their mouths agape as if singing or shouting. Gilbert & George were among the first Western artists to have major success in Asia, through their touring China Exhibition in 1993, extending the global reach of their “Art for All” ethos. Their work is the subject of the retrospective Gilbert & George: The Great Exhibition (1971-2016), currently on view at LUMA, Arles, and travelling to Moderna Museet, Stockholm; Astrup Fearnley Museum, Oslo and the Reykjavik Art Museum.
吉爾伯特和喬治 (Gilbert & George)的「歷史性食物」來自他們的「幻想世界系列」（1983），對於這個總部位於倫敦的二人組合，該作品是展現他們在其作品中使用自己以外的其他新模特兒的一個例子，以及他們試圖對男性青少年作為流氓的負面刻板印象作出反抗。在這個由 15 個部分組成的蒙太奇照片作品中，藝術家們穿著他們的特色西裝直立著身形，而圍繞著他們的是三個沒有身軀並張大著嘴巴像是在唱歌或大喊大叫的頭部。吉爾伯特和喬治 (Gilbert & George) 是最早在亞洲取得重大成功的西方藝術家之一，他們在 1993 年的中國巡迴展覽中，擴大了他們的「全人類共享的藝術」精神的全球影響力。他們的作品主題是吉爾伯特和喬治 (Gilbert & George) 之回顧 ：The Great Exhibition（1971-2016），該批作品目前正在阿爾勒的當代藝術館展覧，並將會前往斯德哥爾摩的當代美術館；挪威的阿斯楚普費恩利現代藝術博物館，奧斯陸和雷克雅未克藝術博物館展出。Read more
Robert Mapplethorpe Foundation
- Robert Mapplethorpe | Choreography for an exhibi...
- December 15, 2018 - April 8, 2019
- Museo Madre, Naples
Museo Madre in Naples announces the opening of the Robert Mapplethorpe exhibition Choreography for an exhibition. Organized in collaboration with the Robert Mapplethorpe Foundation in New York, it will feature over 160 works, which will be displayed alongside archaeological, ancient and modern works. For the first time in the history of Mapplethorpe's exhibitions, this show will comprise a performative program, starring internationally renowned choreographers.
This show coincides with the 30th anniversary of Mapplethorpe's first ever major retrospective exhibition, The Perfect Moment, held at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia just months after the artist's death in 1988. Curated by Laura Valente and Andrea Viliani, it will remain open throughout April 8th 2019.Read more
- Robert Mapplethorpe Foundation
- A Cross-Disciplinary Music Performance in Three...
- December 13, 2018 - December 13, 2018
- London ELY HOUSE
To Be Staged in Galerie Thaddaeus Ropac London’s Exhibition Robert Rauschenberg: Spreads 1975-83, Alongside John Cage: Ryoanji Installation. Inspired by Rauschenberg and Cage, a World Premiere. In collaboration with MusicArt.
Concert-Installation by Pianist Annie Yim, with Poet Kayo Chingonyi & Composer Raymond Yiu.
Featuring Piano & Spoken-Word Performance of Cage’s The Seasons,Winter Music, and 4’33”
Complimentary Welcome Drinks: 6.30pm
To coincide with the exhibition Robert Rauschenberg: Spreads 1975-83, Galerie Thaddaeus Ropac and MusicArt present the world premiere of a musical performance inspired by Robert Rauschenberg’s collaborations with the pioneering avant-garde American composer John Cage. Co-created and performed by pianist Annie Yim with poet Kayo Chingonyi and composer Raymond Yiu, this Conceptual Concert in Three Acts is framed by the piano music of Cage, including The Seasons (1947) and Winter Music (1957), alongside an installation of sound and spoken dialogue. The final act of this cross-disciplinary concert is a staging of Cage’s iconic piece, 4’33” (1952). The performance multiplies artistic roles and dissolves boundaries in homage to Cage and Rauschenberg. Beyond their artworks on view at Galerie Thaddaeus Ropac London, the words of Cage and Rauschenberg too have inspired this concert-installation.
