Gilbert & George
- The Great Exhibition
- February 22, 2020 - May 10, 2020
Luma Westbau and Kunsthalle Zürich are showing an extensive retrospective of 50 years of artistic collaboration between Gilbert & George. THE GREAT EXHIBITION (1971-2016) allows unique insight into their visually powerful, boundless – and sometimes provocative – artistic universe.
The exhibition has been created in close collaboration with Gilbert & George and they will be present at the opening in Zürich on the 21 February. For the artists this marks a return to Switzerland 25 years after their solo exhibition at the Kunsthalle Zürich in 1992, curated by Bernhard Mendes Bürgi.
More info here.
- Gilbert & George
- Radical Figures Painting in the New Millennium
- February 6, 2020 - May 10, 2020
77-82 Whitechapel High St
E1 7QX London
Since painting was pronounced dead in the 1980s, a new generation of artists has been revitalising the expressive potential of figuration. Charging their vibrant canvases with a social and political undertow, they echo the words of Philip Guston: ‘I got sick and tired of all that Purity. I wanted to tell stories’.
The paintings of Daniel Richter (b. 1962, Germany) draw from current events – the migrant crisis or Taliban mythology – as do Michael Armitage’s (b. 1984, Kenya) narratives of politics and violence in East Africa, equivocally conveyed in the lush, exoticised style of Gauguin. The rollicking surfaces of Cecily Brown’s (b. 1969, UK) canvases congeal into figures, whose sources range from pornography to art history, before dissolving back into painterly marks.
Nicole Eisenman’s (b. 1965, France) protagonists occupy a brightly lit universe that is both dream and nightmare, while Dana Schutz’s (b. 1976, USA) contorted figures give form to unconscious drives. Tala Madani’s (b. 1981, Iran) primal fantasies of abject men and children shift from comedy to debasement, from paint to shit. Sanya Kantarovsky (b. 1982, Russia) and Ryan Mosley (b. 1980, UK) look to art history, literature and children’s stories in their darkly humorous and carnivalesque scenes.
Artists also critique from within or expand on the styles and subjects of canonical male painters. In Christina Quarles’s (b. 1985, USA) canvases, groups of polymorphous nudes are intimately entwined, merging with graphically patterned surfaces. Tschabalala Self (b. 1990, USA) pieces together paint, fabric and print for a cast of characters inspired by the streets of Harlem. Exuberant and explicit, each artist revels in the expressive potential of paint.Read more
- Daniel Richter
- New York Clearing
- February 4, 2020 - March 27, 2020
NEW YORK'S BROOKLYN BRIDGE PARK
As part of the international art project, CONNECT, BTS, introduced by BTS, pioneering global superstars from Korea, New York’s Brooklyn Bridge Park Pier 3 will be the site of the creation of a vast ‘drawing in space’ by internationally acclaimed British artist Antony Gormley, which will be on show free to the public from 5 February – 27 March 2020.
New York Clearing (2020) is conceived as a single line made up of more than 11 miles of square aluminium tubing that loops and coils without beginning or end, turning itself into an environment for the viewer that counters the grid of modernism and the city with swooping lines of energy. It will be situated on a landmark site at Pier 3, in Brooklyn Bridge Park, overlooking the East River.
Speaking about New York Clearing, Antony Gormley said: “This is the first time that I have attempted to make Clearing without architectural support. I am enormously excited about the opportunity of making this energy field in conversation with Manhattan across the waters of the East River. It can be seen as an evocation of human connectivity, a materialisation of the energy of the people that view it and the people that made it.”
“We’re honoured to host Antony Gormley’s New York Clearing here at Brooklyn Bridge Park,” said Eric Landau, Brooklyn Bridge Park President. “We have a long history of incredible art installations in the Park, and can’t think of a better place than Pier 3 for this amazing piece.” CONNECT, BTS is an international art project taking place in five cities on four continents, introduced by BTS, open free to the public in Berlin, Buenos Aires, London, New York and Seoul, and developed by a group of curators under the artistic direction of independent Korean curator, Daehyung Lee.
