BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160708 DTSTAMP:20160430T133506 DTSTART:20160528 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:how hard can it be\, Stephanie Lüning\, Moe Matsuhashi\, Lisa Pahlk e\, Johanna Rüggen\, Daniel Rode\, Sabine Schober\, Benjamin Stölzel UID:417083 END:VEVENT BEGIN:VEVENT DTEND:20160527T210000 DTSTAMP:20160430T133506 DTSTART:20160527T180000 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:how hard can it be\, Stephanie Lüning\, Moe Matsuhashi\, Lisa Pahlk e\, Daniel Rode\, Johanna Rüggen\, Sabine Schober\, Benjamin Stölzel UID:417084 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160423 DTSTAMP:20160430T133507 DTSTART:20160325 GEO:45.482877;-73.5843654 LOCATION:Parisian Laundry\,3550 St-Antoine Ouest \nMontréal\, QC H4C 1A9 SEQUENCE:0 SUMMARY:Opaque Architectures\, Jaime Angelopoulos UID:416692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To celebrate the centenary of the Dada movement in the city of its birth\, Hauser &\; 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 Miró\; (1893 &ndash\; 1983). &lsquo\;Schwitters Mir&oa cute\; Arp&rsquo\; runs concurrently with the 11th iteration of Manifesta\, which is taking place in Zurich.

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Fro m 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 p ursued this goal through experimentation with collage and assemblage\, gene rating radical new ideas to confront a Europe characterised by the catastro phe of war.

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In 1918\, Schwitters and Arp developed a close friendship founded on a lively exchange of artistic i deas. In 1926\, Miró\; and Arp shared a home in the Les Fusains artis ts&rsquo\; colony at Rue de Tourlaque 22 in Paris\, where Schwitters also t ravelled each year\, and most frequently between 1929 and 1932. Arp had fir st become acquainted with collage in 1914 in the studio of Picasso\; he con veyed the new technique to Schwitters during their time together in Paris a nd it went on to become an essential facet of Schwitters&rsquo\; oeuvre. In turn\, Miró\;&rsquo\;s experiments with the assemblage of everyday o bjects in the late 1920s were strongly influenced by Schwitters\, Arp and t he Dada movement.

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Each of these artis ts shared an interest in the fusion of painting and sculpture through the a rt of assemblage. While Schwitters dramatically expanded the artistic frame of reference with his Merzbilder\, particularly through the use of materia ls found on the street\, and Arp continued to develop his abstract organic reliefs\, Miró\; found his own raw yet poetic way of engaging with th e material. Miró\;&rsquo\;s play with geometric and organic forms can be interpreted as a link between the artistic expression of Schwitters\, w ho had already begun to distance himself from the reproduction of natural f orms in 1918\, and the biomorphic compositions created by Arp. Their mutual influence upon one another resonated throughout their careers and into the ir late works.

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This extensive exhibit ion is dedicated to the re-evaluation and rediscovery of three fascinating personalities from art history who instigated a material language that cont inues 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\, Miró\; and Arp\, a s well as a deeper insight into Dada and Surrealism.

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Highlights include Arp&rsquo\;s painting &lsquo\;Teller\, G abeln and Nabel&rsquo\; (1923)\; a 1933 drawing-collage by Miró\;&rsq uo\; and an early example of Schwitter&rsquo\;s Merzbilder &ndash\; &lsquo\ ;Merzbild 1B Bild mit rotem Kreuz&rsquo\; (1919).

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&lsquo\;Teller\, Gabeln and Nabel&rsquo\; has its source in Da da&rsquo\;s idealistic concept of redemption through primitive\, abstract f orms\, yet its biomorphic shapes are characteristic of the new formal langu age Arp developed by abstracting elements from the natural landscape. It be longs to the remarkable series of painted reliefs that signalled his return to figuration in the 1920s &ndash\; he turned to a simplified figurative s tyle and a new iconography of faces and objects to create critical and humo rous 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 o verwhelming the perception of the entire figure. In attacking human folly d irectly\, through parody or objectification of the body\, Arp adopted Dada& rsquo\;s embrace of the irrational and absurd.

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&lsquo\;Untitled. Drawing-Collage&rsquo\; (1933) is from a series of outlandish and poetic collages that mark a period of fervent experiment ation in Miró\;&rsquo\;s career. Interlaced lyrical and biomorphic fi gures drawn in fine pencil are punctuated with outmoded and eclectic imager y in the form of old postcards\, newspapers scraps\, anatomy albums or art nouveau motifs. The meeting of instinctive\, delicate line and crude imager y lend the works a distinct sense of humour in accord with the Dada sensibi lity.

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Belonging to Schwitters&rsquo\; series of constructed-relief-paintings created between 1919 and 1921\, &ls quo\;Untitled&rsquo\; (1919) is a kaleidoscopic accretion of humble\, found material that speaks to the flux of contemporary society. The scraps and d etritus are subjected to an organising principle resembling the strong diag onals and logic of Analytic Cubism\, thus transforming the diverse componen ts into formal elements and giving a sense of order to the chaotic fragment s of modern industrial life.

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The exhi bition is curated by art historian Dr Dieter Buchhart\, who has organised s eminal 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\; Musé\;e d&rsquo\; Art Moderne\, Paris\, France and De Young Museum\, San Francisco CA.

DTEND:20160918 DTSTAMP:20160430T133507 DTSTART:20160612 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Schwitters Miró Arp\, Kurt Schwitters\, Joan Miro\, Hans Arp UID:416671 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160430T133507 DTSTART:20160611T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Schwitters Miró Arp\, Hans Arp\, Joan Miro\, Kurt Schwitters UID:416672 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth Zürich is delighted to present a solo exhibition of works by the late American sculp tor\, painter and draughtsman\, David Smith (1906 &ndash\; 1965). A titan o f 20th-century art\, Smith transformed the innovations of European modernis m into a richly diverse new artistic language. Over a 33-year career he gre atly expanded the notion of what sculpture could be\, its relationship to s pace and importantly moved the site of its production\, and ultimately our experience of it\, from the artist&rsquo\;s atelier and art foundry into th e realms of industry and nature. Spanning pure abstraction and poetic figur ation\, Smith&rsquo\;s deeply humanist vision has inspired generations of s culptors for over 50 years since his death.