"The specially composed concert-installation inspired by the work of Rauschenberg and Cage focuses on dialogues – musical and spoken, historical and contemporary, space and time, visual and aural interactions. Intended to be cumulative and cyclical, this new composition comprises unexpected combinations of influences and traditions, uncovering themes in Rauschenberg’s Spreads that have been incorporated into our process. Fragments, memory and integration are motifs that resonate throughout the piece, while music and words are woven, layered and juxtaposed as highly structured sound events." Annie Yim, Founder of MusicArt & Pianist
“I recognize Rauschenberg as myself, as if we were the same person. We do not even have to explain things to one another...” John Cage, quoted in Conversing with Cage by Richard Kostelanetz (1987)
Robert Rauschenberg was a prolific collaborator, inspired by the shared creative process of working with close friends, including the painters Jasper Johns and Cy Twombly, choreographer Merce Cunningham and composer Cage. “That's why I like dance, music, theatre, and that's why I like printmaking, because none of these things can exist as solo endeavours”, Rauschenberg told Artnews in 1977, “…the best way to know people is to work with them, and that's a very sensitive form of intimacy”. Rauschenberg first met Cage in the early 1950s; Cage was already established as a leading figure of the post-war avant-garde, while Rauschenberg was just embarking on his artistic career. Both were at the centre of an intimate circle of artists who came together at the experimental Black Mountain College. While there, Rauschenberg participated in Cage’s Theatre Piece #1 in 1952, an experimental multi-media performance spontaneously staged in the dining hall. Later credited as the first Happening, it allowed poetry, music, dance, and film to be freely incorporated, featuring Rauschenberg’s White Paintings (1951) suspended from the ceiling. The monochrome White Paintings – in which Rauschenberg sought to create works that appeared untouched by human hands – served as an inspiration for Cage’s most famous composition, 4'33". “The White Paintings were airports for the lights, shadows, and [dust] particles”, said Cage. In the same spirit, the score for 4'33" instructs the performer not to play their instrument for any length of time. The piece is in three movements, which forms a frame around the sounds of the environment.
A spirit of radical experimentation marked the friends’ continuing collaborative work. Automobile Tire Print (1953) was created when Cage drove his Model A Ford over twenty sheets of typewriter paper, its rear tyre coated in black paint leaving a printed trace. Later, alongside dancer and choreographer Cunningham, with Cage as composer and Rauschenberg as set, lighting and costume designer, they devised and staged radical performances that redefined modern dance. The influence of Cage, Rauschenberg and their collaborators has reverberated across the worlds of visual arts, poetry, dance, and music, and is still palpable today.
Conceptual Concert in Three Acts, by MusicArt
Drawing inspiration from the art and life of John Cage and Robert Rauschenberg, MusicArt presents a concert-installation in three acts.
Act I - By Annie Yim
Live piano performance of Cage’s The Seasons (1947) and Winter Music (1957), combined with recorded extracts of Cage’s spoken voice during Interludes between Acts. Winter Music was dedicated to Rauschenberg and Jasper Johns, employing collage techniques and Cage’s influential notion of indeterminacy. The score indicates that the number of pianos to be used ranges from 1 to 20, in whole or in part, and the exact notes and length of the piece are determined by the performer(s).
Act II - By Kayo Chingonyi, Annie Yim, Raymond Yiu
An original multi-media Performing Installation, created and performed by pianist, composer and poet, with pre-recorded elements in the gallery space.
Act III - John Cage, 4’33” (1952)
A finale with audience participation.
NOTES TO EDITORS
A second performance will be staged at Galerie Thaddaeus Ropac Salzburg on 17 April 2019.
With special thanks to Edition Peters UK and The Poetry Society for their kind assistance to MusicArt.
