- Webinar: Ron Arad, Antony Gormley and Sir Charle...
- November 18, 2020 - November 18, 2020
Join Ron Arad in conversation with Sir Antony Gormley, and Sir charles Saumarez Smith on Contemporary Art Collaborations
Sit in on the conversation of two Royal Academicians and three good friends, Ron Arad and Sir Antony Gormley, as they discuss their working relationship and careers, will be joined by Sir Charles Saumarez Smith, the outgoing Secretary and Chief Executive of the Royal Academy of Arts.
For those who have visited the Ron Arad 69 exhibition at Newlands House Gallery, you will have witnessed both Last Train, where Gormley collaborated with Arad on a unique glass drawing and of course the iconic Gomli chair which was inspired by Gormley’s work.
Sir Charles Saumarez Smith will share his insights and facilitate a lively discussion between these two art titans and a Q&A with the audience.
SpeakersRon AradOne of the most influential designers of his generation, Ron Arad has challenged the boundaries of design for almost thirty years. His work was constantly inventive, witty and, above all, accessible. His recycling of ancient car seats to make the Rover chair and his beds made out of scaffolding captured the creative mood of the moment and caught the attention of a generation which had taken no previous interest in furniture design. Born on April 24, 1951 in Tel Aviv, Israel, he studied at the Bezalel Academy of Arts and Design in Jerusalem and then moved to London to study architecture. Arad went on to produce objects for brands such as KENZO, Swarovski, and New Eye London, among others. He was the subject of a major retrospective at The Museum of Modern Art in New York in 2008. In 2013, he became a Royal Academician at the Royal Academy of Arts. His current exhibition at Newlands House Gallery, Ron Arad 69 is an intimate experience showcasing the variety of his work.Sir Antony GormleyThe mind behind the Angel of the North and Crosby Beach, Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley's work has been widely exhibited throughout the UK and internationally with exhibitions at the Royal Academy of Arts, London (2019); Delos, Greece (2019); Uffizi Gallery, Florence (2019); Philadelphia Museum of Art, Philadelphia (2019); Long Museum, Shanghai (2017); National Portrait Gallery, London (2016), to name but a few. Gormley and Arad have been longstanding friends and have collaborated on a few projects together, namely The Gomli Chair and Last Train, on view in the exhibition at Newlands House Gallery.Sir Charles Saumarez SmithSir Charles Saumarez Smith is a freelance writer, curator and art historian. He is noted for having been at the helm of all three of central London’s major museums, namely the National Portrait Gallery, The National Gallery and The Royal Academy of Arts. During his time as Secretary and Chief Executive of the Royal Academy of Arts, he was responsible for the renovation of the Keeper’s House and the opening of Burlington Gardens, the new buildings of the RA, including a major fund-raising campaign and successful application to the Heritage Lottery Fund in the lead-up to the RA’s 250th anniversary in 2018. He is currently Professor of Architectural History at the Royal Academy of Arts, chairman of The Royal Drawing School and The Watercolour World, a trustee of the Garden Museum, and an Emeritus Trustee of ArtUK and Charleston. He was awarded a CBE in 2008 and was knighted in 2018.
- Antony Gormley
- Utopia Saved
- November 13, 2020 - January 31, 2021
- The Manege, St. Petersburg
The first major solo exhibition of Lee Bul's work in Russia.
Lee Bul’s longstanding fascination with utopia entered a new phase in the first decade of the 21st century, when she started creating architectural sculptures and drawings inspired by Constructivism and Russian avant-garde art and architecture. The artist uses icons and tropes from utopian modernism, transforming, allegorising, and juxtaposing them in her own creative works. She engages with utopian modernism with empathy and originality, with critique and imagination. Utopia Saved is Lee Bul’s first solo exhibition to be held in Russia, and for the first time presents her post-2005 works alongside the Russian art that inspired them. The exhibition focuses on the artist’s environmental installations, architectural sculptures, and drawings produced since 2005, from a maquette for Mon grand récit to the Civitas Solis and the Willing To Be Vulnerable series, among others, in addition to preparatory studies that reveal the complexity of her creative process. Some of the drawings and maquettes included in this exhibition have never been shown before. These will for the first time be exhibited together with works by Russian avant-garde artists that have intrigued her imagination for years. – Sunjung Kim and SooJin Lee, exhibition curators
The multifaceted work of Lee Bul has in many respects defined the development trajectory of contemporary Asian Art and has also had a significant influence on the contemporary artistic process all around the world.
