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Chase Hall now represented by Galerie Eva Presenhuber
February 8, 2022
A self-trained artist, Hall works in painting, sculpture, photography, video, and audio to scrutinize America’s past and present while interrogating the realities of being biracial. As a mixed-race male raised across America, Hall examines humanity through his individual hybridity and his usage of coffee as a pigment and cotton canvas as a conceptual white paint. Each canvas is imbued with the legacy of Hall’s personal history and a non-monolithic Black experience. Hall stains the whiteness of the cotton, a material intrinsic to American history and landscape, with the ground and brewed beans of plants from Africa while considering coffee’s relationship to addiction, commerce, labor, and exhaustion.
Chase Hall was born in 1993 in Saint Paul, MN, US, and lives and works in New York.
Hall’s first solo exhibition in Europe and with the gallery will open at Galerie Eva Presenhuber, Waldmannstrasse, Zurich, on March 4, 2022.
Angel Otero joins Hauser & Wirth
February 4, 2022
Hauser & Wirth has announced global representation of the New York and Puerto Rico-based artist Angel Otero. The gallery’s first exhibition with the artist will be presented in New York within a year.
Born in Santurce, Puerto Rico in 1981, Otero has achieved critical acclaim for his powerful, process-based work that transcends the boundaries of traditional painting. Merging painting with collage and sculpture, his work situates itself between abstraction and figuration in order to engage themes of history, memory, and identity. The uniquely palpable visual impact of Otero’s work is achieved through a technique that echoes the ways in which the passage of time reconfigures our perception of the world and our place within it: the artist lays down representational imagery in oil paint on glass panels, waits for the paint to partially dry, and then scrapes up its solidifying surface layers. The paint ‘skins’ Otero creates in this process are reconstructed onto canvas, yielding complex and vibrant results that showcase his material in new and radical ways, celebrating the pure materiality of paint as well as the depth of experience rewarded by looking.
Otero’s work has been exhibited in solo museum exhibitions internationally, including Bronx Museum of the Arts, New York NY (2017); Contemporary Arts Museum Houston TX (2016); Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain (2015); SCAD Museum of Art, Savannah GA (2013); and Contemporary Art Museum, Raleigh NC (2012). He is the recipient of the Leonore Annenberg Fellowship in the Visual Arts.
Pace Gallery partners with Kayne Griffin to open new West Coast flagship in Los Angeles
Marc Glimcher, CEO and President of Pace Gallery, together with Bill Griffin and Maggie Kayne, Founders and Partners of Kayne Griffin, have announced the union of their galleries to create a Los Angeles home for Pace, under the stewardship of Griffin and Kayne.
Pace and Kayne Griffin, which has operated in Southern California for over a decade, have a strong history of collaboration. Over the past five years, the two galleries have developed an unprecedented working partnership, after James Turrell first brought them together, sensing a natural synergy. Pace and Kayne Griffin are both champions of key artists from the Southern California Light and Space movement and its continued legacy in the work of emerging contemporary artists; they already share representation of artists including Mary Corse, Robert Irwin, and James Turrell. In 2020, the galleries mounted a joint presentation of Turrell’s work at Frieze Los Angeles and have collaborated on several other projects, including the group show “At the Edge of Things,” with Jo Baer, Mary Corse, and Agnes Martin in 2019, and most recently a Louise Nevelson exhibition at Kayne Griffin.
In April 2022, Kayne Griffin’s James Turrell-designed space on S. La Brea Avenue will become Pace’s new west coast flagship. The 15,000-square-foot Los Angeles gallery space, which occupies the site of a 1940s Californian auto showroom, features a permanent Skyspace by Turrell unique to the city. The indoor-outdoor design and expansive courtyard will become a site for Pace Live public programming, as well as outdoor sculpture exhibitions and other events, cementing the space as a fixture in the local art scene.
Petzel appoints Francesco Longenecker as Director
January 31, 2022
Longenecker, who holds an MFA in painting from the New York Academy of Art, joins Petzel from Nara Roesler gallery. Previously, he has held positions at Pace, Cheim & Read and Pace/MacGill galleries. At Petzel, Longenecker will spearhead secondary market sales.
