Category: installazione

03
Feb

James Turrell – Passages of Light

My work is more about your seeing than it is about my seeing, although it is a product of my seeing. I’m also interested in the sense of presence of space; that is space where you feel a presence, almost an entity—that physical feeling and power that space can give. James Turrell

From November 22, 2019 to March 29, 2020,Museo Jumex presents a survey of the internationally acclaimed arti James Turrell (USA, b.1943). The exhibition features new works from Turrell’s most important series, spanning two floors of Museo Jumex’s galleries. Each installation is a carefully controlled environment in which light is formed and experienced.

Using light as his medium, saturated elds of color take on a physical presence. Through a scientific understanding of light’s affects and a singular artistic vision, Turrell creates wordless meditations on time and space that are as relevant today as they have been throughout human history. Extending beyond the physical spaces of a gallery or museum, the artist has created monumental structures that makes the skies and heavenly bodies seem tangible to the viewer.

Each body of work in the exhibition has been juxtaposed by a quotation from diverse sources that offer a poetic understanding of Turrell’s influences.

The first floor gallery presents Amesha Spentas one of James Turrell’s Ganzfeld installations that subsume the visitor in a field of color. As light modulates through a sequence of changing colors and effects, space transforms and dissolves around the viewer, the installation is designed to eliminate the viewer’s depth perception and provoke different ways of seeing.

On the second floor the exhibition continues with a selection of installations, prints, photographs, models and holograms that survey Turrell’s broad-ranging practice.

The exhibition is introduced by the First Light prints that capture the various forms made from light from Turrell’s Projection Pieces. A projection piece installation follows, marking one of the artists’ earliest experiments with using pure light as a medium to transform space. The Double Shallow Space (Atman) and Wedgework (Spenta Mainyu)installations date from the same period.

The exhibition continues with a selection of photographs and models that document Turrell’s Roden Crater project. Aerial views of the crater portray Turrell’s view of the crater from his percpective as an experienced pilot, an important influence on his understanding of light. The models allow visitors to envisage the point of view of looking out from Roden Crater’s chambers towards the sky. Further works include Turrell’s use of recent technology, including holograms, a natural medium for the artist to explore as light seems to take on a presence in space. The Curved Elliptical Glass(Gathas) installation is among Turrell’s most recent body of works, and its slow transformation of color has been likened by the artist to musical scores.

James Turrell: Passages of Light is organized by Kit Hammonds, Chief Curator, and Adriana Kuri Alamillo, Curatorial Assistant, Museo Jumex.

In order to preserve the intimate, meditative nature of James Turrell’s work, museum capacity will be limited during this exhibition. Please be aware that there may be delays for entry. Photography and video are not permitted within the exhibition.

JAMES TURRELL
James Turrell, considered one of the most important artist of the Southern California Light and Space movement, was born in Los Angeles in 1943 and attended Pomona College, where he studied art, art history, mathematics, perceptual psychology and astronomy. Turrell’s work has been widely acclaimed and exhibited since his first showing at the Pasadena Art Museum in 1967. His work has since been presented at major venues including the Stedelijk Museum, Amsterdam (1976); the Whitney Museum of American Art, New York (1980); the Israel Museum (1982); the Museum of Contemporary Art, Los Angeles (1984); MAK, Vienna (1998–99); the Mattress Factory, Pittsburgh (2002–03); and the Kunstmuseum Wolfsburg, Germany (2009– 10); the Solomon R. Guggenheim Museum, New York (2013) and was included in the54th Venice Biennale (2011).

MUSEO JUMEX
Museo Jumex is the Fundación Jumex Arte Contemporáneo’s main platform. It opened its doors to the public in November 2013 as an institution devoted to contemporary art, whose aim was not only to serve a broad and diverse public, but also to become a laboratory for experimentation and innovation in the arts. Through its exhibitions and public programs, Museo Jumex aspires to become a relevant in institution in the field of art by producing and coproducing original exhibitions and research, and familiarizing audiences with the concepts and contexts that inform current art practice. Through the use of critical and pedagogical tools, the museum’s educational programs further the institution’s commitment to build links between contemporary art and the public.

