WANAFOTO: 04/2025

27/04/25

Tulio Pinto with Eduardo Rezende @ Piero Atchugarry Gallery, Miami - "Gravitas Act I & II" Exhibition Curated by Jennifer Inacio

Tulio Pinto with Eduardo Rezende

Gravitas Act I & II

Curated by Jennifer Inacio

Piero Atchugarry Gallery, Miami

Through May 17, 2025

Tulio Pinto

Gravitas #03, 2025

Tulio Pinto & Eduardo Rezende

Gravitas Act I #01, 2025

courtesy Piero Atchugarry Gallery

Piero Atchugarry Gallery presents Gravitas Act I & II by brazilian artist Tulio Pinto in collaboration with brazilian photographer Eduardo Rezende. The exhibition takes its title from the Latin gravitas, which simultaneously refers to physical weight and a sense of ethical seriousness. Tulio Pinto’s sculptural practice has long been rooted in the poetic tensions of material weight, balance, and resistance— forces that, while omnipresent, often go unnoticed. In Gravitas, Tulio Pinto expands upon these core investigations by introducing a new element into his visual and conceptual lexicon: the human body. Across two distinct yet interrelated bodies of work introduced in separate gallery spaces— monumental black-and- white photographic portraits and gravity- defying sculptural installations—Gravitas makes the intangible force of weight and equilibrium visible, pushing the limits of perception and material expectations.

For the gallery space titled Act I, Tulio Pinto collaborates with photographer Eduardo Rezende to present a series of striking photographic works that engage with the body’s capacity to bear, resist, and yield to mass. Departing from the classical sculptural tradition in which the artist carves or molds inert material into form, the artists invert the equation: in these images, the raw, unaltered stone becomes the sculptor, pressing its weight upon the human figure. The models— selected for their diverse body types—interact with these stones not as passive subjects but as active participants in a performance of force and endurance. Hands grip, arms strain, and torsos bend; the body is sculpted not through artistry but through its negotiation with resistance.

If the photographic works and the interactive element in Act I reveal gravity’s impact through bodily exertion, Pinto’s sculptural installations in Act II—the second gallery space—manifest it through material contradiction. Long engaged with industrial materials such as steel and stone, Tulio Pinto now introduces glass as a structural component in the shape of chains—an intervention that challenges conventional notions of fragility. Glass, traditionally perceived as brittle and breakable, is here rendered in the form of chains, a material typically associated with strength, endurance, and the ability to bear weight. By suspending stones using these links made out of glass, Tulio Pinto forces a reconsideration of assumed material properties: what appears weak becomes a carrier of mass, and what seems unmovable is, in fact, held in delicate suspension.

In bringing together these two distinct yet conceptually intertwined series, Gravitas underscores an ongoing exploration of balance as both a formal and existential condition. The photographs reveal the human body’s negotiation with this force, while the sculptures dramatize the unseen but omnipresent force of gravity through improbable material unions. In both cases, the act of holding, suspending, and enduring becomes a way of making gravity—an otherwise invisible phenomenon—tangible, present, and, ultimately, deeply human.

TULIO PINTO

Photo courtesy the artist and Piero Atchugarry Gallery

TULIO PINTO (b. 1974, Brazil) lives and works in Porto Alegre, Brazil. Playing with gravity, Tulio Pinto explores the subtle balance of weight and matter through installations and sculptures. Using materials of opposing nature and behavior, he translates the pulse of the physical world to be reflected in the world of human relations. Having only graduated from UFRGS with a degree in visual arts specializing in sculpture in 2009, Tulio Pinto is incredibly focused and prolific; He is also a co-founder and member of the Atelier Subterrânea.

EDUARDO REZENDE

Photo courtesy the artist and Piero Atchugarry Gallery

EDUARDO REZENDE (b. 1977, Brazil) lives and works in São Paulo, Brazil. Eduardo Rezende has an award-winning career in the fashion world specializing in outdoor photoshoot. And he has always lent his sensitivity to the body-landscape relationship to these photographic essays. Since his first solo show in 2006 at Galeria Valu Oria, he has been holding solo exhibitions such as THE NOMAD ANO THE HOUSES, Urban Flow, and Art In Progress.

PIERO ATCHUGARRY GALLERY, MIAMI

5520 NE 4th Avenue, Miami, FL 33137

pieroatchugarry.com

Tulio Pinto with Eduardo Rezende: Gravitas Act I & II, Curated by Jennifer Inacio

Piero Atchugarry Gallery, Miami, March 15 - May 17, 2025

Che Lovelace @ Nicola Vassel Gallery, NYC - "Where the I Settles" Exhibition

Che Lovelace

Where the I Settles

Nicola Vassel Gallery, New York

1 May - 25 July 2025

CHE LOVELACE

Head Above Water, 2025

Photo: Luis Corzo

Nicola Vassell presents Where the I Settles, an exhibition of new and recent work by CHE LOVELACE, the artist’s second solo exhibition with the gallery. Across a group of multi-paneled paintings, the exhibition radically expands his exploration into the relationship between nature and society in his native Trinidad. Che Lovelace attends to the many ways that these worlds contrast with one another before eventually reaching a state of unity, which he expresses above all through the act of painting itself.

A primary focus in Lovelace’s work has been both the vibrancy and specificity of life in Trinidad, a place where local history, custom and ritual exists alongside, and in constant dialogue with its post-colonial identity. Whether depicting the flora and fauna of its forests and coasts, or the urban sprawl of its built environment, Che Lovelace renders each form and every detail with descriptive complexity and formal ingenuity. Drawing inspiration as much from the rich history of Caribbean and Trinidadian art as he does from the legacy of Cubism, Che Lovelace is attuned to how these different histories create worlds that at first seem separate and distinct but which can ultimately be made to converge.

The fragmented yet unitary perspective that Che Lovelace identifies in the world of Trinidad is expressed not only by the paintings’ subject matter, where elements of the landscape so often abut or collide with what is man-made, but most importantly through their very structure. He constructs these works by joining together individual panels, which he either paints separately or works on in tandem after their unification, sometimes over a period of several years. Each work contains the meeting of different registers of time and distinct responses to the world which are, in the end, brought into relation with one another, though without losing what makes them singular. Where the panels meet is where he navigates their moments of dissonance while also forging new points of connection, thus allowing the paintings to preserve a fragmentary perception of the world that expresses an understanding of how we experience it.

Where the I Settles presents a view of Trinidad and Tobago where its many realities and temporalities are allowed to coexist. In a departure from previous exhibitions that cohered around a single theme, here Che Lovelace is taking the whole of his native country as his subject, showing us the intermingling of its lush and natural abundance with an urban space of geometric form and kaleidoscopic color. Though local wildlife, native plant species and sections of street and architecture remain legible in these paintings, Che Lovelace regularly surrounds them with passages of painterly abstraction and richly textured surfaces that connect what is specific in these forms to what is poetic or metaphorical in them as well.

The movement between abstraction and representation is essential for Che Lovelace, as he understands each approach not in competition with the other, but instead as two mutually reinforcing strategies for expressing the true character of a subject. Whether describing Port of Spain or the very substance of the cosmos itself, Lovelace always returns back to the ever-evolving spirit of Trinidad, a place his paintings allow us to see as multi-dimensional yet fundamentally interconnected.

CHE LOVELACE - BIOGRAPHY

Che Lovelace (b. 1969, Port of Spain, Trinidad and Tobago) lives and works in his lifelong home of Trinidad. He received a degree from l’École Régionale des Beaux-Arts de la Martinique and currently lectures at the University of the West Indies Creative Arts Campus. In 2025, he was awarded the French National Order of Arts and Letters (Chevalier).