CONNECT, BTS draws motifs from parts of BTS' philosophy that centers around diversity, love and care for the periphery as well as communicating and fostering connections that transcend barriers. Other artists featured in the project include: Jakob Kudsk Steensen (Serpentine Galleries, London), performances by 17 international artists including Jelili Atiku, boychild with Josh Johnson and Total Freedom, Cevdet Erek, Marcelo Evelin, Bill Fontana, Maria Hassabi, Mette Ingvartsen with Will Guthrie, Baba Murah and Candomblé Berlin, Antonija Livingstone and Nadia Lauro with Mich Cota, Kennis Hawkins and Stephen Thompson (Gropius Bau, Berlin); Tomás Saraceno (CCK, Buenos Aires); Ann Veronica Janssens and Yiyun Kang (Dongdaemun Design Plaza, Seoul).Read more
- Antony Gormley
Emilio Vedova Foundation
- Film screening Emilio Vedova. Dalla parte del na...
- January 25, 2020 - January 25, 2020
- Paris Pantin
To celebrate the last days of the exhibition Georg Baselitz, Time, join us for the French premiere of Emilio Vedova. Dalla parte del naufragio (2019), a documentary film which highlights the great friendship that united Georg Baselitz and Venitian painter Emilio Vedova.
The documentary on the life and work of Emilio Vedova is directed by Tomaso Pessina with the participation of award-winning Italian actor Toni Servillio reading Vedova’s diaries. The film also features interviews with leading figures from the art world, such as Georg Baselitz, Renzo Piano, Carla Schulz-Hoffmann, Germano Celant, Karole Vail, and contains some powerful and unpublished archive material from the Fondazione Vedova.
Screening will start at 4pm. Film in original version with English subtitles.
Duration: 68 min.Read more
- Emilio Vedova Foundation
- The stained glass windows of the Reims cathedral
- January 16, 2020 - January 16, 2020
- Paris Marais
On the occasion of the exhibition Imi Knoebel: was machen Sie denn (on view until 18 January in the Marais gallery), join us for a special evening dedicated to the exceptional artistic project led by the German artist in the Reims cathedral. After the six stained glass windows created in 2011 to celebrate the 800th anniversary of the cathedral, Imi Knoebel was invited to create three other works in 2014 as a symbol of Franco-German reconciliation 100 years after the outbreak of the First World War.
Caroline Smulders - gallerist and cultural actor - and Marc Nouschi - academic and former director of cultural affairs of Champagne-Ardenne, who followed the project closely, will share the secret history of this spectacular public commission on Thursday January, 16th at 7pm.
Free access upon availability.Read more
- Imi Knoebel
- In Conversation: Elizabeth Peyton
- December 13, 2019 - December 13, 2019
- National Portrait Gallery
13 December 2019, 19:00
Ondaatje Wing Theatre, National Portrait Gallery
Tickets: £10 (£8 concessions and Gallery Supporters)
Elizabeth Peyton talks to curator Lucy Dahlsen about her current exhibition Aire and Angels.
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.
Lucy Dahlsen is the curator of the exhibition Elizabeth Peyton: Aire and Angels and former Associate Curator, 20th Century and Contemporary at the National Portrait Gallery. Whilst at the Gallery, Lucy Dahlsen curated solo displays of work by contemporary artists including Njideka Akunyili Crosby, Samuel Fosso, Luc Tuymans and Thomas Price. She also co-curated the Gallery's exhibition Michael Jackson: On the Wall and was assistant curator on exhibitions including Howard Hodgkin: Absent Friends and Giacometti: Pure Presence.Read more
- ELIZABETH PEYTON
- November 30, 2019 - February 9, 2020
Imran Qureshi is arguably one of the most celebrated artists to emerge from Pakistan in the last twenty years. This new exhibition at QUAD will offer an insight into the world of contemporary miniature painting – core to Qureshi’s practice – from Pakistan. Rooted in the tradition of 16th Century Mughal art and culture, contemporary miniature painting has at its core the National College of Art (NCA) in Lahore, where this discipline has been taught since the early 1900s.
