ArtSlant - Recently added en-us 40 Jaime Angelopoulos - Parisian Laundry - March 25th - April 23rd Tue, 26 Apr 2016 13:29:43 +0000 Kurt Schwitters, Joan Miro, Hans Arp - Hauser & Wirth Zürich - June 12th - September 18th <p style="text-align: justify;">To celebrate the centenary of the Dada movement in the city of its birth, Hauser &amp; Wirth Zürich is pleased to present the first-ever comprehensive exhibition of the renowned Dadaists Kurt Schwitters (1887 &ndash; 1948) and Hans Arp (1886 &ndash; 1966), in the context of works by the Spanish painter, graphic artist and sculptor Joan Mir&oacute; (1893 &ndash; 1983). &lsquo;Schwitters Mir&oacute; Arp&rsquo; runs concurrently with the 11th iteration of Manifesta, which is taking place in Zurich.</p> <p style="text-align: justify;">From the turn of the century, these three artists were united by the impulse to renew and transform art. Building on the achievements of Cubism, they pursued this goal through experimentation with collage and assemblage, generating radical new ideas to confront a Europe characterised by the catastrophe of war.</p> <p style="text-align: justify;">In 1918, Schwitters and Arp developed a close friendship founded on a lively exchange of artistic ideas. In 1926, Mir&oacute; and Arp shared a home in the Les Fusains artists&rsquo; colony at Rue de Tourlaque 22 in Paris, where Schwitters also travelled each year, and most frequently between 1929 and 1932. Arp had first become acquainted with collage in 1914 in the studio of Picasso; he conveyed the new technique to Schwitters during their time together in Paris and it went on to become an essential facet of Schwitters&rsquo; oeuvre. In turn, Mir&oacute;&rsquo;s experiments with the assemblage of everyday objects in the late 1920s were strongly influenced by Schwitters, Arp and the Dada movement.</p> <p style="text-align: justify;">Each of these artists shared an interest in the fusion of painting and sculpture through the art of assemblage. While Schwitters dramatically expanded the artistic frame of reference with his Merzbilder, particularly through the use of materials found on the street, and Arp continued to develop his abstract organic reliefs, Mir&oacute; found his own raw yet poetic way of engaging with the material. Mir&oacute;&rsquo;s play with geometric and organic forms can be interpreted as a link between the artistic expression of Schwitters, who had already begun to distance himself from the reproduction of natural forms in 1918, and the biomorphic compositions created by Arp. Their mutual influence upon one another resonated throughout their careers and into their late works.</p> <p style="text-align: justify;">This extensive exhibition is dedicated to the re-evaluation and rediscovery of three fascinating personalities from art history who instigated a material language that continues to inform contemporary art today. Comprising over 100 key works from American and European museums as well as international private collections, the show offers new perspectives on Schwitters, Mir&oacute; and Arp, as well as a deeper insight into Dada and Surrealism.</p> <p style="text-align: justify;">Highlights include Arp&rsquo;s painting &lsquo;Teller, Gabeln and Nabel&rsquo; (1923); a 1933 drawing-collage by Mir&oacute;&rsquo; and an early example of Schwitter&rsquo;s Merzbilder &ndash; &lsquo;Merzbild 1B Bild mit rotem Kreuz&rsquo; (1919).</p> <p style="text-align: justify;">&lsquo;Teller, Gabeln and Nabel&rsquo; has its source in Dada&rsquo;s idealistic concept of redemption through primitive, abstract forms, yet its biomorphic shapes are characteristic of the new formal language Arp developed by abstracting elements from the natural landscape. It belongs to the remarkable series of painted reliefs that signalled his return to figuration in the 1920s &ndash; he turned to a simplified figurative style and a new iconography of faces and objects to create critical and humorous images. Arp often focused obsessively on one body part such as a nose or moustache &ndash; or in this case, a navel &ndash; to the extent of overwhelming the perception of the entire figure. In attacking human folly directly, through parody or objectification of the body, Arp adopted Dada&rsquo;s embrace of the irrational and absurd.</p> <p style="text-align: justify;">&lsquo;Untitled. Drawing-Collage&rsquo; (1933) is from a series of outlandish and poetic collages that mark a period of fervent experimentation in Mir&oacute;&rsquo;s career. Interlaced lyrical and biomorphic figures drawn in fine pencil are punctuated with outmoded and eclectic imagery in the form of old postcards, newspapers scraps, anatomy albums or art nouveau motifs. The meeting of instinctive, delicate line and crude imagery lend the works a distinct sense of humour in accord with the Dada sensibility.</p> <p style="text-align: justify;">Belonging to Schwitters&rsquo; series of constructed-relief-paintings created between 1919 and 1921, &lsquo;Untitled&rsquo; (1919) is a kaleidoscopic accretion of humble, found material that speaks to the flux of contemporary society. The scraps and detritus are subjected to an organising principle resembling the strong diagonals and logic of Analytic Cubism, thus transforming the diverse components into formal elements and giving a sense of order to the chaotic fragments of modern industrial life.</p> <p style="text-align: justify;">The exhibition is curated by art historian Dr Dieter Buchhart, who has organised seminal exhibitions on major figures such as Jean-Michel Basquiat, Georges Braque, Otto Dix, Keith Haring, Edvard Munch and Andy Warhol in renowned museums such as Albertina, Vienna, Austria; Fondation Beyeler, Basel, Switzerland; Guggenheim Museum, Bilbao, Spain; Mus&eacute;e d&rsquo;Art Moderne, Paris, France and De Young Museum, San Francisco CA.</p> Tue, 26 Apr 2016 08:26:03 +0000 David Smith - Hauser & Wirth Zürich - June 12th - September 18th <p style="text-align: justify;">Hauser &amp; Wirth Zürich is delighted to present a solo exhibition of works by the late American sculptor, painter and draughtsman, David Smith (1906 &ndash; 1965). A titan of 20th-century art, Smith transformed the innovations of European modernism into a richly diverse new artistic language. Over a 33-year career he greatly expanded the notion of what sculpture could be, its relationship to space and importantly moved the site of its production, and ultimately our experience of it, from the artist&rsquo;s atelier and art foundry into the realms of industry and nature. Spanning pure abstraction and poetic figuration, Smith&rsquo;s deeply humanist vision has inspired generations of sculptors for over 50 years since his death.