Rooted in the outskirts of Port of Spain, Che Lovelace considers Trinidad his ultimate subject. The flora, fauna and figures of island life are ever-present in his tropical vistas, painted on board panels which he assembles into larger segmented works. Lovelace’s vibrant, energetic compositions present a nuanced exploration of postcolonial identity, grounded in a deep commitment to the Caribbean landscape and its community.

Solo exhibitions include Where The I Settles, Nicola Vassell Gallery, New York (2025); Nightscapes with Palms and Egrets, Various Small Fires, Dallas (2023); Day Always Comes, Corvi-Mora, London (2023) and Cugoano250, St. James’s Piccadilly Church, London (2023). Group exhibitions include Surrealism and Us: Caribbean and African Diasporic Artists since 1940, The Modern, Fort Worth, Texas (2024) and Soulscapes, Dulwich Picture Gallery, London (2024). Lovelace’s work is held in the collections of The Museum of Contemporary Art Los Angeles, The Institute of Contemporary Art Miami, X Museum, the Aïshti Foundation and the Art Gallery of Ontario.

NICOLA VASSEL GALLERY

138 10th Avenue, New York, NY 10011

www.nicolavassell.com

Antonia Kuo @ Chapter NY, New York - "Milk of the Earth" Exhibition

Antonia Kuo

Milk of the Earth

Chapter NY, New York

April 18 - June 14, 2025

“The successful negotiation
Of holes…
Is dependent on maintaining
A healthy respect
For what cannot be seen.”
– Pope.L, Hole Theory

In Milk of the Earth, Antonia Kuo continues her engagement with personal histories rooted in alchemical transformation, metallurgy, and Chinese painting. She focuses on an ecology of material extraction—extraction of the body and the Earth—wombs, mines, cavities, milk, and metal. This framework brings our attention to the viscous liquidity of milk and ceramic slurry, the act of mining as milking the earth, and the mine as an excavated void, or negative. The site of the negative is a focal point for Kuo, a vital space activated by protean energies. Antonia Kuo utilizes photographic and sculptural technologies to convey aspects of these lineages, including chemical paintings on light-sensitive silver gelatin paper, X-ray film and corresponding photograms, video footage from her family foundry, micrographs of metal alloys, ultrasound video she recorded of her fetus, and sculptures referencing the industrial mold making process.

In mold making, a “mother mold” is fabricated as an inverse matrix from which multiples are produced. Kuo’s ceramic mold sculptures are hollow, precisely recording an initial wax form that has been vacated, flushed from the ceramic. As a new mother, Kuo is interested in her body as a transformed and emptied vessel, one that has been mined by her infant, both in vitro and on a daily basis.

Kuo’s work is inextricable from her relationship with her own Taiwanese artist mother who has a lifelong Chinese painting and calligraphy practice. Antonia Kuo uses the lens of Chinese painting to interpret aspects of landscape through embodied memory and engages the concept of emptiness which is pivotal to the Chinese conception of the universe. Emptiness is not inert or vacuous; it is active, dynamic, and connects the visible world to an invisible one. It is the site of continual becoming.

From this emptiness over 10 billion years ago, all metallic elements in the universe were forged in stellar processes. Most of the copper in the Milky Way originated in supergiants, the most massive stars in the universe. In this exhibition, copper appears in several diﬀerent modalities: as a supportive substrate, an electroplated coating, and a selective chemical sensitizer for her painting Pit Mine, producing chalky iron oxide tonalities.

Antonia Kuo reflects on her family’s roots in the copper mining town of Butte, Montana, a metalworking heritage that inspired her uncles to start their own foundry. Berkeley Pit is a massive open pit mine in the heart of Butte, which Kuo remembers since childhood to be as breathtaking as an earthwork, a radical mile-long excavation of terrain waterlogged by deep burgundy and startling turquoise water containing high levels of heavy metals and toxic chemicals.

At the crux of Kuo’s work is a complex ambivalence in relation to toxicity and awe. Kuo is familiar with collaborating with the caustic, unpredictable nature of chemistry, but is transfixed by its extreme transformative capabilities. Her paintings on paper coated with silver halide crystals are sensitive receptors to light and time. While copper was forged over the course of millions of years, silver was created in the flash of an eye during the intensely bright explosive moment of a star’s death.

Antonia Kuo (b. 1987, New York, NY) lives and works in New York, NY. She received an MFA from Yale University in 2018, her BFA from School of Fine Arts Boston and Tufts University in 2009, and a one-year certificate from the School of the International Center of Photography in 2013. In 2024 Kuo had a two-person exhibition with Martin Wong at the Frye Art Museum, Seattle. Her work has been exhibited at Metropolitan Museum of Manila, PH; Centre Pompidou, Paris; the Whitney Museum of American Art, New York; Chapter NY, New York; James Cohan, New York; Project Native Informant, London; Jeffrey Deitch, Los Angeles; Moskowitz Bayse, Los Angeles; Jack Barrett Gallery, New York; F, Houston; Chart, New York; Each Modern, Taipei; MAMOTH, London; Make Room, Los Angeles; among others. Kuo has performed and screened her work at Pioneer Works, Brooklyn, NY; Knockdown Center, Queens, NY; MoMA PS1, Queens, NY; and the Musee d’art contemporain de Montreal, among others. She has been an artist-in-residence at Mass MoCA, Vermont Studio Center, The Banff Centre, and was a MacDowell Colony Fellow. Kuo’s work is included in the collections of the Whitney Museum of American Art, New York and Centre Pompidou, Paris. In May 2025, Antonia Kuo will have a solo exhibition at Adams and Ollman in Portland, OR.

CHAPTER NY

60 Walker Street, New York, NY 10013

chapter-ny.com

Dennis Scholl @ Piero Atchugarry Gallery, Miami - "The Melody Haunts My Reverie" Exhibition Curated by Larry Ossei-Mensah

Dennis Scholl

The Melody Haunts My Reverie

Curated by Larry Ossei-Mensah

Piero Atchugarry Gallery, Miami

Through May 17, 2025

DENNIS SCHOLL

Untitled (Assassination), 2023

DENNIS SCHOLL

Untitled (Oh no,Roy!), 2024

Piero Atchugarry Gallery presents The Melody Haunts My Reverie, an inaugural solo exhibition by American artist, Dennis Scholl, who lives and works in Miami Beach, Florida. The solo exhibition takes its title from Hoagy Carmichael’s iconic 1927 composition Stardust, a melody that encapsulates the enduring power of memory and imagination. Similarly, Dennis Scholl’s artistic practice is deeply rooted in recollection, artifacts, and conceptual drawing. Through assemblages built from meticulously curated objects —ephemeral materials, archival fragments, and items of cultural significance— Dennis Scholl creates evocative compositions that merge personal experience with broader cultural histories.

Over the decades, Dennis Scholl has diligently built a collection of ephemera and memorabilia from various online auction sites. He reviews over 30,000 images each month, carefully selecting a few that he seeks to acquire and eventually transform into artworks. Once secured, these objects enter his archive, where they are reimagined into extraordinary pieces of art.Dennis Scholl describes his process as creating “gateways to lost moments,” turning everyday items layered with historical and emotional significance into portals for reflection and rediscovery.