Founded in London in 2015 by pianist Annie Yim, MusicArt is a concept for creating and collaborating across art forms with music at the heart of each project. New works in visual arts, poetry, contemporary dance, and music have been commissioned and premiered at major art galleries and concert halls in London and Berlin. In 2017 MusicArt was invited to deliver a keynote address at an international, multidisciplinary conference at the University of Surrey by Annie Yim, in conjunction with artist Christopher Le Brun, President of the Royal Academy of Arts. Through new dialogues and performance installations, each artist-led project aims to explore shared aesthetics in unique historical and contemporary contexts. www.musicart.london
Kayo Chingonyi was born in Zambia and moved to the UK at the age of six. He is the author of Kumukanda, a poetry collection that won the 2018 Dylan Thomas Prize (“The world's largest literary prize for authors under the age of 40 writing in English” – BBC). He is a fellow of the Complete Works programme for diversity and quality in British Poetry, and was an Associate Poet at the Institute of Contemporary Arts (ICA) in 2015. He is the founding editor of The Poetics of Grime, the current poetry editor for The White Review, and he has edited special issues of Magma Poetry and Poetry Review. He teaches, writes and produces music, organises and hosts poetry, music events and radio programmes, and DJs.
Annie Yim founded MusicArt in 2015 in London. Described by The Times as a pianist who “made the most beautiful sounds, radiantly coloured, thoughtfully articulated”, she was St John’s Smith Square Young Artist in Residence in 2016/17 and made her UK concerto debut at LSO St Luke’s. As founding member of the Minerva Piano Trio, she is currently Making Music Selected Artist 2018. She has broadcast live on BBC Radio 3, Classic FM, and national radios in Canada and Portugal, and her performances with artists and art spaces have been featured in New York T Magazine, Artnet, and Gramophone. Born in Hong Kong and brought up in Vancouver, she holds a Doctorate in Musical Arts for her performance-based research at the Guildhall School of Music and Drama, and City, University of London.
Hong-Kong born composer Raymond Yiu was the winner of the BASCA British Composer Award in 2010, with nominations in 2004, 2012, 2013 and 2018. He has worked with ensembles and artists including Lukas Foss, BBC Singers, Chroma, Ensemble 10/10, Nouvel Ensemble Moderne, Lontano and London Sinfonietta. The Original Chinese Conjuror was commissioned for the 2006 Aldeburgh Almeida Opera, while Maomao Yü was commissioned by LSO for Lang Lang and the Silk String Quartet. Following the premiere of his “hugely impressive” (The Guardian) Symphony at Proms 2015, The World Was Once All Miracle, commissioned for Manchester International Festival 2017, was nominated in the large-scale composition category of 2018 Royal Philharmonic Society Music Awards.
- John Cage
- 4th Kochi-Muziris Biennale
- December 12, 2018 - March 29, 2019
- Kochi, INDIA
In collaboration with Phileas, an independent philanthropic organisation, the Kochi-Muziris Biennale has invited Austrian artist VALIE EXPORT among others to participate in its 4th edition.
The Kochi-Muziris Biennale was India’s first ever biennial exhibition of international contemporary art. The Biennale seeks to invoke the latent cosmopolitan spirit of the modern metropolis of Kochi (Kerala) and its mythical past, Muziris, and to create a platform that will introduce contemporary international visual art theory and practice to India while at the same time showcasing and debating new Indian and international aesthetics and art experiences.Read more
- VALIE EXPORT
- ALEX KATZ
- December 6, 2018 - April 22, 2019
The Museum Brandhorst presents a major exhibition of works by celebrated American painter Alex Katz. A towering figure in contemporary painting best known for his iconic portraits of beautiful, stylish women, inspired generations of artists around the world. Featuring more than eighty works, the exhibition will offer visitors a retrospective overviewing this seminal artist’s oeuvre from the 1950s to today.
The exhibition begins with works from the late 1950s and early 1960s, including portraits of the renowned choreographer and dancer Paul Taylor and his company for which Katz designed many sets. A series of seminal single and group portraits from the 1960s established Katz’s signature style as well as the social and artistic milieu of Downtown New York, both of which remain leitmotifs throughout his work and the exhibition. Two large galleries of landscapes show Katz playing at the edge of abstraction while at the same time recommitting himself to a decidedly modern form of realism.
