Contemporary Canadian Painting @ Kasmin Gallery, NYC - North by Northeast - Sara Anstis, Jane Corrigan, Holly Coulis, Wanda Koop, Manuel Mathieu, Stephanie Temma Hier, Corri-Lynn Tetz, Tristan Unrau, Janet Werner, Anna Weyant, Chloe Wise, Matthew Wong

North by Northeast:

Contemporary Canadian Painting 

Sara Anstis, Jane Corrigan, Holly Coulis, Wanda Koop, Manuel Mathieu, Stephanie Temma Hier, Corri-Lynn Tetz, Tristan Unrau, Janet Werner, Anna Weyant, Chloe Wise, Matthew Wong

Kasmin Gallery, New York

June 30 - August 13, 2021

Kasmin presents a group exhibition of contemporary painters, all of whom hail from Canada or have spent significant periods of their art education or artmaking career there. Presenting work by Sara Anstis, Jane Corrigan, Holly Coulis, Wanda Koop, Manuel Mathieu, Stephanie Temma Hier, Corri-Lynn Tetz, Tristan Unrau, Janet Werner, Anna Weyant, Chloe Wise, and Matthew Wong, North by Northeast draws a through-line charting the distinctive ways in which artists from the region complicate traditional genres of portraiture and landscape painting. 

The title of the exhibition riffs on the central premise of mistaken identity in the plot of Hitchcock’s 1959 film, North by Northwest, and the show queries what comparisons might be observable in these artists’ formal language. Depicting subjects in fantastical or dreamlike settings, many of the works displayed boast a keen sense of the tragicomic — bodies present as dislocated or incomplete yet assertive of their own desire. Similarly, the natural world is rendered as surreal, occasionally a prop, and at other times, a constructed mise-en-scene. Akin to the landscape painters of the “Group of Seven” before them, these artists share the formative experiences of Canada’s natural landscapes. The artists included have each carved rigorously conceptual practices, playing with the country’s canonical investment in representational traditions. Furthermore, the presentation speaks to a long history of cross-pollination between the US, where many of these artists now reside, and the major art centers of Canada.

SARA ANSTIS (b. 1991, Stockholm, Sweden) lives and works in London, United Kingdom. She holds a BFA in studio art and sociology from Concordia University in Montréal and received an MFA in 2016 from Valand Academy in Gothenburg, Sweden. She has exhibited in several group shows in the United Kingdom and Europe, including at Palazzo Monti, Bresica, Italy, and The Royal Drawing School, London. Anstis has a forthcoming solo exhibition at Fabian Lang Gallery, Zürich. This will be her fourth presentation in New York City.

JANE CORRIGAN (b. 1980, Quebec, Canada) lives and works in Brooklyn, New York. Corrigan received her BFA from the Nova Scotia College of Art and Design in 2003 and completed her MFA in 2009 at SUNY Purchase. Exhibitions include those at White Columns, New York, Rental Gallery, East Hampton, Carbon 12, Dubai, Sikkema Jenkins, New York, Wilkinson Gallery, London, Karma, New York, Retrospective, Hudson, New York, Feuer/Mesler, New York, and Oakville Galleries, Canada. She was a recipient of a Louis Comfort Tiffany Award in 2013.

HOLLY COULIS (b.1968, Toronto, Canada) lives and works in Athens, Georgia. She received her BFA from Ontario College of Art and Design and her MFA from the School of the Museum of Fine Arts in Boston. This summer, her exhibition Orbit will open at Philip Martin Gallery in Los Angeles. Other recent shows include Cooper Cole, Toronto, Simon Lee’s Viewing Room, London, and Klaus von Nichtssagend, New York City. Her work has been written about in the New York Times, Artforum, the Los Angeles Times, and the Brooklyn Rail. She is represented by Philip Martin Gallery, Los Angeles and by Klaus von Nichtssagend, New York City.

WANDA KOOP (b. 1951, Vancouver, Canada) lives and works in Winnipeg, Canada. She received an honorary Doctor of Law from University of Manitoba in Winnipeg in 2009. She has exhibited internationally for over four decades, with shows at the Dallas Museum of Art, Texas, the National Gallery of Canada, Ottawa, and the Xi’an Art Museum in China. Koop has work in numerous public collections, including at Art Gallery of Alberta, Edmonton, Dallas Museum of Art, Texas, Musée d’Art Contemporain, Montréal, National Gallery of Canada, Ottawa, and Shanghai Museum of Art, China.

STEPHANIE TEMMA HIER (b. 1992, Toronto, Canada) lives and works in Brooklyn, New York. She holds a BFA from the Ontario College of Art and Design University, Toronto, and studied at the Academy of Art Canada in Toronto. Recent solo exhibitions include Bradley Ertaskiran, Montréal, Gallery Vacancy, Shanghai, Downs and Ross, New York, and Neochrome Gallery, Turin. Hier was a finalist for the Royal Bank of Canada’s Painting competition in 2016 and 2018. She is the recipient of grants from the Canada Council for the Arts and the Elizabeth Greenshields Foundation, and has participated in residencies at Hospitalfield, Scotland, and Shandaken: Storm King, New York.

MANUEL MATHIEU (b. 1986, Port Au Prince, Haiti) lives and works in Montréal. A graduate of Goldsmith’s College in London, Mathieu has exhibited in Belgium, Canada, China, England, France, Martinique, Morocco, Spain, and the United States. His work is in the collections of the Musée national des beaux-arts du Québec, the Musée d’art contemporain de Montréal and the Montréal Museum of Fine Arts. His recent work has been included in The Other Side of Now at Perez Art Museum in Miami. In 2020, Mathieu was the subject of solo exhibitions at the Montréal Museum of Fine Arts and Power Plant, Toronto. Recent group exhibitions include Musée d’art contemporain de Montréal, PHI Foundation, Montréal, Song Museum, Beijing, and Kunstmuseum, Stuttgart.

CORRI-LYNN TETZ (b. Calgary, Canada) lives and works in Montréal. She graduated from the MFA program at Concordia University in 2015. Tetz has received project support from Conseil des Art et des Lettres du Quebec, The Canada Council for the Arts, the Elizabeth Greenshields Foundation, and was awarded the Brucebo Fellowship in 2016. She has exhibited across Canada, Sweden, and the United States, with acquisitions made by Senvest Collection and Equity Bank.

TRISTAN UNRAU (b. 1989, Canada) lives and works in Los Angeles. He holds an MFA from the University of California, Los Angeles (UCLA) and a BFA from Emily Carr University of Art + Design. He was a resident at the Banff Centre in 2013 and a finalist for the Royal Bank of Canada Painting Competition in 2015, 2017, and 2018. In 2016, Unrau participated in the survey group exhibition Vancouver Special: Ambivalent Pleasures at the Vancouver Art Gallery. He has held recent solo shows Unit 17, Vancouver, and Towards, Toronto. Unrau's paintings are currently on view as part of a two-person exhibition at Stanley's, Los Angeles.

JANET WERNER (b. 1959, Canada) received her MFA from Yale University in 1987. Solo exhibitions include the Musée d'art contemporain, Montreal, Anat Ebgi, Los Angeles, Galerie Julia Garnatz, Cologne, and Saidye Bronfman Centre for the Arts, Montreal. Werner’s solo survey exhibition, Another Perfect Day, organized by the Kenderdine Art Gallery, toured to five locations in Canada from 2013–2015. Werner's work is in the public collections of the Musée du Québec, Musée d'art contemporain, Montreal, The Art Gallery of Ontario (AGO), Toronto, and the Canadian Embassy in Berlin. An upcoming solo show at Arsenal Contemporary, New York, will take place Fall 2021.

ANNA WEYANT (b. 1995, Calgary, Canada) received her BFA from Rhode Island School of Design, Providence, Rhode Island. Weyant’s work was the subject of the solo exhibitions Loose Screw at Blum & Poe, Los Angeles in 2021 and Welcome to the Dollhouse at 56 Henry, New York in 2019. Her work has been featured in group shows at C L E A R I N G, New York, Anna Zorina Gallery, New York, Recharge Foundation, Singapore, Ochi Projects, Los Angeles, Nina Johnson Gallery, Miami, and Local Projects, Long Island City.