The Utopia Saved exhibition will be one of Lee Bul’s most personal artistic expressions. It is the first time that the artist will so fully explain to the public the sources of the current phase of development of her artistic path and the influence that the Russian avant-garde has had on her work.
Preparations for the exhibition in Manege have been underway for about two years. Lee Bul has been quite active in all aspects of the project, from developing the initial idea and selecting the works to preparing the catalogue and coming up with architectural solutions for the exhibition. Lee made a model of Manege’s space by hand at a scale of 1:50, which allowed her to meticulously plan the positioning of the exhibits and organise the exhibition like a journey through a site-specific landscape, opening up unexpected conceptual and visual parallels.
The exhibition in St Petersburg will focus on the architectural sculptures, environmental installations, and drawings that Lee Bul has produced since 2005, including some drawings and maquettes that have never before been shown. The exhibition includes one of her most recent pieces – Untitled (Willing To Be Vulnerable Velvet#9 JTVP3582/23 CE), a collage on velvet. Other large-scale installations from the Willing To Be Vulnerable series will be reassembled especially for the Manege exhibitions.
The project will also focus on the creative visual dialogue between Lee Bul and the Russian avant-garde. Included in the latter are works by artists Kazimir Malevich, Aleksandr Rodchenko, Aleksandra Ekster, architects Ivan Leonidov and Iakov Chernikhov, scientist and thinker Konstantin Tsiolkovsky, and others.
Various Russian museums and artistic institutions have also made a significant contribution to the exhibition. Among the participating institutions are the Russian Academy of Arts Academic Research Museum, the Tsiolkovsky State Museum of the History of Cosmonautics, the Shchusev State Museum of Architecture, the Bakhrushin State Theatre Museum, the Multimedia Art Museum in Moscow, the RF Ministry of Defence’s Central Museum of the Russian Federation Armed Forces, the Iakov Chernikhov International Charitable Architectural Foundation, the Vologda Regional Picture Gallery, the Yekaterinburg Museum of Fine Arts, the Perm State Art Gallery, the Pskov-Izborsk Integrated Museum and Reserve, and the Imperial Porcelain Factory.
Utopia Saved opens up a new facet of contemporary art, in continuation of the centuries-old dialogue between the cultures of Russia, Europe, and Asia.
Manege will present a rich programme of events to run alongside the exhibition. This will aim to draw additional interest from visitors, and to cast more light on contemporary art and culture in South Korea, as well as on their ties with Russian culture and the avant-garde.Read more
A dual-language catalogue has been prepared. It includes articles by Russian and foreign experts written especially for the publication that explore various aspects of Lee Bul’s art. Manege’s publication programme partner is Free Artists – an Autonomous non profit organisation for the development of art and culture.
The exhibition and accompanying event programme aim to give a voice to one of the most important artists of our time and to immerse visitors into an absorbing research study into new cultural codes and ways of thinking visually. In addition, their mission is to demonstrate the importance of the way modern culture is perceived from the viewpoint of being involved in global artistic and sociocultural processes.
The exhibition forms a key part of the Year of Cultural Exchange between Russia and South Korea (2020), which is taking place to mark the 30-year anniversary of the establishment of diplomatic ties between the two countries. The exhibition will hold its opening at the 9th Saint Petersburg International Cultural Forum, and will be open to Cultural Forum Public Flow participants from November 11-14. Register on the forum’s official website to download free e-tickets for the exhibition. The exhibition will open to the general public on November 17.
On 11 November a symposium will take place as part of the cultural forum. This will examine the work of Lee Bul, as well as the influence that the Russian avant-garde has had on art in East Asia. There will also be a presentation of the exhibition catalogue and a press preview. Russian and foreign experts have been invited to participate in the symposium, including Mami Kataoka, director of the Mori Art Museum (Tokyo); Stephanie Rosenthal, director of the Martin-Gropius-Bau exhibition centre (Berlin); and of course Lee Bul herself and project curators Sunjung Kim and SooJin Lee.
The symposium will be moderated by curator Sunjung Kim and Semyon Mikhailovsky, rector of the St Petersburg Repin Academy of Arts, Sculpture and Architecture, and head of the Fine Arts section at the Cultural Forum.