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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 produ ctivity and by the 1960s Smith was at the height of his creative powers\, g arnering international attention as the leading sculptor of his generation. Exploring the dialogue between Smith&rsquo\;s use of form and colour\, geo metry and gesture\, the show brings together a selection of painted steel s culptures and spray-paint works\, highlighting Smith&rsquo\;s objective to merge the concerns of two- and three-dimensional media.

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Painting and drawing remained integral to Smith&rsquo\;s creative output throughout his career. &lsquo\;Drawings&rsquo\;\, he claim ed\, &lsquo\;are studies for sculpture\, sometimes what sculpture is\, some times what sculpture never can be&rsquo\;. Around 1958\, almost immediately after the invention of the aerosol spray can\, Smith began his Sprays. Mad e simultaneously to some of his most rigorously geometric sculpture\, the S prays are often loosely gestural. Though the Sprays freed Smith&rsquo\;s fo rm 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 S mith&rsquo\;s oeuvre\, emphasising his conviction that every facet of his v isual output represents an essential element of his total artistic vision.< /p>\n

With the Sprays\, Smith adopted a med ium that was developed from\, and was perfectly aligned with\, his sculptur al process. When creating a sculpture\, Smith would often place components of the work in progress on his white painted floor before joining them toge ther. 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 tre e branches\, and even leftovers from his table\, which he arranged on paper or canvas before spraying over the composition with industrial enamel pain t. When the objects were removed\, ghostly silhouettes remained\, their out lines hazy from the diffused paint that seeped beneath the objects&rsquo\; edges. The Sprays encapsulate the overlap between two- and three-dimensiona l activities in Smith&rsquo\;s practice. As in the artist&rsquo\;s sculptur es\, the Sprays present an interplay of simple\, bold forms to produce comp lex rhythms in space. They examine the ambiguity between positive and negat ive 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 mor e than simple studies for his sculptural work.

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Appearing contemporary and ever-relevant today\, Smith&rsquo\;s s culptures were seen as an extremely radical challenge to modernist taste at the time they were made. The sculptures featured in the exhibition illustr ate Smith&rsquo\;s increasing focus on the visual nature of three-dimension al 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 mad e by Smith with industrial enamels and small brushes which are often compar ed to the spontaneous brushwork of Abstract Expressionists &ndash\; and ass ertive geometric forms\, creates a lyrical balance. Far beyond cosmetic app lication\, Smith&rsquo\;s use of colour controls the form\, the dappled fin ish working to soften the strict\, geometric lines.

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&lsquo\;Circles Intercepted&rsquo\; (1961) is in many respec ts a three-dimensional painting. Smith&rsquo\;s dramatically different trea tment of colour and form on the two &lsquo\;sides&rsquo\; of the sculpture exemplifies his most radical contribution to the language of sculpture &nda sh\; that is the virtual impossibility for the viewer to &lsquo\;possess&rs quo\; 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\;pro ducing&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 reali ty 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 ultimate ly prioritise the visual over the physical.

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Painted sculpture\, in and of itself\, was not new &ndash\; although it was unorthodox at a time when &lsquo\;truth to materials&rsquo\; was th e standard\, accepted practice for sculpture. As Smith noted\, sculpture ha d been painted from its earliest history. Smith however\, introduced a dist inctly modern conceptual intention\, one that\, like his Sprays\, takes on vision itself as a subject\; Smith was not making painted sculpture\, he wa s making sculpture about painting.

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Th e exhibition will be accompanied by a fully&ndash\;illustrated catalogue fe aturing historic archival images and an essay by curator and art historian Michelle White.

DTEND:20160918 DTSTAMP:20160430T133507 DTSTART:20160612 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Form in Color\, David Smith UID:416669 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160430T133507 DTSTART:20160611T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Form in Color\, David Smith UID:416670 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beginning 19 March 2016\, Haus er &\; Wirth will present the gallery&rsquo\;s first Zurich exhibition d evoted to internationally-admired Osaka-born\, Paris-based artist Takesada Matsutani. Over a five-decade career that began with his participation in t he Gutai Art Association and evolved to express the tangled complexities of a life lived between France and Japan\, Matsutani has developed a unique v isual language of form and materials. His work plays with notions of time a nd the movement of our bodies through it. Engaging themes of the eternal an d the infinite\, and echoing the endless cycles of life and death\, Matsuta ni merges material\, hue\, and movement to arrive at an art about the prese nt moment and the reverberating forces and unceasing currents from which li fe itself flows.

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Highlighting the art ist&rsquo\;s practice in Paris at the beginning of the 1970s\, &lsquo\;Take sada Matsutani&rsquo\; at Hauser &\; Wirth will present never before see n paintings from the artist&rsquo\;s early career. Organised with Olivier R enaud-Clé\;ment\, the exhibition will remain on view at the gallery u ntil 21 May 2016.

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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 19 60 and having a solo presentation at the Gutai Pinacotheca in Osaka in 1963 . Developing an aesthetic in his formative years through radical experiment ations with vinyl glue\, the young artist impregnated the surface of his ca nvases with bulbous elements\, using his own breath to create swollen and r uptured 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 ar tist\, nearly 50 years later Matsutani still calls Paris his home.

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Visitors will encounter Matsutani&rsquo\;s bo ld\, 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&rsq uo\;s Atelier 17\, Matsutani devoted himself to the techniques of etching\, printmaking\, and silkscreen. Hayter&rsquo\;s workshop was a centre for cr eative exchange and collaboration\, both in Paris and New York\, and exerte d profound influence upon such artists as Louise Bourgeois\, Salvador Dal&i acute\;\, Marcel Duchamp\, Max Ernst and Joan Miró\;. Through the pro wess 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 theo ries and history of &lsquo\;the image&rsquo\; in Western culture\, and espe cially by American Minimalism and the Hard Edge paintings of Ellsworth Kell y\, he began to conceive new compositions\, re-arranging and testing the li mits of pictorial space. Transforming the same organic and biomorphic forms he first developed in glue\, the progression from &lsquo\;Le Dé\;vel oppement-A1-69&rsquo\; (1969) to &lsquo\;Two Objects&rsquo\; (1970) display s the transformation of the artist&rsquo\;s pooling\, curvaceous forms into flat geometric planes of colour on canvas.