</p> <p style="text-align: justify;">This exhibition marks the gallery&rsquo;s first presentation of the artist since beginning work with the estate in 2015, and focuses on Smith&rsquo;s practice between 1958 and 1964, the important final years of his life. The late 1950s marked a dramatic expansion of his ambition and productivity and by the 1960s Smith was at the height of his creative powers, garnering international attention as the leading sculptor of his generation. Exploring the dialogue between Smith&rsquo;s use of form and colour, geometry and gesture, the show brings together a selection of painted steel sculptures and spray-paint works, highlighting Smith&rsquo;s objective to merge the concerns of two- and three-dimensional media.</p> <p style="text-align: justify;">Painting and drawing remained integral to Smith&rsquo;s creative output throughout his career. &lsquo;Drawings&rsquo;, he claimed, &lsquo;are studies for sculpture, sometimes what sculpture is, sometimes what sculpture never can be&rsquo;. Around 1958, almost immediately after the invention of the aerosol spray can, Smith began his Sprays. Made simultaneously to some of his most rigorously geometric sculpture, the Sprays are often loosely gestural. Though the Sprays freed Smith&rsquo;s form from the constraints of gravity, and his sculpture, for Smith the two mediums were conceptually continuous. The exhibition&rsquo;s inclusion of both sculpture and painting enriches the viewer&rsquo;s understanding of Smith&rsquo;s oeuvre, emphasising his conviction that every facet of his visual output represents an essential element of his total artistic vision.</p> <p style="text-align: justify;">With the Sprays, Smith adopted a medium that was developed from, and was perfectly aligned with, his sculptural process. When creating a sculpture, Smith would often place components of the work in progress on his white painted floor before joining them together. The welding often scorched the paint surface leaving negative images of the sculpture. Inspired by these incidental patterns, Smith began work on the Sprays, employing any material at hand, from nuts and bolts to tree branches, and even leftovers from his table, which he arranged on paper or canvas before spraying over the composition with industrial enamel paint. When the objects were removed, ghostly silhouettes remained, their outlines hazy from the diffused paint that seeped beneath the objects&rsquo; edges. The Sprays encapsulate the overlap between two- and three-dimensional activities in Smith&rsquo;s practice. As in the artist&rsquo;s sculptures, the Sprays present an interplay of simple, bold forms to produce complex rhythms in space. They examine the ambiguity between positive and negative space, contrasting layers of effervescent colour with a vacuum of pure white. Exercising spontaneity absent from sculpture, the Sprays represent a direct and unmediated form of expression that, for Smith, provided more than simple studies for his sculptural work.</p> <p style="text-align: justify;">Appearing contemporary and ever-relevant today, Smith&rsquo;s sculptures were seen as an extremely radical challenge to modernist taste at the time they were made. The sculptures featured in the exhibition illustrate Smith&rsquo;s increasing focus on the visual nature of three-dimensional work, and its potential as a painterly medium. In &lsquo;Dida&rsquo;s Circle on a Fungus&rsquo; (1961) and &lsquo;Ninety Father&rsquo; (1961), the contrast between loosely painted surface &ndash; textural marks made by Smith with industrial enamels and small brushes which are often compared to the spontaneous brushwork of Abstract Expressionists &ndash; and assertive geometric forms, creates a lyrical balance. Far beyond cosmetic application, Smith&rsquo;s use of colour controls the form, the dappled finish working to soften the strict, geometric lines.</p> <p style="text-align: justify;">&lsquo;Circles Intercepted&rsquo; (1961) is in many respects a three-dimensional painting. Smith&rsquo;s dramatically different treatment of colour and form on the two &lsquo;sides&rsquo; of the sculpture exemplifies his most radical contribution to the language of sculpture &ndash; that is the virtual impossibility for the viewer to &lsquo;possess&rsquo; the totality of the object as he / she experiences it from different views. When seen from the front, other views of the sculpture can never be predicted. The viewer is forced to experience the sculpture as a series of unique images in real time, rather than viewing it, and then &lsquo;producing&rsquo; its wholeness in one&rsquo;s own imagination. The work has a muscular authority, and is a tour-de-force in which very heavy plates of steel are suspended in mid-air before our eyes. In addition, the handmade quality and irregularities of the circular forms assert the physical reality of the layered concentric discs as they are pushed and pulled in space &ndash; intercepted &ndash; by the bars radiating through them. It is all the more noteworthy in this context how Smith used the application of paint to alter the specific weights and forms of the sculpture, and to ultimately prioritise the visual over the physical.</p> <p style="text-align: justify;">Painted sculpture, in and of itself, was not new &ndash; although it was unorthodox at a time when &lsquo;truth to materials&rsquo; was the standard, accepted practice for sculpture. As Smith noted, sculpture had been painted from its earliest history. Smith however, introduced a distinctly modern conceptual intention, one that, like his Sprays, takes on vision itself as a subject; Smith was not making painted sculpture, he was making sculpture about painting.</p> <p style="text-align: justify;">The exhibition will be accompanied by a fully&ndash;illustrated catalogue featuring historic archival images and an essay by curator and art historian Michelle White.</p> Tue, 26 Apr 2016 08:23:50 +0000 Takesada Matsutani - Hauser & Wirth Zürich - March 19th - May 21st <p style="text-align: justify;">Beginning 19 March 2016, Hauser &amp; Wirth will present the gallery&rsquo;s first Zurich exhibition devoted to internationally-admired Osaka-born, Paris-based artist Takesada Matsutani. Over a five-decade career that began with his participation in the Gutai Art Association and evolved to express the tangled complexities of a life lived between France and Japan, Matsutani has developed a unique visual language of form and materials. His work plays with notions of time and the movement of our bodies through it. Engaging themes of the eternal and the infinite, and echoing the endless cycles of life and death, Matsutani merges material, hue, and movement to arrive at an art about the present moment and the reverberating forces and unceasing currents from which life itself flows.</p> <p style="text-align: justify;">Highlighting the artist&rsquo;s practice in Paris at the beginning of the 1970s, &lsquo;Takesada Matsutani&rsquo; at Hauser &amp; Wirth will present never before seen paintings from the artist&rsquo;s early career. Organised with Olivier Renaud-Cl&eacute;ment, the exhibition will remain on view at the gallery until 21 May 2016.