Curated by Gaby Cepeda, an exhibition of the artist known for using painting, digital collage, sculpture, murals, installation and participative environments to critique of modes of domination and the binary systems that regulate the human experience.
Mennour is immensely proud to announce the representation of the internationally acclaimed British artist Idris Khan (1978‑).
Based in London, Idris Khan creates work inspired by profound philosophical and theological texts, music and art. Khan's artistic process is characterized by a continuous interplay of creation and erasure, where he skilfully layers new elements while preserving traces of what has come before. His signature large-scale works and sculptures exemplify his mastery of layering techniques, which converge to distill the essence of an image while forging something entirely novel through the repetition and superimposition of visual elements. His art invites viewers to contemplate the intricate layers of memory, creativity, and human experience, leaving a lasting impression on the contemporary world.
One of his new works will be featured at Paris+ par Art Basel and his first solo show at Mennour will take place in 2024.
Born in Birmingham in 1978, Idris Khan lives and works in London. He was appointed OBE for services to Art on the Queen’s Birthday 2017 Honours List. He had numerous solo shows at the British Museum, London (UK); Whitworth Gallery, University of Manchester (UK); Gothenburg Konsthall (SE); Museum of Contemporary Canadian Art, Toronto (CA); Kunsthaus Murz, Mürzzuschlag (AT) and K20, Düsseldorf (DE).
The Milwaukee Art Museum will present his first survey in the USA, bringing together more than 100 artworks from more that 20 years of artistic practice, curated by Marcelle Polednik, Ph.D., the Donna and Donald Baumgartner Director of the Milwaukee Art Museum.
photo: Steven White and Company
Modern Art now represents Michael Simpson
September 26, 2023
Over the past five decades Simpson has become known for an ongoing series of large-scale paintings that revisit a small number of rigorously selected motifs. The artist's admiration for fifteenth century Venetian and early Flemish painting has inspired a unique painting language, characterised by its austerity, use of repetition and a concern with surface.
Reduced to the most essential geometric forms, Simpson's soaring paintings of ladders, levitating benches and confessiona boxes, each reflect his long-held belief in the infamy of religious history.' Often vast in scale, Simpson's paintings have maintained an aesthetic position over decades, one in which solitary objects often appear to levitate within a shallow painted space, others rooted to the ground, casting shadows. These architectural objects, such as pulpits, confessional boxes, Islamic Minbars, as well as steps and ladders, confront existential and political themes, especially the subject of faith. Each work is painted with a potent economy.
In the Leper Squint series, what might first appear to be a recurring reference to the black square of Kazimir Malevich, is in fact a geometric depiction of a hagioscope, or a 'squint. These small architectural details (or 'apertures' as the artist has called them) are rectangular or square holes positioned in the exterior walls of medieval churches, for the purpose of allowing lepers to see and hear the sacraments without being amongst the congregation.
Simpson's ongoing bench paintings, which he started painting in 1989, are concerned with the Italian Renaissance philosopher Giordano Bruno, who was burnt alive in 1600 for heresy. Bruno was known for his vision of an infinite universe, and for publicly espousing Copernicus' theory that the earth revolves around the sun. Bruno's death, after seven years of inquisition and torture by the Catholic church, typifies the extreme cruelty found throughout religious history, a profound theme that has endured throughout the artist's entire oeuvre.
Michael Simpson was born in 1940 of Anglo-Russian parents. He lives and works in Wiltshire. He has been the subject of solo shows at the Serpentine Gallery London, Spike Island, Bristol, David Roberts Foundation, London, and Minsheng Museum, Shanghai. His work is held in many collections including Tate and the Louisiana Museum of Modern Art. In 2016 he was awarded the John Moores Painting Prize.
His first solo show with Modern Art will open in January 2024
Julian Charrière joins Perrotin
September 25, 2023
Perrotin is excited to announce its representation of the French-Swiss artist Julian Charrière. A new large-scale installation by the artist will be presented at the gallery’s booth during Paris+ in October 2023. Charrière’s first solo exhibition with Perrotin will take place in Paris in April 2024.
Perrotin jointly represents Charrière with Dittrich & Schlechtriem, Galerie Tschudi, Sean Kelly, and Sies+Höke.