The project in Derby will be divided into two main but inter-linked parts: a display of works by Imran Qureshi in QUAD Gallery One and the ‘Maktab’, an itinerant painting academy which will be set up in the QUAD Gallery Two.
The new exhibition in QUAD Gallery One by Qureshi will feature an installation made from over 30,000 pieces of paper forming an immense ‘paper mountain’. This centrepiece of the exhibition references those ‘...who have been buried without their lives honoured or the circumstances of their deaths investigated’. The exhibition will also include his signature miniature works, recent larger-scale works on canvas, and the UK premier of new video works that focus on everyday life in Pakistan.
The Maktab painting school in QUAD Gallery Two is a live durational event by seven emerging miniature painting artists from Lahore, Pakistan: Shah Abdullah, Fizza Hussain, Syed Hussain, Sajid Khan, Zarina Khan, Tahir Ali Sadiq and Eesha Suhail. The artists are recent graduates from Lahore NCA, who took part in the first Maktab in 2018 at Lahore Biennale. They will be present and working in the Gallery, which will be transformed into a Maktab painting studio from 28th November until 10th December. The artists will be making new works in the gallery space together with a group of artists from the UK, the paintings produced will then become part of the exhibition.
The exhibition in QUAD Gallery Two will also showcase work by six young contemporary miniature painters currently studying under Qureshi at the National College of Art in Lahore: Aliya Kazim, Altamash, Hamida, Hamna Khalid, Hira Asim and Natalia Ashraf. Imran Qureshi has taught at the NCA since graduation and has always considered teaching an integral part of his practice.
More info here.Read more
- Imran Qureshi
- Gallery Talk: A Conversation on Georg Baselitz
- November 30, 2019 - November 30, 2019
- Paris Pantin
Saturday 30 November, 4pm
The conversation between Philippe Dagen, historian and art critic, and Frédérique Goerig-Hergott, Chief Curator at the Unterlinden Museum in Colmar, will take place in Georg Baselitz's exhibition Time at our Pantin gallery. In these new paintings and drawings, he pays artistic tribute to Elke, his wife of nearly sixty years and a constant source of inspiration in the evolution of his artistic practice.
Dagen and Goerig-Hergott (curator of Corpus Baselitz at the Unterlinden Museum in 2018) will discuss Baselitz's recent work as an intimate meditation on old age, in relation to the meaning of love and the function of portraiture. They will broaden the scope of the conversation by situating the importance of Baselitz's work both today and within the context of 20th and 21st century art history. As Goerig-Hergott describes, ‘Ever since the Avignon series which was exhibited at the Venice Biennale in 2015, the paintings of this new cycle, based on the observation of his own body and that of his wife Elke, refer to his old paintings, his memories and the great masters of art history. Through the repetition of the motifs created with the highest sense of urgency, Georg Baselitz reminds us that it is not a question of continuing his life, but of constantly starting it over.’
In Heinz Peter Schwerfel's documentary film Baselitz 2017, which will be screened before the discussion, Baselitz explores the importance of his recent work, which is increasingly focused on his personal universe, and the artist is presented with certain statements he made earlier in his career to describe what has changed, and what will never change.
Free access upon availability. The conversation will take place in French.Read more
- Georg Baselitz
- 2019 Beyond - Abu Dhabi Art
- November 21, 2019 - February 29, 2020
‘A Thousand Faces’ is a site-specific commission by Abu Dhabi Art across two venues: Al Jahili fortress in the city of Al Ain and at Qasr al Hosn in Abu Dhabi.The title of the exhibition references anthropologist Joseph Campbell’s text The Hero with a Thousand Faces, a comparative mythology that questions the shared narratives across different cultures.
Artist Oliver Beer’s project interrogates an idea evoked in the Louvre Abu Dhabi collection, that of universal creativity that “transcends individual cultures of civilisations, times or places”.[1 link]
At Al Ain, the labyrinthine rooms of Al Jahili fort will house a vibrant series of new video works, titled ‘Reanimation Paintings’. 1,000 children each contributed a drawing to this monumental communal animation project conceived by Beer, based on paintings from the Louvre Abu Dhabi collection.