CHLOE WISE (b. 1990, Montréal, Canada) lives and works in New York. She holds a BFA from Concordia University, Montréal. Recent exhibitions include solo presentations at Almine Rech in New York and London, as well as the HEART Herning Museum of Contemporary Art in Denmark. Wise has exhibited work in numerous group shows internationally, and is currently on view in The Artist is Online, König Galerie, Berlin and in Fantasy America at the Andy Warhol Museum, Pittsburgh, Pennsylvania. Her work is included in the permanent collections of Julia Stoschek, the Hammer Museum, Los Angeles, and the National Gallery of Canada, Ottawa.

MATTHEW WONG (b. 1984, Toronto; d. 2019, Edmonton, Canada). Matthew Wong’s work is in numerous public collections, including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Guggenheim Museum, New York, Dallas Museum of Art, Texas, Estés Lauder Collection, New York, Art Gallery of Ontario, Toronto, and the Aïshti Foundation, Beirut. Matthew Wong will be the subject of a survey exhibition at the Art Gallery of Ontario in August 2021.

KASMIN GALLERY

509 West 27th Street, New York, NY 10001

www.kasmingallery.com

_____________

Gustav Metzger @ Hauser & Wirth Somerset

Gustav Metzger

Hauser & Wirth Somerset

26 June – 12 September 2021

GUSTAV METZGER practicing for a public

demonstration of Auto-destructive art using acid

on nylon possibly by John Cox, for Ida Kar

2 1/4 inch square film negative, 1960

© National Portrait Gallery, London

Courtesy The Estate of Gustav Metzger and Hauser & Wirth 

GUSTAV METZGER

Painting on Cardboard, c. 1958

Oil paint on found box lid, cardboard and wood

64.7 x 54.5 x 2.2 cm / 25 ½ x 21 ½ x 7/8 in

Photo: Damian Griffiths

© The Estate of Gustav Metzger and The Gustav Metzger Foundation

Courtesy The Estate of Gustav Metzger and Hauser & Wirth 

‘Gustav Metzger remains a moral compass, a constant reminder that integrity comes at a price, and that fighting for your convictions can indeed change the world. Metzger has done more than raise awareness. His art and philosophy are a stark testimony to the alternative world for which he strove.’ – Mathieu Copeland quoted in Gustav Metzger, Writings 1953-2016, published by JRP|Editions (2019)

GUSTAV METZGER (1926-2017) radically challenged our understanding of art, its relation to reality and our existence within society. His uncompromising commitment to combat environmental destruction was fundamental to his questioning of the role of the artist and the act of artmaking as a vehicle for change. Hauser & Wirth’s inaugural exhibition of Gustav Metzger’s work in Somerset provides a focused look at works that explore the intersection between human intervention, nature and man-made environments, ideas the artist continued to interrogate over a six decade career.

At the heart of Gustav Metzger’s practice was a passionate engagement with the notion of creation as a continual counterpoint to themes of destruction. A central feature of the exhibition in the Rhoades Gallery is ‘Liquid Crystal Environment’ (1965/2021), one of the best-known examples of Gustav Metzger’s lean towards Auto-Creative Art from the 1960s onwards. The immersive environment utilises heat-sensitive liquid crystals between glass slides, creating colours and patterns that are projected into the space. The evolving artwork is in a state of constant flux, bringing together Gustav Metzger’s interest in both kinetic art and the relationship between science, art and nature.

‘Liquid Crystal Environment’ combines Gustav Metzger’s fascination with scientific discovery and the experience of pleasure and enriching stimulus through art. When discussing the work with Emma Ridgway of Modern Art Oxford in 2016, he commented: ‘We are desperately in need of warmth as a fundamental element in human interactions. With Liquid Crystal it is physically based on warmth, it is based on the transformation of one level of warmth to another. This dialectic is central to the experience.’ It was the idea of inner renewal and sensory phenomena that led to greater cultural fame in 1966, when the work was installed at the Roundhouse, London for performances by The Who, Cream and The Move.

GUSTAV METZGER

Supportive, 1965-1966 / 2011

7 Kodak SAV 2050 slide projectors with control

units, rotating polarised filters, liquid crystals

Collection du Musée d’art contemporain, Lyon

Photo courtesy MAC Lyon

Photo: Blaise Adilon

© The Estate of Gustav Metzger and The Gustav Metzger Foundation

Courtesy The Estate of Gustav Metzger and Hauser & Wirth 

The Bourgeois Gallery spans three important bodies of work from the 1950s until 2006, including: early paintings and drawings (circa 1950s), Acid Nylon painting (1960/2004) that is a key example of Gustav Metzger’s Auto-Destructive work, and later works on paper which he called ‘portraits of landscapes’, depicting the nature he saw around him (2003-2006). Each series of works are closely linked to the artist’s fast, gestural mark-making as a means to document his lifelong connection with nature and the environment, relentlessly tackling the reality and politics of his time.

Several of Gustav Metzger’s early paintings and drawings were made on found, readymade materials such as cardboard packaging, magazine and newspaper pages. The furious, jagged marks appear as if he was attacking the canvas with a physicality that reoccurs later in his acid paintings of the 1960s. Even with traditional painting materials, Gustav Metzger was exploring the act of destruction in art, reducing representational forms to a purely emotional response that is completely alive to the world. His tutor, David Bomberg proved to be a formative influence, not only in regard to artistic practice but also the ways in which he held art as an embodiment of social force. Following Metzger’s Auto-Destructive Art manifesto in 1959, he was able to realise his vision of transient art that leaves no material behind. By painting with acid on nylon he was able to embody the intensities of feeling and movement, violence and vulnerability in tune with his anti-capitalist position, distrust in political structures and increasing concern for natural ecosystems.

The exhibition is organised in partnership with the Gustav Metzger Foundation. During his lifetime, Metzger defined the organization’s mission by envisioning not only exhibitions of his work and furtherance of the political and philosophical ideas he espoused, but also through support for individuals working in the fields of the arts and environmental studies, and for initiatives ‘to combat the risk of global extinction arising from the activities of humans.’ The exhibition at Hauser & Wirth Somerset is the first of the gallery’s global projects to implement a new carbon budget.

GUSTAV METZGER

Gustav Metzger was a visionary artist and radical thinker, profoundly rooted in activism in both the political and artistic realms. He lived and worked in East London throughout most of his career, having travelled to the UK from Germany in 1939 with his younger brother as part of the Refugee Children’s Movement. Later, his grandparents, parents and older brother were killed in the Holocaust. By 1958, Metzger had become heavily involved in anti-capitalist, anti-consumerist movements and the Campaign for Nuclear Disarmament.

In 1960, he was a founder member of the Committee of 100 and this led to a short imprisonment in 1961 with Bertrand Russell and other members of the Committee for encouraging mass non-violent civil disobedience. His auto-destructive art, meant as a public art form that would instigate social change, sought to provide a mirror of a social and political system that he felt was indifferently progressing towards total obliteration.

In 2009 the Serpentine Galleries, London, staged the most extensive exhibition of Gustav Metzger’s work in the UK, ‘Decades 1959 – 2009’. The same year Gustav Metzger installed ‘Flailing Trees’ (2009) at the Manchester International Festival (now in the collection of the Whitworth Art Gallery, Manchester) a group of willow trees upended in concrete with their branches cut down and their dead roots exposed to the air. In 2015 he led the large-scale project ‘Remember Nature’, in which he urged arts professionals and students to participate in a Day of Action to highlight the topic of extinction, climate change and environmental pollution.

HAUSER & WIRTH SOMERSET

Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL

www.hauserwirth.com

Marina Rheingantz @ FRAC Auvergne, Clermont-Ferrand - Exposition + Catalogue

Marina Rheingantz 

FRAC Auvergne, Clermont-Ferrand

26 juin - 19 septembre 2021

Le Fond régional d'art contemporain d'Auvergne, à Clermont-Ferrand, présente une exposition consacrée au travail de l'artiste brésilienne Marina Rheingantz. 35 oeuvres sont exposées, en particulier des peintures et des broderies effectuées ces cinq dernières années. Jean-Charles Vergne, directeur du FRAC Auvergne, a assuré le commissariat de cette exposition.

MARINA RHEINGANTZ 

Clermont-Ferrand, Editions FRAC Auvergne, 2021

Format 30 x 24 cm, 216 pages, 20 €

Une publication (français/anglais) accompagne l'exposition, avec des textes de Douglas Fogle et de Jean-Charles Vergne. Le catalogue est disponible sur le site du FRAC Auvergne.