As a filmmaker, Dennis Scholl brings a cinematic lens to his studio practice, emphasizing narrative structure and visual storytelling. His experience in filmmaking sharpens his ability to frame objects as protagonists within larger cultural narratives. This sensibility is evident in works like Untitled (Assassination) and Untitled (Mourning), where the selected artifacts function as personal mementos and cultural signifiers. The narrative approach allows Dennis Scholl to interrogate how historical events, such as President John F. Kennedy’s assassination, transcend singular moments to become enduring cultural myths.

The exhibition culminates in a meditation on the fluidity of memory. Just as Stardust has been endlessly reinterpreted, retaining its essence while adapting to new voices and contexts, Scholl’s works illustrate how cultural touchstones remain relevant through ongoing reexamination. His assemblages transform artifacts of the past into dynamic reflections on history, inviting viewers to reconsider their connections to the remnants of memory and reimagine how the past shapes the present. In this interplay of time and meaning, Dennis Scholl offers a poetic meditation on memory’s enduring power to reshape our understanding of objects, histories, and ourselves.

DENNIS SCHOLL

Dennis Scholl (b. 1955, USA) is an American artist who lives and works in Miami Beach, Florida. He is a visual artist and filmmaker whose practice interrogates the intersections of memory, history, and cultural iconography. His work navigates the space between conservation and transformation, questioning the limits of historical truth and personal recollection.

His films have been showcased at over 100 international film festivals, including Sundance, SXSW, and DOC NYC, earning numerous accolades, including 23 regional Emmys from the National Academy of Television Arts and Sciences. His documentary The Last Resort was acquired by Netflix, and his latest film, Naked Ambition, examines the legacy of Miami’s legendary pinup photographer, Bunny Yeager. Scholl’s work – both visual and cinematic – questions how history is archived, remembered, and reframed, offering a conceptual dialogue between past and present.

PIERO ATCHUGARRY GALLERY, MIAMI

5520 NE 4th Avenue, Miami, FL 33137

pieroatchugarry.com

Dennis Scholl: The Melody Haunts My Reverie, Curated by Larry Ossei-Mensah

Piero Atchugarry Gallery, Miami, March 15 - May 17, 2025

26/04/25

Miquel Barceló @ Acquavella Galleries, New York - Paintings and Ceramics Exhibition

Miquel Barceló

Acquavella Galleries, New York

April 24 - May 30, 2025

Acquavella Galleries presents MIQUEL BARCELÓ, the renowned Spanish artist’s fourth solo exhibition with the gallery. The exhibition presents over two dozen new paintings and a selection of recent ceramic works, featuring the artist’s signature use of layered materiality, vivid color, and richly textured surfaces.

Over the past four and a half decades, the Spanish artist Miquel Barceló (b. 1957) has explored a diverse range of media, including painting, works on paper, ceramic, bronze sculpture, large-scale installation, and performance. In addition to his deep-rooted connection to Spain and his native Mallorca, Miquel Barceló draws inspiration from his global travels, continuously experimenting with new materials and techniques influenced by ancient and contemporary cultural traditions. Throughout his practice, the artist’s fascination with the natural world has been central, resulting in textured canvases filled with earthly materiality, tactile surfaces, and compositions inspired by the effects of light and ever-changing colors of the sea.

MIQUEL BARCELÓ

Par terre avec as de coeur, 2024

Mixed media on canvas

63 1/4 x 63 1/4 x 2 3/4 inches (160.5 x 160.5 x 7 cm)

In his latest series of paintings, Miquel Barceló deepens his engagement with organic subject matter, drawing inspiration from the sea surrounding Mallorca, where he lives and works in addition to Paris. In densely layered surfaces, Barceló’s new “still life” paintings feature scenes filled with tropical fish, crabs, shells, crustaceans, and marine vegetation that emerge from layers of muted chromatic grays in brilliant hues of red and blue. Traces of human presence also appear within these aquatic compositions as Barceló often incorporates found materials including matchbooks and postage stamps amid hundreds of layers of paint. In Par terre avec as de coeur (2024), for instance, a playing card appears alongside crabs and shells, seamlessly blending into the composition. As Miquel Barceló explains, the process is almost geological, “like waves washing over a beach.”

MIQUEL BARCELÓ

Reloj parado, 2023-2024-2025

Mixed media on canvas

45 1/8 x 64 x 3 1/8 inchs (114.5 x 162.5 x 8 cm)

Alongside Barceló’s still lifes are striking underwater scenes, inspired by both the open sea as well as aquariums. Although a lifelong diver, the prescribed environment of the aquarium offers the artist a unique opportunity for experimentation. In works like Scene (2025) and Peixos exotics (2025), Miquel Barceló creates powerful compositions teeming with tropical aquatic life in swirling brilliant color. As the artist observes, an aquarium is a “closed space where colors, shapes, and materials evolve in improbable combinations. For me, that’s a good definition of painting.”

The exhibition also includes a selection of new paintings from the artist’s corrida series, depicting the circular space of the bullfighting ring, which offers Barceló a similarly enclosed space to experiment. In Reloj parado (2023-2024-2025), two lone figures stand at the center of a yellow ground, encircled in the ring by vibrant reds, greens, and blues. Miquel Barceló builds each composition in multiple layers of saturated color where the dramatic interplay between “life and death” and “light and shadow” unfold.

Barceló’s ceramic practice similarly emerged from his surroundings. He began experimenting with the medium in the 1990s in Mali, where he studied ancient Dogon earthenware techniques unique to the country’s central region. Drawn to clay for its humble materiality, he embraced it as a medium of experimentation, describing ceramics as “a form of painting.” Barceló’s distinctive forms and contours, molded by the artist’s hands, are painted in vivid colors and often revisit the subjects and material qualities of his paintings. In Tectònic (2024), a simple vessel is coated in dense crags as if it slowly emerged from the earth, while in Copinyes (2024), shells and crustaceans appear from soft, bubbling surfaces glazed in violet. These works show Barceló’s expressive and free-wheeling hand, and much like his paintings, they illustrate his engagement with the materials, traditions, and environments endemic to his surroundings.

Miquel Barceló is accompanied by an illustrated catalogue co-published by Rizzoli.

About Miquel Barceló (b. 1957)

Miquel Barceló was born in Felanitx, Mallorca in 1957 and currently lives and works in Mallorca, Spain, and Paris, France. The youngest artist to ever show at the Musée du Louvre, Miquel Barceló represented Spain at the 53rd Venice Biennale in 2009 and participated in Documenta VII in Kassel, Germany in 1982. He has had retrospectives at renowned institutions, including Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo Rufino Tamayo, Mexico City; the Guggenheim Bilbao, Spain; and is included in many esteemed public and private collections worldwide. Miquel Barceló has had several solo exhibitions in recent years, including one featuring his ceramics at the Museo Internazionale delle Ceramiche, Faenza in 2019, a solo exhibition titled Metamorphosis at the Museo Picasso, Málaga in 2021, and Tokyo Opera City Art Gallery in 2022.

Along with his exhibition at Acquavella, Miquel Barceló will present three other solo exhibitions this year at the Fondation Jan Michalski, Montricher, Switzerland; Museum of Contemporary Art of Eivissa, Spain; and the DOX Centre for Contemporary Art, Prague, Czech Republic.

ACQUAVELLA GALLERIES NEW YORK

18 East 79th Street, New York, NY 10075

www.acquavellagalleries.com

Nicole Chesney @ Gallery NAGA, Boston - "Exquire" Exhibition

Nicole Chesney: Exquire

Gallery NAGA, Boston

May 2 - May 31, 2025

Gallery NAGA presents its fourth major solo exhibition of paintings by the acclaimed artist NICOLE CHESNEY.