- Lee Bul
- Antony Gormley meets Carlo Rovelli
- From November 5, 2020
Join Antony Gomley and Carlo Rovelli for an Online Discussion
Thursday 5th November
For scientist Carlo Rovelli and sculptor Antony Gormley, all culture is one; science, art and philosophy are in continuous dialogue, each nourished by the other.
A fearless free spirit, renowned scientist, and bestselling author whose Seven Brief Lessons on Physics confirmed him as the heir to Hawking’s crown as a science communicator of exceptional eloquence, able to convey the majesty and strangeness of our universe to the layman with rare and exquisite poetry, Carlo Rovelli is undoubtedly one of the most influential thinkers of our century to date.
The recipient of the Turner Prize, a knighthood, commissions for public artworks across the world and innumerable other honours and awards, Antony Gormley is globally renowned as a sculptor of exceptional ambition and insight; an artist whose works are concerned with fundamental questions of where human beings stand in relation to nature and the cosmos.
In this unmissable livestream event, they will investigate the mysteries and insights of science and of art, from Newton’s alchemy to Einstein’s mistakes, the nature of consciousness to the meaning of atheism. Underlying all these is a fundamental inquiry: what does it mean to be awake in the universe?
The event takes place at 6:30pm BST and includes access to a replay video available 48 hours after the event to enjoy for an unlimited period.
Carlo Rovelli is a theoretical physicist who has made significant contributions to the physics of space and time. His books Seven Brief Lessons on Physics, Reality Is Not What It Seems, and The Order of Time are international bestsellers which have been translated into 43 languages, and Seven Brief Lessons on Physics alone has sold more than 1.5 million copies worldwide. Rovelli has worked in Italy and the US and is currently working in Canada and also directing the quantum gravity research group of the Centre de Physique Théorique in Marseille, France.
Antony Gormley has had a number of solo shows at venues including The Royal Academy of Arts, London (2019); Delos, Greece (2019); Uffizi Gallery, Florence (2019); Philadelphia Museum of Art, Philadelphia (2019); and Long Museum, Shanghai (2017), among others. He has participated in major group shows such as the Venice Biennale and Documenta 8, Kassel, Germany. Gormley won the Turner Prize in 1994 and has been a member of the Royal Academy since 2003. He was made an Officer of the British Empire in 1997 and knighted in 2014.
- Antony Gormley
- Featured on Artnet | 14 Works From Art History T...
- From November 3, 2020
Here Are 14 Calming Works From Art History to Help You Relax Despite Everything Giving You Anxiety Right Now
From a rendition of the Buddha to colorful abstractions to domestic scenes, these works may help take the edge off.
Artnet News, November 3, 2020
Whichever side of the aisle you find yourself on this Election Day, you may well be feeling like American democracy hangs in the balance. Millions are marching in the streets, wildfires are burning throughout the American West, and we’ve had so many hurricanes, we’ve started naming them for Greek letters. It’s a bit stressful. So, what can we do if we’ve exercised, had a drink, seen our therapist, and still find ourselves anxious? We have a thought: let’s look at some soothing artworks together.
For starters: You know who is known for calmness? The Buddha, who meditated so hard that he freed himself from all craving and aversion, the twin drives that, he believed, make us so miserable. So, try meditating on this rendition of the Buddha from San Francisco’s Asian Art Museum for a few minutes, and then have a look at a few more artworks that will mellow you a bit. Whether abstract artworks, views of the night sky or the ocean, sweeping landscapes, or views of quiet, homey scenes, we hope they lower your blood pressure.
- Sean Scully
- Fragments of a Touch
- October 31, 2020 - December 31, 2020
- Staatliche Kunsthalle Baden-Baden
Staatliche Kunsthalle Baden-Baden presents the solo exhibition “VALIE EXPORT. Fragments of a Touch” from October 31st until December 31st, 2020. The exhibition focuses on installations and groups of works that highlight a special moment in the artist’s œuvre: touch. The theme of touch is not only to be understood in the physical sense but also includes a media-reflective level. It functions as a definition of the border or even as the transition between realities: between image and space, matter and emptiness, body and environment. Especially in times of social distancing and the Covid-19 pandemic, the theme of the exhibition takes on a special relevance: will it still be possible this year to return to old patterns of behaviour and contact or will the theme of contact and touch remain fragmented, as indicated in the exhibition title?