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Many of the works on canvas from the early 1970s on display at Hause r &\; Wirth Zürich have never been exhibited in public before. Beyond t he two-dimensional re-imagination of the artist&rsquo\;s previous forms cre ated in glue\, these canvases bring a vibrant inventive juxtaposition of co lour. His use of shape grows more complex with the works of 1972\, such as &lsquo\;Harugakita&rsquo\;\, and breaks into a dynamic intermingling of for ms in &lsquo\;Sky-B&rsquo\; and &lsquo\;Propagation-72&rsquo\;. A truly sin gular period in the artist&rsquo\;s career\, the early 1970s timeframe of t he current show highlights Matsutani&rsquo\;s committed exploration of the flattening of shapes\, through a frank use of strong colours in oil on canv as.

DTEND:20160521 DTSTAMP:20160430T133507 DTSTART:20160319 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Takesada Matsutani\, Takesada Matsutani UID:416668 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of the exhibit ion\, &lsquo\;Wilhelm Sasnal&rsquo\; at Hauser &\; Wirt h Zü\;rich

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Ulrich Loock&rsquo\;s recent curatorial project\, &lsquo\;Raymond Pettibon. Homo Americanus&rsquo \;\, is on display at Deichtorhallenn\, Hamburg\, Germany\, through 11 Sept ember 2016

DTEND:20160510T210000 DTSTAMP:20160430T133507 DTSTART:20160510T200000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Wilhelm Sasnal in Conversation with Ulrich Loock\, Wilhelm Sasnal UID:416664 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;Painting is a natural activity\, it&rsquo\;s primal. I think images aren&rsquo\;t important becau se of the numbers that surround us. But painting has a chance. There is alw ays painting\, like there&rsquo\;s song. I don&rsquo\;t think it needs spec ulation 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 s tate of being.&rsquo\;
&ndash\; Wilhelm Sasnal

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Hauser &\; Wirth Zürich presents a solo exhibition of ne w and recent works by Wilhelm Sasnal\, the pre-eminent painter and film-mak er known for his incongruous and quietly unsettling portrayal of our collec tive surroundings and history. The exhibition will showcase a large number of new works informed by his recent travels to America&rsquo\;s southern st ates\, and the events and crises currently dominating world affairs. Extrac ts from the artist&rsquo\;s latest feature length film\, which is inspired by Albert Camus&rsquo\;s novel &lsquo\;The Stranger&rsquo\; (1942)\, form t he axis of the presentation.

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There is a persistent preoccupation in Sasnal&rsquo\;s work to stay engaged with th e world we live in\, and perhaps more importantly\, to connect the present with the past. At once curiously personal and coolly detached\, Sasnal subj ectively and intimately interprets the topical.

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Drawing on found images from newspapers and magazines\, the Inte rnet\, billboards or his personal surroundings\, Sasnal&rsquo\;s paintings act as an archive to the mass of sprawling images that flood contemporary s ociety. In applying a concise\, photorealist approach to this eclectic subj ect matter\, he captures stolen moments in time &ndash\; his unusual croppi ng 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 ser ies of paintings\, issues relating to race\, religion and the notion of &ls quo\;other&rsquo\;\, surface. Motifs such as birds\, cowboy boots and corpo rate logos invite the viewer to make associations with the current politica l climate\, but\, as in his films\, the paintings navigate between figurati on 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 ge nerates a disquieting absence of emotional engagement.

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Sasnal has long worked in film alongside his painting\, v iewing it as a complimentary practice and welcoming the alternative challen ges that it brings. Film&rsquo\;s affinity with reality\, and therefore its ability to provoke\, also appeals to the artist. Over the past year\, Sasn al has been working with Anka\, his wife and long-time collaborator\, on pr oducing his fourth feature length film &ndash\; &lsquo\;The Sun\, the Sun B linded Me&rsquo\;. For the exhibition in Zurich\, an edited extract from on e scene in the film is projected onto the gallery walls\, creating a loop o f compelling images that encapsulate the essence of the paintings on displa y.

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The film borrows its trajectory fr om Albert Camus&rsquo\;s novel &lsquo\;The Stranger&rsquo\; (1942)\, but th e setting is Poland today\, shot in Krakow and on the Baltic coast. The sto ry also takes inspiration from Hans Christian Andersen&rsquo\;s dark fairyt ale &lsquo\;The Shadow&rsquo\; (1847). Camus&rsquo\;s novel is narrated by Meursault\, a French Algerian who\, along with his friend\, enters a confro ntation with an Arab man on the beach. After initially preventing his frien d from killing &lsquo\;the Arab&rsquo\;\, he later returns to shoot him. Wh ile awaiting the execution of his death sentence\, the reader learns that M eursault had no discernable reason for his actions and feels no guilt or re morse. The tale is existential in tone\, pertaining to Camus&rsquo\;s philo sophy on the absurdity of human existence\, which he believed has no meanin g or purpose.

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In the hands of Sasnal\ , &lsquo\;the Arab&rsquo\; is a black man hiding from border control and &l squo\;Meursault&rsquo\; first decides to shelter the man in his home\, only to realise that this was in his imagination. The encounter is repeated\, a nd on this occasion the man is killed by &lsquo\;Meursault&rsquo\;. In cont rast to Camus&rsquo\;s story\, the court diminishes the murder charges\, re asoning 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.

DTEND:20160521 DTSTAMP:20160430T133507 DTSTART:20160319 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wilhelm Sasnal UID:416663 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A three-part exhibition of the work of Felix Gonzalez-Torres will open at \;Andrea Rosen Gallery\, New York\; \;Massimo De Carlo\, Milan\; and Hauser &\; Wirth\, London in May 2016. Cur ated by artists Julie Ault and Roni Horn\, each exhibition will focus on th e dialogue between works within an essential form that Gonzalez-Torres crea ted. In so doing\, Ault and Horn hope to underline the specificity and magn itude within particular bodies of the artist&rsquo\;s work.