ADMISSION
General admission / $50 MXN
Mexican citizens / $30 MXN
Free for: Children under 15 / Students* / Senior citizens* /Teachers**with valid ID
Sundays free

HOURS
Tuesday–Sunday / 10 AM–8 PM Monday / Closed

PRESS CONTACTS
Ruth Ovseyevitzruth@fundacionjumex.org +52 (55) 5395 2618–107
Maricruz Garrido maricruz@fundacionjumex.org +52 (55) 5395 2615–103

JAMES TURRELL: PASSAGES OF LIGHT
GALLERIES 1 & 2
NOV.22.2019–MAR.29.2020

MUSEO JUMEX
MIGUEL DE CERVANTES SAAVEDRA 303,
COLONIA GRANADA, 11520, MEXICO CITY

T.(55) 5395 2615 (55) 5395 2618
FUNDACIONJUMEX.ORG
Image: Gathas from series Curved Elliptical Glass, 2019. Museo Jumex, 2019. © James Turrell. Foto- Florian Holzherr
30
Gen

Sun Yuan & Peng Yu – If I Died

The St. Regis Rome e Galleria Continua rinnovano la loro proficua collaborazione con l’inaugurazione della terza esposizione, nel segno della ricerca artistica e del dialogo tra l’arte contemporanea e gli ospiti dell’albergo romano.

The St. Regis Rome e Galleria Continua sono lieti di annunciare che sarà il duo di artisti cinesi Sun Yuan & Peng Yu ad esporre nell’hotel della Capitale, presentando una selezione di opere collocate nella maestosa lobby per permettere un’interazione tra queste e gli ospiti. L’albergo romano si propone così ancora una volta come sede ideale per l’esposizione delle migliori testimonianze artistiche del panorama dell’arte contemporanea internazionale, ospitando i due artisti che lo scorso anno sono stati invitati dal curatore Ralph Rugoff a prendere parte alla 58° Biennale d’Arte a Venezia.

The St. Regis Rome è entrato nella sua “nuova era” riaprendo le porte nel novembre del 2018 dopo un meticoloso restauro. Con il progetto condotto in collaborazione con Galleria Continua, The St Regis Rome si fa portavoce del sostegno al partimonio artistico e culturale e ha dato vita a un ricco programma che consente al pubblico italiano ed internazionale di avvicinarsi ai capolavori dei migliori esponenti della scena artistica contemporanea.

Galleria Continua nasce nel 1990 a San Gimignano per iniziativa di Mario Cristiani, Lorenzo Fiaschi e Maurizio Rigillo e trova sede negli spazi di un ex cinema, lontano dalle grandi città e dalle metropoli moderne, nel borgo senza tempo di San Gimignano, immerso nella storia.

Conosciuti internazionalmente per il carattere spesso destabilizzante e provocatorio delle loro opere e per l’uso di materiali singolari, Sun Yuan & Peng Yu hanno iniziato a collaborare in coppia dalla fine degli anni ’90. Il loro lavoro è incentrato sulla costante conferma del paradosso, sulla ricerca perpetua della dualità tra il bianco e il nero, tra realtà e menzogna, tra manifesto e celato. Le loro opere sono la dimostrazione di una costante analisi della vita attraverso l’esperienza a cui spesso anche il pubblico è invitato a partecipare nella volontà di trovare l’essenza e la sostanza che si nasconde dietro l’apparenza.

Le opere selezionate per l’esposizione al The St. Regis Rome sono tre: Teenager Teenager (2011); I didn’t notice what I am doing (2012) e If I Died (2013). Ad accogliere gli ospiti all’ingresso dell’hotel, I didn’t notice what I am doing, dove un rinoceronte e un triceratopo in vetroresina sono messi a confronto: lo spettatore stabilisce automaticamente connessioni e somiglianze tra i due animali che invece non hanno nessuna attinenza con la realtà né alcuna pertinenza scientifica. Al centro della lobby troneggia la scenografica If I Died, una figura umana – che ritrae la madre di Peng Yu – che, con gli occhi socchiusi e aria sognante, fluttua insieme a decine di animali a rappresentare come la donna immagini se stessa in una vita dopo la morte. Muovendosi verso gli spazi del LUMEN Cocktails & Cuisine, il visitatore è invitato a una riflessione sui limiti della comunicazione, sui conflitti generazionali ma anche sulla possibilità di cambiare e di proteggere ciò che abbiamo: in Teenager, Teenager si trovano, adagiati su divani in pelle, una serie di figure ben vestite con un ingombrante masso sulla testa che impedisce loro ogni tipo di visione.