Comme le souligne Jean-Charles Vergne dans ce catalogue d'exposition : 

« Les peintures et les broderies de Marina Rheingantz se nourrissent de la remémoration des paysages brésiliens, des souvenirs de la compacité de la terre, de la lumière et de ses variations, du nébuleux atmosphérique des crépuscules, de la dissémination pointilliste des oiseaux dans le ciel, du surgissement en grappes de fleurs et d’arbustes, de monticules émergés à la surface des plaines inondées… ».

MARINA RHEINGANTZ est née en 1983 à Araraquara, au Brésil ; elle vit et travaille à Sao Paulo.

FRAC AUVERGNE

6 rue du Terrail, 63000 Clermont-Ferrand

www.frac-auvergne.fr

Stuart Davis @ Kasmin Gallery, NYC - Stuart Davis in Havana

Stuart Davis in Havana

Kasmin Gallery, New York

June 30 - August 13, 2021

Kasmin presents Stuart Davis in Havana, an exhibition of ten evocative early watercolors painted in 1920 following Stuart Davis’ brief yet formative trip to Havana, Cuba, where the artist convalesced after contracting Spanish flu. The exhibition is curated by Priscilla Vail Caldwell in collaboration with Earl Davis and the Estate of Stuart Davis. This is the second solo exhibition of work by the artist at Kasmin since the gallery began representing the Estate in 2018, and the first to focus on Davis’ time in Cuba. In addition to the suite of paintings, this exhibition presents a trove of archival material documenting the artist’s trip including postcards, lottery tickets, and the painter’s passport.

On December 31st, 1919, Stuart Davis joined his close friend and fellow painter Glenn O. Coleman in Havana. Due south of Florida and just 110 miles offshore, Havana attracted those seeking adventure, with the temptation of late, boozy nights, or as writer Gilbert Seldes described for The New Yorker in 1926, “The hours kept are Harlem Hours.” Over a century later, as we emerge from the Covid-19 pandemic, our understanding of deprivation, desire for novel experiences, as well as the creative inspiration that unfamiliar environments can provide, is equally acute. Davis’ observations, those of an eager traveler, communicate to us directly despite the passage of time.

His new surroundings quickly engendered a sense of ambition in Stuart Davis at a pivotal moment in the young artist’s career when he was just 27 years old. Compelled by the burgeoning spirit of Modernism and crafting an original visual vocabulary, in his Havana watercolors we see Stuart Davis unleashed, boldly experimenting with flat planes of bright color. Works such as Dancer’s on Havana Street (1920) and Woman with Shawl (1920) are comprised of angular silhouettes rendered in bold hues, purple, ocher, black, bright yellow, and deep red, foreshadowing works from the late 1920s in which Davis would synthesize subject-matter into an increasingly rigorous geometry defined by color rather than dimensional space.

Melding reality and fiction, Stuart Davis layers depictions of Havana’s natural landscape with detailed architectural elements pulled from recognizable structures such as the Church Santo Angel Custodio, La Fortaleza of San Carlos de la Cabaña, or the fortifications of the old city. Parque Centrale—Cuba (1920) includes a broken outline of the park’s statue of political figure Carlos Manuel de Céspedes amongst pulsating swaths of color. These translucent washes of paint allow images to shift in and out of focus, generating an ephemerality associated with memory or dream.

In February 1920, Stuart Davis returned to the United States, a country in the midst of industrial and intellectual upheaval as well as robust growth. The “Roarin’ 20s” as F. Scott Fitzgerald wrote, “was going to be the greatest, gaudiest spree in history and there was going to be plenty to tell about it.” Or, in the case of Stuart Davis, plenty to paint.

ABOUT STUART DAVIS

Stuart Davis (1892–1964) is one of the preeminent figures of the American Modernist movement. Over the course of his prolific career, which spanned the early 20th century through the post-war era, Davis developed a distinct visual language that fused Cubism and high-art with his own pioneering motifs of consumerism and the syncopated rhythms of jazz. Davis’s work has been exhibited worldwide and is held in the permanent collection of prominent institutions including the Museum of Modern Art, New York, NY; Metropolitan Museum of Art, New York, NY; Whitney Museum of American Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Brooklyn Museum, New York, NY; National Gallery of Art, Washington, D.C.; Smithsonian American Art Museum, Washington, D.C.; Los Angeles County Museum of Art, CA; San Francisco Museum of Art, CA; Philadelphia Museum of Art, PA; Museo Thyssen-Bornemisza, Madrid; among many others. Recent significant exhibitions include the 2016 critically acclaimed Stuart Davis: In Full Swing, which opened at the Whitney Museum of American Art in New York, NY, and traveled to the National Gallery of Art, Washington, D.C.; de Young Museum, San Francisco, CA and Crystal Bridges Museum of American Art, Bentonville, AR.

ABOUT PRISCILLA VAIL CALDWELL – VAIL CALDWELL PROJECTS

Priscilla Vail Caldwell is an independent curator and advisor based in New York City. Caldwell sits on the Advisory Committee at Northwestern University’s Block Art Museum, whose mission is to emphasize and support innovative interdisciplinary study and research. She earned her Master’s of Art History at Williams College, a BA from Northwestern University, and is a past recipient of the Kress Foundation Grant.

KASMIN GALLERY

297 Tenth Avenue, New York, NY 10001

www.kasmingallery.com

______________

Valentina Liernur @ Simon Lee Gallery, Hong Kong - Juro Que

Valentina Liernur: Juro Que

Simon Lee Gallery, Hong Kong

25 June - 7 August 2021

VALENTINA LIERNUR

Señora rosa y perro, 2021 

Oil on canvas , 167 x 125 cm (65 3/4 x 49 1/4 in.) 

Courtesy of the artist and Simon Lee Gallery

Photo: Santiago Ortí

‘Liernur is something like a contemporary flâneuse, carefully observing women [in her work]. Motivated by the pleasure that comes with concealing one’s identity as a painter, Liernur’s observational processes become both sly and sneaky’ – Ana Vogelfang, Texte Zur Kunst.

Simon Lee Gallery presents an exhibition of new paintings by the Argentinian artist VALENTINA LIERNUR. The exhibition is the artist’s debut show with the gallery and marks the first time her work has been presented in Asia. 

Valentina Liernur’s practice is rooted in an ongoing exploration of the ways in which material can be rendered in the pursuit of painting. Often working in groups of work defined by a single medium, Valentina Liernur considers the physical qualities and mark-making capacity of oil paint on canvas in the same way she engages with less conventional materials such as denim and gabardine in other series. Shifting between abstraction and figuration, and often encouraging tensions and slippages to emerge between these modes of painting, Valentina Liernur seeks to manipulate and enhance the materiality of her chosen medium, embedding each work with a distinct, visceral quality.

For her exhibition in Hong Kong, Valentina Liernur presents a series of new paintings that continue her interest in recent years of depicting female figures in everyday scenarios. Valentina Liernur’s observations are based on photographs of friends, family and strangers taken in various settings including domestic spaces, public transport and city streets. Although not conceived as such, the works together form a loose sequence that the artist refers to as an account of a stroll through an urban environment. Valentina Liernur often takes the photographs that inform her paintings surreptitiously, resulting in works that capture fleeting moments that have an abrupt, confrontational and, at times, voyeuristic dynamic between the figures in the painting and the standpoint occupied by Liernur and subsequently the viewer. This awkward interaction is heightened by the prominence of sunglasses worn by many of Liernur’s subjects and the way their faces are often obscured by shadows, denying the viewer any sense of connecting and identifying with the women and girls that occupy Liernur’s works.

While the paintings in the show borrow from the language of figuration and portraiture, for Liernur the true subject of her work is the paint she uses rather than the image she creates. Valentina Liernur works intensively on each canvas, building multiple layers that shift between rough, spontaneous brushstrokes and slow, carefully executed details. Thinking of paint as information, Valentina Liernur likens her method of painting to the impulsive process of capturing thoughts in written form and the consequent, more methodical act of editing.

Valentina Liernur’s use of colour defines her work and the way the viewer experiences it. Despite starting each work from a photograph, Valentina Liernur’s choices in executing the work are more akin to the effects used in post production. In some works, flashes of lurid and luminous colours make a jolting appearance in an otherwise dark and muted palette. Elsewhere, paintings have a solarised quality or are rendered almost entirely in evocative hues of pinks and reds. Valentina Liernur’s paintings take on a dream-like quality, capturing fleeting moments in paint that speak to the experience of being deep in thought and glimpsing a sudden, incomplete aspect of reality.

