Daniel Arsham @ Perrotin Dubai - 'What Remains' Inaugural Exhibition of the New Gallery

Daniel Arsham

What Remains

Perrotin Dubai

October 30, 2025 – January 10, 2026

Daniel Arsham

Members of the Future, Cenote Exploration, 2024 

Acrylic on canvas panel 

Unframed: 121.9 × 147.3 × 5.7 cm | 48 × 58 × 2.25 in. 

Framed: 110.5 × 134.6 × 5.7 cm | 43 1/2 × 53 1/2 × 2.25 in. 

Photo: Guillaume Ziccarelli 

© Daniel Arsham. Courtesy of the artist and Perrotin

Daniel Arsham

Audio Bonsai 003, 2025

Copper wire, wood, speakers

153 × 132.1 × 101.6 cm | 60 1/4 × 52 × 40 in

© Daniel Arsham. Courtesy of the artist and Perrotin

Perrotin Dubai presents a debut solo exhibition What Remains by American artist Daniel Arsham. This exhibition marks the first solo show since the opening of the Perrotin Dubai gallery. What Remains features several new series from Arsham's extensive practice, including sculpture, painting and drawing, and a new sound installation, focusing on themes of cultural memory, and the passage of time.

Daniel Arsham transforms the gallery into a sonic installation with his latest sculptural series of copper wrapped bonsai tree sculptures. Doubling as functional stereo speakers, these works will play ambient music throughout the exhibition. This new series pays homage to Japanese Zen Buddhist culture and Arsham’s past presentations of sand zen gardens, which he has exhibited around the world at the Lotte Museum, South Korea and the Musée Guimet, France, among others.

Daniel Arsham

Stairs in the Labyrinth, 2025

Sand. 72 × 44.5 × 45.7 cm | 28 3/8 × 17 1/2 × 18 in.

© Daniel Arsham. Courtesy of the artist and Perrotin

Daniel Arsham also unveils a new suite of works relating to his recent Labyrinth series. Composed in cast sand, Arsham’s Stairs in a Labyrinth draws influence from artists like M.C. Escher and Renee Magritte’s maze-like works to create a sculptural double portrait. From head-on the work appears as a portrait bust of a sitter, transforming in the profile view into a maze of architectural levels and stairwells. Alongside the sculpture, Daniel Arsham presents a stilllife painting of another labyrinth bust and a selection of charcoal prepatory drawings. In this series, Daniel Arsham beckons viewers to navigate intricate compositions, suggesting an interplay of layers and pathways reminiscent of archeological sites where the past reveals itself in unexpected ways.

Alongside these new series, Daniel Arsham expands his decades-long project of “Fictional Archaeology,” where the artist examines objects from the twentieth century that are containers for collective cultural memory. Cast in his signature materials of geologic crystals and pigmented hydrostone, patinated bronze, and fiberglass, Daniel Arsham presents objects like a Rolling Stone magazine eroded with pink quartz crystals, a NY Yankees hat that appears to be emerging out of the architecture of the wall, and a bronze scaled replica of a 1985 DMC Delorean car - immortalized in the film Back to the Future.

Daniel Arsham has spent over twenty years cultivating an artistic universe that challenges conventional perceptions of time and reality. His works often evoke a sense of nostalgia and imaginative exploration, encouraging viewers to reflect on our collective history and the artifacts that shape our cultural identity. 

Artist Daniel Arsham Biography

Born in Cleveland, Ohio, in 1980, New York based artist Daniel Arsham’s work explores the fields of fine art, architecture, performance, design and film. Raised in Miami, Daniel Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Soon thereafter Daniel Arsham toured worldwide with the Merce Cunningham Dance Company as the company’s stage designer. The experience led to an ongoing collaborative practice which continues as Arsham works with world renowned artists, musicians, designers, and brands including Moët & Chandon, Tiffany’s, Porsche and Dior, among others. In 2021 Arsham was appoint ed the role of creative director of the Cleveland Cavaliers, becoming the first ever fine artist to hold a position of this nature.

Arsham’s uchronic aesthetics revolves around his concept of fictional archaeology. Working in a multitude of disciplines he creates and crystallizes ambiguous in-between spaces and situations, and stages what he refers to as future relics of the present. Always iconic, most of the objects that he turns into stone refer to the late 20th century or millennial era, when technological obsolescence unprecedentedly accelerated along with the digital dematerialization of our world. While the present, the future and the past poetically collide in his haunted yet playful visions between romanticism and pop art, Arsham also experiments with the timelessness of certain symbols and gestures across cultures.

Daniel Arsham has presented solo exhibitions at the Lotte Art Museum in Seoul, South Korea; Sculpture Center, Cleveland, Ohio; Orange County Museum of Art, Costa Mesa and the Petersen Automobile Museum, Los Angeles, California; Yorkshire Sculpture Park, Leeds, U.K.; Musée Guimet, Paris and MAMO Cité Radieuse Arts Center, Marseille, France; UCCA Center for Contemporary Art, Dune, Beidaihe, and HOW Museum, Shanghai, China; MOCO Museum London and Amsterdam; Contemporary Arts Center Cincinnati, Ohio; and the High Museum of Art in Atlanta, Georgia, among others.His work has been presented at MoMA PS1, The New Museum and LongHouse Reserve in New York, Norton Museum in Palm Beach, The Athens Biennale in Athens; Musée Fenaille in Rodez, La Defense in Paris, and Carré d’Art de Nîmes in France, and SCAD Museum of Art in Savannah, Georgia, among others.

Arsham’s works are in the public collections of Blanton Museum of Art, Texas; Centre Pompidou, Paris; Georgia Museum of Art, Athens; ICA Miami, Florida; Musée Guimet, Paris; National Gallery of Victoria, Melbourne, Australia; National Museum of Qatar, Doha; Pérez Art Museum Miami (PAMM), Florida; Rhode Island School of Design (RISD); and the Walker Art Center, Minneapolis.

PERROTIN DUBAI

DIFC, Gate Village, Building 5, Unit 1, Podium Level, Dubai

www.perrotin.com

Artist N. Dash @ Lévy Gorvy Dayan, London

N. Dash

Lévy Gorvy Dayan, London

April 25 – June 15, 2024

N. Dash 

GP_24, 2024 

Earth, acrylic, cardboard corners, graphite, 

hardware, string, and jute, 

84 × 64½ inches (213.4 × 163.8 cm)

Lévy Gorvy Dayan presents a solo exhibition of new paintings by New York-based artist N. Dash, inaugurating the gallery’s new location in London’s Mayfair district. The artist’s debut exhibition with the gallery features multi-panel paintings that explore ecologies of resonance among disparate materials. N. Dash’s practice is grounded in and distinguished by bringing together organic substances, manufactured readymade objects, and images resulting from embodied processes. The tactile surfaces of these restrained, luminous works emphasize haptic experience, drawing attention to the subtle yet seismic effects of touch.

N. Dash 

H_24, 2024 

Earth, oil, silkscreen ink, and jute 

66½ × 48 inches (168.9 × 121.9 cm)

N. Dash’s paintings draw on the building blocks of our natural and constructed worlds, including earth and water, jute and cotton, graphite and oil, along with oft-overlooked fabricated items such as architectural insulation and factory-produced cardboard. Across the works in the exhibition, these elements are recombined to elevate the structural, textural, and energetic synergies and tensions among them. A work whose hue resembles patinated copper might comprise Styrofoam insulation, or an image might be silkscreened onto a panel on which earth has been troweled and dried into a cracked, furrowed plane. There are slippages among the many materials, processes, and signifiers that are evoked in these paintings—each held together by careful, spare decisions.