Julian Charrière (1987) is a French-Swiss artist based in Berlin. Marshalling performance, sculpture, film and photography, his projects often stem from remote fieldwork in liminal locations, from sites of industrial extraction to volcanic calderas; remote icefields to nuclear testing grounds. By encountering such places where acute geophysical and cultural identities have formed, Charrière speculates on alternative histories and our changing ideas of "nature", often utilizing materiality and deep time as lenses for doing so. Seeking to deconstruct the cultural traditions which govern how the natural world is perceived and represented, Charrière's multidimensional practice frequently leads him to cross-field collaborations with scientists, musicians, engineers, and philosophers. From artistic expeditions to the staging of immersive installations, the core of his practice concerns itself with how the human being inhabits the world, and how it in turn inhabits us.
His work has been the subject of monographic exhibitions at major institutions worldwide, with recent solo presentations including Erratic at SMOMA, San Francisco (2022), Controlled Burn at Lange Foundation, Ness (2022) and Towards No Earthly Pole at the Dallas Museum of Art, Dallas (2021). Further notable solo exhibitions have been presented at Aargauer Kunsthaus, Aarau (2020); MASI Lugano, Lugano (2019); MAMbo, Bologna (2019); and Berlinische Galerie, Berlin (2018) among others. Charrière's work has been featured in multiple international Biennales, such as the 16th Lyon Contemporary Art Biennale (2022); the Guangzhou Image Triennial (2021); the Taipei Biennial (2018); and the 57th Biennale di Venezia (2017).
Charrière has upcoming monographic exhibitions planned for Palais de Tokyo, Paris (2024), ARKEN – Museum of Modern Art, Copenhagen (2024), and Museum Tinguely, Basel (2025).
photo: Nora Heinisch, 2023
Jelena Kristic joins Galerie Chantal Crousel
September 22, 2023
Galerie Chantal Crousel announces the appointment of Jelena Kristic as Director of Sales.
Kristic will develop the gallery’s secondary market business in addition to promoting its represented artists. She brings a diverse background to her engagement with art. As an art advisor for the past ten years, she has built collections of Impressionist, Modern, and Contemporary art. As an independent scholar, she specializes in the work of Marie Laurencin.
Kristic was a former director of Reena Spaulings Fine Art in Los Angeles, as well as a lawyer practicing intellectual property law in New York before starting her art advisory.
photo: Jiayun Deng — Galerie Chantal Crousel
Tina Kim Gallery to represent Kang Seok Ho
September 21, 2023
Tina Kim Gallery announces Kang Seok Ho (1971-2021) as the latest addition to their gallery roster. Kang Seok Ho's innovative paintings mark a bold endeavor to explore and redefine the boundaries and structure inherent in the realm of painting.
“Kang Seok Ho is a consequential figure in the history of contemporary Korean painting. Returning to Korea in the early 2000s after being abroad in Germany, he continued to paint, even when the critical discourse was centered on multimedia and conceptual art. His contemporaries include Park Chan-Kyong, Chung Seoyoung, Haegue Yang, and Minouk Lim, all working in different media. However, he surrounded himself with painters, often organizing exhibitions, to remedy the lack of context and opportunities available for Korean painters during that time. I am excited to continue making research and exhibiting Korean painters who came of age during the early aughts, who largely went unnoticed but were nonetheless prolific and pushed the boundary of painting forward.” - Tina Kim
At the heart of Kang's oeuvre are his paintings of torsos, emblematic of his distinctive creative process and style. He developed these by first cropping snapshots that he took of people on the street. These images became his signature portraits of anonymous subjects, revealing his investigation on seeing that he investigated through painting's surface. Bypassing narrative, Kang's inquiry delves into formal details such as color, pattern, and texture, aligning more with abstraction than photorealism. This added layer reflects Kang's penchant for traditional Asian landscape painting.
Kang Seok Ho received his Bachelor of Fine Art in sculpture at Seoul National University, then left for Germany to study at the Kunstakademie Düsseldorf, where he received his Masters of Fine Art in painting. After winning the UBS Art Award in Basel, Switzerland in 2000, he returned to Korea and won the Seoknam Art Prize (Seoul, Korea) in 2004, and he was the selected artist for "2008 Young Korean Artist: I AM AN ARTIST" by the National Museum of Modern and Contemporary Art. From 2003 to 2020, he held 16 solo exhibitions and organized a number of exhibitions. He served as a professor at Seoul National University of Science and Technology from 2018 to 2021. His first retrospective exhibition Kang Seok Ho: Three Minute Delight (2022-2023) was held at Seoul Museum of Art, as well as his first New York solo exhibition Deep is the Rising Sun, Far is the Falling One (2023) at Tina Kim Gallery.