VALENTINA LIERNUR was born in 1978 in Buenos Aires, Argentina, where she lives and works. She studied between Beca Kuitca, Buenos Aires, Argentina and Städelschule, Frankfurt, Germany; and in 2013 completed the Artist in Residency program with FAAP, São Paulo, Brazil. Liernur’s work has been shown internationally and has been the subject of numerous solo exhibitions including Scarlata, Ruth Benzacar Galería de Arte, Buenos Aires, Argentina (2019); Sumisión, Reena Spaulings Fine Art, New York, NY (2016); MEGA POR NO, Colmegna Spa, Buenos Aires, Argentina (2015); Ahhhhhhh, Campoli Presti, Paris, France (2015); Ahh...Ah..., Campoli Presti, London, UK (2014); Corruzione, Reena Spaulings Fine Art, New York, NY (2014) and Fiebre, Ruth Benzacar, Buenos Aires, Argentina (2010). Group exhibitions include four corners of the landscape, Reena Spaulings Fine Art, Los Angeles, CA (2020); Call Giovanni, Revolver Galeria, Lima, Peru (2019); The Vitalist Economy of Painting, Galerie Neu, Berlin, Germany (2018); Theft Is Vision, LUMA Westbau, Zurich, Switzerland (2017); United States of Latin America, Museum of Contemporary Art of Detroit, MI (2015); Faux Amis, Simon Lee Gallery, London, UK (2015); Seven Reeds, Overduin & Co., Los Angeles, CA (2014); Broken Windows, New York Gallery, New York, NY (2013) and FSPC, Formalist Sidewalk Poetry Club, Miami, FL (2012).

SIMON LEE HONG KONG

304, 3/F The Pedder Building, 12 Pedder Street, Central, Hong Kong

www.simonleegallery.com

Leiko Ikemura @ Galerie Peter Kilchmann, Zurich - Colors in Motion

Leiko Ikemura: Colors in Motion 

Galerie Peter Kilchmann, Zurich 

June 19 - July 31, 2021 

Galerie Peter Kilchmann presents the first solo exhibition of Leiko Ikemura with the gallery. LEIKO IKEMURA was born in Tsu, Mie Prefecture, Japan and emigrated to Europe in 1973. A Japanese-Swiss dual citizen, Ikemura has been living and working between Berlin and Cologne since 1990. The exhibition will feature four groups of works that reflect and develop the artist's extensive œuvre in both its conceptual and technical versatility. Each one of the five exhibition spaces is dedicated to a cycle of works and maintains its own intimate character, although the series refer to each other and form poetic parallels. On view are medium and small format paintings and works on paper, a new group of glass sculptures as well as a video installation.

Since the beginning of her artistic career, Leiko Ikemura's work has been closely interwoven with her personal journey and the various stations in her life. Formative memories from her native Japan find as much resonance as the impressions from her early stays in Spain and Switzerland in the 1970’s and 80’s, which accompany her to this day. The intimate metamorphosis of a lifelong painting process manifests itself in landscapes in which human figures and nature merge, amorphous forms and hybrid mythical creatures in continuous transformation.

Upon entering the gallery, visitors are immersed in the world of Girls, a series characteristic of Ikemura's painting since the mid-1990’s. Each of the four paintings in the exhibition shows a female figure in an unfamiliar landscape. In Chica & Pink (2019, 120 x 100 cm), the monochrome colour palette of the purple background is interrupted only by the pale blue stripe of a spherical horizon in the lower third of the composition. The ethereal being in the foreground is a silhouette of transparent chromaticity that stands out from its surroundings in warm golden yellows and soft blues. This principle of contrast and transparency is repeated in works such as Girl with Green Hair (2019, 90 x 60 cm) or Girl with Blue Face (2019, 130 x 90 cm), each in a new combination of colours. The figures seem vulnerable and unreachable. As if trapped in an intermediate world, they lag in their own melancholic mind games.

In the video installation In Praise of Light (2020), presented in the lower floor, the harmonious synthesis of a total work of art, characteristic of Ikemura’s works, becomes apparent. It is an interplay of light and flowing colour. The slow movements are reminiscent of the liquid colour pigments of a watercolour that has not yet dried, that recombine anew to form ever changing shapes. The work conveys the idea of painting as a process rather than a finished product. The viewers are urged to linger in a moment of contemplation and let the gentle visual surges draw them into an alien universe. The installation was first presented in the Matthäus Church in Berlin in 2020 and was originally conceived for the church’s apse. For the exhibition at the gallery, the installation was reworked by the artist in order to fit the intimate exhibition space.

In Praise of Light is directly related to the series ABC Akt (2020, 70 x 50 cm) in the middle space of the upper floor. Never before has the artist moved so far away from figurative painting. The abstract compositions combine elements of calligraphic brush drawing with the flat watercolour aesthetic from the Girls series. The translucent application of paint is reduced so that the fine structure in the fabric of the support of the painting becomes visible. It is a painting technique that absorbs the natural light of the room and seems to radiate it back. The works were created during the first lockdown in Berlin in the spring of 2020 and capture a zeitgeist marked by uncertainty and elementary life questions. In a moment of social standstill, the world moves on into the unknown.

In the left wing of the upper level abstraction gives way to a universe of surreal landscapes that invites the viewers to dream. The transparent application of paint and the heavy luminosity in works such as Yellow Scape (2019, 110 x 180 cm) provide a bridge to other works in the exhibition. Already familiar motifs, such as the figure of a cowering girl in Zarathustra (small) (2014, 50 x 70 cm), are now found nestled among trees, valleys and mountains. These landscapes address issues of humankind’s longing for harmony with nature and are described by the artist herself as landscapes of the soul. The monumental triptych Fuji Scape (2015, each 100 x 150) is reminiscent of the landscape paintings of old Japanese masters. Dream-like sequences, such as the facial features on a volcanic mountain, play with elements of a holistic understanding of nature that assumes the spiritual animation of mountains, rocks and plants.

Similar hybrid creatures can be found in the group of glass sculptures in the right wing, with works such as Kitsune (2020, 20 x 32 x 13 cm) or Trees on Head in Yellow Glass (2020, 14 x 18 x 11 cm). The figure of the reclining head, from which the branches and leaves of a delicate tree grow, is a subject that had already appeared in early ceramics by the artist. For the exhibition, Leiko Ikemura worked with glass for the first time. Due to the translucency of the coloured glass, the sculptures seem like living beings that have emerged from the previously viewed landscapes, closing in this way the harmonious circle of the exhibition’s narratives.

LEIKO IKEMURA's works have been presented in solo and group exhibitions worldwide since the early 1980s. Most recently, the Centro de Arte Caja Burgos exhibited the solo show Leiko Ikemura: Aun más mañanas (spring 2021). Further solo exhibitions were presented in the following institutions (selection): Kunsthalle Rostock (2020); St. Matthäuskirche, Berlin (2020); Kunstmuseum Basel (2019); Nordiska Akvarellmuseet, Skärhamn (2019); The National Art Center, Tokyo (2019); Deutsches Keramikmuseum Hetjens, Dusseldorf (2017); Nevada Museum of Art, Reno (2016); Museum of East Asian Art, Cologne (2015); The Vangi Sculpture Garden Museum, Mishima (2014); Staatliche Kunsthalle Karlsruhe (2013); Asian Art Museum, Berlin (2012) and The National Museum of Modern Art, Tokyo (2011). Most recently, Leiko Ikemura has been involved in group exhibitions at Esther Shipper, Berlin (until 27 June); Hekinan City Tatsukichi Fujii Museum of Contemporary Art, Hekinan-shi (2021); Toyota Municipal Museum of Art, Aichi (2020); Pincesshof National Museum of Ceramics, Leeuwarden (2020); The National Museum of Modern Art, Tokyo (2019) and Museum of the Seam, Jerusalem (2019), among others. A selection of works is momentarily on view in the exhibition Schweizer Skulptur seit 1945 in the Aargauer Kunsthaus, Aarau (2021).

Works by Leiko Ikemura are represented in the collections of major institutions such as the Aargauer Kunsthaus, Aarau; Albertina, Vienna; Bundeskunstsammlung, Berlin; Bundesamt für Kultur, Berne; Bundeskunsthalle, Bonn; Bündner Kunstmuseum Chur; Kunsthaus Zürich; Kunstmuseum Basel; Hara Museum of Contemporary Art, Tokyo; MCBA-Musée cantonal des Beaux-Arts de Lausanne; MOMAT-The National Museum of Modern Art, Tokyo; mumok-Museum Moderner Kunst Stiftung Ludwig, Vienna; Museum zu Allerheiligen, Schaffhausen; Staatliche Museen zu Berlin: Kupferstichkabinett; Takamatsu City Museum of Art, Takamatsu; The Centre Pompidou, Paris; The National Museum of Art, Osaka, and many more.

