From the VRchives
highly distinctive yet often unseen paintings, sculpture, and works on paper by Miquel Barceló, Louise Bourgeois, Jean Dubuffet, Jacob El Hanani, Keith Haring, Rashid Johnson, Robert Longo, Jean Paul Riopelle, Joaquín Torres-García, and Andy Warhol
“identity is something like a pure core standing in delimited relationship to everything extraneous. In all systems small and large, this pattern secures power relations and certainties” curated by Melanie Ohnemus, part of curated by_ 2018 – Viennaline
Michael Raedecker’s new paintings remain complexly wrought performances that each simultaneously conjure up and interrupt an image. In these paintings, ‘image’ can be many things but also, importantly, a thing seen that precedes our catching sight of it.
new and recent works by one of the most significant artists working in Brazil today - works that relentlessly challenge accepted notions of desire, language and sexuality while celebrating the viscerality of embodied experience
“My aim is to make art that is alive and breathes, which is visceral and yet has a sense of the ineffable. I would like to convey a sense of the magical in which a painting succeeds in going beyond its basic physicality and enters another realm.” - Smith
an immersive installation comprised of new paintings alongside sculpture, neon lighting effects and a sound piece, which together provide a disturbing portrayal of inequality and class hatred in Britain today
new paintings created in response to the architecture of the gallery space, that are site-responsive rather than site-specific, each canvas functioning both as an independent work and a constituent component of a larger, experiential environment
bringing together two artists working in parallel - Gillick and Pendleton’s work operates within an understanding that forms of abstraction cannot evade either the contradictions of history or the enduring pains of the present
comprising of precariously stacked ceramic columns, these new works are inspired by the discovery, in 1974, of more than a thousand perfectly preserved cuneiform-inscribed clay tablets, ca. 2500 BC, in the ancient city of Ebia, Syria
The exhibition draws on radical feminist and ecofeminist theories to analyse the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living.