Le opere, che rimarranno esposte fino al 26 aprile prossimo, sono un vero e proprio invito all’interazione con l’arte per gli ospiti, i viaggiatori globali e i cittadini romani: The St. Regis Rome si    riconferma così promotore di un rapporto di apertura verso il mondo dell’arte contemporanea, con la volontà di creare una sinergia tra amanti del bello, ispirare i visitatori e stimolare il dialogo con l’hotel.

Per maggiori informazioni su The St. Regis Rome potete visitare www.stregisrome.com Per maggiori informazioni su Galleria Continua potete visitare www.galleriacontinua.com

***

Sun Yuan & Peng Yu
Sun Yuan nasce nel 1972 a Pechino. Peng Yu nasce nel 1974 a Heilongjiang, in Cina. Si formano negli stessi anni presso la Central Academy of Fine Arts di Pechino, città dove tuttora vivono e lavorano. Numerose le istituzioni pubbliche e private dove hanno esposto: 5° Biennale di Lione (2000); Triennale di Yokohama (2001); 1° Triennale di Guangzhou (2002); Today Art Museum, Pechino (2003); MAC Museo d’arte contemporanea, Lione (2004); Biennale di Kwangju (2004); MuHKA: Museo d’arte contemporanea, Anversa (2004); Kunstmuseum di Berna (2005); 51° Biennale di Venezia (2005); Biennale Liverpool (2006); 2° Biennale di Mosca (2007); Kunsthaus di Graz (2007); Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana (2008, 2009, 2011); The Saatchi Gallery, Londra (2008); The National Art Center, Tokyo (2008); Ullens Center for Contemporary Art – UCCA, Pechino (2009); 2° Biennale di Mosca (2009); Triennale di Aichi, Nagoya (2010); Biennale di Sydney (2010); Para\Site Art Space, Hong Kong (2011); The Pace Gallery, Pechino (2011); dOCUMENTA(13), Kassel (2012); Contemporary Art Center di Taipei (2012); Hayward Gallery, Londra (2012); PinchukArtCentre, Kiev (2013); Uferhallen, Berlino (2014); Qatar Museums (QMA), Doha (2016); Guggenheim Museum, New York (2016); 11° Biennale di Shanghai (2016); DMA- Daejeon Museum of Art, Daejeon (2017); Guggenheim Museum, Bilbao (2018); May You Live in Interesting Times, 58° Edition of Venice Biennale, Venice, Italy (2019).

Informazioni su St. Regis Hotels & Resorts
Con un blend tra classica raffinatezza e lusso contemporaneo, il brand St.Regis parte di Marriott International, Inc. rimane fedele al proprio impegno nel far vivere esperienze eccezionali presso 40 hotel e resort situati nei luoghi più esclusivi al mondo. Creato da John Jacob Astor IV, con l’apertura del primo St.Regis Hotel a New York oltre un secolo fa, il Brand di Hotellerie St.Regis è noto nel mondo per la propria cifra stilistica legata al lusso esclusivo, alla raffinata eleganza e al servizio altamente personalizzato, grazie all’impeccabile St Regis Butler. Per maggiori informazioni e nuove aperture, visitare stregis.com o seguire Twitter, Instagram e Facebook.

Informazioni su Marriott International, Inc.
Marriott International, Inc. (NASDAQ: MAR) è una società con sede a Bethesda (Maryland, Stati Uniti d’America) e conta circa 7200 proprietà e 30 brands in oltre 132 paesi. Marriott è una società di gestione e franchising di alberghi, oltre ad essere licenziataria di resort in multiproprietà. La società offre un travel program Marriott Bonvoy TM che sostituisce Marriott Rewards®, The Ritz-Carlton Rewards®, and Starwood Preferred Guest®(SPG). Per ulteriori informazioni si prega di visitare il sito web all’indirizzo www.marriott.com e per le ultime notizie visitate www.marriottnewscenter.com e @MarriottIntl su