PETER KILCHMANN

Rämistrasse 33, 8001 Zürich

www.peterkilchmann.com

_____________

L’Empire des sens @ Musée Cognacq-Jay, Paris - de François Boucher à Jean-Baptiste Greuze

L’Empire des sens,

de François Boucher 

à Jean-Baptiste Greuze

Musée Cognacq-Jay, Paris

Jusqu'au 18 juillet 2021

FRANCOIS BOUCHER (1703-1770)

Léda et le Cygne, 1742

Huile sur toile

Stockholm, Nationalmuseum

© NationalMuseum, Stockholm

FRANCOIS BOUCHER (1703-1770)

Hercule et Omphale, vers 1732-1735

Huile sur toile

Moscou, Musée d’État des Beaux-Arts Pouchkine 

© The Pushkin State Museum of Fine Arts 

A l’occasion du 250ème anniversaire de la mort de François Boucher (1703-1770), le musée Cognacq-Jay explore le thème de l’Amour dans sa forme la plus licencieuse, au prisme des créations de Boucher et de ses contemporains - maître, rivaux ou élèves - tels que Watteau, Greuze et Fragonard. Ce dialogue révèle comment Boucher, le peintre de Louis XV, s’impose comme une figure centrale du développement de l’art érotique au XVIIIe siècle.

Une centaine de peintures, dessins et estampes, qui traitent du désir autant qu’ils le suscitent, sont exceptionnellement réunis. Provenant de prestigieuses collections internationales publiques et privées, ces chefs-d’oeuvre sont souvent présentés pour la première fois en France. Le parcours de l’exposition prend une nouvelle ampleur en se déployant exceptionnellement dans huit salles du musée.

Le XVIIIe siècle signe l’avènement du plaisir des sens. Plus qu’à toute autre époque, l’Amour y occupe une place dominante dans les arts. Philosophes, hommes de théâtre, romanciers et artistes, tous investissent le thème des passions amoureuses et des désirs charnels. On ne compte plus, sous le pinceau des meilleurs peintres, les scènes bucoliques où badinent bergers et bergères, les boudoirs où s’échangent les soupirs langoureux, les alcôves où s’égarent « le coeur et l’esprit ». Pourtant, dans cet océan d’images consacrées à l’Amour, on a jusqu’ici peu insisté sur l’audace et l’originalité de certaines inventions.

« Peintre des Grâces », François Boucher est également l’auteur de compositions secrètes, à la charge érotique saisissante. Au sommet de sa gloire, sa notoriété s’accompagne d’une réputation sulfureuse, habilement alimentée par ses détracteurs. Ses très lascives Odalisques - représentées nues, alanguies sur un sopha, le fessier comme offert au spectateur - ont largement contribué à nourrir les rumeurs.

JEAN-BAPTISTE GREUZE (1725-1805)

La Volupté, 1765

Huile sur bois

Paris, collection particulière

© Thomas Hennocque

GABRIEL DE SAINT-AUBIN (1724-1780)

L’Académie particulière, vers 1755

Huile sur toile

Strasbourg, musée des Beaux-Arts 

© Musées de Strasbourg, M. Bertola

JEAN-HONORE FRAGONARD (1732-1806)

La Résistance inutile, vers 1770-1773

Huile sur toile

Stockholm, Nationalmuseum

© NationalMuseum, Stockholm

Au travers de huit sections, l’exposition décline les temps du plaisir et les gestes amoureux, depuis la naissance du désir jusqu’à l’assouvissement des passions. Ce parcours déploie une polysémie amoureuse, d'Antoine Watteau à Jean-Baptiste Greuze, ponctuée par les créations de François Boucher. Resserrée sur les oeuvres les plus audacieuses, l’exposition propose de regarder ces inventions à l’aune des échanges entre artistes, en suivant les phénomènes d’émulation et de rivalité, jusque dans le dialogue particulièrement fécond avec la littérature libertine de l’époque. Elle s’achève sur de rares chefs-d’oeuvre qui invitent à réfléchir sur la violence des pulsions charnelles et sur leurs conséquences tragiques.

En contrepoint, afin de situer les frontières de l’interdit, un cabinet d’erotica présente une soixantaine d’objets extraordinaires à caractère pornographique - peintures, miniatures, boîtes à secrets, livres factices, etc. Ces objets inédits dévoilent les rivages les plus secrets de l’imaginaire érotique du siècle des Lumières.

COMMISSARIAT

Annick Lemoine, directrice du musée Cognacq-Jay

avec la collaboration de Sixtine de Saint Léger, attachée de conservation du musée Cognacq-Jay

COMITÉ SCIENTIFIQUE

Guillaume Faroult, conservateur en chef, en charge des peintures françaises XVIIIe siècle et peintures britanniques et américaines, musée du Louvre

Françoise Joulie, historienne de l’art

Alastair Laing, conservateur honoraire au National Trust, Londres

MUSÉE COGNACQ-JAY

8 rue Elzévir, 75003 Paris

museecognacqjay.paris.fr

Exposition Alberto Giacometti @ Monaco, Grimaldi Forum - Une rétrospective. Le réel merveilleux

Alberto Giacometti

Une rétrospective. Le réel merveilleux

Grimaldi Forum, Monaco

3 juillet - 29 août 2021

Alberto Giacometti 

Une rétrospective - Le réel merveilleux

Affiche de l'exposition

Le Grimaldi Forum présente pour la première fois à Monaco une grande rétrospective de l’oeuvre du sculpteur et peintre Alberto Giacometti, la plus importante de ces dernières années.

Organisée en association avec la Fondation Giacometti qui accorde ici un prêt exceptionnel, cette exposition fait la part belle à toutes les périodes de l’artiste et à tous les media auxquels il a eu recours.

Elle offre une vue complète de la création d’Alberto Giacometti, des oeuvres de jeunesse à la période surréaliste, du retour à la figuration à l’invention des icônes de l’après-guerre.

Rassemblant plus de 230 oeuvres, jalonnée de chefs d’oeuvres et accompagnée de photographies et de films, cette rétrospective propose aux visiteurs de merveilleuses découvertes dans le cadre d’un parcours orchestré par la commissaire Émilie Bouvard, directrice scientifique et des collections de la Fondation Giacometti.

GRIMALDI FORUM, MONACO

10 Avenue Princesse Grace, MC 98000 Monaco

www.grimaldiforum.com

Un.e Air.e de famille @ Musée d’art et d’histoire Paul Eluard, Saint-Denis

Un.e Air.e de famille

Musée d’art et d’histoire Paul Eluard, Saint-Denis

25 juin - 8 novembre 2021

Saison Africa2020

Un.e Air.e de famille

Musée d’art et d’histoire Paul Eluard, Saint-Denis

Affiche de l'exposition

Présentée dans le cadre de la Saison Africa2020, l’exposition Un.e Air.e de famille invite à penser avec l’art afro-diasporique depuis le musée d’art et d’histoire Paul Eluard de Saint-Denis. Elle révèle l’engagement anticolonial des surréalistes et autres artistes des collections du musée (Gavarni, Daumier, Jourdain, Effel) dont les oeuvres entrent en dialogue avec les pratiques artistiques contemporaines de treize artistes femmes d’Afrique et de ses diasporas. Accompagnée d’une riche programmation culturelle pluridisciplinaire, elle propose en creux une réflexion sur la contemporanéité des questions (post)coloniales.

MALALA ANDRIALAVIDRAZANA

Figures 1861, Natural History of Mankind 

Epreuve numérique à l’encre pigmentaire (2016/2017)

© Malala Andrialavidrazana / Cnap

LES SOEURS CHEVALME 

Mama whita : À la française, domination,

dessins formant un motif à la façon de la toile de Jouy (2018)

© Les soeurs Chevalme

L’exposition ouvre un dialogue entre les oeuvres des collections historiques du musée, enrichies de nombreux prêts, et les oeuvres d’artistes femmes issues du continent africain, mettant en lumière l’engagement commun des artistes à travers les siècles. L’intérêt des surréalistes pour les objets d’art extra-occidentaux et pour « une primitivité à la fois lointaine et originaire » a eu tendance à figer durablement le regard occidental sur ce que l’on nomme « l’art africain ». Toutefois, ces artistes se sont engagés avec force contre l’exposition coloniale de 1931, à travers des tracts (Ne visitez pas l’exposition coloniale et Premier bilan de l’exposition coloniale) et une contre-exposition, La Vérité sur les colonies. Deux décennies plus tard, c’est à travers le combat en faveur de la libération d’Henri Martin que s’exprime à nouveau l’engagement d’Eluard, aux côtés de Picasso, Léger et Sartre, contre la politique coloniale de la France. Certaines de ces initiatives réunissent des artistes de différents fonds du musée (tels que Paul Eluard et Francis Jourdain) ou trouvent écho parmi des oeuvres d’autres époques (Gavarni, Honoré Daumier ou Jean Effel).