At the core of N. Dash’s work is a daily ritual wherein the artist rubs a small piece of white cotton between finger and thumb until the machine-loomed fibers fray and lose their gridded structure, decomposing into an abject tangle. For the artist, the fabric serves as a recording device on which actions are imprinted, energy is captured, and immaterial forces are stored. The resulting sculptures are colored by a patina of dirt and oils, transformed by the spontaneous movement of the artist’s body. The grid, one of modernism’s paradigmatic forms, is undone again and again in the artist’s hand—by the body, the weather, and the environment. The artist photographs iterations of these sculptures and silkscreens the images onto panels prepared with earth, such that the images undulate according to the earth’s topography. In addition, planes of color are silkscreened, leaving fields of rosette patterns that result from the halftone printing process.

The works’ beveled edges reveal their earthen substrates, allowing them to breathe. In these carved-out margins, the layers of earth, gesso, and jute are rendered visible, exposing the quasi-geologic structure of each panel. This strategy appears differently in a series of works in which strings are embedded in, or excavated from, the earthen grounds, the latter creating fine trenches of negative space, where the materiality of the work is exposed and raw. Ecological concerns course through these paintings with references to human and nonhuman interconnection and intervention. They examine, on an intimate scale, the impact of touch on natural resources, and reckon with the ways in which synthetic materials contain, shape, and merge with the environment. Here, Photoshop can imitate a field of flowers with an algorithmic printing pattern, but a rosette is still a field of ones and zeros. These questions of mimesis, artificiality, and exploitation are at play in these paintings, but subtly so. Through the works on view, nature and byproducts of manufacture are counterposed on vertical stages of earth, uplifting this most fundamental material and source.

LÉVY GORVY DAYAN 

35 Dover Street, London 

www.levygorvydayan.com

Arthur Dove @ Schoelkopf Gallery, New York – Yes, I Could Paint a Cyclone – Inaugural Exhibition of the New Location of the Gallery in Tribeca

Arthur Dove: Yes, I Could Paint a Cyclone 

Schoelkopf Gallery, New York 

September 29 – December 1, 2023 

Arthur Dove, 1880–1946

Tanks and Snowbank, 1933

Oil and metallic paint on canvas in the artist’s frame, 18 x 24 inches

Photo Credit: Roz Akin | Private Collection, courtesy of Schoelkopf Gallery

Schoelkopf Gallery debuts its new Tribeca location at 390 Broadway, with an exhibition dedicated to pioneering American painter ARTHUR DOVE (1880–1946). The exhibition presents a dynamic selection of increasingly nonrepresentational works that trace Arthur Dove’s evolution as a painter and reveal his unyielding interrogation of established artistic convention. 

The exhibition Arthur Dove: Yes, I Could Paint a Cyclone brings together over 70 significant works in various media, including oil, pastel, watercolor and charcoal. These pieces are drawn from distinguished foundations and private collections across North America, revealing Arthur Dove's profound influence and innovation in 20th century art. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by leading Dove scholar Rachael DeLue, Professor in American art at Princeton and author of the monograph Arthur Dove: Always Connect (2016).

Arthur Dove's career began in 1903 as an illustrator in New York before his transformative experiences in France in 1908–09, when he participated in the Salon d'Automne in Paris. Inspired by French modernist master Henri Matisse, Arthur Dove began to experiment with a painterly approach that would redefine American art.

Arthur Dove's breakthrough came in 1912 when legendary gallerist Alfred Stieglitz exhibited his groundbreaking series of daringly abstract pastels known today as the Ten Commandments (1911–12). These works marked the earliest expressions of his unique nonrepresentational style, provoking both controversy and excitement. His art captured the essence of nature, light, sound, and sensation in a liminal zone between abstraction and representation.

Throughout his career, Arthur Dove challenged traditional modes of expression, cementing his status as a pioneering painter and thinker within the emergence of abstraction in twentieth-century modernism. In the late 1930s, Arthur Dove and his wife, fellow artist Helen Torr, settled in Centerport, Long Island, where Dove continued to redefine his style. Despite declining health, he created works featuring geometric and biomorphic forms, foreshadowing movements like Abstract Expressionism and Color Field Painting.

Helmed by Andrew Schoelkopf, the gallery presents innovative and important works of American art encompassing both abstract and realist movements, while also shedding light on American artists deserving of greater attention. The gallery’s robust program celebrates the entire sweep of the American modernist movement from 1875 through present day. Schoelkopf Gallery’s move to Tribeca marks a significant milestone in its storied history, bringing a rich array of American art to the vibrant neighborhood. The new 4,800-square-foot gallery space allows the gallery to share its commitment to American art with a larger audience, as well as to support collectors, scholars, museums and the public with a program that expands the canon and creates community.

"Schoelkopf Gallery's new location in Tribeca is the physical embodiment of many changes in our business and in the field of American art. The location offers distinct physical spaces to enhance the gallery's programming and it gives our team more opportunities to tailor personal experiences for the most active collectors of American art.  Over the last five years, more than 30% of the buyers from our gallery are those new to the field or who have not worked with us previously. This figure is the highest I have observed in my career and indicates there is a growing community for American art that is eager to learn more about the American Modernist movement." 

SCHOELKOPF GALLERY

390 Broadway, 3rd Floor, New York, NY 10013

schoelkopfgallery.com

Henry Taylor @ Hauser & Wirth Paris – FROM SUGAR TO SHIT

Henry Taylor. FROM SUGAR TO SHIT 

Hauser & Wirth Paris 

14 October 2023 – 7 January 2024 

Henry Taylor

I got brothers ALL OVA the world but they forget we’re related, 2023

Acrylic on canvas, 213.4 x 243.8 x 7.9 cm / 84 x 96 x 3 1/8 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Keith Lubow

Henry Taylor

Father, Son, Fun, 2022

Acrylic on canvas, 182.9 x 152.4 x 4.4 cm / 72 x 60 x 1 3/4 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Hauser & Wirth’s inaugural exhibition in Paris debuts new works by critically acclaimed Los Angeles artist HENRY TAYLOR, whose major career survey arrives at The Whitney Museum of American Art in New York today. Henry Taylor’s exhibition in Paris comprises a wide range of paintings and sculpture encompassing the remarkable breadth of his practice. Throughout his four-decade long career, Henry Taylor has consistently and simultaneously embraced and rejected the tenets of traditional painting, as well as any formal label. Combining figurative, landscape and history painting, alongside drawing, installation and sculpture, Henry Taylor’s vast body of highly personal work is rooted in the people and communities closest to him, often manifested together with poignant historical or pop-culture references. In this exhibition, with a guiding sense of human connection, Henry Taylor leads us through a multifaceted narrative in sculpture and painting.

In the lead up to this show, Henry Taylor extended his studio practice to Paris for a residency in the city during the months of June and July 2023. During this time, Taylor has drawn inspiration from the unparalleled array of historical art collections contained in the city, such as the Musée d’Orsay where he was surrounded by the work of French Impressionists, Expressionists and Fauvists who have inspired him since an early age. Henry Taylor’s studied awareness of his art historical predecessors is continually prevalent throughout his work, having previously painted versions of works by Pablo Picasso, Marcel Duchamp, Philip Guston, Gerhard Richter, David Hammons and Glenn Ligon, among others. 