Informazioni su Galleria Continua
Galleria Continua ha aperto a San Gimignano nel 1990, su iniziativa di tre amici: Mario Cristiani, Lorenzo Fiaschi e Maurizio Rigillo. Trovando sede negli spazi di un ex cinema, Galleria Continua si è affermata e ha prosperato in una posizione del tutto inaspettata, lontano dalle grandi città e dai centri urbani ultramoderni, in un borgo – San Gimignano – ricco di storia, senza tempo. Questa scelta del luogo ha permesso di sviluppare nuove forme di dialogo e simbiosi tra geografie inaspettate: rurali e industriali, locali e globali, arte del passato e arte di oggi, artisti famosi e emergenti. Rimanendo fedele a uno spirito di evoluzione perpetua e impegnato a interessare il più vasto pubblico possibile nell’arte contemporanea, nel corso di quasi un trentennio Galleria Continua ha costruito una forte identità attraverso i suoi legami e le sue esperienze. Questa identità è fondata su due valori: generosità e altruismo, che si trovano al centro di tutti i rapporti con gli artisti, il pubblico in generale e il suo sviluppo nel suo complesso. Galleria Continua è stata la prima galleria straniera con un programma internazionale ad aprire in Cina nel 2004 e tre anni dopo, nel 2007, ha inaugurato un nuovo sito particolare per le creazioni di grandi dimensioni – Les Moulins – nella campagna parigina. Nel 2015 la galleria ha intrapreso nuovi percorsi, aprendo uno spazio a L’Avana, a Cuba, dedicato a progetti culturali volti a superare ogni frontiera. Galleria Continua è un desiderio di continuità tra i secoli, l’aspirazione ad avere una parte nella scrittura della storia del presente, una storia sensibile alle pratiche creative contemporanee e che custodisce il legame tra passato e futuro, e tra individui e geografie diverse e inusuali.

Contatti stampa:
Per The St. Regis Rome
Sara Migliore, Director of Communications Italy, Marriott International
Sara.Migliore@marriott.com
+39 335 775 6847

Per Galleria Continua
Silvia Pichini, Communications Director
press@galleriacontinua.com
+39 347 453 6136

ENGLISH below

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20
Gen

Blanc sur Blanc

Gagosian is pleased to present Blanc sur Blanc, a group exhibition.

A century ago, Kazimir Malevich’s Suprematist paintings heralded a revolutionary new interpretation of white, in which total abstraction suggests the utopian and the infinite. Since then, artists have deployed the achromatism of whiteness in an endless range of formal and symbolic ways, evoking states of emptiness and effacement, and summoning the raw potential of the blank page. Working in different contexts and with different ends in mind, the artists in Blanc sur Blanc find unexpected power and substance in what appears at first to be an absence or lack.

In 1946, Lucio Fontana and his students drafted the Manifesto Blanco, a vision for a fundamentally new method of artistic production that demanded that artists engage with the real-world physicality of their materials instead of treating the canvas as an illusory, self-contained space. It was out of this impulse that Fontana produced Concetto Spaziale, Attese(Spatial Concept, Waiting, 1966), one of his first slashed canvases. For Fontana, the painting’s allover coat of white formed a blank screen and acted as a vehicle for heightened drama, with any connotations of purity or tranquility disrupted by his forceful incisions.

During the last decade of his life, Andy Warhol broke with the visual and conceptual language of Pop art to produce idiosyncratic takes on abstract and gestural painting. Abstract Painting (1982) is one such work. Measuring forty inches square—the same dimensions that Warhol used previously for his notorious Society Portraits—the canvas is veiled in a white wash that permits only tantalizing glimpses of multicolored swirls beneath.

LEAN (2005) exemplifies Rachel Whiteread’s practice of concretizing negative space in order to memorialize it. Here she has cast the interiors of various cardboard boxes in plaster of paris as a somewhat wistful tribute to the banal, quotidian container. The resulting geometric accumulation of minimalist white slabs is propped up casually against the gallery wall, ghostlike yet palpable.

Also on view are three recent pieces by Paris-based artist Sheila Hicks, whose textile works incorporate yarn-based techniques from diverse cultures. While Hicks’s oeuvre is characterized by intense color, she also works with natural undyed fibers. Here she has fashioned spheres, woven rectangular canvases, and tumbling cascades of linen in neutral shades that exude a tactile yet meditative calm.

Blanc sur Blanc includes works by Jean (Hans) Arp, Agostino Bonalumi, Enrico Castellani, Edmund de Waal, Lucio Fontana, Theaster Gates, Diego Giacometti, Wade Guyton, Simon Hantaï, Sheila Hicks, Thomas Houseago, Y.Z. Kami, Imi Knoebel, Bertrand Lavier, Sol LeWitt, Sally Mann, John Mason, Olivier Mosset, Giuseppe Penone, Seth Price, Paolo Scheggi, Setsuko, Rudolf Stingel, Cy Twombly, Andy Warhol, Franz West, and Rachel Whiteread, among others.