</p> <p style="text-align: justify;">Takesada Matsutani was a recognised member of Japan&rsquo;s avant-garde Gutai Art Association (1954 &ndash; 1972), exhibiting in group shows with them beginning in 1960 and having a solo presentation at the Gutai Pinacotheca in Osaka in 1963. Developing an aesthetic in his formative years through radical experimentations with vinyl glue, the young artist impregnated the surface of his canvases with bulbous elements, using his own breath to create swollen and ruptured forms evocative of flesh and wounds. For his ability to elicit the sensual tactility of his materials and create viscerally profound new forms, Matsutani was awarded first prize at the First Mainichi Art Competition in 1966 and received a six-month scholarship from the French government to study abroad. This journey to France would transform his career. While the teachings and ethos of Gutai have exerted an enduring influence upon the artist, nearly 50 years later Matsutani still calls Paris his home.</p> <p style="text-align: justify;">Visitors will encounter Matsutani&rsquo;s bold, colourful paintings from the early 1970s, a radical body of work that reveals the evolution of his earlier formative notions. Soon after moving to Paris and beginning work at renowned engraver Stanley William Hayter&rsquo;s Atelier 17, Matsutani devoted himself to the techniques of etching, printmaking, and silkscreen. Hayter&rsquo;s workshop was a centre for creative exchange and collaboration, both in Paris and New York, and exerted profound influence upon such artists as Louise Bourgeois, Salvador Dal&iacute;, Marcel Duchamp, Max Ernst and Joan Mir&oacute;. Through the prowess of Atelier 17, American Abstraction and the New York School collided and mingled with the European avant garde &ndash; for Matsutani, Atelier 17 introduced new forms of artistic experimentation. Influenced by the theories and history of &lsquo;the image&rsquo; in Western culture, and especially by American Minimalism and the Hard Edge paintings of Ellsworth Kelly, he began to conceive new compositions, re-arranging and testing the limits of pictorial space. Transforming the same organic and biomorphic forms he first developed in glue, the progression from &lsquo;Le D&eacute;veloppement-A1-69&rsquo; (1969) to &lsquo;Two Objects&rsquo; (1970) displays the transformation of the artist&rsquo;s pooling, curvaceous forms into flat geometric planes of colour on canvas.</p> <p style="text-align: justify;">Many of the works on canvas from the early 1970s on display at Hauser &amp; Wirth Zürich have never been exhibited in public before. Beyond the two-dimensional re-imagination of the artist&rsquo;s previous forms created in glue, these canvases bring a vibrant inventive juxtaposition of colour. His use of shape grows more complex with the works of 1972, such as &lsquo;Harugakita&rsquo;, and breaks into a dynamic intermingling of forms in &lsquo;Sky-B&rsquo; and &lsquo;Propagation-72&rsquo;. A truly singular period in the artist&rsquo;s career, the early 1970s timeframe of the current show highlights Matsutani&rsquo;s committed exploration of the flattening of shapes, through a frank use of strong colours in oil on canvas.</p> Tue, 26 Apr 2016 08:20:33 +0000 Wilhelm Sasnal - Hauser & Wirth Zürich - May 10th 8:00 PM - 9:00 PM <p style="text-align: justify;">On the occasion of the exhibition, &lsquo;<a href="" target="_blank">Wilhelm Sasnal</a>&rsquo; at Hauser &amp; Wirth Z&uuml;rich</p> <p style="text-align: justify;">Ulrich Loock&rsquo;s recent curatorial project, &lsquo;Raymond Pettibon. Homo Americanus&rsquo;, is on display at Deichtorhallenn, Hamburg, Germany, through 11 September 2016</p> Tue, 26 Apr 2016 08:01:54 +0000 Wilhelm Sasnal - Hauser & Wirth Zürich - March 19th - May 21st <p style="text-align: justify;">&lsquo;Painting is a natural activity, it&rsquo;s primal. I think images aren&rsquo;t important because of the numbers that surround us. But painting has a chance. There is always painting, like there&rsquo;s song. I don&rsquo;t think it needs speculation as to whether it is alive or dead&hellip; With film I am not only looking for the story but also for the language, how to depict a certain state of being.&rsquo;<br />&ndash; Wilhelm Sasnal</p> <p style="text-align: justify;">Hauser &amp; Wirth Zürich presents a solo exhibition of new and recent works by Wilhelm Sasnal, the pre-eminent painter and film-maker known for his incongruous and quietly unsettling portrayal of our collective surroundings and history. The exhibition will showcase a large number of new works informed by his recent travels to America&rsquo;s southern states, and the events and crises currently dominating world affairs. Extracts from the artist&rsquo;s latest feature length film, which is inspired by Albert Camus&rsquo;s novel &lsquo;The Stranger&rsquo; (1942), form the axis of the presentation.</p> <p style="text-align: justify;">There is a persistent preoccupation in Sasnal&rsquo;s work to stay engaged with the world we live in, and perhaps more importantly, to connect the present with the past. At once curiously personal and coolly detached, Sasnal subjectively and intimately interprets the topical.</p> <p style="text-align: justify;">Drawing on found images from newspapers and magazines, the Internet, billboards or his personal surroundings, Sasnal&rsquo;s paintings act as an archive to the mass of sprawling images that flood contemporary society. In applying a concise, photorealist approach to this eclectic subject matter, he captures stolen moments in time &ndash; his unusual cropping and graphic approach to light and colour suggest a camera&rsquo;s gaze, imbuing the canvases with a filmic quality. In Sasnal&rsquo;s latest series of paintings, issues relating to race, religion and the notion of &lsquo;other&rsquo;, surface. Motifs such as birds, cowboy boots and corporate logos invite the viewer to make associations with the current political climate, but, as in his films, the paintings navigate between figuration and abstraction, eschewing a definitive narrative or agenda. The power of Sasnal&rsquo;s painting lies in this sense of distance created between the viewer and underlying story. Through abstraction or empty space, he generates a disquieting absence of emotional engagement.</p> <p style="text-align: justify;">Sasnal has long worked in film alongside his painting, viewing it as a complimentary practice and welcoming the alternative challenges that it brings. Film&rsquo;s affinity with reality, and therefore its ability to provoke, also appeals to the artist. Over the past year, Sasnal has been working with Anka, his wife and long-time collaborator, on producing his fourth feature length film &ndash; &lsquo;The Sun, the Sun Blinded Me&rsquo;. For the exhibition in Zurich, an edited extract from one scene in the film is projected onto the gallery walls, creating a loop of compelling images that encapsulate the essence of the paintings on display.