Henry Taylor

One tree per family, 2023

Mixed media, 457.2 x 152.4 x 121.9 cm / 180 x 60 x 48 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Henry Taylor

Rimmed Up, 2022

Mixed media, 320 x 167.6 x 154.9 cm / 126 x 66 x 61 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Sculpture plays an important role in this exhibition and as part of Henry Taylor’s practice. The process involves energetically building, stacking and affixing a vast array of collected objects together, from bottle caps to toilet paper rolls, to create a holistic record of his everyday routine and the materials that define them. Referring to this highly intuitive process as ‘hunting and gathering,’ the artist is able to simultaneously merge multiple references—historic and contemporary—into sharp focus. Examples featured in the Paris show include assemblages made using milk bottles, bicycle wheels and baseball bats which recode the forms and symbolisms of found materials to comment on enduring art historical tropes, echoing an almost Duchamp-esque approach to readymade sculpture. When paired with Taylor’s paintings depicting various figures throughout history, these works reveal the artist’s voracious sourcing of subjects and materials, as well as his encyclopaedic command of historical knowledge. Also on view in the exhibition is a monumental sculpture entitled ‘One tree per family’ (2023), a towering 15ft tree trunk with a large afro for foliage. 

Henry Taylor’s work is primarily about relationships and how they impact our lives. While people figure prominently in his work, the artist rejects the label of portraitist. The paintings in this exhibition include subjects from all walks of life and historical context, frequently featuring family members, as seen in ‘I got brothers ALL OVA the world but they forget we’re related’ (2023), a group portrait of Taylor’s brothers painted against a graphic backdrop displaying the word ‘VICTORY,’ resembling the logo of the classic American bubble gum brand. Taylor is known for his playful visual and verbal punning, as symbols slip between different representations in his work: the allusion to bubblegum is a nod to the subjects’ youth, while also celebrating their graduation day. Additionally on show, ‘Father, Son, Fun’ (2023) depicts Martin Luther King Jr. playing baseball with a child, ‘‘Another country,’ Ben Vereen’ (2023) portrays American actor, dancer and singer Ben Vereen and a painting made during Henry Taylor’s time in Paris in homage to Josephine Baker, the American-born French dancer, singer and actress, often considered to be the first Black superstar. Taylor’s choice of subject—from memory and archival materials to the live sitter—is firmly dependent upon his sense of connection driven by empathy. His sumptuous depictions, painted rapidly and loosely, capture his subject’s nuances and mood with gestures and passages of flat, saturated acrylic colour offset by areas of rich and intricate detail. The intensity with which he paints is reflected by his brushwork: a network of kinetic strokes that seek to capture a feeling before it flees. Taylor’s subjects, which range from members of the Black community to symbolic objects representative of historical struggle, span the breadth of the human condition; each work is a holistic visual biography and permanent record of a person or people’s history.

Henry Taylor

For those... who ask, ‘Do you paint white people?’, 2022

Acrylic on canvas, 122.2 x 91.4 x 3.8 cm / 48 1/8 x 36 x 1 1/2 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

HENRY TAYLOR lives and works in Los Angeles CA. Taylor’s work has recently been featured in US group exhibitions ‘i’m yours: Encounters with Art in Our Times,’ at the Institute of Contemporary Art Boston, Boston MA and ‘Grief and Grievance: Art and Mourning in America’ at New Museum, New York NY. In 2022, a major survey exhibition dedicated to Henry Taylor, ‘Henry Taylor: B Side,’ his largest to date, was recently exhibited at The Museum of Contemporary Art, Los Angeles CA and will travel to The Whitney Museum of American Art, New York NY from 4 October 2023 until 28 January 2024. Henry Taylor has been the subject of numerous exhibitions in the United States and internationally, and his work is in prominent public collections including the Bourse de Commerce – Pinault Collection, Paris, France, The Bronx Museum of the Arts, Bronx NY, Carnegie Museum of Art, Pittsburgh PA, The Fondation Louis Vuitton, Paris, France, Hammer Museum, Los Angeles CA, Institute of Contemporary Art, Boston MA, Los Angeles County Museum of Art, Los Angeles CA, The Metropolitan Museum of Art, New York NY, Museum of Contemporary Art, Los Angeles CA, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, Nasher Museum of Art at Duke University, Durham NC, Pérez Art Museum, Miami FL, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY. In 2018, Henry Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Hnery Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art, New York NY in 2017 and the 58th Venice Biennale, Venice, Italy in 2019.

HAUSER & WIRTH PARIS

26 bis rue François 1er, 75008 Paris

www.hauserwirth.com

Pace Verso: NFT platform of Pace Gallery - Inaugural Program

Pace Verso: NFT platform of 

Pace Gallery

Inaugural Program

Lucas Samaras 

XYZ 0868 (Chinoiserie), 2012/2021 

© Lucas Samaras, courtesy Pace Gallery

Glenn Kaino

Invisible Man (Ceremony), 2021 

© 2021 Glenn Kaino Studio, courtesy Pace Gallery

Pace Gallery announces the inaugural program on its new NFT platform, Pace Verso, which launches November 22 with a first drop of digital artworks from Lucas Samaras’s XYZ series. On November 29, to coincide with the physical presentation of NFTs in Pace’s booth at Art Basel Miami Beach, Pace Verso will release works by Glenn Kaino and DRIFT artists Lonneke Gordijn and Ralph Nauta, who collaborated with DJ and digital art pioneer Don Diablo on their first NFT.

An early champion of artists engaged with technology, Pace has long held innovation as a core value. The development of Pace Verso aligns with the gallery’s history of supporting boundary-pushing artists and their projects, and it underscores the gallery’s commitment to the advanced studio practices of artists within and beyond its program. The platform is helmed by Online Sales Director Christiana Ine-Kimba Boyle.

Marc Glimcher, President and CEO of Pace Gallery, says: “We became interested in creating a dedicated NFT platform for Pace when our artists expressed curiosity about making NFTs, and after we supported their first few NFT projects with other platforms. Our philosophy is to build the tools our artists need, and Pace Verso is now a core strand of our NFT programming. Alongside offering artists the opportunity to show and sell NFTs on our own Pace Verso platform, we will continue to support standalone NFT projects with other partners. We are thrilled to launch Pace Verso with Lucas Samaras, one of the very earliest artists to join the gallery and the grandfather of digital art, as well as a pioneering new AR work by DRIFT, and two NFTs by Glenn Kaino, who has revolutionized the NFT model to achieve social change on a grand scale.”

Pace Verso was created in partnership with the Palm NFT Studio on the Palm Network, a new NFT-optimized blockchain network for culture and creativity, built by and for the open Ethereum ecosystem. The Palm Network offers low gas costs, fast transaction finality, and a 99.99%+ reduction in energy consumption when compared to Proof of Work systems.

Palm Co-Founder and Palm NFT Studio CEO Dan Heyman says: “Our goal is to create a platform with Pace that removes barriers for artists. We built our sustainable and scalable infrastructure so that, as organizations like Pace grow, they only have to think about how blockchain can amplify creativity, not their environmental impact or gas fees.”