“I am thrilled to be joining such a prestigious program and look forward to working with the talented roster of artists and my Petzel colleagues,” says Longenecker. “We are delighted to welcome Francesco to the gallery,” says Andrea Teschke, Partner at Petzel. “His experience and professionalism will play a vital role in our primary sales and secondary market endeavors. As we prepare to relocate to a new location at 520–530 West 25th Street in Chelsea this summer, we are excited that he has joined our team.”
Lari Pittman inaugurates Lehmann Maupin’s expanded space in Seoul
January 27, 2022
An ambitious new body of work by acclaimed Los Angeles painter Lari Pittman will inaugurate the gallery’s expanded space in Seoul’s Hannam neighborhood in March.
Marking the artist’s first exhibition in South Korea, Opaque, Translucent and Luminous offers an homage to big cities, reaffirming their vitality, dynamism, and importance in the face of the destabilizing effects of the global pandemic on urban life.
Spanning two floors of the newly renovated 2,600 square-foot gallery, the exhibition will spotlight Pittman’s unique visual aesthetic, characterized by his skillful layering of signs and symbols, varied techniques, and intricate patterns. Selected works from Pittman’s newest series will also be on view as part of the gallery’s upcoming Frieze Los Angeles and Art Basel Hong Kong presentations.
Petzel artist Rodney McMillian included in the Whitney Biennial 2022
Congratulations to Petzel artist Rodney McMillian, one of the 63 artists participating in the 2022 Whitney Biennial, which will be titled “Quiet as It’s Kept.” Established to chart developments in art of the United States, it is the longest-running exhibition of its kind. Now in its eightieth edition, the Whitney Biennial 2022 will be on view April 6 through September 5, 2022 at the Whitney Museum of American Art, New York.
Whitney Biennial 2022: Quiet as It's Kept is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant.
Rodney McMillian (b. 1969, Columbia, South Carolina) lives and works in Los Angeles, CA. McMillian explores the complex and fraught connections between history and contemporary culture, not only as they are expressed in American politics, but also as they are manifest in American modernist art traditions. Aspects of his work negotiates between the body of a political nature and the politic of a bodily nature.
Art Basel selected to stage new contemporary and Modern art fair in the iconic Grand Palais of Paris
January 26, 2022
The Réunion des musées nationaux – Grand Palais has announced this morning that Art Basel has been awarded a seven-year contract to stage a new Modern and contemporary art fair in Paris’s iconic Grand Palais, following a public competition. The new fair will initially take place at the Grand Palais’s temporary venue the Grand Palais Éphémère, located in the historic heart of Paris in the Champ-de-Mars, until the restoration of the Grand Palais is completed in 2024.
Launching in October 2022, the new project will bring together artists, collectors, curators and gallery owners from all over the world, and will unite Parisian cultural actors far beyond the Grand Palais. Art Basel will bring its 50-year history of convening the most prestigious and up and coming galleries to create the world’s leading art fairs in Europe, the Americas and Asia. As in Basel, Miami Beach and Hong Kong, Art Basel will work closely with the city’s museums, private institutions, galleries and other cultural spaces, to create an active cultural program from morning to night, all week, and throughout the city.
Veronica Ryan OBE in the Whitney Biennial 2022
Alison Jacques congratulates Veronica Ryan OBE on her forthcoming participation in the Whitney Biennial 2022, the 80th edition of this landmark exhibition. Titled ‘Quiet as It’s Kept’, the exhibition will include the work of 63 artists and will be on view from 6 April–5 September 2022 at the Whitney Museum of American Art, New York.
Ryan’s inclusion follows ‘Along a Spectrum’, a major exhibition at Spike Island, Bristol (2021), and the recent unveiling of Custard Apple (Annonaceae), Breadfruit (Moraceae) and Soursop (Annonaceae) (2021) in Hackney, London, the UK’s first permanent public sculptures to celebrate and honour the Windrush Generations. In September 2022, Ryan will present her debut exhibition at Alison Jacques, London.
The Whitney Biennial is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant.