The pointing to and crossing of boundaries can be found in various media in the œuvre of VALIE EXPORT – both in room-sized installations and in her films. The exhibition will thus show that the means and forms of expression used by VALIE EXPORT are often based on precise observations and analyses of social and media constructions. VALIE EXPORT is considered a pioneer of “expanded cinema”, conceptual photography, installation, performance, work with text and theory. This is also reflected in the selection of works for the solo exhibition: Staatliche Kunsthalle Baden-Baden presents not only large room installations but also a selection of her cinematic work, which is presented in a separate cinema space. The exhibition departs from the usual chronological arrangement of monographic exhibitions and also from the frequently exhibited works from the early creative years of EXPORT. Rather, it follows a deliberate curatorial decision that emphasizes the complexity and interlocking of the most diverse works and media in order to show the development of the artistic motifs, their semantic shifts, their divergent media character, and the diversity of approaches to the theme of touch.
The exhibition is curated by Hendrik Bündge and Luisa Heese, together with Carolin Potthast.
We cordially invite you to our opening day of the show “VALIE EXPORT. Fragments of a Touch”. Due to the current health situation, we will refrain from the classic opening with official greetings and introductions. Instead, we invite you to an individual visit with free admission. In addition, our Café Kunsthalle is open for you. The exhibition can be visited on the opening day between 4 and 10 pm. Registration is not necessary, please be prepared for waiting times at the entrance if necessary and remember to bring a mask.Read more
- VALIE EXPORT
- Rachel Jones joins the Gallery
- October 29, 2020 - October 29, 2020
Galerie Thaddaeus Ropac is delighted to announce that Rachel Jones is joining the gallery. The artist's work was recently included in the group exhibition A Focus on Painting, curated by Julia Peyton-Jones at the London gallery, and her first solo exhibition will be held in the London gallery in Autumn 2021.
Jones is a bold, intuitive artist who uses oil stick and oil pastel to make intensely felt paintings that draw attention to a world of surfaces and appearances and an inner realm of feelings and sensations. She has a distinct, private language that communicates through colour, layering and a visual lexicon that hovers in between the concrete and the enigmatic. Her paintings betray a wisdom beyond her years and we are so proud that she has joined the gallery. – Thaddaeus Ropac
Rachel Jones represents a significant new voice in abstraction. We are honored that ICA Miami is the first US museum to acquire Jones's work, and look forward to continuing to engage with her exciting studio practice. – Alex Gartenfeld, Artistic Director, Institute of Contemporary Art, Miami (ICA Miami), 2020
Rachel Jones explores the possibilities of representation in painting and sculpture with a specific focus on colour and form. She has developed a deeply personal approach to abstraction, exploring self-expression as a bodily, visual and visceral experience and grappling with the challenges of using visual means to convey internal or existential concepts.
A kaleidoscopic palette, boldness of competing forms and interplay of textures creates a rich tension throughout the artist's work. She has described her paintings as comprising an ‘exegesis of colour’, dominated by fiery reds, fleshy pinks and acid yellows set against the counterbalancing coolness of blues and greens.
I try to use colour to describe black bodies. I want to translate all that lust for self-expression into a language that exists outside of words, and instead relates to seeing and feeling with your eyes.
– Rachel Jones
Jones’s paintings are centred around an exploration of her identity in relation to society’s readings of the black body throughout history. Informing this is her research into the depiction of black figures in the arts from the eighteenth century to the present – how they are understood and culturally reproduced, and the potential role of these representations in dismantling existing power structures. She employs abstraction as a way of expressing the intangible, ‘using motifs and colour as a way to communicate ideas about the interiority of black bodies and their lived experience’.
By repeating motifs and symbols across her series, Jones creates associative, even familial, relationships between them, underscoring their kinship as part of her investigation of identity. In recent works, she uses the abstracted forms of mouths and teeth to indicate a symbolic and literal entry point to the interior and the self. The same critical eye that she turns upon questions of cultural identity and selfhood is applied to the language of painting itself, in works that reconsider both traditional and contemporary approaches to colour and form.
As part of the gallery's programme of events for Frieze London 2020, Jones appeared alongside Alvaro Barrington, Mandy El-Sayegh and Dona Nelson for a panel discussion on 'Painting Today', moderated by Julia Peyton-Jones. Watch the conversation here.