</p> <p style="text-align: justify;">The film borrows its trajectory from Albert Camus&rsquo;s novel &lsquo;The Stranger&rsquo; (1942), but the setting is Poland today, shot in Krakow and on the Baltic coast. The story also takes inspiration from Hans Christian Andersen&rsquo;s dark fairytale &lsquo;The Shadow&rsquo; (1847). Camus&rsquo;s novel is narrated by Meursault, a French Algerian who, along with his friend, enters a confrontation with an Arab man on the beach. After initially preventing his friend from killing &lsquo;the Arab&rsquo;, he later returns to shoot him. While awaiting the execution of his death sentence, the reader learns that Meursault had no discernable reason for his actions and feels no guilt or remorse. The tale is existential in tone, pertaining to Camus&rsquo;s philosophy on the absurdity of human existence, which he believed has no meaning or purpose.</p> <p style="text-align: justify;">In the hands of Sasnal, &lsquo;the Arab&rsquo; is a black man hiding from border control and &lsquo;Meursault&rsquo; first decides to shelter the man in his home, only to realise that this was in his imagination. The encounter is repeated, and on this occasion the man is killed by &lsquo;Meursault&rsquo;. In contrast to Camus&rsquo;s story, the court diminishes the murder charges, reasoning that the crime was self-defence against a foreign criminal. Erudite and unabashed, Sasnal&rsquo;s film explores the ever-salient question of what it means to be foreign today.</p> Tue, 26 Apr 2016 08:19:01 +0000 Felix Gonzalez-Torres - Galleria Massimo De Carlo - May 20th - July 20th <p style="text-align: justify;">A three-part exhibition of the work of Felix Gonzalez-Torres will open at&nbsp;<a href="" rel="nofollow" target="_blank">Andrea Rosen Gallery</a>, New York;&nbsp;Massimo De Carlo, Milan; and <a href="" target="_blank">Hauser &amp; Wirth</a>, London in May 2016. Curated by artists Julie Ault and Roni Horn, each exhibition will focus on the dialogue between works within an essential form that Gonzalez-Torres created. In so doing, Ault and Horn hope to underline the specificity and magnitude within particular bodies of the artist&rsquo;s work.</p> <p style="text-align: justify;">By engaging the range of decisions brought to bear in manifesting and installing selected Gonzalez-Torres works that require being made anew, Ault and Horn underscore vital methods reflected throughout the artist&rsquo;s entire oeuvre. The exhibitions are conceived as individual experiences that should be understood in the larger context of all three. Each presentation is intended to complement and augment the experiences they offer within the larger whole and within Felix Gonzalez-Torres&rsquo;s practice.</p> Tue, 26 Apr 2016 07:54:35 +0000 Anish Kapoor - Lisson Gallery - May 13th - July 22nd <p style="text-align: justify;">One of the most influential artists of his generation, Anish Kapoor dedicates his first solo exhibition at Lisson Gallery Milan to stainless steel twist sculptures. Brought together for the first time, these fourteen works&nbsp;cause a torsion of the reflected image and deconstruct the world into abstract shapes. Kapoor&rsquo;s meticulously polished and seamless surfaces skew and morph the surrounding environment and disorient visitors &ndash;&nbsp;providing a lens to view the universe in a different light, where perception is warped and flipped on its side.</p> Tue, 26 Apr 2016 07:15:40 +0000 Julio Bittencourt - Galeria da Gávea - May 5th - June 4th Sat, 23 Apr 2016 14:59:35 +0000 Ximena Garrido-Lecca - Galeria 80M2 Livia Benavides - April 21st - May 21st Sat, 23 Apr 2016 14:51:04 +0000 Gabriel Acevedo, Iosu Aramburu, William Cordova, Nancy La Rosa, Marco Pando, Rita Ponce de Leon, Maya Watanabe, David Zink-Yi - Galeria 80M2 Livia Benavides - April 21st - May 21st Sat, 23 Apr 2016 14:50:28 +0000 Taryn Simon - Gagosian Gallery - Rome - April 14th - June 24th <p>Opening reception: Thursday, 14th April, from 6:00 to 8:00pm<br /> <br /> <br /> <em>These flowers sat between powerful men as they signed agreements designed to influence the fate of the world.</em><br />&mdash;Taryn Simon</p> <p style="text-align: justify;">Gagosian Rome is pleased to present Taryn Simon's first solo exhibition in Italy, following her acclaimed exhibition at Gagosian New York earlier this year, and her participation in the 56th Biennale di Venezia in 2015.</p> <p style="text-align: justify;">Simon's most recent body of work <em>Paperwork and the Will of Capital</em> comprises 12 unique sculptures and 36 editioned photographs. The photographs&mdash;large, colorful, and spectacular with a nod to Pop art, and custom-framed in mahogany to emulate the style of boardroom furniture&mdash;speak to the bombast of national and corporate symbolism; the sculptures&mdash;stylized concrete flower&ndash;presses containing delicate preserved floral specimens and their documentation&mdash;operate in a discrete and classified zone.</p> <p style="text-align: justify;">A storyteller whose grist is the instability of fact, Simon's research-driven approach has produced such impactful bodies of work as <em>The Innocents</em> (2002); <em>An American Index of the Hidden and Unfamiliar</em> (2007); <em>Contraband </em>(2010); and <em>A Living Man Declared Dead and Other Chapters I&ndash;XVIII</em> (2008&ndash;11); as well as the more whimsical <em>The Picture Collection</em> (2013), and <em>Birds of the West Indies</em> (2013&ndash;14). For Simon, photography has always been the vehicle for larger conceptual ideas; in <em>Paperwork and the Will of Capital</em>, her exacting attention to aesthetic and formal concerns has elevated the medium to the status of painting, as well as expanding her reach into sculpture for the first time.</p> <p style="text-align: justify;">For the new work, Simon's investigations yielded twin points of departure: archival photographs of official signings; and George Sinclair's nineteenth century horticultural study containing actual dried grass specimens, an experiment in evolution and survival cited by Charles Darwin in his groundbreaking research.</p> <p style="text-align: justify;">In <em>Paperwork and the Will of Capital</em>, Simon examines accords, treaties, and decrees drafted to influence systems of governance and economics, from nuclear armament and border issues to oil deals and diamond trading. All involve the countries present at the 1944 United Nations Monetary and Financial Conference in Bretton Woods, New Hampshire, which addressed the globalization of economics after World War II, leading to the establishment of the International Monetary Fund (IMF) and the World Bank. In archival images of the signings of these documents, powerful men flank floral centerpieces designed to underscore the importance of the parties present. Simon's photographs of the recreated centerpieces from these signings, together with their stories, underscore how the stagecraft of political and economic power is created, performed, marketed, and maintained.