Glenn Kaino

Salute (Generations), 2021 

© 2021 Glenn Kaino Studio, courtesy Pace Gallery

DRIFT 

Block Universe, 2021 

© DRIFT, courtesy Pace Gallery

PACE VERSO Inaugural Program

LUCAS SAMARAS

Following the gallery’s successful presentation of two NFTs derived from Lucas Samaras’s XYZ series earlier this fall, Pace Verso will spotlight a second suite of digital XYZ works in its first exhibition. These NFTs will be made available in multiple drops over the course of the coming weeks, with the prices of the works increasing incrementally with each new release. NFTs in the first drop are priced at $10,000 USD each and those in the second drop will be $20,000 USD each. Every NFT will be accompanied by a physical 11 x 17 inch framed print. A QR code embossed on the backs of the frames links to a web page displaying an image of the NFT and Lucas Samaras’s stream of consciousness writings.

Lucas Samaras is a pioneering figure in photography and digital art. He has been at the forefront of these mediums throughout his career, working in the digital realm well before it was widely associated with fine art. Deeply engaged with Lucas Samaras’s longtime experimentations with image making, works in the XYZ series feature psychedelic formations rendered in electric colors.

GLENN KAINO

The two new NFTs by Glenn Kaino that will be made available on Pace Verso are part of his Legacy Team project, a longstanding collaboration between the artist and the Olympic track and field athlete Tommie Smith. These digital works include Invisible Man (Ceremony) (2021), which is inspired by the opening ceremony of the Olympics and features a custom soundtrack by David Sitek and Just Blaze, and Salute (Generations) (2021), which is based on Glenn Kaino’s sculptural series Salute and references the long-lasting impact of Smith’s salute for human rights at the 1968 Olympic Games.

Glenn Kaino has cultivated an expansive, activist-minded practice that spans painting, sculpture, installation, performance, monumental public art, theatrical production, and feature film.

At Art Basel Miami Beach, Pace will present a hologram from Glenn Kaino’s digital art project Pass the Baton, which comprises baton NFTs inspired by Smith’s storied career, including his record breaking 1600-meter relay race in 1966. Launching in December, Glenne Kaino’s Pass the Baton project uses NFTs to facilitate a generative crypto-giving structure that directly funds social justice efforts and organizations.

DRIFT

An NFT created by DRIFT artists Lonneke Gordijn and Ralph Nauta as part of their collaboration with the DJ and digital art pioneer Don Diablo will be presented on Pace Verso. The NFT is part of the artists’ augmented reality work Block Universe (2021), which is on view in their solo exhibition at Pace’s New York gallery through December 18. The NFT comprises a one of one mp4 video file rendering of Block Universe with a soundscape by Diablo. A physical component of the work includes a handheld custom display showcasing the NFT in an infinite loop.

DRIFT is known for their research-based practice that explores the relationships between nature, technology, and humanity. The duo’s NFT will be presented in Pace’s booth at Art Basel Miami Beach in addition to the gallery’s digital platform. 

PACE

www.pacegallery.com

Georg Baselitz @ Thaddaeus Ropac Séoul - Hotel garni - Exposition inaugurale

Georg Baselitz : Hotel garni

Thaddaeus Ropac Séoul 

Exposition inaugurale

Jusqu'au 27 novembre 2021

Georg Baselitz dans son atelier, 2021

© Elke Baselitz 2021

Thaddaeus Ropac Séoul a ouvert ses portes le 6 octobre 2021 avec une exposition d’œuvres nouvelles de Georg Baselitz, dont la relation historique avec la ville remonte à sa première exposition personnelle dans une institution, au musée national d’art moderne et contemporain de Corée, en 2007. Pour la première fois sont exposés douze peintures et douze dessins réalisés spécialement dans l’optique de l’ouverture du nouvel espace de la galerie à Séoul. Artiste parmi les plus importants de ce temps, Georg Baselitz a donné à l’art allemand de la seconde moitié du XXe siècle une nouvelle identité et a eu depuis 1960 une influence profonde sur l’art international. L’exposition coïncide avec l’inauguration de la rétrospective la plus importante consacrée à l’artiste à ce jour, au Centre Pompidou, à Paris.

Malgré les errances des missionnaires, les images sont demeurées différentes partout dans le monde. Mais en Corée et en Allemagne, les gens racontent des histoires semblables. Ici et là, les arts sont deux superbes monuments. Peu comparables, mais magnifiques. Aujourd’hui les images vont plus vite que les avions, et c’est passionnant. — Georg Baselitz, 2021.

Avec un vocabulaire artistique caractéristique et unique, Georg Baselitz n’a cessé de renouveler sa pratique par de constants développements formels. Dans ses peintures, l’artiste revisite les motifs de son œuvre, considérable, tout en proposant, par de subtiles références à l’histoire de l’art, une réflexion sur la signification de la peinture elle-même. Dans sa nouvelle série de toiles de grand format, Baselitz se consacre à la figure de sa femme, Elke, dont l’image occupe depuis plus de cinquante ans une place prépondérante dans l’évolution de sa pratique.

Ces nouvelles œuvres montrent la figure multipartite de Elke, sensuelle quoique abstraite, suspendue isolée dans un espace indéfini. Baselitz tire son sujet vers l’abstraction, le défamiliarise, cependant que la représentation préserve à la composition son expressivité. Afin de vider la forme de son contenu, l’artiste, depuis 1969, renverse ses compositions, révolutionnant par là même un médium qui était considéré comme conventionnel. Cette présentation originale fait osciller ses œuvres entre abstraction et figuration. Quand il peint Elke, ce geste sert également à perturber toute harmonie ou toute beauté susceptibles de s’insinuer dans le portrait d’une figure si familière pour lui.

Dans le choix du titre de son exposition, Hotel garni — mots français désignant une certaine catégorie d’hôtel bon marché —, Georg Baselitz fait référence à la scène des Demoiselles d’Avignon de Pablo Picasso à travers toute une chaîne d’associations humoristiques caractéristiques. Il s’amuse avec les mots tout en convoquant la composition agressive et la féminité peu conventionnelle d’une des plus importantes réalisations artistiques de son ancêtre historique. Ce n’est pas le premier choix de titre évoquant Picasso : Georg Baselitz s’est déjà référé à lui dans sa célèbre série Avignon, exposée à la Biennale de Venise en 2015.

Très tôt, dans les années 1960, au cours de ses séjours à Paris, il a vu les œuvres de Pablo Picasso, ainsi que celles de Jean Fautrier, Jean Dubuffet, Eugène Leroy et Wols — œuvres empreintes d’un existentialisme qui a eu des répercussions sur sa propre démarche.

Dès lors, l’esthétique matériologique de ces artistes n’a pas cessé d’influencer la pratique de Georg Baselitz. Dans ses œuvres les plus récentes, la présence physique dominante d’Elke est présentée au spectateur à travers le transfert de la couleur, introduisant un paramètre de hasard dans les compositions. Cette technique n’est pas sans évoquer les Rorschach Paintings et les Blotted Line Drawings d’Andy Warhol, mais elle fait aussi de subtiles allusions à l’expressionnisme allemand, à l’art informel français et à la liberté de la peinture abstraite américaine.

Dans les œuvres récentes impliquant la figure d’Elke, Georg Baselitz introduit des connotations existentialistes tout en s’engageant dans la bataille de la représentation, du caractère inévitable de la subjectivité et de la représentation de soi à travers un être cher. L’artiste commente : 

Je me suis toujours battu avec le fait qu’il y a quelque chose qui me gêne dans mes peintures. Ce qui m’a toujours gêné — et cela s’est maintenant considérablement amélioré — c’est le soi-disant « existentiel ». Le fait qu’il y ait quelque chose au fond de moi qui m’occupe et que je ne peux pas éliminer de mes images. Ça fait longtemps que j’essaie de m’extirper de ça. Soixante ans maintenant. Et ces vingt dernières années, je dois dire, j’y suis assez bien arrivé. Cela a fini par se résoudre.