Each child was asked to copy and reinterpret a painting, using their imagination. These new drawings were scanned and printed onto 16 millimetre film to create a single static animation loop of each artwork.
The film is projected in the same format as the original works of art. Thanks to the differences of the children’s interpretations, the work becomes a vibrating canvas, its surface constantly changing and recreated. The films engage with the collection in a plural reimagining of each artwork. Alongside these films hangs one of Beer’s signature ‘Two-Dimensional Sculptures’, featuring a dissected and recomposed body of an oud – a musical instrument that has historically traversed borders. There are also ancient swords and daggers of diverse origins, covered in musical graffiti using the scores of a radical 12th century woman composer, Hildegard of Bingen, whose music has crossed centuries of cultural change.
At Qasr al Hosn fort, a further chapter of Beer’s ‘Reanimation’ project uses fragments of animated films of Aladdin from three continents, remixed and reanimated. Beer isolates a famous sequence from the story, when the genie emerges from the magic lamp. The artist uses his reanimation technique, passing three historic versions through the hands and minds of children of diverse backgrounds in this region. The films that come together are Lotte Reiniger’s The Adventures of Prince Achmed (1926), a Japanese anime fantasy Aladdin and the Wonderful Lamp (1982) and Walt Disney’s Aladdin (1992).
Together, the works of ‘A Thousand Faces’ – each layered with subtle historical and aesthetic references – interrogate the idea of universal creativity and how individual actions and gestures contribute to the culture of which they are a part. Beer says of the exhibition: “The images we make, the stories we tell and the songs we sing are in a constant state of flux and exchange; but certain ideas and tropes seem to recur across civilizations, and are constantly borrowed, transformed and subverted. Our cultures are rapidly shifting … The thousands of individuals who have contributed to the ‘Reanimation Paintings’ are each essential to the work. Their individual efforts become subconsciously perceptible within the whole, absorbed into a flickering communal creative work.”
- Oliver Beer
- 'I have turned my only face…'
- November 21, 2019 - February 2, 2020
- The State Hermitage Museum, Saint Petersburg, Russia
As a boy Adrian Ghenie came across a catalogue of Dutch paintings from The State Hermitage Museum, St Petersburg, which had a profound effect on him, forming the basis for his encyclopaedic knowledge of art history. In his solo exhibition in the White Hall at the Hermitage Museum, “I have turned my only face…” Paintings by Adrian Ghenie, the artist’s new works make reference to the work of the Old Masters in an artistic homage to the museum’s collection.Read more
I remember there was a window open and a curtain blowing in the wind; this detail and the memory of it gave me a lot of peace. To me the museum felt like a home for art, not like a temple to art.
– Adrian Ghenie recalling his first visit to the museum in 2017
Taking its title from 'On horseback at dawn' by Romanian poet Nichita Stănescu (1933–1983), the exhibition is curated by Dmitry Ozerkov, Head of the Hermitage's Department of Contemporary Art, and Anastasia Veyalko, Junior Researcher and supported by Galerie Thaddaeus Ropac. In these new works the artist has deconstructed the image more than ever before, inviting the viewer to decipher the shifting forms in his sensuously painted canvases. As he describes, ‘the eyes don’t recognise the figure but the brain knows it is there’. These works continue Ghenie’s sustained engagement with the history of painting, recontextualising the aesthetic strategies of his predecessors, including Henri Rousseau, Vincent van Gogh and Théodore Géricault.
The dialogue Ghenie establishes with the Dutch Old Masters is conveyed with particular intensity as they hang in the same museum space. The fact that the viewer is able to repeat the artist’s journey and walk through the galleries that house these masterpieces is a unique situation. The locus of the Hermitage galleries forms a particular world of references and symbols in which Ghenie’s paintings exist.