</p> <p style="text-align: justify;">Each of Simon's recreations of these floral arrangements represents an &ldquo;impossible bouquet&rdquo;&mdash;a concept that emerged in Dutch still-life painting parallel to the country's seventeenth&ndash;century economic boom, which ushered in the development of modern capitalism. Then, the impossible bouquet was an artificial fantasy of flowers that could never bloom naturally in the same season and geographic location. Now, the fantasy is made possible&mdash;both in the original signings and in Simon's photographs&mdash;by the global consumer market.</p> <p style="text-align: justify;">For the recreations, Simon worked with a botanist and from archival records to identify all the flowers. She imported more than 4000 specimens from the world's largest flower auction in Aalsmeer, Netherlands, where 20 million flowers arrive and depart daily, bound for international retail destinations. She remade the floral arrangements from each signing, then photographed them against striking bicolored fields relating to the foregrounds and backgrounds in the historical images, pairing each arrangement with a description of the pertinent accord. For the sculptures, selected specimens from all the arrangements were dried, pressed, and sewn to archival herbarium paper; a complete set of the botanical collages was then placed in each of the concrete presses, along with the same number of photographs and narrative texts&mdash;sealed together in a race against time.</p> <p style="text-align: justify;"><em>Paperwork and the Will of Capital</em> addresses the instability of executive decision&ndash;making and the precarious nature of survival, as well as the reliability and endurance of records: the accords and their far-reaching effects, Simon's photographs, and the preserved botanical specimens in their concrete presses; language itself. The photographic still lifes stand in contrast to the sculptural natures mortes. As time advances, so may these artifacts transform, revealing mutable versions of themselves.</p> <p style="text-align: justify;">A fully illustrated book published by Hatje Cantz and Gagosian includes essays by Kate Fowle and Nicholas Kulish, botanical texts by Daniel Atha, and a short story by Hanan al-Shaykh.</p> <p style="text-align: justify;"><strong>Taryn Simon</strong> (b. 1975) lives and works in New York City. She graduated from Brown University and was the recipient of a Guggenheim Fellowship in 2001. Permanent collections include Metropolitan Museum of Art, Museum of Modern Art, and Solomon R. Guggenheim Museum, New York; LACMA, Los Angeles; Tate Modern, London; Centre Georges Pompidou, Paris; and MMK, Frankfurt.</p> <p style="text-align: justify;">Recent museum exhibitions include &ldquo;Taryn Simon: An American Index of the Hidden and Unfamiliar,&rdquo; Whitney Museum of American Art, New York (2007); &ldquo;A Living Man Declared Dead and Other Chapters I&ndash;XVIII,&rdquo; Tate Modern, London (2011, traveled to Neue Nationalgalerie, Berlin, the same year; Museum of Modern Art, New York, in 2012; Museum of Contemporary Art, Los Angeles, in 2012&ndash;13; Corcoran Gallery of Art, Washington, D.C., and Ullens Center for Contemporary Art, Beijing, in 2013, among others); and &ldquo;Rear Views, A Star-forming Nebula, and the Office of Foreign Propaganda,&rdquo; Galerie nationale du Jeu de Paume, Paris (2015). Her work was included in the Gwangju Biennale (2008), Singapore Biennial (2011), 2013 Carnegie International, Yokohama Triennale (2014), and the 56th Biennale di Venezia (2015).</p> <p style="text-align: justify;">Simon's <em>Birds of the West Indies I and II</em> (2013&ndash;14) will be on view at the George Eastman Museum in Rochester, New York from February 13 through May 15 of this year. <em>Paperwork and the Will of Capital</em> will be on view in &ldquo;Action Research: The Stagecraft of Power&rdquo; at Garage Museum of Contemporary Art, Moscow, in March from March 17&ndash;May 22 and other institutional venues during 2016&ndash;17. Major solo exhibitions are planned at Galerie Rudolfinum in Prague and The Louisiana Museum in Denmark in 2016. From March 21 until January 2017, a chapter from Simon's <em>A Living Man Declared Dead and Other Chapters I&ndash;XVIII</em> (2011) will be on view at Centre Pompidou as part of the exhibition &ldquo;CHERS AMIS,&rdquo; curated by Christine Macel.</p> <p>Simon is also currently preparing her first work involving live performers, jointly commissioned by Park Avenue Armory, New York, and Artangel, London. This as-yet unnamed work will premier in New York in September 2016 before moving on to London in November of this year.</p> <hr /> <p style="text-align: justify;">Inaugurazione: gioved&igrave; 14 aprile, dalle ore 18 alle 20<br /> <br /> <br /> <em>Questi fiori accompagnavano uomini di potere mentre decidevano le sorti del mondo.</em><br /> &mdash;Taryn Simon</p> <p style="text-align: justify;">Gagosian Gallery &egrave; lieta di presentare la prima personale di Taryn Simon in Italia, la cui apertura segue la presentazione a New York attualmente in corso e la partecipazione dell'artista alla 56esima Biennale di Venezia nel 2015.</p> <p style="text-align: justify;"><em>Paperwork and the Will of Capital</em>, la pi&ugrave; recente serie di Simon, si compone di 12 sculture uniche e 36 fotografie in edizione. Le fotografie&mdash;di grande formato, con colori spettacolari, non lontani dalla Pop Art, e cornici artigianali in mogano che richiamano l'arredamento delle sale riunioni&mdash;dialogano con l'opulenza della simbologia nazionale e &ldquo;corporate&rdquo;; le sculture invece&mdash;stilizzate presse di cemento contenenti esemplari floreali preservati e la relativa documentazione&mdash;vivono in una sfera discreta e riservata.</p> <p style="text-align: justify;">Narratrice la cui forza si concentra nell'imprevedibilit&agrave; della realt&agrave;, Simon ha basato il suo lavoro sulla ricerca producendo serie artistiche importanti quali <em>The Innocents</em> (2002); <em>An American Index of the Hidden and Unfamiliar</em> (2007); <em>Contraband </em>(2010); e <em>A Living Man Declared Dead and Other Chapters I&ndash;XVIII </em>(2008&ndash;11); come anche le pi&ugrave; poetiche <em>The Picture Collection</em> (2013), e <em>Birds of the West Indies</em> (2013&ndash;14). Per Simon la fotografia &egrave; sempre stata il modo di veicolare concetti pi&ugrave; ampi: in <em>Paperwork and the Will of Capital</em> avvicina il medium alla pittura attraverso la cura dettagliata degli aspetti estetici e formali, ed esplorando per la prima volta la scultura.</p> <p style="text-align: justify;">Per questa nuova serie l&rsquo;indagine di Simon &egrave; partita da due spunti di riflessione: le fotografie di archivio di trattati ufficiali e lo studio botanico compiuto nel 19esimo secolo da George Sinclair, contenente campioni di erba essiccata, esperimento sull'evoluzione e la sopravvivenza citato da Charles Darwin nella sua rivoluzionaria ricerca.