GEORG BASELITZ

En six décennies de carrière, Georg Baselitz a constamment renouvelé sa pratique, ne se laissant jamais enfermer dans un seul et unique style identifiable. Il a redéfini les conventions des différents media dans lesquels il travaille, qu’il s’agisse de peinture, de sculpture, de gravure ou de dessin.

Né Hans-Georg Kern, à Deutschbaselitz, en Saxe, en 1938, l’artiste fréquente d’abord la Hochschule für Bildende Künste de Berlin Est. Renvoyé pour « immaturité socio-politique », il achève ses études à Berlin Ouest, entre 1957 et 1963. C’est à cette époque qu’il adopte le nom de sa ville natale. Sa première exposition personnelle, à la Galerie Werner & Katz à Berlin, déclenche un scandale et plusieurs peintures, tombées sous le coup d’accusations d’outrage aux bonnes mœurs, sont confisquées par les autorités. Se rebellant contre la domination de la peinture abstraite, ses œuvres, résolument figuratives, contenaient souvent des images choquantes destinées à obtenir du spectateur une réaction forte.

Au milieu des années 1960, Georg Baselitz peint une série de figures monumentales connues sous le nom de Helden (Héros), et commence à déconstruire les conventions picturales dans les formes fragmentées de ses Frakturbildern (Fractures). En 1969, il se met à renverser ses compositions ; une présentation originale qui révolutionne un médium alors considéré comme irrémédiablement conventionnel, et qui, depuis, est caractéristique de son œuvre. Dans les années 1970, sa méthode de peinture directement tactile, au doigt, favorise un usage plus libre de la couleur et du matériau qui deviendra primordial dans ses surfaces colorées expressionnistes des années 1980. Les années 1980 sont, pour Baselitz, une décennie phare, qui s’ouvre par la sélection de l’artiste pour représenter l’Allemagne aux côtés d’Anselm Kiefer à la Biennale de Venise ; l’occasion d’une première incursion dans la sculpture. C’est à cette période que s’établit sa notoriété internationale, alors qu’il participe à une série d’expositions de premier ordre tout autour du monde, parmi lesquelles A New Spirit in Painting (1981) à la Royal Academy of Art, à Londres, Zeitgeist (1982) au Martin-Gropius-Bau à Berlin et Expressions : New Art from Germany (1983), qui parcourt les États-Unis. Suivra sa première rétrospective américaine au musée Salomon R. Guggenheim, à New York, en 1995.

Le besoin de se renouveler est une constante évidente de la carrière de Georg Baselitz ; ainsi les Remix, réalisées en 2006, peintures dans lesquelles l’artiste reconsidère l’iconographie des travaux passés, en revenant sur ses propres motifs et en introduisant de subtiles références à l’histoire de l’art.

L’œuvre de Georg Baselitz est présente dans les collections des plus prestigieuses institutions publiques du monde entier, dont le musée national d’art moderne et contemporain de Séoul, le Centre Pompidou, Paris, la Nationalgalerie, Berlin, le Stedelijk Museum, Amsterdam, le Museum of Modern Art, New York, et la Tate, Londres, parmi beaucoup d’autres. Une rétrospective de ses sculptures s’est tenue au musée d’art moderne de la Ville de Paris (2011-12). Ses Heldenbildern (Héros) et ses Neue Typen (Nouveaux types) ont été l’objet d’une exposition au Städel Museum, à Francfort (2016), reprise au Moderna Museet de Stockholm, au Palazzo delle Esposizioni, à Rome, puis au musée Guggenheim de Bilbao. En 2018, à l’occasion de son quatre-vingtième anniversaire, la fondation Beleyer, à Basel, le Hirshhorn Museum, à Washington, D.C., puis le musée Underlinden, à Colmar, en France, lui ont consacré une vaste exposition personnelle. En 2019, Baselitz a été élu à l’Académie des Beaux-Arts, à Paris, et est devenu le premier artiste vivant à avoir une exposition à la Galleria dell’Accademia, à Venise.

THADDAEUS ROPAC SEOUL

Séoul Fort Hill

2F, Fort Hill, 122-1, Dokseodang-ro, Yongsan-gu, Seoul

ropac.net

Eric Fischl @ Skarstedt Gallery Paris - "My Old Neighborhood" - Inaugural Exhibition of the Paris Gallery

Eric Fischl: My Old Neighborhood

Skarstedt Paris

October 18 - December 18, 2021

Skarstedt announced the inauguration of its new Paris gallery, renovated by Jacques Grange, at 2 Avenue Matignon with My Old Neighbourhood, the exhibition of recent paintings by Eric Fischl.

In My Old Neighborhood, Eric Fischl stages moments of human interactions set outdoors, on daylit sidewalks and front yards of suburban streets. One of the central themes in the artist’s oeuvre, the vision of American suburban life has fuelled some of his most resonant and provocative works. Here, Fischl’s protagonists are sharing moments of improbable intimacy and proximity in the public space - the realm, distinct from the sense of privacy permeating the artist’s earlier explorations of the other side of the American Dream. Engaged in personal reflections, the characters appear exposed, as if driven to the street by an unknown force. Houses and cars form a grid-like backdrop of angular colour fields yet look unused and detached from the scenes unfolding in the foreground. 

Constructing inexplicable emotional tension, Eric Fischl’s poignant compositions portray mundane scenes of a residential neighborhood which border on the sense of emergency.

Citizens of suburban dystopias, Fischl’s characters rarely make eye contact, struggling to connect with each other. Often shown naked amid clothed street observers, the figures project a sense of fragility and unease. In Private Property, an unclothed woman is confronted by policemen, the bright sunlight shimmering on the skin to exacerbate her defencelessness and the strangeness of the scene. In The Old Man Stays Behind, three masked individuals attend to the naked protagonist suggesting a promise of human connection, yet emphasising one’s feeling of vulnerability among others, transformed and heightened by the events of the past eighteen months.

Using photographs and collage as starting point, Eric Fischl constructs compositions which oscillate between collective dramas and individual renderings of human nature, pinpointing moments imbued with unresolved conflict and existential angst. Generating diverse narrative associations by juxtaposing various layers of signification, the works in My Old Neighborhood present affecting situations which retain a degree of uncertainty and evade direct social or political interpretation. As the artist explains: “I paint from a position of not knowing. I’m guided by association and intuition, and I am in search of an experience filled with meaning.” Capturing deeply personal reflections on American society today, the works are thus quasi-autobiographical, an aspect further highlighted by the title of the series.

Executed on large scale, the paintings envelop our visual field, triggering a visceral, almost bodily response which draws the viewer into the scene. In Cul de Sac, two figures turn towards the running woman from the extreme foreground of the composition, as if inviting us to enter the pictorial space and join them as characters of the script. Observing the woman as she runs to an apparent dead end, we feel involved but helpless, bewildered and acutely conscious of anxieties of the present moment. 

As Eric Fischl observes, “What you see in My Old Neighborhood are a series of scenes in which something inexplicable or surprising or irrational is taking place. In most of the paintings the audience is triangulated with male observers who are confused witnesses to the event. The audience shares their confusion and the feeling of being frozen in place by what is going on. When something occurs outside of the expected or hoped for and the nature of it strips you of your armour, this is the definition of tragedy. Ambiguity is at those moments the only way to process understanding.”