Exquire showcases a compelling new body of work that explores the transformative qualities of glass as a painting surface. Nicole Chesney masterfully adds, subtracts, and moves oil paint around the glass, creating a dynamic interplay of color and reflection. Unlike traditional canvas, the glass surface allows for unique optical effects, where colors are reflected in unexpected ways. Chesney's innovative approach pushes the boundaries of traditional painting by exploring complex relationships between the inherent luminosity and reflectiveness of glass and the applied paint color, resulting in nuanced and shifting visual experiences. This invites viewers to engage with the artwork from multiple perspectives and in different lighting conditions. In works such as Vivida, this is particularly evident in the subtle yet captivating shifts in color as the viewer's viewpoint changes. The resulting atmospheric quality in her work often evokes the subtle gradations and transient beauty of weather phenomena, from hazy light to the crispness after a storm.

The new paintings in Exquire are confident and exciting, conveying depth and illusion through Chesney's varied and expressive strokes. Notably, and for the very first time, two of the paintings in this exhibition take on a tondo form, a circular format historically significant in art, particularly during the Renaissance. Nicole Chesney was compelled to transform her composition within this classical structure. Furthermore, Chesney's use of multi-panel formats recalls the visual storytelling seen in chapel altarpieces and devotional art. This creates a feeling of interconnectedness and an immersive experience for the viewer.

Nicole Chesney's work has garnered international recognition and is held in numerous prestigious permanent collections, including the Smithsonian American Art Museum, Museum of Fine Arts, Boston, New Britain Museum of American Art, Toledo Museum of Art, Newport Art Museum, RISD Museum, Palm Springs Art Museum, Corning Museum of Glass, and many more.

Gallery NAGA

67 Newbury Street, Boston, MA 02116

gallerynaga.com

25/04/25

Sophie Calle @ Galerie Perrotin, Paris - Exposition "Catalogue raisonné de l’inachevé. SÉANCE DE RATTRAPAGE"

Sophie Calle

Catalogue raisonné de l’inachevé

SÉANCE DE RATTRAPAGE

Galerie Perrotin, Paris

26 avril - 24 mai 2025

Please scroll down for English Version

« En 2023, pour une exposition intitulée “À toi de faire, ma mignonne”, j’ai investi le musée Picasso.
Le Catalogue raisonné de l’inachevé occupait le dernier étage.
J’avais commencé par dresser la liste de tous les projets réalisés depuis mes débuts, afin d’établir une sorte de bilan de ma vie professionnelle.
Puis, je me suis demandé ce qu’il adviendrait, quand ma vie s’interromprait, des idées qui piétinent, qui attendent leur heure dans des tiroirs, des boîtes… des cercueils?
J’ai donc décidé d’inventorier et d’analyser les ébauches, les tentatives, les abandons.
Donner vie aux intentions. Achever l’inachevé.
Seulement, soit il y avait trop à lire dans les trois premiers étages, soit le musée allait fermer, et certains visiteurs ne sont jamais parvenus au quatrième.
C’est pourquoi j’ai souhaité organiser à la galerie Perrotin Paris, une séance de rattrapage. Sophie Calle

“In 2023, for an exhibition entitled ‘À toi de faire ma mignonne’, I took over Picasso museum.
The project Catalogue raisonné de l’inachevé occupied the top floor.
I began by listing all the projects I had completed since the start of my career—taking stock of my professional life.
Then I asked myself: What happens, when life ends, to the ideas that remain dormant—languishing in drawers, boxes…and coffins?
So I decided to inventory and analyze the sketches, the attempts, the abandonments.
To give life to intentions. To finish the unfinished.
However, either there was too much to read on the first three floors or the museum was about to close—but some visitors never made it to the fourth floor.
That’s why I wanted to organize a catch-up session at Perrotin Paris.” Sophie Calle

GALERIE PERROTIN PARIS

76 rue de Turenne, 75003 Paris

perrotin.com

Marie Harnett: Were you dreaming? @ Cristea Roberts Gallery, London

Marie Harnett: Were you dreaming?

Cristea Roberts Gallery, London

2 May – 8 June 2025

MARIE HARNETT

Half agony, half hope, 2024

Graphite on drafting film

Paper: 23 x 30.6 cm / Image: 5.2 x 16.6 cm

“What could she say, but that too well he lov’d?”
Ovid, Orpheus, Metamorphoses

Cristea Roberts Gallery presents an exhibition of new drawings by MARIE HARNETT (b.1983). Were you dreaming?, the artist’s fourth solo show with the gallery, brings together twenty-five intricate works on paper depicting tender, decadent and dream-like scenes inspired by contemporary film, Greek mythology and Old Master paintings.

Best-known for pencil drawings that are hyper realistic in style, the artist’s practice always begins with film stills sourced from a diverse range of trailers. Films are a conduit for the artist, who sifts through hundreds of trailers, intuitively selecting certain frames that encapsulate a particular atmosphere.

Through this process, Marie Harnett establishes a series of fragmented scenes that allude to classical myth and tragedy; the artist was particularly inspired by the Greek myth of Orpheus and Eurydice, lovers separated by death. Although Orpheus persuades Hades, God of the Dead, to allow him to take Eurydice back to the world of the living, he inevitably breaks the terms of their agreement, stealing a final, forbidden glance at Eurydice, causing her to return to the underworld forever.

Harnett’s tableaux of drawings collectively inhabit the same world, forming part of a new narrative, a realm that is not quite our own; a woman is framed in a window, a coin held between her fingers; a man holds the head of a broken statue in his hands; the façade of a building is concealed by thick foliage.

The artist commits these unexpected scenes to paper, imbuing her drawings with drama and suspense. As a result, visitors to the exhibition, become active protagonists, joining into the act of observing and being observed.

Marie Harnett pairs the ancient with the modern, creating what she describes as an “other world, an underworld, a mirror world, that is frozen in time.”

Harnett’s use of graphite collaging in her drawings produces images that are surreal and uncanny; characters from period films are blended and recontextualised with backgrounds sourced from mythological paintings. In for you alone, 2024, a man in modern dress is transposed into the landscape of Orpheus, 1628, by Roelandt Savery.

Drawing inspiration from Baroque and Renaissance sculptors, such as Bernini and Michelangelo, several of the artist’s works, including Half agony, half hope, 2024, depict marble statues that appear in film. Interested by how stone sculptures depict subjects that are seemingly suspended in time, Harnett experiments with the medium of pencil to create the same illusion.

Marie Harnett also presents several drawings that take the form of photographs; in Love has an earlier death, and You’ve cast a spell, 2024, a jelly-like trifle is shown in both positive and negative versions. In these drawings, Harnett experiments with transformation; a film still of a particular object is turned into a photographic negative which, in turn, is made into a drawing. Through this method, Marie Harnett intends to highlight the sculptural quality of drawing, to establish distorted parallels in shades of light and dark.

Harnett’s titles are selected from the audio of the trailers she watches. Through this pairing of image and word Marie Harnett creates a new staging and cast of characters, all connected to pervading themes of loss, love, yearning and grief.

The exhibition is accompanied by a publication featuring an interview with the artist.

Marie Harnett: Were you dreaming? takes place during the 2025 edition of London Gallery Weekend (5 - 8 June 2025), when the artist will be giving a public talk and the show will be open for extended hours.

MARIE HARNETT

Marie Harnett was born in 1983 in Hertfordshire, England. She studied drawing and painting at Edinburgh College of Art, graduating in 2006.

