• Emilio Vedova Foundation
    Past | Present

    In honour of Germano Celant (1940–2020), we look back at the last exhibition he curated, Emilio Vedova at the Palazzo Reale, Milan (6 December 2019 – 9 February 2020), a major retrospective to mark the centenary of the Italian artist’s birth. The two first worked together on the occasion of Vedova’s 1984 exhibition in Venice, described by Celant as ‘an intense experience which initiated a forthright and sincere conversation about his work which would be extended into a friendship and collaboration over the years that followed, through to his death in 2006.’

    In the historical setting of the Palazzo Reale’s Sala delle Cariatidi, which still bears the scars of bombardment during WWII, this exhibition was conceived as a dialogue between two key periods of Vedova’s work: his Plurimi of the 1960s, and the large Tondi and floor-mounted Dischi from the 1980s. The relationships between these works, amplified through the innovative use of mirrors in the space, conjured the ‘clash of situations’ that was so central to Vedova’s vocabulary.

    Emilio Vedova’s work, I wrote in 1984, is not easily manageable, and trying to take it in from only one angle risks neutralising it. Instead, accepting it in all its complexity means losing oneself in an archipelago of islands and volcanic atolls, subject to the fluctuations of the tides of time. […] There is nothing monistic about Vedova: he is heterogeneous. He doesn’t proceed in a tame fashion but by friction and collision. He shreds the rules to retie the Gordian knot of painting and painted sculpture. – Germano Celant

    Read Celant’s full curatorial statement here.

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    Exhibition Dedicated To Supporting Young Artists
    Paris Pantin

    60 Artists Selected By Jeune Création To Show Works At The Large-Scale Pantin Gallery Space In September 2020

    All Sales Proceeds To Go Directly To The Artists And Their Galleries 

    Galerie Thaddaeus Ropac is delighted to announce that it will dedicate its 2,000m2 exhibition space at the Paris Pantin gallery to an exhibition that will support young and emerging artists and galleries. The Ropac gallery's infrastructure will promote the exhibition of 60 international artists selected to participate by the Jeune Création committee, to foster much-needed sales of their work at a critical time. The show will be on view from 12-26 September 2020 with all sales proceeds going directly to the artists and their galleries.
    Thaddaeus Ropac comments, 'This is an unprecedented time for so many, but within our art world community it is particularly challenging for the next generation of artists and young galleries. By offering our largest gallery space and our full infrastructure to present work by 60 young artists we can support those in our community who are most in need.'
    Jérémy Chabaud, director of Jeune Création, states, 'In this troubled period of health crisis, Galerie Thaddaeus Ropac and Jeune Création unite with vigour and reinforced solidarity to celebrate the 70th edition of Jeune Création and affirm their support to artists. Everyone will be invited to create, reflect and act together in favour of creative freedom.'

    About Jeune Création

    Founded in 1949, Jeune Création has been supporting young emerging artists for over 70 years. Their exhibition presents the works of around 60 artists, in addition to a varied program of performance, photography and video, reflecting the diversity of current practices and bringing the total of participating artists to about a hundred. The selection committee comprises artists from previous editions and specially appointed guest panellists, and independent prizes are awarded. This is the third occasion that Galerie Thaddaeus Ropac has collaborated with Jeune Création.

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  • Antony Gormley


    Galerie Thaddaeus Ropac has included Antony Gormley's drawing SET V (2018) in a dedicated viewing room 'Artworks Benefiting Those Affected By Covid-19' in the inaugural online Frieze Viewing Room, New York edition.

    Each gallery has chosen one artwork and a charity to support through the funds from the sale of this work, and Galerie Thaddaeus Ropac will donate 100% of proceeds from the sale of Antony Gormley's drawing to the World Health Organisation.




    Artwork: Antony Gormley, SET V, 2018. Carbon and casein on paper. 38.2 x 27.9 cm (15.04 x 10.98 in). 


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    This week’s Culinary Arts section reflects on how the kitchen is also a political and gendered space. 

    In her seminal film Invisible Adversaries (1976) VALIE EXPORT problematizes the gendered imbalance of domestic tasks. ‘One of of the richest avant-garde features of the 1970s’ (J. Hoberman) the film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her.

    Like the hostile alien forces, society’s expectations of women also present a threat to the female sense of self. In the film, the kitchen becomes a hostile space. A specific scene showing the preparation of a meal conveys the automated and oppressed experience of womanhood. Through skillful montage and poignant imagery, VALIE EXPORT shocks the viewer out of patriarchal patterns of thought. 