<br /> <br /> In <em>Paperwork and the Will of Capital</em>, Simon esamina accordi, trattati e decreti che hanno influenzato i sistemi del potere e dell'economia, dall'armamento nucleare alle negoziazioni sul petrolio, al commercio dei diamanti. Tutti coinvolgono gli Stati presenti alla Conferenza Monetaria e Finanziaria delle Nazioni Unite tenutasi nel 1944 a Bretton Woods, New Hampshire, in cui si affrontava la globalizzazione economica dopo la Seconda Guerra Mondiale, e che port&ograve; alla nascita del Fondo Monetario Internazionale (IMF) e della Banca Mondiale. Le fotografie d'archivio delle firme di questi documenti rappresentano uomini potenti in compagnia di composizioni floreali studiate per sottolineare l'importanza dei presenti e delle occasioni. Nei lavori di Simon, le immagini, insieme alle relative descrizioni, sottolineano il modo in cui la rappresentazione del potere politico ed economico sia creata, messa in scena, pubblicizzata e consolidata.</p> <p style="text-align: justify;">Ognuna delle riproduzioni di queste composizioni floreali rappresenta un &ldquo;bouquet impossibile&rdquo;, un concetto nato nel diciasettesimo secolo nella raffigurazione delle nature morte olandesi parallelamente al boom economico che diede poi inizio allo sviluppo del capitalismo moderno. Mentre allora il &ldquo;bouquet impossibile&rdquo; era un insieme di fiori che mai sarebbero potuti sbocciare naturalmente nella stessa stagione o zona geografica, adesso, grazie alla globalizzazione commerciale, &egrave; una fantasia diventata realt&agrave; sia nelle fotografie originali che in quelle di Simon.</p> <p style="text-align: justify;">Simon ha esaminato la documentazione d'archivio identificando tutti i fiori con la collaborazione di un botanico. L'artista ha poi importato pi&ugrave; di 4000 esemplari da Aalsmeer, in Olanda, la pi&ugrave; grande asta floreale del mondo, dove 20 milioni di fiori arrivano e ripartono ogni giorno verso destinazioni internazionali di vendita al dettaglio. Dopo aver ricostituito le decorazioni presenti ad ogni evento, le ha fotografate su straordinari campi bicolore ispirati agli ambienti delle immagini originali, accompagnando ogni composizione con la descrizione del relativo accordo. Per le sculture, invece, alcuni campioni tratti dalle 36 composizioni sono stati essiccati, pressati e cuciti su carta d'archivio. In seguito, un completo set di collage botanici &egrave; stato posto in ognuna delle presse di cemento, con lo stesso numero di fotografie e di testi narrativi, sigillati insieme in una corsa contro il tempo.</p> <p style="text-align: justify;"><em>Paperwork and the Will of Capital </em>esplora tanto l'instabilit&agrave; del potere e la natura precaria della sopravvivenza, quanto l'affidabilit&agrave; e la resistenza della documentazione d'archivio: i trattati e i loro effetti su vasta scala, le fotografie di Simon e i campioni botanici conservati nelle presse di cemento, il linguaggio stesso. Le nature morte fotografiche si stagliano vivide in contrasto con quelle scultoree.</p> <p style="text-align: justify;">Un catalogo illustrato pubblicato da Hatje Cantz e Gagosian include testi di Kate Fowle e Nicholas Kulish, testi botanici di Daniel Atha e un breve racconto di Hanan al-Shaykh.</p> <p style="text-align: justify;"><strong>Taryn Simon</strong> (1975) vive e lavora a New York. Si &egrave; laureata alla Brown University e ha vinto una Guggenheim Fellowship nel 2001. Il suo lavoro &egrave; incluso nelle collezioni permanenti del Metropolitan Museum of Art, Museum of Modern Art, e del Solomon R. Guggenheim Museum, New York; LACMA, Los Angeles; Tate Modern, Londra; Centre Georges Pompidou, Parigi; e MMK, Francoforte.</p> <p style="text-align: justify;">Tra le recenti mostre museali si annoverano: &ldquo;Taryn Simon: An American Index of the Hidden and Unfamiliar&rdquo;, Whitney Museum of American Art, New York (2007); &ldquo;A Living Man Declared Dead and Other Chapters I&ndash;XVIII&rdquo;, Tate Modern, Londra (2011, poi alla Neue Nationalgalerie, Berlino, lo stesso anno; Museum of Modern Art, New York, nel 2012; Museum of Contemporary Art Los Angeles, nel 2012&ndash;13; Corcoran Gallery of Art, Washington, D.C., e all'Ullens Center for Contemporary Art, Pechino, nel 2013, e altre); e &ldquo;Rear Views, A Star-forming Nebula, and the Office of Foreign Propaganda&rdquo;, Galerie nationale du Jeu de Paume, Parigi (2015). Il suo lavoro &egrave; stato incluso nella Gwangju Biennale (2008), Singapore Biennial (2011), 2013 Carnegie International, Yokohama Triennale (2014), e nella 56esima Biennale di Venezia (2015).</p> <p style="text-align: justify;">La serie di Simon <em>Birds of the West Indies I e II </em>(2013&ndash;14) sar&agrave; in mostra al George Eastman Museum a Rochester, New York dal 13 febbraio al 15 maggio di quest'anno. <em>Paperwork and the Will of Capital </em>sar&agrave; esposta in &ldquo;Action Research: The Stagecraft of Power&rdquo; al Garage Museum of Contemporary Art, Mosca, dal 17 marzo al 22 maggio e in altre sedi istituzionali durante il 2016&ndash;17. Importanti mostre personali sono previste alla Galerie Rudolfinum a Praga e al The Louisiana Museum in Danimarca nel 2016. Dal 21 marzo a gennaio 2017, un capitolo della serie <em>A Living Man Declared Dead and Other Chapters I&ndash;XVIII</em> (2011) sar&agrave; esposto al Centre Pompidou come parte della mostra &ldquo;CHERS AMIS&rdquo;, curata da Christine Macel.</p> <p style="text-align: justify;">Simon sta inoltre lavorando attualmente alla sua prima opera che include performance dal vivo, commissionatale da Park Avenue Armory, New York, e Artangel, Londra. Questo lavoro ancora senza titolo sar&agrave; presentato in anteprima a New York a settembre 2016 prima di spostarsi a Londra nel novembre 2016.</p> Sat, 23 Apr 2016 14:45:36 +0000 Ed Ruscha - Gagosian Gallery - Geneva - April 6th - May 28th <p style="text-align: justify;">Opening reception: Tuesday, April 5th, from 6:00 to 8:00pm<br /> <br /> <br /> <em>I had a notion to make pictures by using words and presenting them in some way and it seemed like a mountain was an archetypal stage set. It was a perfect foil for whatever was happening in the foreground.</em><br />&mdash;Ed Ruscha</p> <p style="text-align: justify;">Gagosian Geneva is pleased to present the first exhibition exclusively devoted to Ed Ruscha's <em>Mountain Prints</em>.</p> <p style="text-align: justify;">More than ten years after the original motif appeared in the distinctive <em>Mountain </em>paintings, Ruscha began producing complementary prints in 2010. "Mountain Prints" comprises color trial, separation, and cancellation proofs, as well as numbered editions from the limited-edition series; it is a rare opportunity to witness Ruscha's processual experiments in the print medium.</p> <p style="text-align: justify;">While attending Chouinard Art Institute (now CalArts) in 1958, Ruscha began an apprenticeship with Saul Marks at Plantin Press in Los Angeles, summoned to the print medium by a desire for experimental collaboration and a commitment to reproducibility. Since 1960, screenprints, lithographs, and etchings have been a key part of his oeuvre. After a collaboration over many decades, Ruscha established Hamilton Press with Tamarind master printer Ed Hamilton in 1990 to focus on traditional lithography. <em>Mountain Prints</em> suggests the ways in which the open exchange of skills and insights has impacted his punchy compositions.