For the first time in Europe and with the support of the Louvre, Skarstedt also presents Eric Fischl’s sculpture titled Tumbling Woman, in the context of FIAC Hors Les Murs at Tuileries Gardens. The new series of paintings and this emblematic sculpture embody Fischl’s mastery in the representation of the human form. FIAC Hors Les Murs opens to the public on Tuesday 19th October and Tumbling Woman will be on view from 8th October - 20th November 2021.

SKARSTED PARIS

2 Avenue Matignon 75008 Paris

www.skarstedt.com

Michael Wolf @ Flowers Gallery, Hong Kong - Inaugural Exhibition

Spotlight on Michael Wolf
Flowers Gallery, Hong Kong
Through 8 August, 2020

Flowers Gallery announces a new gallery space in Hong Kong, its first location in Asia. The new gallery opens in the city’s Sheung Wan district, with a spotlight exhibition of works by the celebrated German photographer Michael Wolf (1954 - 2019), who lived and worked in Hong Kong.

Established in 1970 in London by Angela Flowers, Flowers Gallery is one of the longest-running international contemporary art galleries, celebrating its 50th Anniversary throughout 2020. The gallery currently represents more than 50 international artists and artist's estates. The Hong Kong space complements the global programme of exhibitions with a dedicated series of Spotlight exhibitions to introduce international gallery artists to the region. 

MICHAEL WOLF

Industrial #26, 2015

Chromogenic Print, 177 x 251 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

The inaugural exhibition Spotlight on Michael Wolf showcases examples of his extensive investigation of the lives of ordinary Hong Kong inhabitants. Michael Wolf devoted his career to exploring the complexity of life in megacities, focusing in particular on the dense urban environment of Hong Kong. The exhibition presents examples of iconic works, including the internationally renowned series Architecture of Density, presenting an abstracted view of Hong Kong’s seemingly endless residential and industrial facades. Alongside the large-scale photographs are works from Informal Solutions, a series of photographic typologies and vernacular sculptures that show an intimate perspective of the city from within its hidden network of back alleys. 

The exhibition also includes Cheung Chau Sunrises, Michael Wolf's last project before his death in 2019. Marking the end of his intensive focus on the confined metropolis, in which the sky was conspicuously absent, Michael Wolf's discovery of the horizon in this contemplative series can be understood as a gesture of liberation from the modern city, representing the hopeful prospect of peace and renewal. Every morning over two years, Michael Wolf photographed the rising sun from his home above the Cheung Chau shore, capturing the transient daily spectacle in a state of boundless transformation.

MICHAEL WOLF

Cheung Chau Sunrises 17, 2018

Archival Pigment Print, 101.6 x 76.2 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

MICHAEL WOLF

Cheung Chau Sunrises 57, 2018

Archival Pigment Print, 101.6 x 76.2 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

Managing Director Matthew Flowers says: "Our expansion into a permanent location in Asia reflects the development of strong relationships with artists, collectors, curators and Museums in the region. Hong Kong is an extremely vibrant and influential global hub, connecting collectors with art from around the world. Timing this opening with the gallery's 50th anniversary demonstrates our commitment to build a new and exciting future while celebrating the achievements of the past."

ABOUT MICHAEL WOLF

Michael Wolf is known for capturing the hyper-density of cities, such as Hong Kong, Tokyo and Chicago in his large-scale photographs of high-rise architecture and intimate studies of the lives of city dwellers. Michael Wolf’s work on life in cities was always driven by a profound concern for the people living in these environments and for the consequences of massive urbanization on contemporary civilization. This commitment and engagement remained central throughout his career, first as a photojournalist and then as an artist. Born in Munich in 1954, Michael Wolf grew up in Canada, Europe, and the United States, studying at University of California, Berkeley and under Otto Steinert at the Folkwang School in Essen, Germany. He moved to Hong Kong in 1994, where he worked for eight years as a contract photographer for Stern Magazine, before moving on from photojournalism in 2003 to focus on his personal work. Michael Wolf published over 30 books, including the critically acclaimed titles Tokyo Compression and Architecture of Density.

Michael Wolf won first prize in the World Press Photo competition in 2005 and 2010 and received an honourable mention in 2011. In 2010 and 2016 he was nominated for the Prix Pictet photography award. His work features in many permanent collections, including those of the Metropolitan Museum of Art in New York; the Museum of Contemporary Photography, Chicago; Museum Folkwang, Essen; Rijksmuseum, Amsterdam and Gemeentemuseum, Den Haag and M+ Museum, Hong Kong. Wolf’s first major retrospective, Michael Wolf - Life in Cities, was held in 2017, premiering at the prestigious Rencontres de la Photographie festival in Arles, then moving on to The Hague Museum of Photography (2018), the Fondazione Stelline in Milan (2018), Deichtorhallen Hamburg (2018 - 2019), and Urania, Berlin (2019). His work has also been exhibited at the bienal de arquitetura, Sáo Paulo, Brazil; Museum of Contemporary Photography, Chicago; Gallery of the Goethe Institute, Hong Kong, and the Victoria and Albert Museum, London.

FLOWERS GALLERY HONG KONG
49, Tung Street, G/F - Sheung Wan, Hong Kong
www.flowersgallery.com

Pace Gallery's Inaugural Exhibitions at New Chelsea Gallery, NYC

Pace Announces Inaugural Exhibition
Program for New Flagship Chelsea Gallery Opening September 2019

PACE GALLERY'S NEW CHELSEA BUILDING

Architectural rendering of the southeast façade 

of 540 West 25th Street, New York

Courtesy of Bonetti / Kozerksi Architecture

Pace Gallery announces its inaugural season of programming for its new flagship gallery in New York City, located at 540 West 25th Street. After almost six decades of history in Manhattan, Pace will cement its commitment to Chelsea with a new global headquarters in the heart of the neighborhood. Open to the public on September 14, 2019, Pace will present a series of exhibitions throughout the new building, including: an exhibition dedicated to twentieth century master Alexander Calder occupying the first floor gallery; a show of new paintings by celebrated New York-based artist Loie Hollowell on the second floor; an installation of new work by David Hockney on the third floor; and a presentation charting the evolution of Fred Wilson’s chandelier sculptures installed on the seventh floor. The inaugural exhibition represents several firsts, including Loie Hollowell’s premiere exhibition with Pace in New York. Additional details on each exhibition, accompanying publications, and related programming will be announced over the course of the summer.

“For nearly six decades, Pace has celebrated and advanced the work of creative pioneers,” said Marc Glimcher, Pace Gallery President and CEO. “They are our inspiration, mission, and the source of our vision. Pace has designed and crafted every element of our new global headquarters to provide a vehicle for artists to tell their stories as richly as they deserve to be told and as dynamically as our communities deserve to experience them. It is an honor to inaugurate this gallery with the work of artists who have been so instrumental in creating the fabric of our program; representing both our vibrant history and our exciting future.”

Pace’s new global headquarters is being developed by Weinberg Properties and designed by Bonetti / Kozerski Architecture, in close collaboration with Marc Glimcher. Spanning eight stories and measuring approximately 75,000 square feet, Pace’s new building more than doubles its current exhibition space in New York and features five distinct galleries, including both indoor and outdoor spaces. Each gallery allows for a broad range of installation styles and artistic media, with features such as an entirely column-free design, high loading capacities, and flexible lighting plans creating extraordinarily nimble galleries that can support a diverse approach to exhibition programming.