    As we are all trapped in our houses during lockdown, the home is becoming an increasingly violent place for many people. Domestic abuse cases are rising rapidly, calls are ‘up 25% since lockdown’ in the UK according to the BBC and more than 32 % in France according to Reuters. If you would like to donate to help those who are affected we have linked charities below: 




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  • Rosemarie Castoro Estate

    In a short clip released by the Centre Pompidou, Christine Macel, Chief Curator of Contemporary Art, explains the subtle feminist innuendo of Rosemarie Castoro's artwork Armpit Hair (1972) following the museum's acquisition. 

    Working in close dialogue with minimal art, American artist Rosemarie Castoro (1939–2015) declared herself ‘a paintersculptor’, transcending the medium-specificity of painting by giving the brushstroke a sculptural quality, enlarged to an enormous scale within the surrounding architecture. 

    In Armpit Hair (1972), a single giant brushstroke stretches across the wall, extending itself through its impressive scale with a uniformly applied, thick impasto. The rapidity of execution of the imagined brushstroke contrasts with the laborious process of its construction, as it was carefully crafted out of Masonite, wood, gesso, graphite and modelling paste. In this work, Castoro plays out the fantasy of being ‘a giant caught in a building’, performing gigantic brushstrokes in her studio that are also stand-ins for her own body parts.

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  • Wolfgang Laib

    For Wolfgang Laib, pollen is an extraordinary substance that signifies renewal, boundless energy, the temporal, the eternal, and the cycle of the seasons. This Spring more than ever, the process of solitary, humble harvesting has become a resonant metaphor for the way that nature — and art — can prompt us to search for meaning and our place in the world, a thought expressed in a statement released by the artist.

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    Images: Wolfgang Laib. Untitled, 2002 Oil pastel and pencil on paper Sheet. 63 x 90 cm (24,8 x 35,43 in) Frame 75,5 x 102,5 x 1,5 cm (29,72 x 40,35 x ,59 in).

    Wolfgang Laib, Collecting Pollen, handwritten statement, May 2020. 



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  • Antony Gormley

    The Israel Museum in Jerusalem has invited British artist Antony Gormley to a Live Salon session with IMJ Director Professor Ido Bruno to talk about his work. The Live Salon is part of the Museum's virtual outreach program which brings the Museum into everyone's home and invites the viewer to the artist's studio. In this interview Antony Gormley is talking how he revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. One of his life size figures of the IMJ collection called Lost Subject sculpture is currently on display at the Bodyscapes exhibition.

    THURSDAY, MAY 21, 2020

    European time 7PM


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  • Andy Warhol
    Read 'Warhol and Dance' (2010)


    ‘I never wanted to be a painter…I wanted to be a tap-dancer.’ Andy Warhol, 1966
    Dance can enliven us now more than ever, and here, we look back at Andy Warhol’s rare and graceful 1950s line drawings of dancers which Neil Printz, editor of the Andy Warhol Catalogue Raisonné, called his ‘Warm-up drawings’. To complement Warhol’s recently opened retrospective at Tate Modern, we are pleased to share our exhibition catalogue 
    Warhol and Dance (2010), which you can access in full including an essay by dance critic Anna Kisselgoff.
    The lively line drawings refer to personalities who took part in the amazingly diverse growth of American dance in the 1950s. Ranging from references to ballet to modern dance, as well as tap dance and ethnic forms, these drawings reveal Warhol’s fascination with performance and the brilliance of the portraits he made throughout his career.
    While Tate Modern is currently closed to the public, their 
    exhibition guide is available online and it is the subject of BBC 4's upcoming series, Museums in Quarantine. Galerie Thaddaeus Ropac has worked closely with the artist and the Warhol Foundation since the 1980s, exhibiting his renowned Campbell's Soup Boxes and Heads After Picasso from the mid-1980s, as well as his more intimate drawings such as the Dance (1952–54) drawings.



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  • Adrian Ghenie
    Recent Releases

    Adrian Ghenie, ‘the world’s most exciting painter under the age of 50’ according to Jackie Wullschlager, Chief Art Critic for the Financial Times, was recently the subject of a  landmark exhibition at the Hermitage museum, I have turned my only face. We are pleased to announce the launch of the much-anticipated catalogue co-published by the Hermitage and the gallery, as well as a comprehensive monograph spanning his painting practice since 2014 published by Hatje Cantz, and a literary essay by French writer Yannick Haenel from Actes Sud. 

    On this occasion we have made Ghenie’s interview by Dimitri Ozerkov from the Hermitage catalogue available to read in full, as well as excerpts from the gallery’s recent publications on the artist. 