</p> <p style="text-align: justify;">The prints on view are both works from the numbered edition as well as proofs produced between 2010 and 2015 at Hamilton Press. Square-format paper accentuates the central placement of text, each word occupying a new line in contrast to the perspectival recession of the snow-capped mountains. Ruscha has superimposed text upon landscape in his paintings since the 1980s, juxtaposing the symbolic stimulus of the image with text as an atmosphere of speech, sound, and shape. In <em>Mountain Prints</em>, cryptic and humorously banal phrases in white letters, such as &ldquo;Sponge Puddle&rdquo; and &ldquo;Bliss Bucket,&rdquo; interrupt the harmony of the stock scenic backdrop. The print process imbues the landscape image with a granular, graphic tactility amplified by vivid combinations of cerulean and cobalt blue, plum, pewter, tawny, and tangerine inks. Subtle mutations between prints recount the active and constant negotiation between artist and printer, author and craftsman. Like the partnership between Hamilton and Ruscha, the achievement of the <em>Mountain Prints</em> proofs is their merger of content and form.</p> <p style="text-align: justify;"><strong>Ed Ruscha</strong> was born in Omaha, Nebraska, in 1937. His work is collected by museums worldwide. Recent solo museum exhibitions include &ldquo;Cotton Puffs, Q-Tips&reg;, Smoke and Mirrors: The Drawings of Ed Ruscha,&rdquo; Whitney Museum of American Art (2004, travelled to The Museum of Contemporary Art, Los Angeles; and National Gallery of Art, Washington, D.C., in 2005); &ldquo;Ed Ruscha,&rdquo; MAXXI, Rome (2004); &ldquo;Ed Ruscha: Photographer,&rdquo; Jeu de Paume, Paris (2006, travelled to Kunsthaus Z&uuml;rich; and Museum Ludwig, Cologne, in 2006); &ldquo;Ed Ruscha: Fifty Years of Painting,&rdquo; Hayward Gallery, London (2009&ndash;10, travelled to Haus der Kunst, Munich; and Moderna Museet, Stockholm, in 2010); &ldquo;Ed Ruscha: Road Tested,&rdquo; The Modern Art Museum of Fort Worth, Texas (2011); &ldquo;On the Road,&rdquo; Hammer Museum, Los Angeles (2011, travelled to Denver Art Museum, Colorado, in 2011&ndash;12; and Museum of Contemporary Art, Miami, in 2012); &ldquo;Reading Ed Ruscha,&rdquo; Kunsthaus Bregenz, Austria (2012); &ldquo;Artist Rooms on Tour: Ed Ruscha,&rdquo; Tate Modern, London (2009, travelled to Inverness Museum and Art Gallery, United Kingdom, in 2010; Bristol Museum and Art Gallery, United Kingdom, in 2012; and The Hatton Gallery, Newcastle, United Kingdom, in 2013, among other venues); &ldquo;Ed Ruscha: Standard,&rdquo; Los Angeles County Museum of Art (2012&ndash;13, travelled to The Rose Art Museum, Brandeis University, Waltham, Massachusetts, in 2013); &ldquo;Ed Ruscha&mdash;Los Angeles Apartments,&rdquo; Kunstmuseum Basel (2013); &ldquo;In Focus: Ed Ruscha,&rdquo; The J. Paul Getty Museum, Los Angeles (2013); &ldquo;Ed Ruscha: Mixmaster,&rdquo; Pinacoteca Giovanni e Marella Agnelli, Torino (2015&ndash;16). In 2012, Ruscha curated &ldquo;The Ancients Stole All Our Great Ideas&rdquo; at Kunsthistorisches Museum Wien in Austria. Ruscha represented the United States in the 51st Biennale di Venezia in 2005, and was featured in the 2015 Biennale de Lyon's exhibition, &ldquo;La Vie Moderne.&rdquo;</p> <p style="text-align: justify;">In July 2016, the Fine Arts Museums of San Francisco will open a major solo exhibition of Ed Ruscha at the de Young. &ldquo;Ed Ruscha and the Great American West&rdquo; will feature more than 80 works spanning the artist's career, exploring his attachments to the sights and scenes of the iconic landscape.</p> <p style="text-align: justify;">For further inquiries please contact the gallery at <a href=""></a> or at +41.22.319.36.19. All images are subject to copyright. Gallery approval must be granted prior to reproduction.</p> <p>Please join the conversation with Gagosian Gallery on Twitter (<a href="">@GagosianGeneva</a>), Facebook (<a href="">@GagosianGallery</a>), Google+ (<a href="">@+Gagosian</a>), Instagram (<a href="">@GagosianGallery</a>), Tumblr (<a href="">@GagosianGallery</a>), and Artsy (<a href="">@Gagosian-Gallery</a>) via the hashtags #EdRuscha &nbsp;#MountainPrints &nbsp;#GagosianGeneva.</p> <hr /> <p>Vernissage: mardi, 5 avril, de 18h00 &agrave; 20h00<br /> <br /> <br /> <em>J'avais dans l'id&eacute;e de cr&eacute;er des images en utilisant des mots et en les pr&eacute;sentant d'une certaine mani&egrave;re. Les montagnes m'ont sembl&eacute; l'arch&eacute;type de la sc&eacute;nographie. Elles ont servi de parfait &eacute;crin pour tout ce qui se passe au premier plan.</em><br />&mdash;Ed Ruscha</p> <p style="text-align: justify;">Gagosian Gen&egrave;ve a le plaisir de pr&eacute;senter la premi&egrave;re exposition enti&egrave;rement d&eacute;di&eacute;e &agrave; la s&eacute;rie <em>Mountain Prints</em> d'Ed Ruscha.</p> <p style="text-align: justify;">Plus de dix ans apr&egrave;s l'apparition du motif original dans la s&eacute;rie de peintures <em>Mountain</em>, Ed Ruscha commence &agrave; r&eacute;aliser des impressions compl&eacute;mentaires en 2010. <em>Mountain Prints</em> comprend des essais et s&eacute;parations de couleurs, des &eacute;preuves d'annulation, ainsi que des &eacute;ditions num&eacute;rot&eacute;es de la s&eacute;rie en &eacute;dition limit&eacute;e; c'est une opportunit&eacute; rare de d&eacute;couvrir le processus d'exp&eacute;rimentation de Ruscha appliqu&eacute; &agrave; l'impression.</p> <p style="text-align: justify;">Alors qu'il fr&eacute;quente le Chouinard Art Institute (aujourd'hui connu sous le nom de CalArts) en 1958, Ruscha commence un apprentissage avec Saul Marks aux &eacute;ditions Plantin Press &agrave; Los Angeles: son d&eacute;sir de collaboration exp&eacute;rimentale et de reproductibilit&eacute; l'attire vers les techniques d'impression. Depuis 1960, s&eacute;rigraphies, lithographies et gravures occupent une place centrale dans son &oelig;uvre. Apr&egrave;s plusieurs d&eacute;cennies de collaboration, Ruscha fonde Hamilton Press en 1990 avec Ed Hamilton, ma&icirc;tre-imprimeur issu de l'institut Tamarind, afin de se concentrer sur la lithographie traditionnelle. <em>Mountain Prints</em> r&eacute;v&egrave;le l'influence des &eacute;changes de comp&eacute;tences et de perspectives sur ses compositions percutantes.