Inaugural Exhibitions

First Floor:

Alexander Calder

In close collaboration with the Calder Foundation, New York, Pace will inaugurate the 3,600-square-foot first-floor gallery with a focused exhibition dedicated to Alexander Calder. The exhibition will examine the breadth of the artist’s practice beginning in the mid-1920s and leading up to his creation in 1931 of the mobile—an unprecedented form of kinetic sculpture that created a true rupture in the trajectory of art. From his gestural Animal Sketchings and massless wire portraits of the 1920s to his abstract oil paintings of 1930 and the swift progression to motorized objects and hanging mobiles, this exhibition will capture the remarkable transition from potential to actual energy in Calder’s work and underscore his relentless pursuit of the vitality and life force in art.

Second Floor:

Loie Hollowell

The artist’s premiere exhibition with Pace in New York will take place in the new building’s second floor gallery. The exhibition will showcase a series of new large-scale paintings that continue Loie Hollowell’s investigation of bodily landscapes and sacred iconography through allusions to the human form. Drawing inspiration from artists like Agnes Pelton, Georgie O’Keefe, and Judy Chicago, Hollowell’s works abstract the most intimate parts of the human body into primal shapes, such as the mandora and the lingam, in an examination of sexuality, conception, birth, and motherhood. In each work, the artist utilizes color and dimensionality—at times manipulating the canvas with three-dimensional forms—to amplify the phenomenological presence of her corporeal compositions.

Third Floor:

David Hockney

The third-floor gallery will be dedicated to an exhibition of new work by David Hockney. This exhibition will present a 24-panel panoramic drawing and four additional individual drawings. Capturing the arrival of spring in Normandy, these works emphasize Hockney’s ability to unite multiple spatial and temporal experiences of a place into a single image. Influenced by such disparate sources as traditional Chinese scroll painting, contemporary time-based art, and the medieval Bayeux Tapestry, produced in England and housed nearby in Normandy, these new works showcase Hockney’s continued experimentation with the representation of space.

Sixth Floor:

Alexander Calder, Joel Shapiro, and Tony Smith

Offering panoramic views of the Manhattan skyline, the entire sixth floor is devoted to a 4,800 square-foot outdoor exhibition space that can accommodate large-scale sculptural installations. Partially covered by the seventh floor, the design of this space creates the sense of an outdoor room. Exhibitions on the sixth floor will rotate two to three times per year, and for the inaugural installation, Pace will present three monumental outdoor sculptures by three generations of sculptors: Alexander Calder, Joel Shapiro, and Tony Smith. 

Seventh Floor:

Fred Wilson

The seventh-floor exhibition will showcase the evolution of Fred Wilson’s celebrated chandelier sculptures, which the artist began in 2003 when he represented the United States at the 50th Venice Biennale with Speak of Me as I Am. Since then, Wilson’s Murano glass chandeliers, with their evolving shifts in scale, materials, and complexity, have become vehicles for the artist’s meditations on blackness, death, and beauty. Installed hanging from the gallery’s 19-foot-high ceilings, the presentation will include five chandelier sculptures from the artist’s first to his most recent, conceived for the 15th Istanbul Biennial in Fall of 2017.

Looking Ahead to 2019 and 2020

Taking full advantage of the dynamic programming the new building will support, Pace is planning a robust series of exhibitions over the course of 2019 and 2020 and will launch a new interdisciplinary series of live and moving-image programming.

In the late fall of 2019, Pace will present exhibitions dedicated to Mary Corse on the first floor; Chinese painter Li Songsong on the second; and longstanding gallery artist Richard Tuttle on the third. Corse’s exhibition of new paintings will be her first with the gallery in New York since joining Pace in 2018.

Looking ahead to 2020—the 60th anniversary of the gallery—Pace’s new headquarters will host major exhibitions by a diverse range of the gallery’s artists, including debut New York shows for new additions to Pace, such as Lynda Benglis and Arlene Shechet, as well as exhibitions dedicated to pioneers of the twentieth and twenty-first centuries, such as Jean Dubuffet, Isamu Noguchi, and Robert Ryman.

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the twentieth and twenty-first centuries. Under the leadership of President and CEO Marc Glimcher, Pace is a vital force within the art world and plays a critical role in shaping the history, creation, and engagement with modern and contemporary art. Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy for vibrant and dedicated relationships with renowned artists. As the gallery approaches the start of its seventh decade, Pace’s mission continues to be inspired by our drive to support the world’s most influential and innovative artists and to share their visionary work with people around the world.

Pace advances this mission through its dynamic global program, comprising ambitious exhibitions, artist projects, public installations, institutional collaborations, and curatorial research and writing. Today, Pace has nine locations worldwide: two galleries in New York; one in London; one in Geneva; one in Palo Alto, California; one in Beijing; two in Hong Kong; and one in Seoul. 

PACE GALLERY
www.pacegallery.com

Billy Childish @ Carl Freedman Gallery, Margate, Kent - man in the mouth of a cave

Billy Childish: man in the mouth of a cave
Carl Freedman Gallery, Margate, Kent
26 May - 25 August, 2019 

Carl Freedman Gallery opens in Margate, Kent on Saturday 25th May with a major solo show of new work by British painter Billy Childish.

After purchasing part of the old Thanet Press building in the centre of town, Carl Freedman’s new HQ spans 10,000 square foot of a concrete 1960s commercial building. The site includes three exhibition spaces, an artist apartment and an upper floor dedicated to Freedman’s print publishing business Counter Editions. ‘This is a fantastic opportunity for us to present larger-scale solo presentations by our artists as well as more expansive curated shows. Margate is going through an amazing transformation, led by a growing art community, and we are excited to be a part of the future of the town’s creative-led regeneration’ – Carl Freedman.

The inaugural exhibition man in the mouth of a cave by Billy Childish introduces new themes in the artist’s oeuvre of swimming and wild uninhibited nature. Free of irony or superficial novelty, these paintings espouse values of authenticity, spirituality, and beauty, conveying a sense of a vivid physical presence. Above all, they express Childish’s earnest engagement with life. Waterfalls, the sea, caves, trees, nudes and the artist himself are recurring motifs. In some works the mouths of caves suggest the religious motif of the empty tomb, in others a dark, Styx-like river.

Present throughout is a quality of quiet melancholy combined with a vibrating, somewhat hallucinatory energy, rendered through Billy Childish’s roiling brushwork. Childish’s canvases clearly bear the marks of the art-historical lineage of which Childish feels himself a part. Interlocking patterns and forms cluster, coalesce, and dissipate, working as vehicles for Childish’s Munch-like preoccupation with colour. Staccato brushstrokes are contained by more flowing, sinuous lines, recalling the visionary intensity of German Expressionism.

Embedded in a tradition stretching back into the late nineteenth and early twentieth century, Billy Childish’s work is still – as ever – insistently and idiosyncratically his own. As Billy Childish states: ‘You could say that these paintings are ultrapostmodernist; they’ve absorbed everything, and then decided what’s of value. Each one is an exultation of being a painting.’ Unconcerned with any narrative of progress within his practice each painting – whether a depiction of his nude body or a birch tree – is, for Billy Childish, a form of self-portraiture. In his own words: ‘As I work fluidly from painting to painting, theme to theme, so the cycles develop organically and explain themselves without my prescription. In essence I am painting one painting that is everchanging as if of its own volition – the painting of myself.’