Veronica Ryan at Spike Island, Bristol, 2021; photo: Lisa Whiting
Serpentine start 2022 with a multi-layered global project with the internationally acclaimed artist KAWS
January 18, 2022
Launching on 18 January 2022, Serpentine will start the New Year with a multi-layered global project with the internationally acclaimed artist KAWS, developed in collaboration with Acute Art and the globally popular online video game Fortnite. This follows Serpentine’s series of unique collaborations bringing artists together with the latest technology which it launched with BTS in 2020.
In his first major solo exhibition in London, NEW FICTION, KAWS (Brian Donnelly b.1974) will present new and recent works in physical and augmented reality at Serpentine North from 18 January - 27 February 2022. The exhibition is presented in collaboration with Acute Art and curated by Acute’s Artistic Director, Daniel Birnbaum. A virtual recreation of the show will launch simultaneously (at 3pm GMT on 18 January) in Fortnite, allowing millions of players from all over the world to experience the exhibition from anywhere. All built by the Fortnite Creative community, players will be able to explore the Serpentine’s grounds and experience KAWS’ artworks and his iconic sculptures in a completely new way.
Brooklyn-based KAWS is considered one of the most innovative artists of his generation. Within the Pop Art tradition, he has created a prolific body of influential work, which both engages young people with contemporary art and straddles the worlds of art and design to include street art, graphic and product design, paintings, murals and large-scale sculptures. KAWS regularly exhibits in museums and galleries internationally and his work continues to appeal to diverse audiences within and beyond the artworld as well as the commercial sector. He has collaborated with creative industry leaders including Nike, Comme des Garçons, Dior, and Uniqlo.
Artist Spotlight: Liz Larner
January 12, 2022
In this exhibition, you bring together ceramic asteroids which float in outer space, with plastic floating on the surface of the earth. Can you discuss why you were drawn to each of these and the interplay between ceramic and plastic?
In 2019, there was an incident where an asteroid passed by us quickly and didn't hit us. But we didn't realize it was about to hit us, or could have hit us, until after it had already passed. This seemed evidential of a contingency of the limits of our technology and blind luck. A blindness that kept us feeling safe and gave relief after the fact of something that did not happen. It caused a sense of simultaneous hope and fear in me, a feeling that I don’t have the words to describe.
During this time, I was thinking about plastic, and how asteroids are this thing that we cannot control. And our plastic use is theoretically something that we could control. In thinking about these two different kinds of potential catastrophes, it made me want to bring them together to create an impossible landscape, a seascape or skyscape at once. The exhibition brings together two places that can never actually be together.
kamel mennour announces global representation of The Estate of Maryan
January 6, 2022
Born in 1927 in Nowy Sacz (Poland), Maryan's unclassifiable work unfolds at the crossroads of expressionism and figuration. With hope, derision, sarcasm and bite, the artist, whose sensitivity is rooted in traumatic personal experience, became, throughout his career, a singular witness of his time.
“I don't force anyone to like my painting, but I don't want it to be labeled anything, for example: denunciatory painting, unbridled aggressiveness... [...] As far as my painting is concerned, I officially declare that I would rather have it called ‘truth‑painting’.” (MARYAN, excerpt from the catalogue Ariel42, from Ariel gallery, Paris, February 1977)
Maryan's first solo exhibition at kamel mennour is planned for spring 2022, offering an opportunity for the public to discover an essential body of work that, in all its fascinating and enigmatic dimensions, continues to speak with great beauty and relevance to the collective psyche today.
Maryan S. Maryan died in 1977 in New York. His works are part of prestigious collections around the world, including the Centre Pompidou (Paris), the Museum of Modern Art in Paris, the Museum of Jewish Art and History (mahJ) (Paris), the MuMa (Le Havre, France), the Museum of Tourcoing (France), the LAAC - Lieu d’Art et d’Action Contemporaine (Dunkerque, France), the Centre d’Art Contemporain de l’abbaye d’Auberive (France), the Museum of Grenoble (France), the Collections de l’État Français, the mumok (Vienna, Austria), the Staatliches Museum (Berlin, Germany), the Staatliches Museum Schwerin (Germany), the Municipal Museum of The Hague (Netherlands), the Kunsten - Museum of Modern Art Aalborg (Denmark), the Tel Aviv Museum of Art (Israel), the MoMA (New York), the Guggenheim Museum (New York) the Carnegie Museum of Art (Pittsburgh, USA), the Art Institute of Chicago (USA), the Spertus Museum (Chicago, USA), the David and Alfred Smart Museum of Art (Chicago, USA), the Smithsonian Institution (Washington, USA), the Museum of Contemporary Art North Miami (MOCA).
