- 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.
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- Imran Qureshi
- '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 General Staff building 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
- 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
James Rosenquist Estate
- SCREENING OF UNSEEN FILM FOOTAGE: JAMES ROSENQUI...
- November 5, 2019 - November 5, 2019
- London ELY HOUSE
Screening & Discussion: 7pm
Limited capacity, please RSVP to reserve a seat. Seats will be allocated on a first come, first served basis.
The event will be live-streamed on our Instagram channel.
SCREENING OF UNSEEN FILM FOOTAGE: JAMES ROSENQUIST AND HANS ULRICH OBRIST ON OCCASION OF JAMES ROSENQUIST: VISUALISING THE SIXTIES, CLOSING 22 NOVEMBER 2019
Galerie Thaddaeus Ropac is delighted to present an unseen film documenting Hans Ulrich Obrist's (Artistic Director, Serpentine Galleries) interview with James Rosenquist, which forms part of Obrist's ongoing 'Interview Project', an expansive series spanning over three decades of conversations with artists, architects, curators and cultural commentators of our time.
This is the first screening of the discussion that took place between Rosenquist and Obrist in Miami in 2005. Their broad-ranging conversation touches on topics as diverse as Frank Gehry, Marcel Duchamp, Hollywood movies and Eastern literature. The film gives unique insight into Rosenquist's influences and the rich ideas informing his work, while highlighting Obrist's enormous skill as an interviewer, offering viewers a sense of the pioneering artist in all his complexity.
The film will be introduced by a short discussion between Hans Ulrich Obrist and Julia Peyton-Jones (Senior Global Director: Special Projects) looking at the 'Interview Project', in general terms, and Obrist's observations about Rosenquist, in particular, as well as some of the many artists and architects Obrist has spoken with over the course of the series.
[Left: James Rosenquist in his Aripeka Florida Studio, 1988 © Russ Blaise. Right: Hans Ulrich Obrist © Wolfgang Tillmans.]
- James Rosenquist Estate
- Expanded Arts
- October 23, 2019 - January 12, 2020
The exhibition VALIE EXPORT: Expanded Arts, presented by the Pavillon Populaire de Montpellier, pays tribute to the photographic work as well as the films created by the artist since the 1960s/70s. They are the central theme of this exhibition, explored through her rarely shown conceptual photography works and her famous experimental installations gathered here under the name "Expanded Cinema".
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- VALIE EXPORT
- October 18, 2019 - April 19, 2020
Busan Museum of Art
This exhibition represents the inaugural event in a new series called “Lee Ufan and His Friends” at Space Lee Ufan. The first solo exhibition in Korea of new works by Gormley will include sculptures FALL II, DOUSE, STREAM, and REACH III from his ’Rooter’ series, together with 16 drawings.
While Antony Gormley and Lee Ufan belong to different generations, their works have much in common in terms of artistic context. When Lee spoke with Gormley for this exhibition, he said, “Although I do not represent my body in my work, I feel a deep sense of familiarity with you regarding the fact that my body mediates my work.” In turn, Gormley remarked, “The body is our spaceship, the vehicle or vessel through which all our impressions of the world come and through which all expressions of vitality are communicated. I have no interest in telling stories, but I do want to engage with life - that is art’s only purpose.” The two artists share more than that. In their work, both actively invoke the contextual meaning of the space in which a work is installed, and they go beyond the conventional aesthetics of representation or reproduction to explore relationships with the world and with society. Having the two artists’ works mounted within the same space makes this exhibition particularly significant, in that it will allow viewers to compare the two artists’ approaches to their work and to the world. Such comparisons promise an intriguing experience, as both have moved beyond the minimalist or conceptual trends found in American art to subvert the conventions of art. In viewing works by two artists whose interpretation is never confined to the criteria of conventional “beauty,” viewers may find this a pivotal moment for absorbing renewed artistic meaning.
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- Antony Gormley
- Aire and Angels
- October 3, 2019 - January 5, 2020
National Portrait Gallery
St Martin’s Place
Created in close collaboration with the artist, the exhibition is accompanied by a series of displays within the Collection, positioning Peyton’s art within the context of historic portraiture. Having occupied a central place within visual art since coming to prominence in New York in the early 1990s, her work demonstrates an intensely personal and increasingly expansive understanding of the genre.