Marie Harnett makes highly detailed, meticulous drawings derived from film stills which capture fleeting moments of drama, beauty and suspense. By removing the stills from their context and reworking them as intricate pencil studies, Harnett focuses on every aspect of pose, light and texture. Harnett also explores these themes in her printmaking, which include large scale linocut prints of images built up from black and white curving lines, which can take up to one month to carve, and a series of mezzotints, which are housed in the permanent collection of the British Museum, London.

Recent solo and group exhibitions include The British Museum, London; Arti et Amicitiae, Amsterdam (2023); Scottish National Gallery of Modern Art, Edinburgh (2022); Cristea Roberts Gallery, London (2021, 2017); BcmA, Berlin (2020); Städtische Galerie, Bietigheim-Bissingen; Haugesund Museum of Fine Art, Haugesund (2019); Yale Center for British Art, Connecticut (2017); Theodore: Art, New York, USA (2017); Royal Academy of Arts, London (2023, 2018, 2016); Galerie Rudolfinum, Prague (2016); Bremen Kunsthalle, Bremen (2015) and Galleria Bonomo, Rome (2014). In 2019 Marie Harnett completed a residency at The Josef and Anni Albers Foundation, Connecticut.

Harnett’s works are held in international public and private collections including British Museum, London; National Galleries Scotland, Edinburgh; Government Art Collection, London; Edinburgh College of Art, Edinburgh; Städtische Galerie Bietigheim-Bissingen; Yale Centre for British Art, Connecticut; Wadsworth Atheneum Museum of Art, Connecticut; and Museum of Modern Art, New York.

Marie Harnett lives and works in London.

CRISTEA ROBERTS GALLERY

43 Pall Mall, London SW1Y 5JG

www.cristearoberts.com

Photo London 2025 - Tenth Anniversary Edition @ Somerset House, London - Art Fair Overview

PHOTO LONDON 2025

TENTH ANNIVERSARY EDITION

Somerset House, London

15 - 18 May 2025

Idris Khan

Tower Bridge, London, 2012

Lucia Pizzani

Acorazada Guerrera, 2020

Chrystel Lebas

Plant Portraits or Weeds & Aliens Studies Sisymbrium

irio L.- London Rocket 130 Yellow 130 Magenta 0 Cyan 25s, April 2017

Courtesy Chrystel Lebas

Photo London marks its 10th anniversary in May with a special edition celebrating London and its rich traditions of photography. The Fair returns to Somerset House, from 15-18 May 2025 with previews on 14 May.

Photo London Founders Michael Benson and Fariba Farshad, said: “We are excited to be welcoming such a strong group of international galleries for our landmark tenth edition at Somerset House, including several that have participated in every Fair since the very beginning, and others returning after an absence especially to celebrate this landmark moment with us. We are set to host our largest ever number of collectors and acquisition groups from across the world, attracted by our special anniversary programme including a major exhibition celebrating London and its rich traditions of photography that platforms the city itself this year’s Master of Photography. This exhibition is a testament to all that Photo London has achieved in its first decade during which we have worked closely with the photography community to establish London as an important global hub for the medium. We also celebrate the important role of the book in the photography ecosystem through the creation of a weekend book market for independent publishers, and further expand our long tradition of support for emerging artists through the launch of the new Positions section of the Fair providing a platform for unrepresented artists supported by collectors.”

PHOTO LONDON 2025 EXHIBITORS

Photo London 2025 has confirmed a strong list of international participants featuring several galleries that have exhibited at every edition of the Fair since 2015 including: Robert Hershkowitz Ltd (Lindfield) bringing a selection of historic images of London; Purdy Hicks Gallery (London) presenting a booth dedicated to women artists; CAMERA WORK (Berlin) showing a curated selection of classic and contemporary masterpieces ranging from Irving Penn’s legendary work ‘Mouth’ to Chris Levine’s portrait of Queen Elizabeth II; and Bildhalle (Zurich) exhibiting a curated booth including rare vintage prints from the 1949 London series by avant-garde Swiss photographer René Groebli.

Several galleries are presenting solo booths, including: ROSEGALLERY (Santa Monica) returning with Tania Franco Klein, the recipient of the Photo London Emerging Photographer award in 2018; Galerie Bacqueville (Lille) showing a selection of previously unseen works by David de Beyter from his series ‘The Skeptics’; Guerin Projects (London) bringing abstract works on the theme of love by British-American Robin Hunter Blake; Polka Galerie (Paris) presenting Platinum palladium prints by Photo London’s inaugural Master of Photography Sebastião Salgado; and UP Gallery (Taiwan) graduating from Discovery to the main gallery section with a solo presentation of unique works by Taipei-based Mia Liu.

Amongst the galleries celebrating the tenth edition of Photo London with a highlights presentation of greatest hits from the last ten years is Peter Fetterman Gallery (Santa Monica), whilst Amar Gallery (London) presents work by Dora Maar, the Surrealist photographer immortalised as Pablo Picasso's ‘Weeping Woman’ and the official photographer to the Black Panther Party, Stephen Shames. The Music Photo Gallery dedicate their booth to classic images of musicians including Bob Dylan and John Lennon and Podbielski Contemporary (Milan) return with a focus on the Middle East including works by Shadi Ghadirian (Tehran), Rania Matar (Lebanon), Steve Sabella (Palestine) and Yuval Yairi (Israel) creating a dialogue between cultures, faith and current realities.

A strong Latin and South American focus is present at the fair with Bendana-Pinel (Paris) and ROLF (Buenos Aires) showcasing contemporary artists from the region while David Hill Gallery (London) will bring vintage photographs by Graciela Iturbide. Another Discovery section graduate EUQINOM Gallery (San Francisco) bring a curated booth of women artists using alternative photographic techniques including cyanotypes by Adama Delphine Fawundu and photograms by Klea McKenna, whilst first-time exhibitors Close Gallery (Somerset) showcase work by Canadian artist Carali McCall who will also do a live performance at the Fair.

2025 sees the return of the special partnership with TurkishBank UK that brings exciting galleries from the region to London including Vision Art Platform, Kairos and Simbart Projects (all Istanbul) who will bring a solo booth of Begüm Mütevellioğlu including unseen work using a gum bichromate photography technique that will allow her to merge photographic print with painting. Belmond returns to Photo London with the second instalment of its acclaimed ‘Belmond Legends’ series, which commissions evocative travel photography "As Seen By" world-renowned artists. For 2025,

Belmond presents an exclusive solo exhibition by renowned American photographer Colin Dodgson. This original collection chronicles extraordinary journeys aboard two of Belmond’s iconic sleeper trains: the Andean Explorer, which winds through the majestic high Andes of Peru, and the Eastern & Oriental Express, which meanders through the lush Malaysian jungle. The Peru series is hand-printed by the artist and an accompanying collectible art book of Colin Dodgson's Andean Explorer series, along with previously unseen images, will be published by the esteemed Parisian art house RVB Books. The book will be available through RVB Books' global distribution network, including select bookstores, galleries, and online platforms.

Photo London Director, Sophie Parker, said: “While we are a photography specific fair, the works exhibited go far beyond images hung on walls. Photography can include sculpture, painting, performance, fabric, moving image, and even sound, and at Photo London we celebrate photography as an art object in all its forms. For our tenth anniversary edition I’m incredibly excited to see such a strong group of presentations by galleries from all over the world and I look forward to welcoming a mix of old friends and new faces to Somerset House.”