</p> <p style="text-align: justify;">Les tirages expos&eacute;s sont des oeuvres de l'&eacute;dition num&eacute;rot&eacute;e ainsi que des &eacute;preuves produites entre 2010 et 2015 chez Hamilton Press. Le papier de forme carr&eacute;e accentue le placement central du texte, chaque mot occupant une ligne en contraste avec la perspective en fond des montagnes aux sommets enneig&eacute;s. Ruscha superpose du texte sur des paysages dans ses peintures depuis les ann&eacute;es 1980, juxtaposant le stimulus symbolique de l'image avec du texte pour cr&eacute;er une atmosph&egrave;re de langage, de son et de forme. Dans <em>Mountain Prints</em>, des phrases &eacute;nigmatiques, banales et humoristiques, telles que &laquo;Sponge Puddle&raquo; (flaque d'&eacute;ponge) ou &laquo;Bliss Bucket&raquo; (seau d'extase), viennent troubler l'harmonie du paysage de carte postale. Le processus d'impression insuffle une tactilit&eacute; granulaire et graphique qui est amplifi&eacute;e par des associations &eacute;clatantes d'encres bleu azur et cobalt, prune, &eacute;tain, fauve et mandarine. De subtiles diff&eacute;rences entre les &oelig;uvres t&eacute;moignent de la n&eacute;gociation active et constante entre l'artiste et le graveur, l'auteur et l'artisan. Tout comme le partenariat entre Hamilton et Ruscha, les &eacute;preuves <em>Mountain Prints</em> m&ecirc;lent le fond et la forme.</p> <p style="text-align: justify;"><strong>Ed Ruscha</strong> est n&eacute; &agrave; Omaha, Nebraska, en 1937. Ses &oelig;uvres sont collectionn&eacute;es par les mus&eacute;es du monde entier. Parmi ses expositions mus&eacute;ales individuelles r&eacute;centes on compte la r&eacute;trospective de dessins &laquo; Cotton Puffs, Q-Tips&reg;, Smoke and Mirrors,&raquo; au Whitney Museum of American Art (2004, puis au Museum of Contemporary Art, Lose Angeles et &agrave; la National Gallery of Art, Washington, D.C., en 2005); &laquo;Ed Ruscha,&raquo; au MAXXI, (2004); &laquo;Ed Ruscha: Photographer,&raquo; au Jeu de Paume, Paris (2006, puis au Kunsthaus Zurich et au Museum Ludwig, Cologne); &laquo;Ed Ruscha: Fifty Years of Painting,&raquo; &agrave; la Hayward Gallery, Londres (2009, puis au Haus der Kunst, Munich et au Moderna Museet, Stockholm); &laquo;Ed Ruscha: Road Tested,&raquo; au Modern Art Museum of Fort Worth, Texas (2011); &laquo;On the Road,&raquo; au Hammer Museum, Los Angeles (2011, puis au Denver Art Museum, Colorado et au Museum of Contemporary Art, Miami); &laquo;Reading Ed Ruscha,&raquo; au Kunsthaus Bregenz, Autriche (2012); &laquo;Artist Rooms on Tour: Ed Ruscha,&raquo; &agrave; la Tate Gallery, Londres (2012, puis &agrave; la Hatton Gallery, Newcastle University, Newcastle upon Tyne, Angleterre); &laquo;Ed Ruscha: Standard,&raquo; au Los Angeles County Museum of Art (2012&ndash;13, puis au Rose Art Museum, Brandeis University, Waltham, MA); &laquo; Ed Ruscha: Los Angeles Apartments,&raquo; au Kunstmuseum Basel (2013); &laquo;In Focus: Ed Ruscha,&raquo; au J. Paul Getty Museum, Los Angeles (2013); &laquo;Ed Ruscha: Mixmaster,&raquo; Pinacoteca Giovanni e Marella Agnelli, Turin (2015&ndash;16). En 2012, Ruscha a &eacute;t&eacute; le commissaire de l'exposition &laquo;The Ancients Stole All Our Great Ideas&raquo; au Kunsthistorisches Museum Wien en Austriche. Ruscha a repr&eacute;sent&eacute; les Etats-Unis &agrave; la 51&egrave;me Biennale de Venise en 2005, et a expos&eacute; &agrave; la Biennale de Lyon en 2015, &laquo;La Vie Moderne.&raquo;</p> <p style="text-align: justify;">En juillet 2016, le Mus&eacute;e des Beaux-Arts de San Francisco ouvrira au de Young une importante r&eacute;trospective de Ed Ruscha. &laquo;Ed Ruscha and the Great American West&raquo; pr&eacute;sentera plus de 80 &oelig;uvres couvrant la carri&egrave;re de l'artiste, en explorant ses attachements aux vues et aux sc&egrave;nes du paysage embl&eacute;matique.<br /> <br /> Pour toute information compl&eacute;mentaire, merci de contacter la galerie &agrave; <a href=""></a> ou au +41.22.319.36.19. Tous les visuels sont soumis &agrave; des droits d'auteur. Toute reproduction est soumise &agrave; l'autorisation de la galerie.</p> Sat, 23 Apr 2016 14:43:15 +0000 Chusin Setiadikara, Myoe Thant Oung, Suda Yoshihiro - Fukuoka Asian Art Museum (FAAM) - April 21st - August 23rd <p style="text-align: justify;">As seen in the incredible level of realism in our All Sorts of Flowers: The Sparkling Garden of Chinese Realism exhibition, photorealism appears to be a distinctive talent of China. However, works that are lifelike representations of their subject are found in other Asian countries too, not just China. FAAM's Collection Exhibition features numerous paintings and sculptures characterized by their pursuit of realism. The fact that even today works seek to replicate the real, drawing on the artist&rsquo;s eye and talent to do so, seems to embody the human desire to preserve intransient subjects forever.</p> <hr /> <p style="text-align: justify;">絵画や彫刻で本物そっくりに表現された「ひと」や「もの」。いまにも動きだしそうな「リアル」に迫る企画です。そこにあるのは、対象を正確に再現する作家の目と技であり、限りある命を永遠に留めたいという人間の願いではないでしょうか。</p> Sat, 23 Apr 2016 14:33:34 +0000 Chen Zhi, Peng Wei, Chen Anjian - Fukuoka Asian Art Museum (FAAM) - April 16th - May 22nd <p style="text-align: justify;">Known as China&rsquo;s most prestigious art competition, the Chinese National Exhibition of Fine Arts has been held every five years since 1949, the year of the founding of the People&rsquo;s Republic of China. Work by tens of thousands of entrants are judged at genre-specific exhibitions before finalists are selected, gradually pared back until 600 works remain and are displayed at the National Art Museum of China in Beijing.<br /><br />This exhibition introduces Japanese audiences 76 finalists&rsquo; works from the 12th Chinese National Exhibition of Fine Arts 2014, including traditional Chinese painting, oil painting, watercolor, printmaking, lacquer and animation. Bringing large-sized realism paintings over 2 meters, which portray majestic scenery of nature and urban space together, the exhibition conveys a compelling glimpse into the energy of contemporary Chinese art.</p> <hr /> <p style="text-align: justify;">中国政府が主催する「全国美術展」は、1949年の建国以来5年に一度開催される、中国で最も大きく、権威ある公募展として知られています。中国全土から数万点の応募があり、何度も選考を経て、最後に受賞作品約600点が北京の中国美術館に集められます。</p> <p style="text-align: justify;">本展は、その2014年末に開催された「第12回全国美術展」からさらに厳選した中国画、油彩画、水彩画、版画、漆画、アニメーションなどの作品、合わせ て76点を日本で紹介する展覧会です。2メートルを超える大画面に雄大な自然や都市空間、人々の暮らしなどが圧倒的な描写力で描かれた驚異のリアリズム絵 画(写実表現)が一堂に会します。百花繚乱のごとき現代中国美術のエネルギーをぜひご体感ください。</p> Sat, 23 Apr 2016 14:30:58 +0000 Nguyen Thi Chau Giang, Bete Yeok Kuan, Chatchai Puipia - Fukuoka Asian Art Museum (FAAM) - April 21st - July 12th <p style="text-align: justify;">Meditation is a way of quietening the heart and facing one&rsquo;s inner world. For example, in the work Fire, artist Beat Yeok Kuan shows rows of bowls that emit a bright glow. Look closely and you&rsquo;ll see each bowl is subtly different, evoking various images in the viewer&rsquo;s mind. In another work, an elephant seems lifeless and devoid of sprit. This exhibition will lead you through forests of meditation with alternatively luminous or doubt-filled works, depending on the artist&rsquo;s projection.</p> <hr /> <p style="text-align: justify;">きらきら光る無数のお椀、どれひとつとして同じ形はありません。心を静めてじっと見ていると・・・さまざまなイメージが浮かんできそうです。その先を進む と、今度は木々の間をうろうろと歩くゾウの姿。心なしか元気がありません。どこへ行くというのでしょうか。本展では、きらめく世界や逡巡する自己を投影し た作品などを通して、あなたを瞑想の森へと誘います。</p> Sat, 23 Apr 2016 14:31:36 +0000