Hauser & Wirth announce global representation of Firelei Báez
September 18, 2023
Hauser & Wirth today announces the global representation of New York–based artist Firelei Báez (b. 1981, Dominican Republic). Báez has achieved wide acclaim over the past decade for immersive paintings, installations and sculptures that explore diasporic histories against the backdrop of colonial narratives and conventional ways of seeing. A self-described bibliophile and voracious reader, Báez has been likened to a historian, mining the foundational and forgotten archives of the Americas and beyond in order to challenge and expand the ways in which we perceive and relate to one another. Her constructions are marked by erudition and an intimate physicality that gives way to vibrant abstraction and exquisite detail. Though richly layered in cultural and historical references, her practice is equally rooted in a palpable connection to the human body—her own and that of the viewer. Báez’s sensitivity to the conditions within which she creates extends to the physical experience of looking at her work. The visceral abstractions, multisensory approach and arresting beauty of her art capture the viewer on a deep intuitive level before conceptual understanding coalesces, catalyzing a sensory reorientation where new ways of perceiving and imagining become possible.
“Firelei takes on history and transforms it into poetry—visual, visceral, technically inventive, breathtaking works of art that go beyond merely telling us something, to fully enveloping and implicating us. By consistently reasserting the importance of the Caribbean in the wider context of world history and revealing the pervasive presence and impact of Caribbean and Black cultures that have been previously obscured, her art demands we become more astute world citizens. In her courage and sheer virtuosity, Firelei aligns perfectly with so many pathbreaking artists in our gallery's program. We're thrilled and honored to welcome her to Hauser & Wirth and look forward to all that lies ahead in our collaboration.” - Marc Payot, President, Hauser & Wirth
Firelei Báez was born in Santiago de los Caballeros, a city bordering Haiti in the Dominican Republic, in 1981. Informed by having a Dominican mother and father of Haitian descent, Báez’s early sense of place and belonging deepened once she relocated to Miami, Florida at the age of eight years old. From a very young age, art had become an essential source of expression for Báez, as did reading and maintaining a collection of books. Instinctively aware that formal historical categories limit imagination, perception and identity, Báez has since used her art to explore what she calls ‘the freedom of decategorization.’ Consistently pushing the boundaries of established knowledge, Báez combines the rigor of a historical researcher with the worldmaking capacity of a storyteller. Mythology is an important tool for Báez, ‘a way of correcting the past and projecting a different future.’ A generative and recurring figure in her work is the ‘ciguapa,’ a mythic femme creature from Dominican folklore known for her trickery and elusiveness. A multidirectional being characterized by mutability, the ciguapa has feet that point in opposite directions, an attribute that allows her to never be traced. Growing up in the Dominican Republic, Báez heard ciguapa stories intended as cautionary tales against unvirtuous and wild behavior. As someone deeply curious about both ‘the risks and...gains of belonging and not belonging,’ she has held onto her fascination with this mythological being and to the trickster, an archetype that, as curator Julie Crooks has noted, takes on a political valence in Báez’s work as a means or pathway to new freedoms.
In her largescale paintings, Báez takes on disavowed histories, often beginning a work by pouring paint over the surface of an enlarged reproduction of an archival document. The shape her pour takes and the way in which it spreads within a particular environment guides the artist’s initial interaction with the foundational artifact, connecting it to her body, time and space. Báez describes the temporal dimension of this pouring process as follows: ‘There's the tilt of the floor, the humidity level, what I could physically reach. These are very specific limitations that become like archaeological time capsules.’ Her pours and other visual interventions allow the contemporary to come into contact with a distant past that still profoundly shapes our language and perception. Through these encounters, Báez opens the doors to a clearer understanding not only of the past’s horrors, but also the enduring persistence of beauty, resistance, and healing.