PHOTO LONDON 2025: DISCOVERY

Photo London’s Discovery section is widely regarded as one of the world’s leading platforms for emerging photographers and galleries. Curated by the critic and author Charlotte Jansen, Discovery once again promises to be a highlight of the Fair featuring around 20 galleries including exciting newcomers such as Mortal Machine Gallery (New Orleans) showcasing Bee Gats, a photographer developing a reputation for his gritty, raw and unfiltered portraits of Miami's underground. Other highlights include Victoria Law (London) bringing Venezuelan-born Lucia Pizzani whose photo-based works and sculptures tells stories about colonialism and nature through her use of charged materials such as pre-Hispanic tree bark paper, Contour Gallery (Amsterdam) showcasing late career artist Margriet Smulders who creates beautiful, large-scale tableau with flowers riffing on Dutch traditions in painting, and Roman Road (London) presenting Polina Piech, who graduates from the RCA this year, and is interested in capturing the movement of natural environments, working like a painter ‘en plein air’.

Photo London Discovery section Curator, Charlotte Jansen, said: “The Discovery section at Photo London has always been, for me, the most exciting area of the Fair. As the name implies, it’s where you might find things that you’ve never seen before, which is quite a rarity these days, given our image-saturated culture. I am excited to see a sharp shift away from portraiture towards semi-abstraction and abstraction across many booths this year and to witness the ways contemporary artists are using the camera in a painterly way, like a brush, with captivating results.”

PHOTO LONDON 2025: POSITIONS

Photo London’s Positions is a unique initiative that aims to extend Photo London’s role as a champion of emerging talent. Curated by arts patron and founder of the ISelf Collection, Maria Sukkar, Positions is a distinct section within the Fair that constitutes a significant platform for unrepresented photographic artists. Positions offers a truly unique opportunity for a group of collectors and patrons of the arts to play an invaluable role to support unrepresented artists to show their work side-by-side with galleries in a traditional art fair format. Positions features an exciting group of artists including Adam Rouhana, Giulia Mangione, Tim Rudman, Roberto Conde, Bibi Setareh Manavi, Kalpesh Lathigra and Aikaterini Gegisian.

Photo London Positions Curator, Maria Sukkar, said: “I’m incredibly excited about Positions – it’s such a bold and forward-thinking initiative that feels especially needed right now. Photography, as a medium, is still burgeoning in terms of the market, and galleries are often hesitant to take on photographers until much later stages in their careers. This section fills that gap by providing a vital platform for unrepresented talent, offering them the recognition and opportunities they might not otherwise have. Ultimately, my hope is that Positions not only elevates these voices but also reshapes how collectors and curators engage with emerging photographers, solidifying its place as a catalyst for innovation within the art fair model.”

PHOTO LONDON 2025: SPECIAL EXHIBITION ‘LONDON LIVES’

Presented in both the Embankment East & West Galleries at Somerset House, the special exhibition ‘London Lives’ curated by critic and author Francis Hodgson features a dazzling array of creative responses to the City by around 30 of its leading image makers including David Bailey, James Barnor, Antony Cairns, Jamie Hawkesworth, Hannah Starkey, Joy Gregory, Nadav Kander, Idris Khan, Rut Blees Luxemburg, Christian Marclay, Mary McCartney, Simon Roberts, Mitra Tabrizian and Nick Turpin. The exhibition also includes new commissions from Heather Agyepong, Jermaine Francis and Hannah Hughes, whose work will also be published exclusively in the FT Magazine as part of Photo London’s longstanding partnership with FT Weekend. This ambitious and wide-ranging exhibition is both an ode to London and the photography it has inspired.

Curator of ‘London Lives’, Francis Hodgson, said: “For a few days in the spring of every year, Photo London has ruled over London from its great palace on the Thames. As we celebrate its tenth anniversary, we remember that is just the point. Photo London is not a virtual fair, anywhere. Its participants – photographers, publishers, galleries and the rest – come from all over the world and have turned their eyes on every part of it and all its goings-on. But it remains a London fair, anchored in its host city. So we thought for the anniversary we’d celebrate London and what people get up to there. London, like all the really great cities in the world, has something of everything, and people from everywhere. Call it a melting-pot if you want; but we simply call it ‘London Lives’. The more the merrier.”

PHOTO LONDON 2025: BOOK MARKET

For the 2025 edition of Photo London, Ben Goulder curates the Fair’s first weekend Book Market (15-17 May) championing the vibrant and diverse communities of independent publishers and showcasing their artistry and vision on a global stage. London is a hub for independent arts publishing, and this new space features a broad selection of photography and arts publishing – from larger publications to zines, pamphlets, and other ephemera—with the aim of bringing diversity and innovation to the Photo London audience.

Highlights include 'Terminating Martin' Parr by Tom Pope, a conceptual debut publication from Folium Publishing that documents a 7-hour performance where Tom Pope destroyed 17 photographs by Martin Parr, Gareth McConnell’s 'Details of Sectarian Murals' published by Sorika that turns Northern Ireland’s strident political murals into mesmerising abstractions, and 'State of Emergency' by Max Pinckers that is the result of a decade-long collaboration with Mau Mau freedom fighters and survivors of colonial violence in Kenya.

Photo London Book Market Curator, Ben Goulder, said: “This initiative aims to bring together the best in photography publishing. From experimental approaches to photo book publishing, queer zines, risography, and artist monographs, the market highlights publishers who are pushing the medium forward. It is a celebration of print as a dynamic, time-based artform that bridges disciplines and fosters connections, while also emphasising the importance of small presses and DIY approaches to making publications.”

PHOTO LONDON 2025 AWARDS

Since its inception Photo London has run an annual award for an outstanding artist. In many cases the winner of the award has gone on to achieve significant international recognition such as the 2021 winner Heather Agyepong. For each of the past five editions the award has been presented in partnership with Nikon.

In 2025 the Photo London x Nikon Emerging Photographer of the Year Award again highlights outstanding emerging photographers with shortlisted work presented in a special display at the Nikon Gallery at the Fair.

The Photo London x Hahnemühle Student Award returns to the Fair for the third time. Working with UK universities offering photography degrees, the award highlights the most exciting early-career talent within the industry, bringing their portfolios to international attention. The shortlisted students are granted the opportunity to print 5-10 artworks on their preferred Hahnemühle papers and present them in a dedicated exhibition at Photo London 2025. The winner is further awarded with a trip to the Hahnemühle mill in Germany to produce a new body of photographic work.

PHOTO LONDON

photolondon.org

The Making of Modern Korean Art: The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan, and Park Seo-Bo, 1961–1982 @ Tina Kim Gallery, New York

The Making of Modern Korean Art

The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan, and Park Seo-Bo, 1961–1982

Tina Kim Gallery, New York

May 5 - June 21, 2025

Tina Kim Gallery presents The Making of Modern Korean Art: The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan, and Park Seo-Bo, 1961–1982. Organized in conjunction with the launch of a landmark new publication of the same title, the exhibition brings to life the personal and intellectual exchanges between four pioneering artists who shaped the trajectory of modern Korean art during the transformative decades following the Korean War. Through the presentation of significant paintings made by all four artists during this period, as well as archival materials, photography, and ephemera, the exhibition will make manifest the artistic dialogues and debates that guided the global emergence of Korean modern art.