BLANC SUR BLANC
January 16–March 7, 2020

Gagosian
4 rue de Ponthieu, Paris

Image: Lucio Fontana, Concetto spaziale, Attese, 1966

03
Gen

Tomás Saraceno – Aria

Le opere di Tomás Saraceno (Argentina, 1973) possono essere interpretate come una ricerca continua tra arte, architettura, biologia, astrofisica e ingegneria. Le sue sculture sospese, i suoi progetti collettivi e le sue installazioni interattive propongono ed esplorano nuove forme sostenibili di vivere ed esperire la realtà che ci circonda. La sua arte coinvolge il pubblico in esperienze immaginative e partecipative per ripensare collettivamente il modo in cui abitiamo il mondo, al di là di una prospettiva solo umana.

In quello che costituisce il suo più grande progetto mai realizzato in Italia, l’artista trasformerà Palazzo Strozzi in un nuovo spazio unitario mettendo insieme sue celebri opere e una nuova grande produzione site specific. Affiancata da un ricco programma di attività interdisciplinari, la mostra creerà una sorta di organismo vivente tra l’umano e il non umano, il visibile e l’invisibile, in cui tutti gli esseri entrano in connessione contribuendo alla creazione di una nuova realtà condivisa.

Firenze – Palazzo Strozzi
Tomás Saraceno – Aria
a cura di Arturo Galansino
Dal 22 Febbraio 2020 al 19 Luglio 2020

Tutti i giorni inclusi i festivi 10.00-20.00; Giovedì 10.00-23.00

Enti promotori: Fondazione Palazzo Strozzi e Studio Tomás Saraceno

info: +39 055 2645155

info@palazzostrozzi.org

Immagine: Tomás Saraceno, A Thermodynamic Imaginary, 2018. Photography © Studio Tomás Saraceno, 2018

20
Dic

Shiota Chiharu : The Soul Trembles

Shiota Chiharu: The Soul Trembles is the first grand-scale exhibition in Korea containing works from Shiota Chiharu’s early career in the 1990s through to the present, illustrating the artist’s growing international reputation. It is co-organized by the Busan Museum of Art and Mori Art Museum in Tokyo, Japan, curated by Mami Kataoka, Deputy Director and Chief Curator of Mori Art Museum where it elicited a great response from visitors after opening at Mori Art Museum in June, 2019. Following upon that exhibition at Mori Art Museum, her solo exhibition in Busan centers around four large-scale installation pieces, but features approximately 110 works that allow a comprehensive look at the artist’s activities over the past 25 years.

She is continuing to work with various genres, ranging from large-scale immersive installations incorporating thread and common objects, to sculptural works, photographs, drawings, video, and performance.Through works that visualize questions of the soul, immeasurable anxiety and fear, and her inexplicable existence, the artist expresses an inner state of confronting uncertainty and seeks the meaning of ‘existence’. Utilizing common objects such as thread, dresses, chairs, beds, shoes and bags, the artist creates vast spaces where the memories and relationships embedded in objects are explored. For the artist, the theme of “death” has been a longstanding concern, together with existence and the realm of the unconscious. Her works embody the fear of death she felt at family graves as a child, and the feelings of sorrow and trauma experienced on the border between life and death through two battles with cancer. By capturing these through her works, Shiota approaches death as the beginning of a new life.

Most of her works arise from her personal experiences. However, her works act as the same psychological mechanism for audiences as well to recall life, death and forgotten memories. Going into the 2000s, the artist produced large site-specific installations employing black thread and materials such as window frames, constructing a distinctive formative world of her own. In particular, she is known foremost for her series of immersive installations in which entire spaces are strung with red or black thread, unfolding like human blood vessels or spider webs. The subtitle “The Soul Trembles” references Shiota’s earnest wish to convey to others soul-trembling experiences derived from nameless emotions. In works that elicit ontological thought, she provokes soul-searching of an emotional and primal nature, and her artworks continually raise other questions. These may stem from this time of uncertainty we live in today, when it is increasingly difficult to predict where the many invisible connections in the lives of every individual are leading. Some things that are invisible to humans (the soul, fate, death), along with that uncertainty, may represent fears that are hard to face, and yet they are questions that are ultimately inevitable. Shiota Chiharu: The Soul Trembles is an exhibition that promises to offer an opportunity to reflect on the existence of the individual and to produce new relationships.