Báez proposes through her art that we actively participate in the making of history to imagine different futures. She has said, ‘Making connections between seemingly disparate ways of working and histories is one of the best parts of being a visual artist. This often necessitates seeing history not as a linear process, but rather a series of repeating or overlapping patterns.’ By destabilizing historical narratives, Báez allows for a different kind of historical measure, one which embodies the intricate entanglement of opposing forces. Her work is corrective; it makes space for the stories and people who have been erased or excluded from dominant narratives.
photo: Amilcar Navarro
Mai 36 Galerie announce representation of Markus Saile
September 14, 2023
Cologne-based Saile’s work convenes the space of painting, in a subtle interplay between the space where it is situated, the space it represents and the space it constructs in dialogue with architecture. Beyond the in-situ and the context, it is an investigation into painting in volume, the depth of the surface, and the extension of this practice into a performative field of action.
Broken colors, diluted in oil with turpentine, applied in numerous layers on a small-format wooden background – Markus Sailes works are intangible, fleeting, abstract, whereby a painterly gesture may develop figuratively without ever becoming concrete. The gestural structures in the pictures function as agents who, through their interrelated movements, open up interrelationships of space and time.
Markus Saile was born in Stuttgart in 1981. He lives and works in Cologne. Recent institutional shows include the solo exhibition "separate | related" at NAK - Neuer Aachener Kunstverein and the group exhibition "Jetzt! Junge Malerei in Deutschland" at Museum Gunzenhauser of the Kunstsammlungen Chemnitz, Museum Wiesbaden, Kunstmuseum Bonn and Deichtorhallen Hamburg.
photo: Alwin Lay
Modern Art to open in Paris
Modern Art announces the opening of a new gallery space in Paris.
On the second floor of a Haussmann building in Place de l’Alma in the 8th arrondissement, the gallery will present three exhibitions a year and will be open by appointment.
The first exhibition will be works by gallery artists, running from October 16 to December 2, with the private view on Sunday the 15th of October.
Modern Art, 3 Place de l’Alma 2nd floor, 75008 Paris, FRANCE
Thomas Dane Gallery announces representation of Jake Grewal
September 12, 2023
Jake Grewal (b. 1994, London) lives and works in London. He first exhibited with Thomas Dane Gallery in 2022 with his solo show, Now I Know You I Am Older, curated by Andrew Bonacina. A forthcoming exhibition, Some days I feel more alive, will be held at Pallant House Gallery, Chichester, from 28 October 2023 to 20 April 2024.
In Grewal’s paintings and drawings, figures merge with their surrounding landscapes in a dream-like quality unmoored from time and space. Often nude and based on the artist’s own image, the figures are situated against dramatic sunsets or gazing into verdant green pools. Time and its transition play a central role with the same figure often repeated within a scene. Narratives are left open-ended and the viewer is encouraged to project their own conclusions onto the dramatic tableaus. Informed by photographs that Grewal has taken of himself outdoors, there is an underlying desire for ambiguity and abstraction within his figures.
Drawing is central to Grewal’s practice and it is where an idea for a new work largely begins. Using predominantly charcoal, Grewal insistently repeats figures and scenes, often in different mediums and scales until his narratives are realised. Landscape and figure merge together and become one. Figures and trees dissolve and reappear on a journey together, sometimes cohabitating, sometimes being consumed, but always investigating the artist’s fascination with the passing of time.
photo: Annie Tobin
Donna Huanca now represented by Sean Kelly
September 11, 2023
Sean Kelly is delighted to announce the gallery's representation of Donna Huanca.
Donna Huanca (b. Chicago, 1980) is a multidisciplinary artist whose practice explores the human body and the natural world, through mark-making, raw materials, immersive environments, and singular topographies. Encompassing painting, sculpture, and live performance, as well as sound and scent works, Huanca’s installations are characteristically created for, and integrate with, the specific architectural spaces in which they are presented. Her art is deeply invested in communal practice, exploring ritual at large as a means for transcendence, meditation and transformation. Since 2012, Huanca has collaborated with performers, inviting them to improvise and interact with her surrounding sculpture and installations, their painted skin a major element in the composition.
Interested in the transformation and fluidity of earthly cycles such as birth, decay, and renewal, Huanca layers multiple temporalities, transforming each work into the next. Her impermanent paintings on bodies become paintings on walls, once they have been photographed, collaged and partially covered with a new tactile layer. Donna Huanca states, “I am very excited to be working together with Sean Kelly Gallery in New York and Los Angeles. The consistency with which the Gallery has supported visions of performance art, painting, and new media over many decades is inspiring to me. For my first exhibition at the Gallery, I hope to tap into the experimental beginnings of the gallery in SoHo, and the way that ethos aligns with the current state of my practice. I hope to add a fresh perspective to the already rich program.”