Also on display will be a sizable collection of small oil paintings, sketches, and preparatory drawings. The exhibition draws on the Museum Brandhorst’s own extensive collection of works by the artist, supplemented by key works from other public and private collections.Read more
- Alex Katz
Gilbert & George
- November 30, 2018 - April 30, 2019
Neues Museum presents four works by the duo under the title Gilbert & George. Fuckosophy. This is actually a reunion, since the two artists made a high-profile appearance at Kunsthalle Nürnberg in 1970 as The Singing Sculptures. As there is no document of this event, Gilbert & George selected a film made in 1991 at Sonnabend Gallery in New York that shows the performance much as it took place twenty years earlier in Nuremberg at the opening of the exhibition Das Ding als Objekt. Europäische Objektkunst des 20. Jahrhunderts. By declaring themselves to be sculptures, they made an important contribution to expanding the definition of sculpture. Fuckosophy for All was chosen as the title for this exhibition at Neues Museum. On two walls, wallpaper printed in black and red features hundreds of versions of the F-word. For Gilbert & George, this tirade is a “great experiment in literature”. They see fuckosophy as a “kind of utopia where you can say whatever you want.” Compared with philosophy, fuckosophy is “more democratic,” they stress, “more art for everyone.”Read more
- Gilbert & George
- Adrian Ghenie | The Darwin Room | Centre Pompido...
- November 27, 2018 - November 27, 2020
- Centre Pompidou, Paris
Adrian Ghenie’s The Darwin Room, 2013-2014, is the second of his installations presented as a “room within a room”. The first, The Dada Room, 2010, is now in the permanent collection of S.M.A.K. Ghent. Consisting of an assemblage of meticulously sourced 19th century furniture, wooden floor boards and wall panels, The Darwin Room takes its composition from Rembrandt’s Philosopher in Meditation, 1632 (collection Musée du Louvre). Concentrating on the juxtaposition of shape, colour and tone, as if composing a two dimensional painting, Ghenie has created a three-dimensional environment which, at first glance, resembles one of his paintings but later reveals itself to be a life-sized study room from a past era. Dark and gloomy, the room evokes an intriguing physiological atmosphere of anxiety and comfort; a prototypical birth site for visionary thought within European intellectual history.
Ghenie talks often of his interest in painting the “texture of history”. Much of the visual information we see of historical figures, events and places are rendered flat and two-dimensional and it is their forgotten surface and texture that fascinates Ghenie. Darwin’s personal story and iconography holds a special fascination for the artist; the appalling skin condition and vomiting syndrome that afflicted him, his luxuriant beard and Victorian attire all afford a rich source of textural possibilities that reveal themselves in the series of Darwin portraits that make up this exhibition. During his lifetime, Darwin’s distinctive physical features became widely known. He was frequently portrayed in the satirical press of the era with the face of an ape superimposed on his. This grotesque caricature of the great man of science is a starting point for Ghenie’s painting.Read more
- Adrian Ghenie
Emilio Vedova Foundation
- Conversation entre Valérie Da Costa & Daniel Sou...
- November 24, 2018 - November 24, 2018
- Paris Marais
À l’occasion de Emilio Vedova, Historical Survey, première exposition personnelle de l’artiste italien en France, la Galerie Thaddaeus Ropac organise le samedi 24 novembre à 16h30 une conversation entre Valérie Da Costa, historienne et critique d’art, et Daniel Soutif, critique d'art et philosophe .Read more
Les intervenants discuteront de la trajectoire biographique et artistique d'Emilio Vedova et de sa place dans l'art italien de la seconde moitié du 20ème siècle.
La conversation aura lieu en français.
Valérie Da Costa, historienne et critique d’art, elle est maître de conférences HDR en histoire de l’art contemporain (XXe-XXIe siècles) à l’Université de Strasbourg. Ses recherches portent notamment sur l’art italien de la seconde moitié du XXe siècle. Elle est l’auteure de nombreux textes et livres parmi lesquels :Écrits de Lucio Fontana (Les presses du réel, Dijon, 2013), Pino Pascali : retour à la Méditerranée (Les presses du réel, 2015), Fabio Mauri : le passé en actes / The Past in Acts (Les presses du réel, 2018), « Arte Povera hier et aujourd’hui », Les Cahiers du Musée national d’art moderne, n°143, printemps 2018, (édition Valérie Da Costa).