In the aftermath of the Korean War (1950–53), amid political upheaval and limited institutional support, Korean artists faced the urgent challenge of redefining their cultural landscape and articulating their collective trauma and existential dislocation. Many turned to abstraction as a means of forging a distinctly Korean modernity, one that resisted both Western ideologies and inherited aesthetic traditions. Among Korea’s earliest abstractionists, Kim Whanki evolved from semi-abstracted depictions of moon jars and plum blossoms to the sublime all-over dot paintings of his New York period, blending a Korean sensibility with global avant-garde influences. Park Seo-Bo and Kim Tschang-Yeul, deeply influenced by European Informel, produced early works characterized by thick impasto, raw surfaces, and material experimentation. This shared language laid the foundation for their later iconic series: Kim Tschang-Yeul turned to the meditative precision of his Waterdrop series, reflecting Taoist principles of ego dissolution; while Park Seo-Bo developed his Ecriture series, defined by its monochromatic palette and a rigorous focus on repetition, process, and discipline. Lee Ufan, initially a key figure in the Mono-ha movement in Japan, transitioned in the early 1970s to his From Point and From Line series, merging material restraint with philosophical inquiry in simple, deliberate brush strokes that evoke Eastern calligraphy. By the mid-1970s, each artist had developed a singular visual idiom: distinct yet unified by a shared ambition to advance Korean art on the global stage. Key works from these formative series will be featured in the forthcoming exhibition.

Though geographically dispersed, the four artists remained closely connected through a decades-long correspondence. In the absence of a robust cultural infrastructure in Korea, their letters became essential conduits for critical exchange, exhibition planning, and mutual support. Park Seo-Bo and Kim Tschang-Yeul, lifelong friends and collaborators, played a pivotal role in organizing the second Hyundae Fine Art Exhibition in 1957 and corresponded tirelessly to coordinate Korea’s participation in the 1961 Paris Biennale. Lee Ufan and Park Seo-Bo, who began exchanging letters after their joint inclusion in a 1968 group exhibition in Tokyo, became key mediators between the Korean and Japanese art scenes; and Kim Whanki, a generation older, served as a mentor figure, encouraging Kim Tschang-Yeul to apply for Rockefeller Fellowship funding that ultimately brought him to New York in 1965. From Seoul, Tokyo, Paris, and New York, the four artists exchanged ideas, critiques, and reflections on both the practical and philosophical challenges of working from the periphery of the global art world. Their letters not only offer an unprecedented window into their artistic development but also reveal a collective commitment to building a Korean modernism that could engage—on its own terms—with the broader narratives of postwar art.

The Making of Modern Korean Art foregrounds these correspondences—newly translated, previously unpublished, and reproduced at actual size—as critical primary documents in the story of Korean modernism. Published by Gregory R. Miller & Co., the book is co-edited by Yeon Shim Chung, Professor of Art History and Theory at Hongik University, and Doryun Chong, Artistic Director and Chief Curator of M+, Hong Kong, and features a contribution by Kyung An, Curator of Asian Art at The Solomon R. Guggenheim Museum. Beyond the letters, the volume marks a major contribution to the field as a comprehensive English-language survey of Korean abstraction, spanning the period from the birth of Korean Informel to the formation of Dansaekhwa.

TINA KIM GALLERY

525 West 21st Street, New York, NY 10011

tinakimgallery.com

24/04/25

Robert Rauschenberg: Sympathy for Abandoned Objects @ Gladstone Gallery, New York - Survey exhibition of Rauschenberg sculptural practice

Robert Rauschenberg

Sympathy for Abandoned Objects

Gladstone Gallery, New York

May 1 - June 14, 2025

Presented in collaboration with the Robert Rauschenberg Foundation on the occasion of the artist’s Centennial, Gladstone presents the first survey of Rauschenberg’s sculptural practice in thirty years, spanning his production from the 1950s through the late 1990s.

Examining Rauschenberg’s sculptures through the lens of scale, the exhibition showcases over 30 sculptures that relate in size to the human body, whether floor-, pedestal-, or wall-based. Drawing from myriad media and disrupting the distinction between abstraction and empirical representation, Rauschenberg's sculptures are rooted in his career-long dedication to artistic experimentation.

Robert Rauschenberg is renowned for blurring the line between artistic genres, painterly gesture, and three-dimensionality. The artist maintained a robust sculptural practice throughout his long and prodigious career. Underscoring the artist’s remarkable use of found and readymade materials, the works on view are assembled from industrial detritus, everyday objects, decorative items, and organic forms. They are the result of improvisatory gestures—gathering, twisting, combining, adhering, tying—that Rauschenberg described as responses to items found in his environment, “treasures” that he would bring back to his studio, seeing in them a potential for new form. Claiming a “sympathy for abandoned objects,” he created a body of strictly sculptural work that is rarely presented as such.

For this exhibition, Gladstone presents key works from various series, including the Scatole Personali (1952–53), Elemental Sculptures (1953/59), Combines (1954-64), Kabal American Zephyrs (1981– 83/1985/1987–88), Gluts (1986–89/1991–94), and the Rauschenberg Overseas Culture Interchange (ROCI; 1984–91) in an installation designed by Selldorf Architects to reveal the continuity of his unique vocabulary within an expansive set of sculptural positions. Given Rauschenberg’s protean imagination, this exhibition also features a number of his sculptures that were not aligned with specific series and exist on their own formal terms. Key loans from institutional and private collections augment the selection of work from the Robert Rauschenberg Foundation to further argue for the artist’s keen sculptural sensibility, even if he resisted aligning himself with one medium. This exhibition traces the trajectory of Rauschenberg’s creative output as a whole, with the three-dimensional objects serving as key touchpoints in an expansive and almost uncategorizable oeuvre. The last survey of Rauschenberg’s purely sculptural output prior to this show was in 1995 at the Modern Art Museum of Fort Worth.

This exhibition is accompanied by a fully illustrated catalogue designed by Chris Svensson with an essay by sculpture expert, Lisa Le Feuvre, Executive Director of the Holt/Smithson Foundation, entries on each of the individual sculptural series represented, and detailed exhibition histories.

In 2025, the Robert Rauschenberg Foundation commemorates Robert Rauschenberg’s 100th birthday with an international celebration of the artist’s expansive creativity, spirit of curiosity, and commitment to change.

ROBERT RAUSCHENBERG

Born on October 22, 1925 in Port Arthur, Texas, Robert Rauschenberg worked in what he called the gap between art and life. Over the course of his sixty-year career, Rauschenberg’s art embodied a spirit of experimentation with new materials and techniques. Dubbed an enfant terrible for his assemblages of urban detritus (the Combines of 1954-64), Robert Rauschenberg continued exploring many different mediums and technological advancements in the years following his 1970 decampment to Captiva Island in the Gulf of Mexico, off the Florida coast.

Although he demurred from affiliations with any particular movement, he has been called a forerunner of essentially every postwar artistic development since Abstract Expressionism.

In addition to his own artmaking practice, Robert Rauschenberg became an advocate for artists and the creative community at large. In September 1970, he founded Change, Inc., a non-profit organization that helped artists with emergency expenses. From 1984-91, he personally funded the Rauschenberg Overseas Culture Interchange (ROCI), traveling to ten countries outside of the United States to spark cross-cultural dialogue through art.

Robert Rauschenberg died on May 12, 2008 in his Captiva studio. His artistic legacy and his lifelong commitment to collaboration with artists, performers, writers, artisans, and engineers worldwide was recognized long before his death. His expansive artistic philosophy lives on through his highly innovative and influential work to the present day.