Sean Kelly states, “We have followed the trajectory of Donna’s career for many years now, fascinated by the scope, inventiveness, intelligence, and sheer beauty of her work. We are delighted to have her join the gallery, her practice perfectly complements the critical rigor for which the gallery is known.”
Concurrent with her inaugural exhibition at Sean Kelly, November 9–December 23, 2023, Huanca will be the subject of a major exhibition at the Faurschou Foundation, Brooklyn, New York, October 21, 2023–July 14, 2024.
Born in South Korea, Heemin Chung currently lives and works in Seoul. Her work was first exhibited at the Thaddaeus Ropac Seoul space earlier this year in the group exhibition Myths of Our Time. Her first solo exhibition with Thaddaeus Ropac will take place in London in November 2024.
“Through our gallery in Seoul it has been wonderful to establish relationships with the Korean artistic community, and Heemin Chung is an artist who stood out to us with her individual visual language of ethereal abstraction. Exploring how digital images can metamorphose in painting and sculpture in intricate and exquisite ways, her work investigates the role of technology in society and how it has shaped contemporary approaches to art. We can't wait to show her work in our other galleries” - Thaddaeus Ropac
Heemin Chung investigates the material potential of digital images as she translates them into the mediums of painting and sculpture. She reimagines art-historical genres, including the landscape and still life, through poetic visual metaphor, engaging with experimental techniques to explore the function of texture and volume in her work.
“The crucial interest of Heemin Chung’s work lies in the material intervention between the image and painting, rather than the subject of the online image” - Wonseok Koh, former chief curator, Seoul Museum of Art
Heemin Chung was awarded the DOOSAN Arts Award in 2022, and this autumn DOOSAN Art Center will present a solo exhibition of her work in Seoul, on view from 13 September to 21 October 2023. Her paintings and sculptures are housed in significant institutional collections, including the Seoul Museum of Art; Art Bank, National Museum of Modern and Contemporary Art, Seoul; and Kumho Museum of Art, Seoul.
“Painting is a way to constantly ask myself existential questions in an increasingly dematerialised world” - Heemin Chung
Open House Festival 2023
September 5, 2023
Launching tomorrow, Wednesday 6 September, Open House Festival is a two-week celebration of London’s homes, architecture and neighbourhoods. You can get inside some of London’s best known buildings, as well as some of its best kept secrets.
Open House Festival celebrates our curiosity for what happens inside the buildings that we walk past every day; a festival that works to give all Londoners the chance to learn from the city’s best architecture and the people behind it.
The 2023 Open House Festival programme is now live, with tickets available here.
Hauser & Wirth announces representation of Sonia Boyce
Hauser & Wirth is honoured to announce representation of artist Sonia Boyce, in collaboration with Apalazzo Gallery, Brescia, Italy.
Over the course of four decades, Sonia Boyce OBE RA has developed a powerfully original practice that transcends boundaries as an interdisciplinary artist and academic working across film, photography, print, sound and installation. Boyce creates immersive and experiential spaces that explore themes of play, disruption and revelation in which the audience become active participants.
In 2022, Boyce presented ‘Feeling Her Way’, commissioned for the British Pavilion at the 59th International Art Exhibition – La Biennale di Venezia for which she was awarded the Golden Lion for Best National Participation. The exhibition is currently on view at Leeds Art Gallery, UK, as part of a continuing international tour. In a collaboration with five Black female musicians, the project features sounds – sometimes harmonious, sometimes clashing – that embody feelings of freedom, power and vulnerability among Boyce’s video works, signature tessellating wallpapers and golden geometric structures. The work expands on Boyce’s ‘Devotional Collection’, an archive built over more than two decades and spanning more than three centuries, which honours the substantial contribution of Black British female musicians to transnational culture.
Boyce first came to prominence in the early 1980s as a key figure in the burgeoning British Black Arts Movement with figurative pastel drawings and photo collages that addressed issues of race and gender in Britain. In the early 1990s, Boyce made a shift towards a conceptual practice which led to significant multi- media and improvisational works, distinctly focused on collaboration, movement and sound. Working across a range of media, Boyce’s practice today is focused on questions of artistic authorship and cultural difference. She continues to break new ground through her commitment to questioning the production and reception of unexpected gestures, with an underlying interest in the intersection of personal and political subjectivities.