Iwona Blazwick OBE to step down as Director of Whitechapel Gallery
January 5, 2022
Iwona Blazwick joined Whitechapel Gallery in 2001 with a vision to grow its world-class exhibition, education, commissioning and publishing programmes. Under her 20-year leadership, the Gallery’s reputation as ‘the artist’s gallery for everyone’ has grown exponentially; in 2009 she doubled the Gallery’s physical footprint, transforming the adjacent former Whitechapel Library into new galleries and creative studio spaces. She notably strengthened Whitechapel Gallery’s commitment to showing pioneering women artists; the programme has featured major solo exhibitions of Nan Goldin (2002), Cristina Iglesias (2003), Isa Genzken (2009), Elizabeth Peyton (2009), Sophie Calle (2010), Alice Neel (2010), Gillian Wearing (2012), Zarina Bhimji (2012), Sarah Lucas (2013), Hannah Höch (2014), Emily Jacir (2015), Mary Heilmann (2016), Anna Maria Maiolino (2019) and Eileen Agar (2021). Under her tenure the Gallery continued its famous history of ‘firsts’, with immersive exhibitions by Mark Wallinger (2002), Franz West (2003), Paul McCarthy (2005), Albert Oehlen (2006), William Kentridge (2016), Mark Dion (2018), Elmgreen & Dragset (2019) and Kai Althoff (2020).
Alongside significant surveys and solo exhibitions, Blazwick commissioned or curated ambitious historical surveys, including A Short History of Performance (2002-2005), Back to Black: Art, Cinema, and the Racial Imaginary (2005), Faces in the Crowd (2005), Adventures of the Black Square (2015), Electronic Superhighway (2016), Eduardo Paolozzi (2017) and A Century of the Artist’s Studio (2022).
Blazwick will be stepping down in April 2022. She will continue to work as an independent curator both with the Gallery into 2023, and on a wide range of international projects.
Wang Bing awarded CHANEL Next Prize
December 15, 2021
Galerie Chantal Crousel wishes to congratulate Wang Bing as the winner of the CHANEL Next Prize.
With rare beauty and uncompromising gravity, Wang Bing depicts in his films those on the margins of contemporary Chinese society.
CHANEL’s Next Prize has been developed to provide an emerging generation of creative risk-takers with the resources to tackle ambitious new projects - each of the ten winners will receive one hundred thousand euros in funding as well as access to mentorship and networking opportunities facilitated by Chanel.
photo © CHANEL
Outset awards major grant to performance art organisation Performa
December 8, 2021
Outset Contemporary Art Fund, an international arts charity, has announced the recipients of six grants being awarded by the Outset Partners programme. In 2021, a total of £275,000 is being awarded across a range of museums, galleries, and public institutions – both within the UK and internationally.
The Transformative Grant, the largest grant of its kind, affords the opportunity for a significant project to radically rethink the art institution of the future. The 2021 recipient, Performa (USA), will launch a new digital platform, ‘Living Archives’, that will transform its global reach and publicly document the organisation’s pioneering work since 2005.
In addition, Artists in Residence (UK), Bold Tendencies (UK), Centre Pompidou (France), Green Papaya Art Projects (Philippines) and International Curators Forum (International) have been awarded Impact Grants, totalling £125,000.
Established in 2018, Outset Partners is the largest international private grant programme funded by a collective of individuals who work together to meet the evolving needs of the global cultural sector. Awarding impactful grants through a consensus-driven process, the partnership has invested over £1m in the creative ecosystem to date.