    In her article on the role of nature paintings in times of crisis, Jackie Wullschläger highlights the visionary landscapes by Adrian Ghenie, the ‘Romanian maestro of dystopian scenography’ (article available here).

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    Adrian Ghenie: I have turned my only face

    Co-published with The State Hermitage Museum, St. Petersburg, Russia
    Introduction by Mikhail Piotrovsky, texts by Dimitri Ozerkov, Anastasiia Veialko, conversation between Adrian Ghenie and Dimitri Ozerkov

    Take a virtual tour of the Hermitage’s Dutch collection which inspired the artist.

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    Adrian Ghenie: Paintings 2014 to 2019

    Published by Hatje Cantz
    Edited by Juerg Judin

    A comprehensive monograph tracing the development of the artist’s practice from 2014 and featuring new scholarship by art historians Pamela Kort and Michael Peppiatt, with a text by Juerg Judin.  

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    Adrian Ghenie: Déchaîner la peinture

    Published by Actes Sud | Beaux-Arts
    Essay by Yannick Haenel

    An inspired and feverish essay on Adrian Ghenie’ (The Art Newspaper) by French writer Yannick Haenel which reflects on painting in an age of image saturation and flux.

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    Explore our Adrian Ghenie publications

    Read In Praise of Shadows, Conversation Between Adrian Ghenie and Dimitri Ozerkov

    As a boy Adrian Ghenie came across a catalogue of 17th and 18th century Dutch paintings from the Hermitage Museum, which had a profound effect on him, forming the basis for his encyclopaedic knowledge of art history. In his solo exhibition at the Hermitage, the artist’s new works reference the paintings of the Old Masters in an artistic homage to the museum’s collection.

    The balance of the canvas is like the twisting branches of trees: they grow from all sides, here and there they meet at right angles, but they never intertwine and never get tangled. – Dimitri Ozerkov


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    Exhibition views, 'I Have Turned My Only Face', The State Hermitage Museum, St. Petersburg, Russia, 2019


    Read a poem by Ghérasim Luca in light of Adrian Ghenie’s Jungles in Paris paintings

    The title Jungles in Paris is drawn from Henri Rousseau’s exhibition at Tate Modern in 2005–06, which inspired Ghenie’s series of works exploring the juxtaposition of urban Paris with the wild, untethered jungle. Alongside his paintings, the publication includes Ghenie’s collages and charcoals that reveal his approach to composition and movement. It opens with Self-Shadowing Prey (c. 1989), a visually forceful poem by Romanian-born, Paris-based writer Ghérasim Luca (1913–1994) which resonates with Ghenie’s sensibility and iconography.


    Adrian Ghenie: Jungles in Paris

    Galerie Thaddaeus Ropac, Paris Marais, 2018
    Poem by Ghérasim Luca

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    Exhibition views, Jungles in Paris, Galerie Thaddaeus Ropac, Paris Marais, 2018


    Read a passage from curator Luca Massimo Barbero’s essay on The Battle Between Carnival and Feast

    Adrian Ghenie experiments with colour in ten paintings produced specifically for his exhibition at the Palazzo Cini in Venice. Here, Ghenie’s abstract figural paintings are presented alongside a text by art historian Luca Massimo Barbero which envisions Ghenie’s work as a shifting, unstable battleground in which sparring ideas and images confront the tradition of European painting.

    The chronicle of the new portraits breaks in like a battle. The sudden lightning, the liquefying construction, the portrait like an impossible, yet true mask. Painting as the drama of a feast. – Luca Massimo Barbero 




























    Adrian Ghenie: The Battle Between Carnival and Feast

    Palazzo Cini, Venice, 2019
    Text by Luca Massimo Barbero

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    Exhibition views, The Battle Between Carnival and Feast, Palazzo Cini, Venice, coinciding with the 58th Venice Biennale, 2019



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  • Jean-Michel Basquiat
    [PAST | PRESENT] Jean-Michel Basquiat

    Thaddaeus Ropac shares his early memories of the legendary artist Jean-Michel Basquiat’s second exhibition at the gallery:

    The winter of 1986 had been long and severe in New York City and I still remember the day I visited Basquiat in his studio. We met to discuss the exhibition we were planning for  that July in Salzburg. We spoke at length about Salzburg’s history of music, which he didn’t know. As a result of our conversation, he created the fantastic work Saxophone, in which he presented his personal idea of music. The highlight of this exhibition ended up being the work Rubber, which depicts a central figure emerging out of the fires of hell.


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    Exhibition poster


    Exhibition catalogue 

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