Shiota Chiharu (b. 1972) was born in Osaka, Japan, graduated from Kyoto Seika University, and moved to Germany in 1996. She subsequently studied at the University of Fine Arts Hamburg (HFBK), the Braunschweig University of Art (HBK), and the Berlin University of the Arts. Currently based in Berlin, she continues to work internationally. Since her first solo exhibition in 1993, the artist has shown her works in over 300 solo and group exhibitions. She has also participated in numerous international events, including the Sydney Biennale (2016), Busan Biennale (2014), Kiev First International Biennale (2012), and Yokohama Triennale (2001). In 2015, she represented Japan at the 56th Venice Biennale International Art Exhibition, where her work was praised by audiences and art officials.

Shiota Chiharu : The Soul Trembles
Busan Museum of ART
December 17, 2019 – April 19, 2020

Image: Me Somewhere Else,  2018. Blain Southern London. Photo by Peter Mallet

27
Nov

Kate Crawford |Trevor Paglen: Training Humans

“Training Humans”, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”.

“Training Humans Symposium” took place on Saturday 26 October at 2.30 pm, engaging with the exhibition. The event involved Prof. Stephanie Dick (University of Pennsylvania), Prof. Eden Medina (MIT), Prof. Jacob Gaboury (University of California, Berkeley), along with the project curators Kate Crawford and Trevor Paglen. Putting the ideas in the exhibit in conversation with their path-breaking work, the speakers examined questions such as: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?

“Training Humans” explores two fundamental issues in particular: how humans are represented, interpreted and codified through training datasets, and how technological systems harvest, label and use this material. As the classifications of humans by AI systems becomes more invasive and complex, their biases and politics become apparent. Within computer vision and AI systems, forms of measurement easily – but surreptitiously – turn into moral judgments.

Of import to Crawford and Paglen are classificatory taxonomies related to human affect and emotions. Based on the heavily criticized theories of psychologist Paul Ekman, who claimed that the breadth of the human feeling could be boiled down to six universal emotions, AI systems are now measuring people’s facial expressions to assess everything from mental health, whether someone should be hired, to whether a person is going to commit a crime. By looking at the images in this collection, and see how people’s personal photographs have been labeled, raises two essential questions: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?
As underlined by Crawford, “There is a stark power asymmetry at the heart of these tools. What we hope is that “Training Humans” gives us at least a moment to start to look back at these systems, and understand, in a more forensic way, how they see and categorize us.”

The exhibition will be accompanied by an illustrated publication in the Quaderni series, published by Fondazione Prada, including a conversation between Kate Crawford and Trevor Paglen on the complex topics addressed in their project.

English below

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20
Nov

Urs Fischer. Leo

An artwork is not about the now.
—Urs Fischer

Gagosian is pleased to present Leo, an exhibition of new work by Urs Fischer.
Across his protean oeuvre, Fischer frequently evokes art historical genres and motifs with wry self-awareness and humor. In Fischer’s work, the processes of material creation and destruction are often explored through the use of impermanent materials, as in Bread House (2004–05), a life-size cabin constructed from loaves of sourdough bread. Embracing transformation and decay while resounding with poetic contradictions, Fischer’s art excavates the potential of its materials and media, producing joyful disorientation and sinister bewilderment.

Fischer’s candle sculptures exemplify the relationship between permanence and impermanence. He began to make them in the early 2000s with a series of crudely rendered female nudes, standing upright or lounging in groups. A series of realistic figurative candle portraits followed, including a full-size replica of Giambologna’s sixteenth-century sculpture The Rape of the Sabine Women, and Marsupiale (Fabrizio) (2017), which amalgamates a portrait of the Florentine antique dealer Fabrizio Moretti with an oversize bust of Saint Leonard, the patron saint of prisoners. In 2018, Fischer created a candle replica of the art patron and collector Dasha Zhukova, which burned for weeks in the shopfront gallery at Gagosian Davies Street in London.

Fischer’s newest candle portrait, Leo (George & Irmelin) (2019), depicts Leonardo DiCaprio with his parents, George DiCaprio and Irmelin Indenbirken. Cast entirely in wax, the family is posed in mid-action: George gestures while conversing with Leo, as Irmelin holds Leo in her loving embrace.