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By engaging the range of decisions brought to bear i n manifesting and installing selected Gonzalez-Torres works that require be ing made anew\, Ault and Horn underscore vital methods reflected throughout the artist&rsquo\;s entire oeuvre. The exhibitions are conceived as indivi dual experiences that should be understood in the larger context of all thr ee. Each presentation is intended to complement and augment the experiences they offer within the larger whole and within Felix Gonzalez-Torres&rsquo\ ;s practice.

DTEND:20160720 DTSTAMP:20160430T133507 DTSTART:20160520 GEO:45.484094;9.2435237 LOCATION:Galleria Massimo De Carlo\,Via Giovanni Ventura\, 5 \nMilan\, I-20 134 SEQUENCE:0 SUMMARY:Solo Exhibition\, Felix Gonzalez-Torres UID:416660 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One of the most influential ar tists of his generation\, Anish Kapoor dedicates his first solo exhibition at Lisson Gallery Milan to stainless steel twist sculptures. Brought togeth er for the first time\, these fourteen works \;cause a torsion of the r eflected image and deconstruct the world into abstract shapes. Kapoor&rsquo \;s meticulously polished and seamless surfaces skew and morph the surround ing environment and disorient visitors &ndash\; \;providing a lens to v iew the universe in a different light\, where perception is warped and flip ped on its side.

DTEND:20160722 DTSTAMP:20160430T133507 DTSTART:20160513 GEO:45.4651238;9.1703262 LOCATION:Lisson Gallery\,Via Zenale\, 3 \nMilan\, 20123 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:416652 END:VEVENT BEGIN:VEVENT DTEND:20160513T210000 DTSTAMP:20160430T133507 DTSTART:20160513T190000 GEO:45.4651238;9.1703262 LOCATION:Lisson Gallery\,Via Zenale\, 3 \nMilan\, 20123 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:416653 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160604 DTSTAMP:20160430T133507 DTSTART:20160505 GEO:-22.9820812;-43.2378011 LOCATION:Galeria da Gávea\,Rua Marquês de São Vicente 431A \nRio de Janeiro \, 22451-040 SEQUENCE:0 SUMMARY:Kamado\, Julio Bittencourt UID:416422 END:VEVENT BEGIN:VEVENT DTEND:20160505T210000 DTSTAMP:20160430T133507 DTSTART:20160505T190000 GEO:-22.9820812;-43.2378011 LOCATION:Galeria da Gávea\,Rua Marquês de São Vicente 431A \nRio de Janeiro \, 22451-040 SEQUENCE:0 SUMMARY:Kamado\, Julio Bittencourt UID:416423 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160521 DTSTAMP:20160430T133507 DTSTART:20160421 GEO:-12.1505648;-77.0158707 LOCATION:Galeria 80M2 Livia Benavides\,Malecón Pazos 252 Barranco\nLima\, SEQUENCE:0 SUMMARY:Sala De Proyectos: Ximena Garrido-Lecca\, Ximena Garrido-Lecca UID:416419 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160521 DTSTAMP:20160430T133507 DTSTART:20160421 GEO:-12.1505648;-77.0158707 LOCATION:Galeria 80M2 Livia Benavides\,Malecón Pazos 252 Barranco\nLima\, SEQUENCE:0 SUMMARY:Muestra Colectiva\, Gabriel Acevedo\, Iosu Aramburu\, William Cordo va\, Nancy La Rosa\, Marco Pando\, Rita Ponce de Leon\, Maya Watanabe\, Dav id Zink-Yi UID:416418 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening reception: Thursday\, 14th April\, from 6:00 to 8:00 pm


These flowers sat between powerful men as they s igned agreements designed to influence the fate of the world.
&md ash\;Taryn Simon

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Gagosian Rome is ple ased to present Taryn Simon's first solo exhibition in Italy\, following he r acclaimed exhibition at Gagosian New York earlier this year\, and her par ticipation in the 56th Biennale di Venezia in 2015.

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Simon's most recent body of work Paperwork and the Will of Capital comprises 12 unique sculptures and 36 editioned photographs . The photographs&mdash\;large\, colorful\, and spectacular with a nod to P op art\, and custom-framed in mahogany to emulate the style of boardroom fu rniture&mdash\;speak to the bombast of national and corporate symbolism\; t he sculptures&mdash\;stylized concrete flower&ndash\;presses containing del icate preserved floral specimens and their documentation&mdash\;operate in a discrete and classified zone.

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A sto ryteller whose grist is the instability of fact\, Simon's research-driven a pproach has produced such impactful bodies of work as The Innocents (2002)\; An American Index of the Hidden and Unfamiliar (2007)\; Contraband (2010)\; and A Living Man Declared Dead and Other Chapters I&ndash\;XVIII (2008&ndash\;11)\; as well as the more whimsic al The Picture Collection (2013)\, and Birds of the West Indie s (2013&ndash\;14). For Simon\, photography has always been the vehicl e for larger conceptual ideas\; in Paperwork and the Will of Capital\, her exacting attention to aesthetic and formal concerns has elevated t he medium to the status of painting\, as well as expanding her reach into s culpture for the first time.

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For the new work\, Simon's investigations yielded twin points of departure: archiva l photographs of official signings\; and George Sinclair's nineteenth centu ry horticultural study containing actual dried grass specimens\, an experim ent in evolution and survival cited by Charles Darwin in his groundbreaking research.

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In Paperwork and the W ill of Capital\, Simon examines accords\, treaties\, and decrees draft ed to influence systems of governance and economics\, from nuclear armament and border issues to oil deals and diamond trading. All involve the countr ies present at the 1944 United Nations Monetary and Financial Conference in Bretton Woods\, New Hampshire\, which addressed the globalization of econo mics 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 un derscore 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.