YTO BARRADA

Lieu de transit Tanger, De la série Le Détroit

Tirage Color-Print dans un caisson lumineux (2003) 

© Yto Barrada / Collection départementale d’art contemporain de la Seine-Saint-Denis

Photo : François Poivret

ELIANE AISSO

Ati Okuku dé imonlé (photographies)

Production du Fresnoy, Studio national des arts contemporains (2019)

© Eliane Aisso

De nombreuses femmes artistes se sont réunies autour de ce projet afin de donner à entendre leurs voix, grâce à un large éventail de disciplines artistiques - peinture, dessin, vidéo, installation, photographie, son… :

Laeïla Adjovi (Bénin)

Eliane AÏsso (Bénin)

Malala Andrialavidrazana (Madagascar / France)

Yto Barrada (Maroc / France / USA)

les soeurs Chevalme (France)

Nadia Kaabi-Linke (Tunisie / Allemagne)

Katia Kameli (Algérie / France)

Kapwani Kiwanga (Canada / France / Tanzanie)

Tuli Mekondjo (Namibie / Angola)

Otobong Nkanga (Nigeria / Belgique)

Owanto (Gabon)

Thania Petersen (Afrique du Sud)

Euridice Zaituna Kala (Mozambique)

Faisant dialoguer oeuvres historiques et contemporaines, l’exposition explore les thèmes du rapport à l’autre, de la mémoire, des cartographies, des migrations ou encore des spiritualités et de l’engagement (post)colonial.

C’est à l’aune d’une identité hybride, formée de différents apports, que ces oeuvres proposent une lecture différente de la modernité, dépassant la question des origines dans laquelle elles sont bien souvent enfermées.

À l’occasion de la Saison Africa2020, le musée fait partie des Quartiers Généraux (QG) et l’exposition sera mise en lumière par l’Institut français au titre des « focus femmes ».

Un catalogue d’exposition est publié sous la direction d’Anne Yanover aux éditions Illustria. Il comprend un édito de N’Goné Fall, commissaire générale de la Saison Africa2020, des textes des deux co-commissaires de l’exposition, Farah Clémentine Dramani-Issifou et Anne Yanover, des conseillers scientifiques Patrice Allain et Laurence Perrigault et des entretiens avec les artistes contemporaines invitées. Conception graphique : les soeurs Chevalme. 100 pages, 27 x 22 cm, 12 euros

Commissariat : Anne Yanover et Farah Clémentine Dramani-Issifou, avec la participation des soeurs Chevalme

Conseil scientifique : Patrice Allain et Laurence Perrigault

MUSÉE D’ART ET D’HISTOIRE PAUL ELUARD

22 bis rue Gabriel Péri, 93200 Saint-Denis

www.musee-saint-denis.fr

Erin O’Keefe, Matt Kleberg @ Albada Jelgersma Gallery, Amsterdam - Sightseeing

Erin O’Keefe, Matt Kleberg: Sightseeing

Albada Jelgersma Gallery, Amsterdam

June 12 - July 17, 2021

Albada Jelgersma Gallery presents Sightseeing, a duo-exhibition with new work by Erin O’Keefe and Matt Kleberg. 

After a successful joint exhibition at Morgan Lehman Gallery in New York, Erin O’Keefe and Matt Kleberg decided to further build upon their shared themes and visual language. Both artists are in a sense pictorial architects. They create carefully constructed images that, to the viewer, appear completely fresh and effortless. Each in their own way tinkers with the mechanics of spatial perception. In Erin O’Keefe’s photographs, the curious flattening and twisting of pictorial space happens as the camera’s lens translates three dimensional space into two dimensional image. In Matt Kleberg’s work, the shallow trompe l’oeil space of the portals pushes against the lushly tactile painted surface.

The title of the show, Sightseeing, is intended as a reflection on their shared themes and a celebration of the gradual return to normal life. The works were made during a year where the solitary practice of work in the studio – and the opportunity to see these self generated sights took on a particular significance.

ERIN O'KEEFE (b. 1962, Bronxville, NY) lives and works in New York City. Erin O’Keefe received a Master of Architecture degree from Columbia University and a Bachelor of Fine Arts degree from Cornell University. The artist’s work has been exhibited internationally at Denny Dimin Gallery, (New York), Wave Hill, The Photographer’s Gallery (London), Seventeen Gallery (London), The Wing (Washington D.C.), Transmitter Gallery, McKenzie Fine Art, Sous Les Etoiles Gallery, Morgan Lehman Gallery, and Sandra Gering Inc., among others. O’Keefe was awarded the 2019 NYSCA/NYFA Fellowship in Photography. Erin O’Keefe’s work has been reviewed or featured in Artforum, The New Yorker, The Village Voice, Vogue, VICE Magazine, The Huffington Post, Collector Daily, Artspace Magazine, Artsy Magazine, and Paper Journal. Her work is included in public and private collections inclduing, Cleveland Clinic. Cleveland, OH, Deutsche Bank Collection, London, UK, Mead Art Museum, Amherst, MA, Museum Voorlinden, Wassenaar, NL, Progressive Art Collection, Mayfield OH, General Mills Art Collection, Minneapolis, MN, San Francisco Museum of Modern Art, San Francisco, CA.

MATT KLEBERG (b.1985, Kingsville, TX) lives and works in San Antonio, TX. Matt Kleberg received his BA from the University of Virginia in 2008 and his MFA from Pratt Institute in 2015. He is represented by Hiram Butler Gallery, Barry Whistler Gallery, and Sorry We’re Closed. Recent exhibitions include Good Naked Gallery (NY); Johansson Projects (CA); Barry Whistler Gallery (TX); Hiram Butler Gallery (TX); Albada Jelgersma Gallery (Amsterdam), and Sorry We’re Closed (Brussels). His work has been written about in The New York Times, The Brooklyn Rail, Painting is Dead, Artsy, Vice, Maake Magazine, ArtDaily, New American Paintings, Blouin Artinfo, ArtMaze Magazine, Artillery Magazine, and Hyperallergic. His work is included in public and private collections, including the Williams College Museum of Art, Williamstown, MA, the University of California Santa Barbara Museum of Art, Santa Barbara, CA, the Old Jail Art Center, Albany, TX, the Addison Gallery of American Art, Andover, MA, the Museum of Fine Arts Houston, TX, and the National Gallery of Art, Washington, DC.

ALBADA JELGERSMA GALLERY

Lijnbaansgracht 318, 1017 WZ Amsterdam

albada-jelgersma.com

_____________

Program en live streaming @ David Zwirner

Program, Première édition

Un nouvel événement en live streaming de David Zwirner

10 juin 2021

KERRY JAMES MARSHALL

Black and part Black Birds in America 

(Red wing Blackbirds, Yellow Bellied Sapsucker, Scarlet Tanager), 2021 

© Kerry James Marshall, courtesy David Zwirner

Demain, 10 juin, David Zwirner lancera à l’échelle mondiale la première édition de Program, un nouvel événement en live streaming qui invitera directement les spectateurs dans les espaces des galeries David Zwirner à New York, Londres, Paris et Hong Kong. Présentant des installations d'œuvres d'artistes de la galerie dans chaque espace, cette série de visites et de discussions interactives, en direct et en vidéo, entre artistes, curators et passionnés du monde de l’art fera vivre en ligne l'énergie des événements en présence physique ou de celle des foires. Diffusés depuis les espaces des galeries de David Zwirner, il sera possible aux visiteurs d’écouter une présentation des œuvres exposées et de poser des questions en temps réel. Une journée de preview privée de Program a lieu aujourd'hui.