About the Robert Rauschenberg Foundation

The Robert Rauschenberg Foundation builds on the legacy of artist Robert Rauschenberg, emphasizing his belief that artists can drive social change. Robert Rauschenberg sought to act in the “gap” between art and life, valuing chance and collaboration across disciplines. As such, the Foundation celebrates new and even untested ways of thinking.

GLADSTONE GALLERY

530 West 21st Street, New York City

www.gladstonegallery.com

Fêtes et célébrations flamandes - Brueghel, Rubens, Jordaens... @ Palais des Beaux-Arts de Lille

Fêtes et célébrations flamandes

Brueghel, Rubens, Jordaens...

Palais des Beaux-Arts de Lille

26 avril - 1er septembre 2025

Fêtes et célébrations flamandes

Brueghel, Rubens, Jordaens...

Palais des Beaux-Arts de Lille

Affiche de l'exposition

Pieter II Brueghel (ou atelier de)

Kermesse avec théâtre et procession

Musées royaux des Beaux-Arts de Belgique, Bruxelles

photo : J. Geleyns - Art Photography

Les fêtes répondent à deux impératifs : constituer un moment de sociabilité, visant à créer et à entretenir un sentiment d’appartenance à une communauté, et une manifestation de réjouissances. C’est à travers le prisme du divertissement collectif que cette exposition se propose d’explorer les fêtes flamandes aux XVIe et XVIIe siècles, des bals princiers, cérémonies religieuses et fêtes solennelles et urbaines aux kermesses et fêtes des rois. Dans une société hiérarchisée et corporative, la fête sert à la fois de rituel social et de soupape de décompression. Aux XVIe et XVIIe siècles, les habitants des Pays-Bas sont touchés régulièrement par des épidémies et subissent les outrages de la Guerre de Quatre-Vingts Ans. La fête constitue alors un moment crucial pour relâcher les tensions et renforcer le tissu social.

Comme le souligne Juliette Singer, Directrice du Palais des Beaux-Arts de Lille et du Musée de l'Hospice Comtesse, et commissire générale de l’exposition : "La fête a bien sûr valeur d’exutoire. Mais elle est aussi une réaction vitale ; faire la fête, revient à faire société, réunir ensemble une population qui dans sa mixité, s’unit le temps de la fête : hommes et femmes, enfants, vieillards, mais aussi mendiants et puissants."

Pieter Brueghel I

Les Mendiants, 1568

Paris, musée du Louvre

L’exposition explore les sens de l’imagerie festive. Des représentations telles que les kermesses et la Fête des rois constituent des genres picturaux à part entière, appréciés bien au-delà des frontières. Aux Pays-Bas, l’État spectacle puise abondamment dans les coutumes locales, faisant des solennités un moyen de négociation entre les différents niveaux d’autorité. Les multiples représentations de ces célébrations montrent aussi comment l’État et l’Église tentent, à cette époque, de réguler les excès festifs. Malgré cela, l’aspect ludique et divertissant des fêtes perdure.

L’exposition met en lumière les collections du Palais des Beaux-Arts et du musée de l’Hospice Comtesse, enrichies par des prêts prestigieux du Musée du Louvre et des Musées royaux des Beaux-Arts de Belgique. Elle réunit un corpus de peintures, albums, gravures et dessins du XVIe au XVIIe siècle, ainsi que divers objets (instruments de musique, céramiques...).

Le parcours permet aux visiteurs de plonger dans l’univers des fêtes flamandes, un patrimoine immatériel, toujours riche aujourd’hui, incarnant des valeurs telles que la mixité, le vivre-ensemble et le sens du collectif.

Fêtes et célébrations flamandes - Un pacours en quatre sections :

I. Introduction : Guerre et fête

Au 16e et 17e siècle, aux Pays-Bas, comme dans le reste de l'Europe, la guerre est une réalité omniprésente. C'est au cours des périodes de paix que les fêtes prennent place.

II. Fêtes et cérémonies urbaines

Alexander van Bredael

Fête traditionnelle à Anvers avec le géant Druon Antigon

XVII siècle

Lille, musée de l'Hospice Comtesse

Antoon Sallaert (et atelier)

L'infante Isabelle abattant l'oiseau au tir de la corporation

des Arbalétriers de Notre-Dame, le 15 mai 1615 au Sablon à Bruxelles

Musées royaux des Beaux-Arts de Belgique, Bruxelles

photo : J. Geleyns - Art Photography

Section la plus fournie en oeuvres, elle présente les principaux types de fête dans les villes des Pays-Bas. On y trouve ainsi des oeuves présentant les cérémonies fêtant l'arrivée du prince dans la ville, comme celle du Cardinal Infant Ferdinand en 1635 qui a fait l'objet de plusieurs tableaux de Rubens (deux appartiennent au Musée des Beaux-Arts de Lille). On trouve aussi dans cette section de l'exposition les fêtes religieuses et celles organisées par les corporations "militaires".

III. Kermesses, noces et fêtes villageoises

Gillis van Tilborgh

Fête villageoise

Musées royaux des Beaux-Arts de Belgique, Bruxelles

photo : J. Geleyns - Art Photography

Thomas van Apshoven

Fête de village avec joueur de cornemuse sur un tonneau

Milieu du XVII siècle

Lille, Palais des Beaux-Arts

Tout comme les fêtes des villes, celles des villages ont bien sûr aussi inspirés les artistes de l'époque. Il ne faut pas manquer d'admirer le tableau Les noces paysannes en présence des archiducs Albert et Isabelles, oeuvre de Jan Brueghel l'Ancien, appartenant au musée du Prado à Madrid.

IV. Fêtes de cour, fêtes des rois

Jacques Jordaens

Le roi boit

Musées royaux des Beaux-Arts de Belgique, Bruxelles

photo : J. Geleyns - Art Photography

Dans cette section les fêtes ne se déroulent plus à l'extérieur mais à l'intérieur avec, en particulier, les banquets de cour. Là aussi, parmi les impressionnantes oeuvres exposées, il ne faut manquer le tableau Le Roi boit de Jacques Jordaens qui est une des peintures les plus connues de l'art flamand du 17e siècle.

Concerts, banquets et rencontres enrichissent la programmation de cet événement, faisant du Palais des Beaux-Arts de Lille un lieu incontournable de cette saison lille3000

Commissariat général : Juliette Singer, Directrice du Palais des Beaux-Arts de Lille et du Musée de l’Hospice Comtesse

Commissaires scientifiques

Blaise Ducos, Conservateur en chef, responsable des peintures flamandes et hollandaises au Musée du Louvre

Sabine Van Sprang, Conservatrice de la peinture flamande, 1550 - 1650 aux Musées royaux des Beaux-Arts de Belgique

Un catalogue publié par GrandPalaisRmnEditions accompagne l'exposition. Connaisance des arts publie un hors-série à l'occasion de l'exposition.

Fêtes et Célébrations Flamandes :

Brueghel, Rubens, Jordaens...

GrandPalaisRmnEditions

Catalogue de l'exposition

Direction d’ouvrage :

Juliette Singer, Sabine van Sprang et Blaise Ducos

208 pages - en français - Prix: 39€

Fêtes et Célébrations Flamandes

Connaissance des arts, Hors-série

Exposition coproduite par le GrandPalaisRmn et le Palais des Beaux-Arts de Lille, dans le cadre de la saison Fiesta de lille3000. Elle bénéficie d’un partenariat exceptionnel avec les Musées royaux des Beaux-Arts de Belgique, et le musée du Louvre, Paris.

PALAIS DES BEAUX-ARTS DE LILLE

Place de la République, 59000 Lille

pba.lille.fr