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Each of Simon's recreations of these floral arrangements represents an &l dquo\;impossible bouquet&rdquo\;&mdash\;a concept that emerged in Dutch sti ll-life painting parallel to the country's seventeenth&ndash\;century econo mic boom\, which ushered in the development of modern capitalism. Then\, th e impossible bouquet was an artificial fantasy of flowers that could never bloom naturally in the same season and geographic location. Now\, the fanta sy is made possible&mdash\;both in the original signings and in Simon's pho tographs&mdash\;by the global consumer market.

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For the recreations\, Simon worked with a botanist and from archi val records to identify all the flowers. She imported more than 4000 specim ens from the world's largest flower auction in Aalsmeer\, Netherlands\, whe re 20 million flowers arrive and depart daily\, bound for international ret ail destinations. She remade the floral arrangements from each signing\, th en photographed them against striking bicolored fields relating to the fore grounds 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 arch ival herbarium paper\; a complete set of the botanical collages was then pl aced in each of the concrete presses\, along with the same number of photog raphs and narrative texts&mdash\;sealed together in a race against time.

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Paperwork and the Will of Capital addresses the instability of executive decision&ndash\;making and the p recarious 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 n atures mortes. As time advances\, so may these artifacts transform\, reveal ing mutable versions of themselves.

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A fully illustrated book published by Hatje Cantz and Gagosian includes essa ys by Kate Fowle and Nicholas Kulish\, botanical texts by Daniel Atha\, and a short story by Hanan al-Shaykh.

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Taryn Simon (b. 1975) lives and works in New York City. She graduated from Brown University and was the recipient of a Guggenheim Fello wship in 2001. Permanent collections include Metropolitan Museum of Art\, M useum of Modern Art\, and Solomon R. Guggenheim Museum\, New York\; LACMA\, Los Angeles\; Tate Modern\, London\; Centre Georges Pompidou\, Paris\; and MMK\, Frankfurt.

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Recent museum exhib itions include &ldquo\;Taryn Simon: An American Index of the Hidden and Unf amiliar\,&rdquo\; Whitney Museum of American Art\, New York (2007)\; &ldquo \;A Living Man Declared Dead and Other Chapters I&ndash\;XVIII\,&rdquo\; Ta te Modern\, London (2011\, traveled to Neue Nationalgalerie\, Berlin\, the same year\; Museum of Modern Art\, New York\, in 2012\; Museum of Contempor ary Art\, Los Angeles\, in 2012&ndash\;13\; Corcoran Gallery of Art\, Washi ngton\, D.C.\, and Ullens Center for Contemporary Art\, Beijing\, in 2013\, among others)\; and &ldquo\;Rear Views\, A Star-forming Nebula\, and the O ffice of Foreign Propaganda\,&rdquo\; Galerie nationale du Jeu de Paume\, P aris (2015). Her work was included in the Gwangju Biennale (2008)\, Singapo re Biennial (2011)\, 2013 Carnegie International\, Yokohama Triennale (2014 )\, and the 56th Biennale di Venezia (2015).

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Simon's Birds of the West Indies I and II (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. Paperwork and the Will of Capi tal will be on view in &ldquo\;Action Research: The Stagecraft of Powe r&rdquo\; at Garage Museum of Contemporary Art\, Moscow\, in March from Mar ch 17&ndash\;May 22 and other institutional venues during 2016&ndash\;17. M ajor solo exhibitions are planned at Galerie Rudolfinum in Prague and The L ouisiana Museum in Denmark in 2016. From March 21 until January 2017\, a ch apter from Simon's A Living Man Declared Dead and Other Chapters I&ndas h\;XVIII (2011) will be on view at Centre Pompidou as part of the exhi bition &ldquo\;CHERS AMIS\,&rdquo\; curated by Christine Macel.

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Sim on is also currently preparing her first work involving live performers\, j ointly commissioned by Park Avenue Armory\, New York\, and Artangel\, Londo n. This as-yet unnamed work will premier in New York in September 2016 befo re moving on to London in November of this year.

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Inaugurazione: giovedì\; 14 aprile\, dalle ore 18 alle 20


Questi fiori accompagnavano uomini di pote re mentre decidevano le sorti del mondo.
&mdash\;Taryn Simon

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Gagosian Gallery è\; lieta di pres entare la prima personale di Taryn Simon in Italia\, la cui apertura segue la presentazione a New York attualmente in corso e la partecipazione dell'a rtista alla 56esima Biennale di Venezia nel 2015.

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Paperwork and the Will of Capital\, la più\; re cente 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 richiaman o l'arredamento delle sale riunioni&mdash\;dialogano con l'opulenza della s imbologia 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.\n

Narratrice la cui forza si concentra n ell'imprevedibilità\; della realtà\;\, Simon ha basato il suo l avoro sulla ricerca producendo serie artistiche importanti quali The In nocents (2002)\; An American Index of the Hidden and Unfamiliar (2007)\; Contraband (2010)\; e A Living Man Declared Dead a nd Other Chapters I&ndash\;XVIII (2008&ndash\;11)\; come anche le pi&u grave\; poetiche The Picture Collection (2013)\, e Birds of th e West Indies (2013&ndash\;14). Per Simon la fotografia è\; semp re stata il modo di veicolare concetti più\; ampi: in Paperwork a nd the Will of Capital avvicina il medium alla pittura attraverso la c ura dettagliata degli aspetti estetici e formali\, ed esplorando per la pri ma volta la scultura.

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Per questa nuov a serie l&rsquo\;indagine di Simon è\; partita da due spunti di rifle ssione: le fotografie di archivio di trattati ufficiali e lo studio botanic o compiuto nel 19esimo secolo da George Sinclair\, contenente campioni di e rba essiccata\, esperimento sull'evoluzione e la sopravvivenza citato da Ch arles Darwin nella sua rivoluzionaria ricerca.