Photo: Kia La Beija, ‘The Black Act’, 2019. A Performa Commission for Performa 19. Photo Paula Court, courtesy of Performa
In Memory of Lawrence Weiner (1942-2021)
December 3, 2021
An influential artist and a pioneer of his craft, Lawrence Weiner was the producer of numerous text-based works that manifested themselves as public works of art, slogans on walls, t-shirts and manhole covers, indeed they could transform any surface imaginable. Better described as thought sculptures, Weiner defined his sculptural medium simply as ‘language + the material referred to,’ in the sense that language is a material for construction. Accordingly, his first book Statements (1968) contains 24 typewritten descriptions of works, where only a few had actually been made, suggesting that a work’s existence requires a readership rather than a physical presence.
Before arriving at his immediately recognisable style of carefully composed word-sculpture and his distinctive typeface, Weiner experimented with the media and materials of late minimalism, producing seminal works such as THE REMOVAL FROM THE LATHING OR SUPPORT WALL OR WALL BOARD FROM A WALL (1968) which he made for Lisson Gallery's 1970 group exhibition, 'The Wall Show', curated by Nicholas Logsdail, as well as for 'When Attitude Become Forms', curated by Harald Szeeman.
Self-taught as an artist, his urgency to make art broadly available and engaging stems, he says, from his childhood in the South Bronx: “I didn’t have the advantage of a middle-class perspective. Art was something else; art was the notations on the wall, or the messages left by other people. I grew up in a city where I had read the walls; I still read the walls. I love to put work of mine out on the walls and let people read it. Some will remember it and then somebody else comes along and puts something else over it. It becomes archaeology rather than history.” (2013)
In a 2020 interview, conducted with Kim Gordon for Interview Magazine, Weiner made profound statements on the definition, usefulness and generative nature of art: "A lot of people were able to copy what I did, and that’s good. That’s what art is for. Art is for people to use... Art is people who saw the configuration and were not satisfied with it and went to change the configuration of the way we look at objects."
Photo by Philip-Daniel Ducasse.
Gagosian announces the appointment of Christina You as China Representative
December 2, 2021
You joins Gagosian following a distinguished six-year tenure at UCCA Center for Contemporary Art in Beijing, where she was most recently the Director of Development and Creative Strategy. Her appointment is effective immediately.
Nick Simunovic, who has led Gagosian’s activities in Asia since 2007, commented, “Christina brings deep relationships and regional expertise that will help us extend our reach in China in a strategic and thoughtful way. Her many years at one of the preeminent museums in Asia, combined with her experience in the West, provide her with unique perspectives that complement our existing team across China and the region as a whole.”
Prior to joining Gagosian, You was the Director of Development and Creative Strategy of UCCA Center for Contemporary Art, the groundbreaking museum with locations in Beijing, Beidaihe, and Shanghai. At UCCA, You was responsible for the museum’s extensive fundraising and outreach efforts, including individual giving and corporate sponsorship. She was also the key organizer of exhibition-related events, cultivation programs, and special projects globally.
You commented, “I am thrilled to be joining Gagosian, a world-renowned gallery and authority in the industry. We are experiencing a remarkable moment in China, as a new generation focused on art and collecting comes of age. I am excited to see these two forces combine and I am looking forward to bringing Gagosian’s expertise and programming to collectors across China.”
Antonia Showering Joins Timothy Taylor
November 29, 2021
Showering is known for her enigmatic, richly coloured portraits of figures in amorphous domestic settings or landscapes. Rendered in deep shades of amber, green and marigold yellow, Showering’s figures seem to slide in and out of their surroundings. Areas of abstraction seem on the verge of shifting into other forms, capturing the elusive and changing realities of subjectivity, memory, imagination and desire.
Personal symbols and totems within her paintings serve as clues to specific moments, feelings and people within Showering’s own life, while evocations of childhood memories and biomorphic imagery link her to artists such as Arshile Gorky and Paula Rego as well as the tradition of German Expressionism.
“Antonia’s oil portraits isolate the interior world by giving it physical form, trapping emotions in swirling swathes of abstract paint. In her exploration of the psychological landscape through the border between abstraction and figuration, Showering is working in an established tradition of artists dating back to the post-war period, including Jean Dubuffet and Philip Guston, with whom the gallery has a long history and tradition of sales and exhibitions” - Timothy Taylor
Showering’s first solo exhibition with the gallery will take place at its London space in January 2022.