Daniel Soutif, philosophe et critique d'art, il a écrit, entre autre, pour Libération et Artforum dans les années 1980 et 1990 . Il est nommé directeur du Développement culturel du Centre Pompidou de 1993 à 2001 puis directeur du Centro per l’Arte Contemporanea Luigi Pecci de Prato (Italie) de 2003 à 2006. Daniel Soutif est désormais commissaire indépendant et contribue à de nombreuses publications. Il a été commissaire d'importantes expositions transdisciplinaires dont La Force de l'Art (Grand Palais, 2006), Le Siècle du jazz (Musée du Quai Branly, 2009), The Color Line. Les artistes africains-américains et la ségrégation (Musée du quai Branly, 2016).
- Emilio Vedova Foundation
- Abu Dhabi Art 2018 Beyond
- November 11, 2018 - January 31, 2019
Al Jahili Fort
Al Ain, United Arab Emirates
Imran Qureshi's project for Abu Dhabi Art’s Beyond comprises multiple site-specific installations/artworks, powerfully connected with one another to create a narrative around the idea of water as life, its importance and the danger due to the alarming situation of global warming. The artist has chosen two major sites to demonstrate three different dimensions of his art which includes site-specific floor painting at Al Ain Oasis, at the main entrance in the courtyard of Al Jahili Fort as well as two indoor spaces inside the fort itself.The city of Al Ain is the greenest piece of land in the whole region, surrounded by dry, sandy and deserted areas. In the year 2011, Al Ain Oasis was declared a World Heritage Site by UNESCO due to its ancient irrigation system - which was extremely inspiring for Imran Qureshi. The first garden is extensively lush and green with abundant foliage, including date palm trees - whereas the one directly opposite has a completely different impact due to the absence of green grass on the ground and a deliberately created sense of dryness all around it, which sets it apart from all other farms and gardens in the area. This time, unlike his previous site-specific floor paintings, he has tried to connect these two different oasis gardens as a diptych, creating a powerful dialogue and statement through their opposite characteristics.A few kilometres away from Al Ain Oasis, is a second site for my other two projects at the historic Al Jahili Fort.In Al Jahili Fort, the first sculptural installation titled ‘Morning and night sang a duet together for a long moment’ comprises of a few thousand plastic black roses, again portraying the idea of a changing landscape due to the alarming threat of global warming. Historically, this specific piece of land, on which Qureshi has chosen to install this sculptural installation, was where oil drums were kept for refuelling armoured vehicles during the time Al Jahili Fort was in use by the Trucial Scouts, between 1956 and 1971.
- Imran Qureshi
Donald Judd Foundation
- Galerie Thaddaeus Ropac to Represent Donald Judd...
- From November 2, 2018
Galerie Thaddaeus Ropac is pleased to announce the representation of Donald Judd and Judd Foundation in Europe. The close collaboration with the Foundation will be inaugurated by a solo exhibition of works by Donald Judd (1928-1994) in Galerie Thaddaeus Ropac’s Paris Marais gallery in April 2019, the first dedicated show of his works in France for almost 20 years. The exhibition will be curated by the artist's son Flavin Judd, Artistic Director of Judd Foundation.
“The architecture of Galerie Thaddaeus Ropac presents an occasion to exhibit Don’s work within an environment that suits his artwork wonderfully. Through working with the gallery we will develop a compelling programme of exhibitions and initiatives.” Flavin Judd, Artistic Director, Judd Foundation
“We very much look forward to working with Judd Foundation in representing Donald Judd, one of the most influential artists of the 20th century. Judd challenged and redefined the notion of sculpture, architecture and design. His ground-breaking explorations of the relationship between the object and its environs, his seminal writings on art and his collaborations with other artists remain as influential as ever. To deeply engage with Judd’s work and build upon a truly remarkable legacy alongside the Foundation is a great honour.” Thaddaeus RopacRead more
Major works by Donald Judd are currently featured in Galerie Thaddaeus Ropac’s Pantin exhibitionMonumental Minimal, on view until March 2019, which includes his early horizontal work dating from 1986 and two rare monumental vertical MENZIKEN works dating from 1988, each formed in aluminium and coloured Plexiglas.
- Donald Judd Foundation