In Paperwor k and the Will of Capital\, Simon esamina accordi\, trattati e decreti che hanno influenzato i sistemi del potere e dell'economia\, dall'armament o nucleare alle negoziazioni sul petrolio\, al commercio dei diamanti. Tutt i coinvolgono gli Stati presenti alla Conferenza Monetaria e Finanziaria de lle Nazioni Unite tenutasi nel 1944 a Bretton Woods\, New Hampshire\, in cu i si affrontava la globalizzazione economica dopo la Seconda Guerra Mondial e\, e che portò\; alla nascita del Fondo Monetario Internazionale (IM F) e della Banca Mondiale. Le fotografie d'archivio delle firme di questi d ocumenti 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\, sottol ineano il modo in cui la rappresentazione del potere politico ed economico sia creata\, messa in scena\, pubblicizzata e consolidata.

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Ognuna delle riproduzioni di queste composizioni flor eali 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 cap italismo moderno. Mentre allora il &ldquo\;bouquet impossibile&rdquo\; era un insieme di fiori che mai sarebbero potuti sbocciare naturalmente nella s tessa stagione o zona geografica\, adesso\, grazie alla globalizzazione com merciale\, è\; una fantasia diventata realtà\; sia nelle fotogr afie originali che in quelle di Simon.

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Simon ha esaminato la documentazione d'archivio identificando tutti i fio ri con la collaborazione di un botanico. L'artista ha poi importato pi&ugra ve\; di 4000 esemplari da Aalsmeer\, in Olanda\, la più\; grande asta floreale del mondo\, dove 20 milioni di fiori arrivano e ripartono ogni gi orno verso destinazioni internazionali di vendita al dettaglio. Dopo aver r icostituito le decorazioni presenti ad ogni evento\, le ha fotografate su s traordinari 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 son o stati essiccati\, pressati e cuciti su carta d'archivio. In seguito\, un completo set di collage botanici è\; stato posto in ognuna delle pres se di cemento\, con lo stesso numero di fotografie e di testi narrativi\, s igillati insieme in una corsa contro il tempo.

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Paperwork and the Will of Capital esplora tanto l'instab ilità\; del potere e la natura precaria della sopravvivenza\, quanto l'affidabilità\; e la resistenza della documentazione d'archivio: i t rattati e i loro effetti su vasta scala\, le fotografie di Simon e i campio ni botanici conservati nelle presse di cemento\, il linguaggio stesso. Le n ature morte fotografiche si stagliano vivide in contrasto con quelle sculto ree.

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Un catalogo illustrato pubblicat o 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.

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Taryn Simon (1975) vive e lavora a New York. Si è\; laureata alla Brown University e ha vinto una Guggenheim Fellowship nel 2001. Il suo lavoro è\; incluso nelle collezioni permanenti del Metropolitan Museum of Art\, Museum of Modern Art \, e del Solomon R. Guggenheim Museum\, New York\; LACMA\, Los Angeles\; Ta te Modern\, Londra\; Centre Georges Pompidou\, Parigi\; e MMK\, Francoforte .

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Tra le recenti mostre museali si an noverano: &ldquo\;Taryn Simon: An American Index of the Hidden and Unfamili ar&rdquo\;\, Whitney Museum of American Art\, New York (2007)\; &ldquo\;A L iving Man Declared Dead and Other Chapters I&ndash\;XVIII&rdquo\;\, Tate Mo dern\, Londra (2011\, poi alla Neue Nationalgalerie\, Berlino\, lo stesso a nno\; Museum of Modern Art\, New York\, nel 2012\; Museum of Contemporary A rt 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 F oreign Propaganda&rdquo\;\, Galerie nationale du Jeu de Paume\, Parigi (201 5). Il suo lavoro è\; stato incluso nella Gwangju Biennale (2008)\, S ingapore Biennial (2011)\, 2013 Carnegie International\, Yokohama Triennale (2014)\, e nella 56esima Biennale di Venezia (2015).

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La serie di Simon Birds of the West Indies I e II (2013&ndash\;14) sarà\; in mostra al George Eastman Museum a Rochest er\, New York dal 13 febbraio al 15 maggio di quest'anno. Paperwork and the Will of Capital sarà\; esposta in &ldquo\;Action Research: The Stagecraft of Power&rdquo\; al Garage Museum of Contemporary Art\, Mosc a\, dal 17 marzo al 22 maggio e in altre sedi istituzionali durante il 2016 &ndash\;17. Importanti mostre personali sono previste alla Galerie Rudolfin um a Praga e al The Louisiana Museum in Danimarca nel 2016. Dal 21 marzo a gennaio 2017\, un capitolo della serie A Living Man Declared Dead and O ther Chapters I&ndash\;XVIII (2011) sarà\; esposto al Centre Pom pidou come parte della mostra &ldquo\;CHERS AMIS&rdquo\;\, curata da Christ ine Macel.

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Simon sta inoltre lavorand o attualmente alla sua prima opera che include performance dal vivo\, commi ssionatale da Park Avenue Armory\, New York\, e Artangel\, Londra. Questo l avoro ancora senza titolo sarà\; presentato in anteprima a New York a settembre 2016 prima di spostarsi a Londra nel novembre 2016.

DTEND:20160624 DTSTAMP:20160430T133507 DTSTART:20160414 GEO:41.9034732;12.4855785 LOCATION:Gagosian Gallery - Rome\,Via Francesco Crispi 16 \nRome\, 00187 SEQUENCE:0 SUMMARY:Paperwork and the Will of Capital\, Taryn Simon UID:416417 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening reception: Tuesday\, A pril 5th\, from 6:00 to 8:00pm


I had a notion to ma ke pictures by using words and presenting them in some way and it seemed li ke a mountain was an archetypal stage set. It was a perfect foil for whatev er was happening in the foreground.
&mdash\;Ed Ruscha

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Gagosian Geneva is pleased to present the first exhibition exclusively devoted to Ed Ruscha's Mountain Prints.

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More than ten years after the original m otif appeared in the distinctive Mountain 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 Rusc ha's processual experiments in the print medium.