Elizabeth Joy Peyton (b.1965) is one of the preeminent artists working today. She paints still lifes and landscapes, but above all, portraits: of friends, lovers, heroes, admirations, inspirations and fascinations. Her subjects include artists, activists, actors, athletes, dancers, musicians, queens, princes, politicians and poets. Captured from life, memory, literature and imagination, through found images and photographs, amongst many things her art explores love, individuality, beauty and the passing of time
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- ELIZABETH PEYTON
Rosemarie Castoro Estate
- October 9, 2019 - February 2, 2020
10 Rue des Vieux-Grenadiers
Traversing the most recent modernist narratives—namely Minimal and Conceptual art—Rosemarie Castoro’s work tirelessly explores the things that elude the latters’ grasp: the context of enunciation, of course, but also the psychological and social implications of the body as a physical instrument. She explores the potential of abstract and monochrome painting, then expands their sphere and modes of operation, in formal terms, to incorporate the body, and even the exhibition space—a conceptual extension, both diagrammatic and linguistic. In so doing, Castoro applies a hitherto structuralist, reductionist language to poetry, and distorts elementary forms by her haptic, integrated, sexualized treatment. As an erstwhile participant in the reflections of the Art Workers’ Coalition, she approached the modernist heritage from a social and political perspective.
From 1965 to 2015, Rosemarie Castoro developed a body of work in which “contingency” may be seen as a connecting thread, signifying a determination to free herself from the rhetoric of the masculine values of permanence and the absolute. Organised into chapters, the exhibition offers a retrospective journey through the practice of an artist who favored transgression and metamorphosis over orthodoxy and linear progression.
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- Rosemarie Castoro Estate
- October 1, 2019 - January 19, 2020
1 Rue de la Légion d'Honneur
When he arrived in France in 1980, aged twenty, Yan Pei-Ming immediately headed to Paris to discover the works of Gustave Courbet, then exhibited at the Musée du Louvre. Thirty-nine years later, considered one of the most masterful painters of our time, he was inspired by A Burial at Ornans, a masterpiece of realism, to create A Burial in Shanghai, specially designed for the Musée d’Orsay to celebrate the 200th anniversary of Courbet’s birth.Read more
On the occasion of this anniversary, Yan Pei-Ming has realized A Burial in Shanghai (Celestial Mountain, My Mother, The Farewell), a work consisting of three panels, in three different styles, from the most expressionistic to the most minute.
The first piece features mountains painted in an expressionistic style, verging on abstraction: “It is an idealized landscape, heavenly perhaps, where I would hope for my mother to reside.”
The portrait of his late mother is monumental. “My mother was an ordinary person,” he says, “but I painted her on the same scale as icons of political power.”
The third panel, his mother’s funeral is painted on exactly the same scale as A Burial at Ornans (1849-1850): Here, every detail is meticulously depicted. The scene is no longer set in Ornans, but in Shanghai, birthplace of the artist.
- Yan Pei-Ming
- FIAC 2019: new performance
- October 16, 2019 - October 16, 2019
Palais de la Découverte
Avenue Franklin Delano Roosevelt
Oliver Beer’s new performance for the FIAC and the Palais de la Découverte works with radio waves and Electronic Voice Phenomena (EVP). Also known as “stray voices”, EVP are unclear and unknown vocal sounds that occur in-between radio frequencies and permeate empty space. These vocal radio phenomena have been used by spiritualists – and even early scientists such as Thomas Edison – to try to contact voices from the afterlife.
Building on his work with acoustic resonance, Beer turns to resonance in radio waves to transform the strings of an upturned grand piano and a 19th Century bronze sculpture of Giambologna’s famous Mercury, the messenger of the gods, into functioning radio antennae. Like any metal object, the bronze limbs of Mercury and the copper piano strings can be used to pick up hidden radio waves; their form and dimensions determining the wave frequencies heard.
Activated live in the Palais de la Découverte, these antennae reveal the ‘stray voices’ reverberating within the historic dome. Beer will collaborate with Lebanese electro-indie band Mashrou’ Leila alongside sopranos Michiko Takahashi and Marie Picault to weave together a composition working with these fugitive sounds. In the composition, these 'Stray Voices' evoke the scientists, artists and musicians across history who have been marginalised and obscured, their voices left unheard.Performance time: 7pm & 7:30pmMore info here.
- Oliver Beer