– Anastasia Veyalko
Ghenie's The Hunter (2019) relates to Hunter with Dog in a Landscape (1625) by the Flemish painter Jan Wildens (1586–1653), which has formed the basis for several paintings and a related drawing also on view. The original is a typical genre scene in which a huntsman, flanked by his three dogs, stands in a confidently contrapposto pose, holding the rabbit he has caught. In Ghenie’s version the hunter is virtually subsumed by a maelstrom of textures, barely recognisable through the diagonals of his staff and leg, and the two abstracted dogs at his feet. Taking its title and subject from the 1649 painting Farm by Paulus Potter (1625–1654), which the artist has known since childhood, Ghenie’s riff on the theme conveys the impression of a writhing animal mass against a backdrop of corrugated iron and sunset sky, identifiable as cattle from the repeating horn shapes. Sharing the Old Masters’ fundamental concerns with both composition and colour, the works that Ghenie has selected are characteristic of genre and landscape painting of the period, and therefore their representative function is more important to him than their individual status.
Ghenie’s work does not break with tradition but is linked to it through the introduction of a whole system of readable allusions: recognisable subjects, details, colour tones. He establishes particular interrelationships with the art of the past, entering into dialogue with it, as if constantly looking back to his own childhood memories. In searching for a creative tension between abstraction and figuration, Ghenie makes paintings that are similar to traditional oil paintings but the techniques he uses to apply the paints are by no means traditional. – Anastasia Veyalko
Throughout his oeuvre, Ghenie interweaves his situation with his state of mind, oscillating between the personal and the collective to create works that are simultaneously sensitive and provocative, embracing uncomfortable themes with a boldness that harks back to the innovatiions of his predecessors. Henri Rousseau (1844–1910) has long been a figure of fascination for Ghenie, who he regards as ‘the first abstract painter’ due to Rousseau’s detached treatment of surface composed of flat, overlapping planes and grids that foreshadowed many aspects of Modernism. Ghenie’s recent exhibition Jungles in Paris at Galerie Thaddaeus Ropac Paris is testament to his sustained engagement with the French artist and his second rendition of Antelope Attacked Near Gas Pipe further explores this violent yet seductive subject. A similar scene is depicted in Ghenie’s Untitled (after Rousseau) (2019), based on Kunstmuseum Basel’s Jungle with Setting Sun (1910), in which a dark figure wrestles with a wild jaguar against the tumultuous sky. In The Raft 2 (2019), Ghenie also reprises his contemporary analogue to The Raft of the Medusa (c. 1818–19) by Théodore Géricault (1791–1824), a previous version of which was recently exhibited at Palazzo Cini during the Venice Biennale. Ghenie depicts a mass of vulnerable limbs against the turbulent blue sea and sky, reminiscent of the harrowing images on the news, showing the perilous journeys that refugees are forced to make to flee conflicts.
Continuing his six-year series of ‘hybrid self-portraits’, Ghenie’s small but intense canvas Lidless Eye (2019) is inspired by Vincent van Gogh’s late Self-Portrait from 1889. When he visited Paris as a student in 1988, Ghenie’s first encounter with this famous painting in the Musée d’Orsay had a profound psychological impact on him. One of the most distinctive examples of portraiture, Ghenie painted Self-Portrait as Vincent van Gogh in 2012, before expanding and elaborating upon this theme in a number of works created between 2015 and 2017. As the artist has explained, ‘What intrigued me about van Gogh is this difference between the reality of his actual existence, which was a complete nightmare from top to bottom, and van Gogh the cliché, which is a beautiful fantasy.’ In this work, van Gogh’s distinctive features are combined with Ghenie’s own, visually representing the processes of inspiration and influence. The title reflects Ghenie’s belief that artists perceive the world differently – their eyes are lidless because the creative mind never sleeps, but is always watching and looking.
Ghenie’s artistic method can be seen as a search for ideas in the real world that then undergo various transformations. By bringing these subjects, inspired by the world around him, into the new context of artistic space, he reveals them in an entirely different way: the original motif he encountered becomes subordinate to his own vision, to a new interpretation, to a mixture of other motifs; to a process of simplification or, on the contrary of complexifying through the addition of details. Ghenie’s childhood exemplars of Old-Master paintings are now replaced by his own memories and spontaneous feelings, which he transforms within the pictorial space. – Anastasia Veyalko
The exhibition is accompanied by an illustrated catalogue that includes an interview with Adrian Ghenie and essays by the curators.
- Adrian Ghenie