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While attending Chouinard Art Institute (now CalArts) in 1958\, Ruscha began an apprenticeship with Saul Marks at Plantin Press in Los Ang eles\, summoned to the print medium by a desire for experimental collaborat ion and a commitment to reproducibility. Since 1960\, screenprints\, lithog raphs\, and etchings have been a key part of his oeuvre. After a collaborat ion over many decades\, Ruscha established Hamilton Press with Tamarind mas ter printer Ed Hamilton in 1990 to focus on traditional lithography. Mo untain Prints suggests the ways in which the open exchange of skills a nd insights has impacted his punchy compositions.

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The prints on view are both works from the numbered edition as well as proofs produced between 2010 and 2015 at Hamilton Press. Square-fo rmat paper accentuates the central placement of text\, each word occupying a new line in contrast to the perspectival recession of the snow-capped mou ntains. 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 Mountain Prints\, cry ptic 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 wi th a granular\, graphic tactility amplified by vivid combinations of cerule an and cobalt blue\, plum\, pewter\, tawny\, and tangerine inks. Subtle mut ations between prints recount the active and constant negotiation between a rtist and printer\, author and craftsman. Like the partnership between Hami lton and Ruscha\, the achievement of the Mountain Prints proofs is their merger of content and form.

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Ed Ruscha was born in Omaha\, Nebraska\, in 1937. His work i s collected by museums worldwide. Recent solo museum exhibitions include &l dquo\;Cotton Puffs\, Q-Tips®\;\, Smoke and Mirrors: The Drawings of Ed R uscha\,&rdquo\; Whitney Museum of American Art (2004\, travelled to The Mus eum of Contemporary Art\, Los Angeles\; and National Gallery of Art\, Washi ngton\, D.C.\, in 2005)\; &ldquo\;Ed Ruscha\,&rdquo\; MAXXI\, Rome (2004)\; &ldquo\;Ed Ruscha: Photographer\,&rdquo\; Jeu de Paume\, Paris (2006\, tra velled to Kunsthaus Zü\;rich\; and Museum Ludwig\, Cologne\, in 2006)\; &ldquo\;Ed Ruscha: Fifty Years of Painting\,&rdquo\; Hayward Gallery\, Lon don (2009&ndash\;10\, travelled to Haus der Kunst\, Munich\; and Moderna Mu seet\, Stockholm\, in 2010)\; &ldquo\;Ed Ruscha: Road Tested\,&rdquo\; The Modern Art Museum of Fort Worth\, Texas (2011)\; &ldquo\;On the Road\,&rdqu o\; Hammer Museum\, Los Angeles (2011\, travelled to Denver Art Museum\, Co lorado\, in 2011&ndash\;12\; and Museum of Contemporary Art\, Miami\, in 20 12)\; &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 A partments\,&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 Gre at Ideas&rdquo\; at Kunsthistorisches Museum Wien in Austria. Ruscha repres ented the United States in the 51st Biennale di Venezia in 2005\, and was f eatured in the 2015 Biennale de Lyon's exhibition\, &ldquo\;La Vie Moderne. &rdquo\;

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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 f eature more than 80 works spanning the artist's career\, exploring his atta chments to the sights and scenes of the iconic landscape.

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For further inquiries please contact the gallery at geneva@gagosian.com or at +41.22.319 .36.19. All images are subject to copyright. Gallery approval must be grant ed prior to reproduction.

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Please join the conversation with Gagosia n Gallery on Twitter (@Gago sianGeneva)\, Facebook (@GagosianGallery)\, Google+ (@+Gagosian)\, Instagram (@GagosianGallery)\, Tumblr (@GagosianGallery)\, and Artsy (@Gagosian-Gallery) via the hashtags #EdRuscha &nbs p\;#MountainPrints  \;#GagosianGeneva.

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Vernissage: mard i\, 5 avril\, de 18h00 à\; 20h00


J'avais dans l'idé\;e de cré\;er des images en utilisant des mots et en les pré\;sentant d'une certaine maniè\;re. Les montagnes m'ont sem blé\; l'arché\;type de la scé\;nographie. Elles ont servi de parfait é\;crin pour tout ce qui se passe au premier plan.&mdash\;Ed Ruscha

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Gagosian Gen&eg rave\;ve a le plaisir de pré\;senter la premiè\;re exposition e ntiè\;rement dé\;dié\;e à\; la sé\;rie Mo untain Prints d'Ed Ruscha.

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Plus de dix ans aprè\;s l'apparition du motif original dans la sé\;r ie de peintures Mountain\, Ed Ruscha commence à\; ré\; aliser des impressions complé\;mentaires en 2010. Mountain Prints comprend des essais et sé\;parations de couleurs\, des é\ ;preuves d'annulation\, ainsi que des é\;ditions numé\;rot&eacu te\;es de la sé\;rie en é\;dition limité\;e\; c'est une o pportunité\; rare de dé\;couvrir le processus d'expé\;rim entation de Ruscha appliqué\; à\; l'impression.

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Alors qu'il fré\;quente le Chouinard Art Insti tute (aujourd'hui connu sous le nom de CalArts) en 1958\, Ruscha commence u n apprentissage avec Saul Marks aux é\;ditions Plantin Press à\ ; Los Angeles: son dé\;sir de collaboration expé\;rimentale et de reproductibilité\; l'attire vers les techniques d'impression. Depu is 1960\, sé\;rigraphies\, lithographies et gravures occupent une pla ce centrale dans son &oelig\;uvre. Aprè\;s plusieurs dé\;cennie s de collaboration\, Ruscha fonde Hamilton Press en 1990 avec Ed Hamilton\, maî\;tre-imprimeur issu de l'institut Tamarind\, afin de se concentre r sur la lithographie traditionnelle. Mountain Prints ré\;v& egrave\;le l'influence des é\;changes de compé\;tences et de pe rspectives sur ses compositions percutantes.