Manuela Wirth, President, Hauser & Wirth said, ‘It is such a great honour that Sonia Boyce has joined our gallery. A remarkable pioneer, Sonia’s highly original practice combines not only conceptual rigour and joyful creativity, but also generosity to the audience who become active participants, along with her fellow collaborators. In this way, Sonia has created a vocabulary wholly her own – consistently finding new approaches to making art that embrace experimentation with humanity and social practice at its core. At Hauser & Wirth we believe that art is a transformative force and our own global learning programs are a reflection of this ethos. We look forward to collaborating with Sonia in the years ahead.’
Boyce’s first exhibition with Hauser & Wirth will be held in 2025.
photo: Parisa Taghizadeh
Christo, Beyeler and Gagosian
September 1, 2023
Twenty-five years ago, in the autumn of 1998, Christo and Jeanne-Claude wrapped 178 trees in Switzerland. The trees were sited around, and adjacent to, Fondation Beyeler in Basel and for a month they were wrapped in over 55,000 square meters of a woven polyester, a fabric used in Japan during the winter to protect trees from frosts and heavy snow.
The actual number of trees appears to be shrouded itself - it is variously reported as different figures, ranging from 162 to 178. What we do know is that eight teams, comprising climbers, pruners and workers worked simultaneously over a nine-day “wrap” and the work itself remained installed for the characteristically short time of a month, coming down in mid-December of the same year.
“Each project is an enormous journey in life” - Christo
Christo and Jeanne-Claude had been wrapping objects since the early 1960s, in fact their first exhibition in 1961 at Cologne’s Galerie Haro Lauhus included tarpaulin-wrapped oil barrels. Nonetheless “Wrapped Trees” was particularly significant as the two artists had been forced to wait over thirty years to realise the project - back in 1966 the Saint Louis Art Museum in Missouri, USA denied them permission for a work of the same name. Long lead times for increasingly complex works and their related negotiations would go on to be a striking feature of the couple’s practice.
Marking the anniversary of the successful realisation of the tree-wrapping project, Gagosian is showing an exhibition of sculptures and works on paper by Christo and Jeanne-Claude in their Basel space - a space which itself is less than four miles from the 1998 installation.
“Christo: Selected Works” is an opportunity to revisit one of the most unique and distinctive voices in contemporary art - Christo and Jeanne-Claude took their art into the public sphere with unrivalled success, creating hugely popular immersive and architectural experiences where counter-intuitively beauty was often revealed through concealment.
It is estimated that their 2015 installation - which also turned out to be one of their last - “The Floating Piers” was seen by more than a million people in its sixteen-day life, a viewing total which would take a decent capital city museum months to achieve.
Unusual funding methods - no sponsorship, everything paid for by the artists - together with their regular practice of relatively short-term interventions coupled with an ethos of no-trace-left and everything recycled, meant that despite the grandness of the gestures, they nevertheless avoided over-exposure, and each project was a true “event”.
The exhibition at Gagosian includes early sculptures from the 1960s, together with studies for their site-specific interventions - the studies themselves often being amazing drawings, utilizing charcoal, enamel, pastel, pencil, crayon, and frequently becoming more like assemblages with photographs, fabrics, handwritten notes, maps, and perhaps unsurprisingly also string, used.
Interestingly, it turns out that over and above the Basel connection, there is also a circularity in that Larry Gagosian himself worked as a construction assistant in 1976 on the Christo and Jeanne-Claude piece “Running Fence” in California (24.5 miles long, 18 foot high, 14 days existence).
1998’s “Wrapped Trees” was organized by Josy Kraft, project director, and by Wolfgang and Sylvia Volz, project managers, who also surveyed the trees and designed the sewing patterns for each tree. J. Schilgen GmbH & Co. KG, Emsdetten, Germany, wove the fabric. Günter Heckmann, Emsdetten, Germany, cut and sewed the fabric. Meister & Cie AG, Hasle-Rüegsau, Switzerland, manufactured the ropes. Field manager Frank Seltenheim of Seilpartner, Berlin, Germany, directed the eight production teams.
Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009) met in their early 20s, became known as Christo and Jeann-Claude, and were particularly known for large-scale, site-specific, wrapped-fabric installations.
photo credits: Wrapped Trees, photo: Wolfgang Volz, Courtesy Christo and Jeanne-Claude Foundation and Gagosian; installation view photo: Annik Wetter, Courtesy Gagosian; The Umbrellas, photo: Eeva-inkeri, Courtesy Christo and Jeanne-Claude Foundation and Gagosian
Sophia Loeb joins Pippy Houldsworth Gallery
August 30, 2023
Pippy Houldsworth Gallery is delighted to announce representation of Brazilian painter and sculptor Sophia Loeb, and the opening of her first solo exhibition with the gallery, Todos os Seres são de Todos os Seres (All Beings are of All Beings), on 8 September.
Growing up in Brazil, Loeb spent much of her childhood in nature, developing an acute understanding of and humility towards her place in the natural order, an experience that challenged anthropocentric understandings of ecology and philosophy. Through her painting, Loeb conceives of an alternative reality in which violence towards the natural world is exchanged for compassion, and in which the ephemeral cycle of natural phenomena is allowed to run its course through processes of healing, reprogramming and reconstruction.
Sophia Loeb (b. 1997, Sao Paulo, Brazil) lives and works in London. She received her MA in Painting from the Royal College of Art, London, and earned her BA in Fine Art and History of Art at Goldsmiths, University of London. Loeb has been included in group exhibitions at Pippy Houldsworth Gallery, London (2023); Galerie Marguo, Paris (2023); Spread Museum, Entrevaux (2021); and Lamb Gallery, London (2018), amongst others. She has participated in residencies at the School of Visual Arts, New York and Kaaysa Arte Residência, Brazil.
photo: Bijanka Bacic
Gagosian announces global representation of Tetsuya Ishida
August 24, 2023
In association with the artist’s estate, Gagosian has announced the global representation of Tetsuya Ishida.
Active for only a decade, Tetsuya Ishida (1973–2005) produced a compelling body of work imbued with a profound sense of alienation and emotional isolation from the contemporary world. Coming of age during the 1990s, an era of nationwide economic malaise known as Japan’s “Lost Decade”, he made art that conveys anxiety, estrangement, and hopelessness.
Ishida’s meticulously detailed, surrealistic paintings and graphic works often include characters that resemble the artist or surrogates for him, presented as anonymous students or white-collar salarymen enmeshed in absurd, nightmarish scenarios. Merging human anatomy with the features of animals, machines, and objects, they form incisive allegories that dramatize and critique dehumanizing social and technological forces.
Over the past decade, Gagosian has played a vital role in introducing Ishida’s work beyond Japan, beginning with the gallery’s 2013 exhibition in Hong Kong, his first outside his native country. Nick Simunovic, senior director of Gagosian in Asia, notes: “I was first introduced to Ishida’s work more than fifteen years ago and was immediately captivated. We were fortunate to organize the very first exhibition of his paintings outside of Japan in Hong Kong in 2013, and the reaction was extraordinary, leading to his work being shown around the world. Ishida produced just over two hundred works during his lifetime, and we are truly honored to be presenting more than eighty paintings in New York on the fiftieth anniversary of his birth.”
To inaugurate the relationship, the gallery will present this fall the most comprehensive exhibition staged outside Japan of the artist’s work, and his first ever exhibition in New York. Curated by Cecilia Alemani, “Tetsuya Ishida: My Anxious Self” opens September 12 at Gagosian, 555 West 24th Street.
Tetsuya Ishida was born in Yaizu, Japan, in 1973, and died in Sagamihara, Japan, in 2005. Solo exhibitions include Sumpu Museum, Shizuoka, Japan (2006); Canvas of Sadness, Shizuoka Prefectural Museum of Art, Japan (2007); CB Collection, Tokyo (2007); Self-Portraits of Ourselves, Nerima Art Museum, Tokyo (2008); and Notes, Evidence of Dreams, Ashikaga Museum of Art (2013, traveled in Japan to Hiratsuka Museum of Art; Tonami Art Museum, Toyama; and Shizuoka Prefectural Museum of Art through 2014); Saving the World with a Brushstroke, Asian Art Museum, San Francisco (2014–15); and Self-Portrait of Other, Museo Nacional Centro de Arte Reina Sofía, Madrid (2019, traveled to Wrightwood 659, Chicago). Ishida’s work was also included in the 4th Yokohama Triennale (2011), 10th Gwangju Biennale (2014), and 56th Biennale di Venezia (2015).