Rachel Jones (b. 1991, London, UK) lives and works in London. Jones joined the gallery following her inclusion in the group exhibition A Focus on Painting (2020), curated by Julia Peyton-Jones. She completed her MA at the Royal Academy Schools, London, in 2019. The same year, her work was exhibited alongside Gillian Ayres and Nao Matsunaga at the New Art Centre, Salisbury, and in a solo show following her residency at The Chinati Foundation, Marfa, Texas. She has also exhibited at the Royal Academy of Arts, London (2019 and 2018); Fleming Collection, London (2014); and Royal Scottish Academy, Edinburgh (2013). Jones was awarded the André Dunoyer de Segonzac Hon RA Prize in 2019 and the Machin Foundation Painting Prize in 2018, as well as a residency at the Masterworks Museum of Bermuda Art in 2016.Read more
- Rachel Jones
- Featured on Artsy | Female Minimal: Abstraction...
- From October 28, 2020
'A Fresh Vision of Minimalism Foregrounds Female Artists' by Sophie Haigney
... Anke Kempkes, a curator and art historian, began thinking about decoupling minimal art from Minimalism around 2013.
"There was a big new wave in museums, and among feminist curators at museums, to bring back women artists, but it was almost entirely to read the female avant-garde through figurative and representative art forms ... I felt this was almost too narrrrow a frarmework to look at the contributions of female avant-garde artists. So I chose to look at the notiona of minimal not strictly as Minimal art but as an aesthetic." Kempkes organized a 2020 show witth Pierre-Henrri Foulon at Thaddaeus Ropac's Pantin gallery in Paris called "Dimensions of Reality: Female Minimal." A new iteration of the show will open at the gallery's London space on October 29th ...
Read the full feature on Artsy.netRead more
- GROUP EXHIBITION
- Mandy El-Sayegh joins the Gallery
- October 23, 2020 - October 23, 2020
Galerie Thaddaeus Ropac is delighted to announce that Mandy El-Sayegh is joining the gallery and will have her first solo exhibition at the Paris Marais gallery in Autumn 2021. Her installation Gravity as Fiction(2020) was recently shown at Galerie Thaddaeus Ropac London as part of the group show, A Focus on Painting. curated by Julia Peyton-Jones, Senior Global Director: Special Projects. The gallery will represent the artist in Europe, alongside Lehmann Maupin in the US and Asia.
Mandy's sensibility to the human condition, the subtle portrayal throughout her work of vulnerability, frailty and the layering of the spirit and the body, makes her a distinctive voice of our time. This sensibility is embodied in her art by the imagery itself, whether it is on the floor, the walls or on the canvas. These half-seen shadows of a world we can barely perceive reflect the times in which we live and we are immensely proud to be working with her. – Thaddaeus Ropac
For Mandy El-Sayegh a grid or the news of the day can become a palimpsest for painterly gesture and textual polemic. Layered as flat bed or wrap around environment her work offers profound reflections on the past and the present. Having been nominated for the Max Mara Art Prize and shown at Chisenhale Gallery this is a great and logistical step in establishing her as an important presence on the London art scene. – Iwona Blazwick, Director, Whitechapel Gallery, October 2020
Mandy El-Sayegh's multifaceted practice investigates the possibilities of materials and language through the layering of found fragments and a fascination with the grid, together with her family history, lies at the heart of her work. In her paintings, table vitrines, immersive installations and videos, she creates layered anthologies of found text and images that explore the production and circulation of information, as well as the systems that contain them. As the artist states: 'I’m interested in the erasure of meaning, or the accumulation of meaning through a layering system.'
Combining a range of sources including newsprint, advertisements, anatomy books, the names of military organisations and her father’s Arabic calligraphy, the artist creates ‘forms [that] bring about questions of legitimate and illegitimate readings of culture and context’, as well as the power structures that determine who legitimises such readings. El-Sayegh often places daily tabloid headlines alongside pages from theFinancial Times, chosen both for its flesh-pink tone and stature as an authority on global finance. Untethered from their original contexts, these disparate fragments ‘move, they travel, they contribute to cultural hybridity rather than cultural homogeny’ and take on unexpected new meanings through their proximity. Moving between material, corporeal, linguistic and cultural frameworks, El-Sayegh draws attention to the constant flux of meanings and brings into question the perceived objectivity of language and the media.