In association with Damaged Good Records, Carl Freedman Gallery presents Wild Billy Childish & CTMF live in concert at Margate’s Theatre Royal on Sunday 16th June 2019, from 7pm. Tickets are on sale now via the Theatre Royal box office and website (click here: http://theatreroyalmargate.com).

Billy Childish is a prolific painter, author, poet, publisher, and musician. Born in 1959 in Chatham, Kent. He has extensively exhibited and performed internationally. Exhibitions include: heaven’s journey, Neugerriemschneider, Berlin (2018); man with jackdaw, Villa Schöningen, Berlin (2017); mountain view house, Goss Michael Foundation, Dallas (2017); Billy Childish: incomprehensible but certainly, Opelvillen, Rüsselsheim, Germany (2016); Billy Childish in Print (A Survey), Rochester Art Gallery, Kent (2016); the house at grass valley, Carl Freedman Gallery, London (2016); flowers, nudes and birch trees, Lehmann Maupin, New York (2015); Billy Childish. Frozen estuary and Other Paintings of the Divine Ordinary, The Historic Dockyard, Chatham, Kent; Billy Childish: Unknowable but Certain, ICA, London (2010). The artist lives and works in Kent, England.

CARL FREEDMAN GALLERY
28 Union Crescent, Margate, Kent, CT9 1NS, England
carlfreedman.com

Chart Gallery Inaugural Exhibition: Reductive Seduction

Reductive Seduction - Inaugural Exhibition
Chart, New York
May 2 - June 29, 2019

SHEREE HOVSEPIAN 

Whole Other, 2018

© Sheree Hovsepian - Courtesy Chart, New York

CHART announces the inaugural exhibition of its new dynamic program and Tribeca location. Founded by former Paul Kasmin Gallery Partner, Clara Ha, CHART will establish a collaborative platform that offers different perspectives from art world professionals by presenting special projects, exhibitions and site-specific installations. For its inaugural exhibition CHART invited Simone Joseph of SGJ Fine Art, to co-curate Reductive Seduction, featuring the work of Jean Arp, Louise Bourgeois, James Lee Byars, Loie Hollowell, Sheree Hovsepian, Deborah Kass, and others.

The inaugural, co-curated exhibition sets the tone for CHART as a collaborative platform and establishes a precedent for a cooperative dialogue between visual thinkers and creators. Clara Ha’s extensive experience and knowledge of the changing landscape of the art community led her to reconsider the traditional gallery model.

Reductive Seduction is a transgenerational group exhibition exploring the ways in which sensuality can be expressed through a minimal formal language. Bringing together a selection of works from the mid-20th Century to the present, the group of works create a dialogue of sensual depiction that was once more typically associated with Baroque gestures, that is replaced here by refined and incisive accumulation of elements and materials. These works utilize drastically refined and distilled form to evoke corporeal sensation and somatic charge.

Reductive Seduction includes works by Jean Arp, Louise Bourgeois, James Lee Byars, Dadamaino, Suzan Frecon, Marcia Hafif, Loie Hollowell, Sheree Hovsepian, Deborah Kass, Nevine Mahmoud, Carmen Herrera, Maximilian Schubert, Leon Polk Smith, Vincent Szarek and Alice Tippit.

Founded and owned by Clara Ha, CHART will present exhibitions of emerging, and established artists engaged in interdisciplinary practices. A collaborative platform, CHART’s objective is to highlight diverse perspectives in contemporary art. Projects will include site specific installations and special exhibitions organized with guest curators.

CLARA HA is a gallerist with more than twenty years of experience in the art world. A former partner at Paul Kasmin Gallery, Ha has worked with artists such as Walton Ford, Robert Indiana, Deborah Kass, Claude and Francois- Xavier Lalanne, Kenny Scharf, Frank Stella and numerous estates such as The Andy Warhol Foundation for the Visual Arts, The Estate of Morris Louis and The Estate of Robert Motherwell amongst others. Ha has worked on various public projects including Will Ryman “The Roses” on Park Avenue and most recently Hangang Art Park, Seoul, S. Korea.

SIMONE JOSEPH has spent over twenty years working in the international art world. She has been the director of several prominent art galleries, and produced numerous exhibitions and independent projects including: David Hockney: Portraits, Louise Nevelson: Black Wall Constructions and re:construction: Interplay between Form and Function. Joseph founded SGJ Fine Art LLC, New York, in 2011, a professional art advisory service.

Courtesy of designer and dealer Malcolm James Kutner, CHART presents a selection of French Reconstruction era furniture throughout the gallery.

CHART
74 Franklin Street, New York, NY, 10013
chart-gallery.com

Michel Parmentier: Paintings & Works on Paper @ Ortuzar Projects, New York - Gallery Inaugural Exhibition

Michel Parmentier 

Paintings & Works on Paper 

Ortuzar Projects, New York 

February 16 – April 7, 2018 

Ortuzar Projects presents its inaugural exhibition, Michel Parmentier: Paintings & Works on Paper. Featuring works produced between 1966 and 1993, this is Michel Parmentier’s first solo show in the United States.

Grounding his practice on a denial of gesture and narrative, MICHEL PARMENTIER (1938–2000) was an active and influential figure within the postwar critique on traditional modes of art-making. He is best known for the highly standardized, horizontally-striped canvases that he painted between 1965 and 1968. These works, produced through the pliage technique of folding the ground before the color is applied, are comprised of perfectly even, 38-centimeter bands which Parmentier varied in color annually (blue in 1966, gray in 1967, red in 1968 and black after 1983).

In January 1967, Michel Parmentier formalized his attack on painterly subjectivity when he co-founded the group subsequently known as ‘BMPT’ with Daniel Buren, Olivier Mosset and Niele Toroni. Fusing minimalism and institutional critique, Buren, Mosset, Parmentier and Toroni interrogated what they collectively considered to be bourgeois artistic sensibility in a series of four painting-performance ‘manifestations’. Parmentier broke from this collective in December 1967 and, in August 1968, from painting altogether. His practice remained dormant until 1983, when he resumed with a series of black paintings.

By 1986, Michel Parmentier had turned his focus to large-scale, freehand work on paper. Utilizing graphite, charcoal, pastel and oil stick, this body of work broadened his practice while remaining committed to the same motivations that had fueled his career in the 1960s.

MICHEL PARMENTIER studied at the École des Métiers d’Art and both lived and worked in Paris, France. He is represented in the permanent collections of the Museum of Modern Art, New York; Centre Pompidou, Musée National d’Art Moderne, Paris; Musée d’Art Moderne de la Ville de Paris; FRAC Bretagne, Rennes; Musée des Beaux-Arts de Nantes; Fondation La Caixa, Spain; and the François Pinault Collection, Paris. Michel Parmentier was the subject of major retrospectives at the Centre National des Arts Plastiques, Paris (1988) and Villa Tamaris Centre d’art, La Seyne-sur-Mer (2014).

A select number of works in the exhibition will subsequently travel to the Eli and Edythe Broad Art Museum at Michigan State University for Michel Parmentier’s first US institutional retrospective. The exhibition is accompanied by the English translation of an expanded edition of Michel Parmentier, Décembre 1965 – 20 Novembre 1999 – Une retrospective (ed. Guy Massaux), co-published by Ales Ortuzar and Éditions Loevenbruck, Paris.

ORTUZAR PROJECTS

9 White Street, New York, NY 10013

www.ortuzarprojects.com