Brussels Gallery Weekend returns for its 16th edition
August 22, 2023
Brussels Gallery Weekend is coming back from September 7th to 10th, taking place in the heart of Ixelles, in the historic building of D'Ieteren. The 16th edition promises to be filled with innovation and fresh energy. The goal is to offer a captivating program, with a focus on the quality of content and the characteristic diversity of the Brussels contemporary art scene, in collaboration with the 45 participating galleries and the 14 institutions of the OFF Program. Furthermore, exhibition Generation Brussels returns for its 6th edition under the expert curatorship of Sam Steverlynck.
Brussels Gallery Weekend, a longstanding ambassador of the Brussels art scene for over 15 years, continues to showcase the dynamic spirit, exceptional craftsmanship, and extraordinary talents that transcend our borders every year. The highly anticipated 2023 edition will feature a diverse selection of 45 participating galleries, complemented by the presence of 14 institutions highlighted in the Off Program.
Alice Gallery, Almine Rech, Ballon Rouge, Baronian, Belgian Gallery Brussels, Bernier / Eliades, C L E A R I N G, Claes Gallery, Damien & The Love Guru, dépendance, EDJI Gallery, ESTHER VERHAEGHE-Art concepts, Frédérick Mouraux Gallery, Galeria Jaqueline Martins, Galerie Christophe Gaillard, Galerie DYS, Galerie Greta Meert, Galerie La Forest Divonne, Galerie La Patinoire Royale Bach, Galerie Nathalie Obadia, Gallery Nosco, Gladstone Gallery, Harlan Levey Projects, Hopstreet Gallery, Irène Laub Gallery, Jan Mot, KIN, LMNO, Mai 36 Galerie, MARUANI MERCIER, Meessen De Clercq, Mendes Wood DM, Michel Rein, Montoro12 Gallery, Mulier Mulier Gallery, NINO MIER, Nosbaum Reding, QG Gallery, Pierre Marie Giraud, rodolphe janssen, Sorry We're Closed, Stems Gallery, TEMPLON, Waldburger Wouters, Xavier Hufkens
argos, Art et marges Museum, Contemporary Art Collection of the National Bank of Belgium, Contretype, Fondation CAB, Garage Cosmos, KANAL-Centre Pompidou, La Cambre, La Loge, MIMA, Royal Museums of Art and History, Société, TheMerode, WIELS
Angela Flowers 1932 – 2023
August 14, 2023
Flowers Gallery has announced the death of gallery founder Angela Flowers at the age of 90.
Angela was a staunch supporter of contemporary art and artists, who pioneered an original and distinctive path through the British art scene for more than five decades.
The first Flowers gallery opened in 1970, on Lisle Street in London, above the Artists International Association (AIA), a cooperative of artists who offered the space rent-free in exchange for commission. Derek Hirst, Jeff Nuttall, Penelope Slinger, Ian Breakwell, Jeanne Masoero and Nancy Fouts were among the first artists shown in the space, and she also presented the first solo exhibition by Tom Phillips in the initial year. She also included Postcard Show, for which Angela commissioned original works of art to be made into postcards by artists including Joseph Beuys, David Hockney, Richard Hamilton and Peter Blake.
The following year the gallery moved to Portland Mews in Soho, and then to Tottenham Mews in 1978, where it remained for ten years. In 1988 the gallery added an east end venue, Flowers East in Hackney, which was at the time the largest commercial gallery space in London.
By 1989 her son Matthew Flowers, who had worked at the gallery since 1975, became Managing Director.
Brice Marden dies, aged 84
August 11, 2023
The death has been announced of the artist Brice Marden.
“Brice Marden was one of our greatest American artists, whose achievement in continuing and extending the tradition of painting has long been recognized and celebrated the world over. He was a painter of rare insight into the pleasure and poetry of his medium; always dedicated to gesture, chance, substance—the elemental matters of art. Brice and Helen have been friends of mine for many years, and it has been an honor to share his masterful work with an international audience. This loss is profound, and he will be missed.” - Larry Gagosian
Marden died on Wednesday at home in Tivoli, New York and his death was announced by his daughter Mirabelle Marden - “He was lucky to live a long life doing what he loved” she said, adding that her father had continued painting until Saturday.