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Les tirages exposé\;s sont des oeuvres de l'é\;dition n umé\;roté\;e ainsi que des é\;preuves produites entre 201 0 et 2015 chez Hamilton Press. Le papier de forme carré\;e accentue l e placement central du texte\, chaque mot occupant une ligne en contraste a vec la perspective en fond des montagnes aux sommets enneigé\;s. Rusc ha superpose du texte sur des paysages dans ses peintures depuis les ann&ea cute\;es 1980\, juxtaposant le stimulus symbolique de l'image avec du texte pour cré\;er une atmosphè\;re de langage\, de son et de forme. Dans Mountain Prints\, des phrases é\;nigmatiques\, banales et humoristiques\, telles que «\;Sponge Puddle»\; (flaque d'&eac ute\;ponge) ou «\;Bliss Bucket»\; (seau d'extase)\, viennent trou bler l'harmonie du paysage de carte postale. Le processus d'impression insu ffle une tactilité\; granulaire et graphique qui est amplifié\; e par des associations é\;clatantes d'encres bleu azur et cobalt\, pr une\, é\;tain\, fauve et mandarine. De subtiles diffé\;rences e ntre les &oelig\;uvres té\;moignent de la né\;gociation active et constante entre l'artiste et le graveur\, l'auteur et l'artisan. Tout co mme le partenariat entre Hamilton et Ruscha\, les é\;preuves Moun tain Prints mê\;lent le fond et la forme.

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Ed Ruscha est né\; à\; Omaha\, Nebraska\, en 1937. Ses &oelig\;uvres sont collectionné\;es par les m usé\;es du monde entier. Parmi ses expositions musé\;ales indiv iduelles ré\;centes on compte la ré\;trospective de dessins &la quo\; Cotton Puffs\, Q-Tips®\;\, Smoke and Mirrors\,»\; au Whitney Museum of American Art (2004\, puis au Museum of Contemporary Art\, Lose An geles et à\; la National Gallery of Art\, Washington\, D.C.\, en 2005 )\; «\;Ed Ruscha\,»\; au MAXXI\, (2004)\; «\;Ed Ruscha: Phot ographer\,»\; au Jeu de Paume\, Paris (2006\, puis au Kunsthaus Zurich et au Museum Ludwig\, Cologne)\; «\;Ed Ruscha: Fifty Years of Paintin g\,»\; à\; la Hayward Gallery\, Londres (2009\, puis au Haus der Kunst\, Munich et au Moderna Museet\, Stockholm)\; «\;Ed Ruscha: Road Tested\,»\; au Modern Art Museum of Fort Worth\, Texas (2011)\; &laqu o\;On the Road\,»\; au Hammer Museum\, Los Angeles (2011\, puis au Den ver Art Museum\, Colorado et au Museum of Contemporary Art\, Miami)\; &laqu o\;Reading Ed Ruscha\,»\; au Kunsthaus Bregenz\, Autriche (2012)\; &la quo\;Artist Rooms on Tour: Ed Ruscha\,»\; à\; la Tate Gallery\, Londres (2012\, puis à\; la Hatton Gallery\, Newcastle University\, N ewcastle upon Tyne\, Angleterre)\; «\;Ed Ruscha: Standard\,»\; au Los Angeles County Museum of Art (2012&ndash\;13\, puis au Rose Art Museum \, Brandeis University\, Waltham\, MA)\; «\; Ed Ruscha: Los Angeles Ap artments\,»\; au Kunstmuseum Basel (2013)\; «\;In Focus: Ed Rusch a\,»\; au J. Paul Getty Museum\, Los Angeles (2013)\; «\;Ed Rusch a: Mixmaster\,»\; Pinacoteca Giovanni e Marella Agnelli\, Turin (2015& ndash\;16). En 2012\, Ruscha a é\;té\; le commissaire de l'expo sition «\;The Ancients Stole All Our Great Ideas»\; au Kunsthisto risches Museum Wien en Austriche. Ruscha a repré\;senté\; les E tats-Unis à\; la 51è\;me Biennale de Venise en 2005\, et a expo sé\; à\; la Biennale de Lyon en 2015\, «\;La Vie Moderne.& raquo\;

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En juillet 2016\, le Mus&eacu te\;e des Beaux-Arts de San Francisco ouvrira au de Young une importante r& eacute\;trospective de Ed Ruscha. «\;Ed Ruscha and the Great American West»\; pré\;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 emblé\;matique.

Pour toute inform ation complé\;mentaire\, merci de contacter la galerie à\; geneva@gagosian.com ou au +41.22.319.3 6.19. Tous les visuels sont soumis à\; des droits d'auteur. Toute rep roduction est soumise à\; l'autorisation de la galerie.

DTEND:20160528 DTSTAMP:20160430T133507 DTSTART:20160406 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Mountain Prints\, Ed Ruscha UID:416416 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As seen in the incredible leve l of realism in our All Sorts of Flowers: The Sparkling Garden of Chinese R ealism exhibition\, photorealism appears to be a distinctive talent of Chin a. However\, works that are lifelike representations of their subject are f ound in other Asian countries too\, not just China. FAAM's Collection Exhib ition features numerous paintings and sculptures characterized by their pur suit 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.

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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。

DTEND:20160823 DTSTAMP:20160430T133507 DTSTART:20160421 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Amazing! So Real! Art of Likeness\, Chusin Setiadikara\, Myoe Thant Oung\, Suda Yoshihiro UID:416415 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Known as China&rsquo\;s most p restigious art competition\, the Chinese National Exhibition of Fine Arts h as 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 ar e judged at genre-specific exhibitions before finalists are selected\, grad ually pared back until 600 works remain and are displayed at the National A rt Museum of China in Beijing.

This exhibition introduces Japane se audiences 76 finalists&rsquo\; works from the 12th Chinese National Exhi bition of Fine Arts 2014\, including traditional Chinese painting\, oil pai nting\, watercolor\, printmaking\, lacquer and animation. Bringing large-si zed realism paintings over 2 meters\, which portray majestic scenery of nat ure and urban space together\, the exhibition conveys a compelling glimpse into the energy of contemporary Chinese art.

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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。

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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。

DTEND:20160522 DTSTAMP:20160430T133507 DTSTART:20160416 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:From the 12th Chinese National Exhibition of Fine Arts 2014 "The Sp arkling Garden of Chinese Realism"\, Chen Zhi\, Peng Wei\, Chen Anjian UID:416414 END:VEVENT END:VCALENDAR