Program présente des œuvres nouvelles et inédites, aux côtés d'œuvres historiques. À New York sont présentées de nouvelles œuvres d’Harold Ancart, Carol Bove, Stan Douglas, Toba Khedoori, Yayoi Kusama, Neo Rauch, Dana Schutz, Jordan Wolfson et Lisa Yuskavage, ainsi que d’autres œuvres de Josef Albers, Francis Alÿs, Ruth Asawa, Raoul De Keyser, Roy DeCarava, Marlene Dumas, Barbara Kruger, Sherrie Levine, Joan Mitchell, Alice Neel et Franz West. À Londres, sont présentées des œuvres de Nate Lowman, Kerry James Marshall, Chris Ofili, Josh Smith et Franz West, et à Paris sont présentées des œuvres de Diane Arbus, Isa Genzken, Juan Muñoz, Oscar Murillo, Jason Rhoades, Thomas Ruff et Christopher Williams. À Hong Kong, ce sont des œuvres de Mamma Andersson, Raoul De Keyser, Yayoi Kusama, Wolfgang Tillmans et Luc Tuymans qui font l’objet d’une présentation.

Parmi les œuvres nouvelles et notables qui seront dévoilées dans le cadre de Program, citons une nouvelle peinture de Kerry James Marshall qui fait partie de la série en cours de l'artiste, Black and part Black Birds in America (photo ci-dessus). Cette peinture sera exposée à la galerie londonienne de David Zwirner. Les deux premières peintures de cette série ont été présentées sur le site Internet de David Zwirner en juillet 2020 dans le cadre de Studio: Kerry James Marshall.

Parallèlement à la programmation en direct, la présentation en ligne comprends des contenus narratifs permettant de contextualiser chaque œuvre d'art exposée. Le public peut également prendre rendez-vous pour voir les œuvres en personne dans les galeries de David Zwirner via davidzwirner.com.

"Au cours de l'année dernière, nous avons réalisé l'intérêt et l'engagement que nous pouvions susciter via notre propre site Internet, sans que cela soit associé à l’actualité d’une foire. C'est la raison pour laquelle nous avons créé Program, une nouvelle série d'événements qui parachève la saison artistique et concentre l'énergie et l'excitation associées au mois de juin, mais à l'échelle mondiale. Elle imitera les échanges et la découverte en personne que vous auriez pu vivre lors d'un vernissage ou d'une foire grâce à des sessions de diffusion en direct. Pour la présentation inaugurale de Program, nos artistes ont créé de nouvelles œuvres importantes qui seront vues pour la toute première fois, notamment la nouvelle peinture de Kerry James Marshall issue de sa série Black and part Black Birds in America" a déclaré David Zwirner.

L'identité graphique spécifique de Program a été spécialement conçue en étroite collaboration avec l'artiste Christopher Williams de la galerie David Zwirner, dont le travail se fonde sur des accumulations de circonstances, de références et de connotations et une exploration des structures passées du marché de l'art.

En décembre 2020, David Zwirner a lancé son premier événement en live streaming intitulé Miami NY, qui a rassemblé des milliers de participants sur le cours d’une même journée.

DAVID ZWIRNER

New York, London, Paris, Hong Kong

www.davidzwirner.com

Joan Linder and Maureen O'Leary @ Cristin Tierney Gallery, New York - Slightly Surreal Suburbia

Joan Linder and Maureen O'Leary 

Slightly Surreal Suburbia 

Cristin Tierney Gallery, New York 

June 18 - August 6, 2021 

MAUREEN O'LEARY and JOAN LINDER

Left: MAUREEN O'LEARY 

The Trash at Night, 2021 

Oil on linen 

48 x 32 inches (121.91 x 81.28 cm)

© Maureen O’Leary, courtesy Cristin Tierney Gallery

Right: JOAN LINDER

Wet Ones, 2018

Duct tape and foam 

7 x 3 ¼ x 3 ¼ inches (17.8 x 8.3 x 8.3 cm)

© Joan Linder, courtesy Cristin Tierney Gallery

Cristin Tierney Gallery presents Slightly Surreal Suburbia, a two-person exhibition with JOAN LINDER and MAUREEN O'LEARY. The show features new paintings by O’Leary alongside works on paper and sculptures by Linder. 

For as long as suburbs have existed, life in their quiet communities has been a subject of intense interest. They are governed by particular rules of conduct and social expectations that set them apart from cities. Relationships among neighbors involve a strange commingling of secrecy and voyeurism. And underneath their ostensibly calm surfaces there is often a wealth of eccentricity and darkness hiding, as explored through many notable films, television shows, works of photography, books and more from the mid-20th century to today.

Linder and O’Leary live in Buffalo and Mt. Sinai, respectively, and like so many of us they have experienced life in suburban areas. In the last year, the two artists became deeply enmeshed with their surroundings as the pandemic curbed most travel and they found themselves spending more time at home. Slightly Surreal Suburbia showcases new works by both women devoted to the sights and people in the ‘burbs; together they are a consideration of domestic life outside of the metropolitan sphere.

Joan Linder has had a lifelong obsession with the passage of time, which she channels through inordinately detailed ink drawings and sculptures made from paper, foam and duct tape. Many of Linder’s works are life-size, forming near-perfect replicas of actual objects or people she has encountered. In Slightly Surreal Suburbia, Linder presents objects that capture the anxiety we all felt in our homes in 2020. They approximate the items they represent, but close looking reveals small imperfections and touches of the artist’s hand. Isolation Orders is a to-scale drawing of a letter Linder received with the governor’s state-wide order to shelter in place in March 2020. Wet Ones is a slightly-off reproduction of a container of antibacterial hand wipes, created painstakingly with slices of tape to approximate the in-demand good.

Maureen O’Leary’s paintings capture the oddness of the everyday in her neighborhood on Long Island. She presents fleeting, moody scenes viewed from her home and studio; in The Trash at Night, we see a man dragging a trashcan behind him, set against a backdrop of leafless trees and an ominous glowing moon. The sky is a mottled purple tinged with juicy reds and oranges, lending an eerie feeling to the already uncanny image. The Mail, March shows a tiny hand emerging from a darkened USPS truck to drop a letter in a mailbox. it is the only sign of life in the painting.

JOAN LINDER (b. 1970) is known for her labor-intensive drawings that contain thousands, even hundreds of thousands, of tiny lines. She has exhibited at Albright College, Faulconer Gallery at Grinnell College, The Albright-Knox Art Gallery, Omi International Art Center, Sun Valley Art Center, Weatherspoon Art Museum and more. Her work is held in the collections of The Albright-Knox Art Gallery, Davis Museum, Bank of America, Fidelity Investments, Progressive Corporation, West Collection and the Zabludowicz Collection. She studied at the Skowhegan School of Painting and Sculpture, and holds an MFA from Columbia University and a BFA from Tufts University. Among her many awards and fellowships are residencies at MacDowell Colony, Yaddo, Smack Mellon, Ucross Foundation, Art Omi, and the University of Tennessee, Knoxville, plus a Pollock Krasner Foundation Grant.

MAUREEN O'LEARY's (b. 1965) paintings hover between figuration and abstraction. Her mundane scenes become substrates for experimentation with the application of paint and the evolving notion of what is real. O’Leary’s work has been exhibited at the Fondation des États-Unis, Ely Center of Contemporary Art, Art Lab Tokyo, Midwest Center for Photography, Artspace, Power Plant Gallery at Duke University, Valdosta State University Fine Arts Gallery, Staten Island Museum, Meadows Gallery – University of Texas at Tyler, and more. She is the recipient of the Brooklyn Arts Council – Brooklyn Arts Fund Grant and the Harriet Hale Woolley Fellowship from the Fondation des États-Unis. Maureen O’Leary has published two books: Belle Mort (2013, Paper Chase Press) and Look/Listen (2010, Look/Listen Press). Her work is held in the collections of the Fondation des Etats-Unis and the Beinecke Rare Book and Manuscript Library at Yale University.