In El-Sayegh’s Net-Grid canvases, the overpainted grid functions akin to a fishing net, capturing the detritus and nuances of popular culture, while simultaneously structuring and obscuring any reading. By emphasising the boundaries of her chosen medium, El-Sayegh's grids allude to the systems that shape how information is categorised, contained and understood.
The notion of corporeality is a crucial structuring principle throughout El-Sayegh’s work. In her site-specific installations, newsprint and silkscreened texts are plastered onto the walls and floor with layers of latex that suggest medical associations or tattooed skin. She refers to these collages as ‘suturing’ and to her painted surfaces as ‘skins’, so the metaphor of the body – heightened by her use of latex – grounds these elements in a universally recognisable register. ‘We all have bodies, regardless of our context, political leanings, or position in time’, although our individual experiences within those bodies are shaped by external systems that, in turn, affect how we make sense of the works.
As part of the gallery's programme of events for Frieze London 2020, El-Sayegh appeared in a panel discussion on 'Painting Today' alongside the artists from A Focus on Painting, Alvaro Barrington, Rachel Jones and Dona Nelson, moderated by the exhibition's curator Julia Peyton-Jones. Watch the conversation here.
The artist was also invited by curator Victor Wang to perform as part of this year's Frieze LIVE programme at the Institute of Melodic Healing. Watch the performance here.
Born in Selangor, Malaysia, Mandy El-Sayegh lives and works in London, UK. Her first solo institutional show, the specially commissioned installation Cite Your Sources, was held at London’s Chisenhale Gallery in 2019. Her work has also been shown in exhibitions at the Sursock Museum, Beirut, Lebanon (2019); SculptureCenter, Long Island City, NY, USA (2019); The Mistake Room, Guadalajara, Mexico (2018); Instituto de Visin, Bogotá, Colombia (2018); Sifang Art Museum, Nanjing, China (2017); and the New York Art Book Fair at MoMA PS1, Queens, NY, USA (2016), among others. She was shortlisted for the biannual Max Mara Art Prize for Women in collaboration with the Whitechapel Gallery, London in 2017.
- Mandy El-Sayegh
- Le Prévu et l'imprévu
- October 17, 2020 - October 30, 2020
- PALAIS D'IENA
I am looking for the contrast between figuration and the abstraction of architecture.
– Stephan Balkenhol
Known for his wooden sculptures German artist Stephan Balkenhol presents an exhibition in dialogue with the architecture of the hypostyle hall designed by Auguste Perret.
Fascinated by the city of Le Havre, which was completely rebuilt according to Perret’s plans after the Second World War, Stephan Balkenhol has long been familiar with the work of the architect.
In the unique setting of the Palais d’Iéna, his sculptures become individuals scattered between the aligned cone-shaped columns. The narrative suggested by this anonymous crowd remains open. “My sculptures don’t tell stories. There is something that has to do with secrecy. It is not for me to reveal it, but for the viewer to discover it by himself” comments the artist, who chooses not to reveal specific narratives. In this human comedy populated by fictional characters, several scenarios seem possible.
Stephan Balkenhol carves his figures with a mallet and a chisel directly from tree trunks, often made of wawa or cedar wood, without trying to erase the traces left by the tools. This unique technique creates a feeling of individuality that is specific to each sculpture, further reinforced by the colours chosen to structure and animate the figures. Placed at human height on raw wooden plinths, these men, women and sometimes hybrid beings, as if out of a fable or an opera, seem both distant and in tune with the viewer. “I try to give them an expression open to others, explains the artist. From there on, all situations are possible.”
To plan your visit, RSVP at firstname.lastname@example.org.Read more
- Stephan Balkenhol
- K11 Kulture Webinar Series
- October 15, 2020 - October 15, 2020
Join artists Erwin Wurm and Elmgreen & Dragset for an online panel discussion on 'Art & Ownership in Public Spaces'.
Public art in the 21st century has broken away from its sculptural and taken on a new identity. What is public art nowadays and who decides? The artist or the public? From the likes of Robert Indiana to Richard Serra, there is so much art in the public eye. Who has the last say?
Part of the K11 Kulture Webinar Series, the conversation will be moderated by Camilla Russell, Assistant Manager in Business Development, New World Development.
Thursday 15th October
4pm HKT, 9am BST, 10am CETRead more
- Erwin Wurm