Antonia Showering. Courtesy of Jake Millers, Avant Arte, 2021
Stephen Friedman Gallery announce representation of Izumi Kato
November 27, 2021
Kato lives and works between Tokyo and Hong Kong. He was born in 1969 in the Shimane prefecture of Japan, a sparsely populated province bordered by mountain and sea which houses Izumo Ōyashiro, one of the oldest and most significant shrines in Shintoism.
Describing painting as the root of his practice, with bold clashing colours the artist depicts children with unusual faces, embryos with fully developed limbs and figures with bulbous heads attached to slim, graceful bodies. Working intuitively, Kato applies pigment to surfaces directly with his hands. This ardent exploration led the artist also to paint textiles, wood and stone.
Gathering material from his surroundings, Kato combines painting with stitching, knotting and carving – skills that as an avid fisherman he uses regularly – to create sculptures and installations.
The creatures in Kato’s work tower over viewers or hide discreetly in corners of rooms. Speaking of the universality of the beings that he animates through his practice, Kato says, “They are no one and nowhere”; rather the forms are expressions of the energy and very essence of consciousness.
Stephen Friedman Gallery will host a solo exhibition by the artist in November 2022.
Ragna Bley joins Pilar Corrias
November 26, 2021
Pilar Corrias announces the worldwide representation of Ragna Bley.
Bley (b. 1986, Uppsala, Sweden) is an artist based in Oslo, working with painting, sculpture, text and performance. She explores the oscillation between the familiar and alien, looking to narratives within biology, literature and science-fiction.
Bley’s colours vacillate over the surface and seep into the canvas, intermixing like currents and creating infinite possibilities of grouping and regrouping form. Through this process, Bley traverses the relationship between abstraction and representation. The artist creates layers and transparencies that hint at familiar shapes and organic matter, though the visual associations that arise from Bley’s paintings are completely individual - and may at times resemble forms that are imperceptible to humans. Certain areas of the artist’s canvases are painted, while some are left bare, alluding to the instability of images, and more broadly, to the slippages between our frameworks of understanding.
Photo: Lars Petter Pettersen
Hauser & Wirth announces representation of Camille Henrot
November 19, 2021
Hauser & Wirth has announced that the gallery now represents artist Camille Henrot, in collaboration with kamel mennour and König Galerie.
Henrot (born 1978, Paris, France) is recognized as one of the most influential voices in contemporary art. Over the past twenty years, she has developed a critically acclaimed practice, encompassing drawing, painting, sculpture, installation, and film, which is informed by a playful research process. Inspired by literature, second-hand marketplaces, poetry, cartoons, social media, self-help, and the banality of everyday life, Henrot’s work captures the complexity of living as both private individuals and global citizens in an increasingly connected and over-stimulated world.
Weaving personal stories as well as political issues into her work, the Henrot explores the ambivalence of interpersonal relations in the face of global issues. Her latest major body of work, System of Attachment, looks at our human developmental needs for attachment and separation and the origin of language. A recent exhibition ‘Mother Tongue’ pointed to the changeable, hopeful, rebellious, melancholic, or resigned position that we face amidst the overwhelming expectations of the present moment. Caught between rational systems and intuitive knowledge, Henrot’s works delve into our increasing disposition toward dependency – on technology, information, or belief systems – to unparalleled effects.
Marc Payot, President, Hauser & Wirth, commented, ‘We are honored and delighted to announce our representation of Camille Henrot, an artist whose work is uncanny, powerful, and often so beautiful in the way it reveals the complexity of our relationship with the systems of knowledge we human beings have created and now grapple with. Camille is a pioneer. She is fearless in her effort to get to the bottom of what makes us all tick in the 21st Century and in her ability to locate connections between technology and our deepest humanity, an imperative that places her alongside such greats as the late Nam June Paik, Pierre Huyghe, and Pipilotti Rist, all of whom have been part of our history at Hauser & Wirth. We look forward to exploring the world with her, and sharing Camille’s findings through her
wonderful art with ever-wider and more diverse audiences.’
photo: Maria Fonti