CRISTIN TIERNEY GALLERY

219 Bowery, New York, NY 10002

www.cristintierney.com

Paul Signac @ Musée Jacquemart-André, Paris - Signac, Les harmonies colorées

Signac, Les harmonies colorées 

Musée Jacquemart-André, Paris 

Jusqu'au 19 juillet 2021 

PAUL SIGNAC (1863 – 1935)

Coucher de soleil (éventail), Vers 1905

Aquarelle, encre de Chine et mine de plomb sur papier 

14,3 x 10,8 cm

Collection particulière

MAXIMILIEN LUCE (1858 – 1941)

Portrait de Paul Signac, vers 1925

Mine de plomb sur papier, 20,8 x 15,7 cm

Collection particulière

PAUL SIGNAC (1863 – 1935)

Les Andelys. Soleil couchant, 1886

Huile sur toile, 32,8 x 46,1 cm

Collection particulière

PAUL SIGNAC (1863 – 1935)

Concarneau (étude), 1891 

Huile sur bois, 15 x 25 cm

Collection particulière

Le musée Jacquemart-André met à l’honneur l’œuvre de Paul Signac (1863 – 1935), maître du paysage et principal théoricien du néo-impressionnisme, à travers près de soixante-dix œuvres issues du plus bel ensemble d’œuvres néo-impressionnistes en mains privées. Aux côtés de 25 de ses toiles telles que Avant du Tub (1888), Saint-Briac. Les Balises (1890), Saint-Tropez. Après l’orage (1895), Avignon. Matin (1909) ou Juan-les-Pins, Soir (1914) et d’une vingtaine d’aquarelles, l’exposition présente plus de vingt œuvres de Georges Seurat, Camille Pissarro, Maximilen Luce, Théo Van Rysselberghe, Henri-Edmond Cross, Louis Hayet, Achille Laugé, Georges Lacombe et Georges Lemmen.

L’ensemble de l’exposition suit un parcours chronologique, depuis les premiers tableaux impressionnistes peints par Signac sous l’influence de Claude Monet jusqu’aux œuvres vivement colorées réalisées par l’artiste au XXe siècle, en passant par sa rencontre avec Georges Seurat en 1884. L’exposition, qui retrace la vie de Signac et son travail de libération de la couleur, évoque également l’histoire du néo-impressionnisme.

En introduction, une salle est consacrée à la présentation du mouvement néo-impressionniste. La rencontre de Georges Seurat y est évoquée par deux rares dessins au crayon Comté et l’entrée en scène des principaux acteurs du mouvement - Camille Pissarro, Henri-Edmond Cross, Maximilien Luce et Théo Van Rysselberghe - est illustrée par des portraits. (Portraits de Georges Seurat (1890), Camille Pissarro (1895) et Henri-Edmond Cross (1898) par Maximilien Luce ; Portrait de Maximilien Luce (1890) par Signac ; Autoportrait (1916) de Théo Van Rysselberghe). Saint-Briac. Le Béchet (1885) y rappelle les débuts impressionnistes de Signac et le visiteur voit la technique de l’artiste évoluer avec Fécamp. Soleil (1886), Avant du Tub (1888) et Saint-Briac. Les Balises (1890), ses premiers chefs-d’œuvre néo-impressionnistes. 

MAXIMILIEN LUCE (1858 – 1941) 

L’Aciérie, 1899

Huile sur toile, 92 x 73,3 cm

Collection particulière

THEO VAN RYSSELBERGHE (1862 – 1926), 

Le Moulin du Kalf à Knokke (Moulin en Flandre), 1894 

Huile sur toile, 80 x 68,5 cm

Collection particulière

HENRI-EDMOND CROSS (1856 – 1910)

La Mer clapotante, Vers 1902-1905

Huile sur toile, 59 x 82 cm

Collection particulière

Ensuite, une importante section est réservée aux premiers tableaux néo-impressionnistes de Signac, puis à la période de Saint-Tropez où il choisit de passer la belle saison chaque année de 1892 à 1913. Les œuvres peintes à Paris et en Bretagne contrastent avec les tableaux aux couleurs fortes inspirés par le Midi. L’exposition illustre ainsi le développement stylistique du peintre qui se libère progressivement des théories de Seurat pour faire évoluer le néo-impressionnisme dans le sens d’une expression picturale toujours plus colorée.

Paul Signac a beaucoup milité pour la diffusion du mouvement et les tableaux de ses compagnons de route sont accrochés au cœur de l’exposition. Les œuvres des plus célèbres d’entre eux- Pissarro, Van Rysselberghe, Cross ou Luce- voisinent avec celles de Louis Hayet, Georges Lemmen, Georges Lacombe et Achille Laugé, artistes qui sont de véritables découvertes pour la plupart des visiteurs. Ceux-ci peuvent ainsi apprécier les aspects variés du néo-impressionnisme, interprétés par des personnalités artistiques très différentes à travers des œuvres comme Au Café (1887-1888) de Louis Hayet, Briqueterie Delafolie à Eragny (1888) de Camille Pissarro, Le Moulin du Kalf à Knokke (1894) de Théo Van Rysselberghe ou La Mer clapotante (vers 1902-1905) de Henri-Edmond Cross.

CAMILLE PISSARRO (1830 – 1903)

La Briqueterie Delafolie à Éragny, 1888

Huile sur toile, 55 x 72 cm

Collection particulière

ACHILLE LAUGÉ (1861 – 1944) 

L’Arbre en fleur, 1893 

Huile sur toile, 59,4 x 49,2 cm 

Collection particulière

Dans les trois dernières salles de l’exposition, le musée présente l’œuvre de Signac au XXe siècle. Un bel ensemble de tableaux souligne l’évolution stylistique de l’artiste qui se fonde sur le contraste des couleurs pour orchestrer de plus en plus librement ses compositions chromatiques. Peintre novateur, Signac ouvre alors la voie à de nouvelles générations d’artistes, fauves, futuristes ou abstraits. À cette époque, il peint de nombreuses aquarelles et une sélection d’entre-elles rappelle qu’elles occupent une part de plus en plus importante de son travail.

Cet ensemble est le fruit de la passion de plusieurs générations de collectionneurs de la même famille, qui entretiennent un lien d’amitié très fort avec la famille Signac. Par discrétion, ils souhaitent conserver leur anonymat, mais ils partagent volontiers les oeuvres de leur collection, qu’ils prêtent régulièrement à des institutions muséales internationales.

Commissariat :

MARINA FERRETTI a collaboré à la préparation du Catalogue Raisonné de Paul Signac publié en 2000 par Françoise Cachin et a été responsable des Archives Signac de 1985 à 2012. De 2003 à 2009, elle a été chargée de mission auprès de la mairie du Cannet pour la mise en place du projet de Musée Bonnard. Nommée directeur scientifique du musée des impressionnismes à Giverny en 2009, elle a assuré cette fonction jusqu’à sa retraite en 2019. Spécialiste de l’oeuvre de Signac et du néoimpressionnisme, elle a été commissaire de nombreuses expositions, notamment Signac (Paris, Grand Palais, Amsterdam, Vincent van Gogh Museum et New York, Metropolitan Museum of Art, 2001) ; Paul Signac (Fondation Pierre Gianadda, Martigny, Suisse, 2003) ; Le Néo-impressionnisme. De Seurat à Paul Klee, avec Serge Lemoine (musée d’Orsay, Paris, 2005) ; Neo-Impressionism, from Light to Color (Osaka, Abeno Harukas Art Museum, et Tokyo Metropolitan Art Museum, 2014) et Signac, les couleurs de l’eau (Giverny, Musée des impressionnismes et Montpellier, musée Fabre, 2013). Elle est aussi l’auteur et la responsable éditoriale de nombreux catalogues et publications, notamment Signac aquarelliste (2001) et L’Impressionnisme (2005, collection Que sais-je ?).

PIERRE CURIE est conservateur en chef du patrimoine. Spécialiste de peinture italienne et espagnole du XVIIe siècle, il a également travaillé sur celle du XIXe siècle français au Musée du Petit Palais où il a commencé sa carrière de conservateur. Par la suite chargé du domaine de la peinture à l’Inventaire général, il a co-rédigé et conduit le Vocabulaire typologique et technique de la peinture et du dessin (paru en 2009). Nommé responsable de la filière peinture du département restauration du Centre de recherche et de restauration des Musées de France en 2007, il a coordonné et suivi quelques grandes restaurations de tableaux des musées nationaux (Léonard de Vinci, Titien, Rembrandt, Poussin…). Pierre Curie est conservateur du Musée Jacquemart-André depuis janvier 2016.

CATALOGUE

A l’occasion de l’exposition, Culturespaces et le Fonds Mercator publient un catalogue réunissant l’ensemble des oeuvres présentées au musée Jacquemart-André.

Signac, Les harmonies colorées

Catalogue de l'exposition

Dimensions : 24 x 28 cm

160 pages, version brochée en français

Editions Fonds Mercator

ISBN : 9789462302792

MUSÉE JACQUEMART-ANDRÉ

Propriété de l’Institut de France

158 boulevard Haussmann, 75008 Paris

www.musee-jacquemart-andre.com