As with all of Fischer’s candle sculptures, Leo (George & Irmelin) will melt slowly over the course of the exhibition, its original composition transmuted into a form dictated by the wayward laws of physics. Captivating in their materiality and haunting in their implications, Fischer’s candles serve as both portraits of—and meditations on—the passing of time. Elaborating on traditions of memento mori, they remind viewers of the transience of life, beauty, and even art itself.

Leo is presented in the ground floor gallery of Gagosian Paris. On view upstairs in the Project Space is Smalls, an exhibition of new works by Spencer Sweeney.

Urs Fischer. Leo
October 14–December 20, 2019

Gagosian
4 rue de Ponthieu
75008 Paris

+33 1 75 00 05 92
paris@gagosian.com

Hours: Tuesday–Saturday 11–7

Contact
collecting@gagosian.com
press@gagosian.com

Image: Urs Fischer Gentle Moon, 2019 Aluminum composite panel, aluminum honeycomb, two-component adhesive, primer, gesso, solvent-based screen printing ink 96 x 72 in 243.8 x 182.9 cm © Urs Fischer. Photo- Ulrich Ghezzi. Courtesy Gagosian
11
Nov

Dadamaino – Dare tempo allo spazio

La galleria A arte Invernizzi inaugura giovedì 28 novembre 2019 alle ore 18.30 una mostra personale di Dadamaino (Milano 1930 – 2004), che ripercorre i diversi momenti della ricerca dell’artista mettendo in luce l’unitarietà e la continuità che ne hanno segnato le scelte estetiche e personali nel corso del tempo.

“Nella feconda stagione di radicali azzeramenti linguistici – scrive Bruno Corà – a cavallo tra la fine degli anni Cinquanta e l’inizio del 1960, accanto alle proposte degli artefici di Azimuth Piero Manzoni ed Enrico Castellani, trova posto l’azione affiancatrice dell’opera di Dadamaino, integra figura tra quelle emerse dalla tensione spazialista avviata da Fontana. Ma, non diversamente da quegli artisti, Dadamaino raggiunge rapidamente un’autonomia linguistica autorevole e autonoma”.

All’ingresso della galleria si trova l’opera Oggetto ottico-dinamico (1962), in cui le diverse tessere in alluminio applicate su tavola dall’artista creano delle “scacchiere” variabili che guidano lo sguardo attraverso percezioni illusorie. Al primo piano della galleria sono esposti tre lavori appartenenti al ciclo de “La Ricerca del colore” (1967) in cui l’artista ha approfondito il rapporto che viene ad instaurarsi fra diverse coppie di colori combinate, in termini quantitativi e qualitativi, utilizzando i sette colori dello spettro (rosso, arancio, giallo, verde, celeste, blu e violetto) associati con bianco, nero e marrone. Nella stessa sala sono presenti anche due tavole del ciclo “Cromorilievi” (1974), in cui l’intenzionalità pittorica emerge, più che dalla variazione dei toni, dalla disposizione degli elementi geometrici utilizzati da Dadamaino per creare molteplici effetti dinamici e luministici che alludono alla profondità visiva. Nella seconda sala del piano superiore si trovano i lavori del ciclo “L’inconscio razionale” (1975-1977), in cui l’intreccio perpendicolare di linee orizzontali e verticali, che affiorano e si nascondono in modo discontinuo sulla superficie, si apre a componenti nuove, più legate a criteri irrazionali e inconsci. Negli ambienti successivi dello stesso piano sono esposte opere appartenenti alla serie dei “Volumi”, che l’artista ha realizzato tra il 1958 e il 1960, e che si differenziano in diverse tipologie, in relazione al numero dei fori realizzati sulla tela, fino a giungere ai “Volumi a moduli sfasati” (1960) in cui la superficie trasparente viene movimentata dalla fitta successione di fori regolari, praticati su fogli di materiale plastico sovrapposti. La riflessione sul segno che Dadamaino avvia con “L’inconscio razionale” viene maggiormente indagata al piano inferiore della galleria, dove nelle opere appartenenti al ciclo “Costellazioni” (1984-1987) – tra cui Ennetto, presentato alla XI Quadriennale di Roma del 1986 – si può notare una maggiore e progressiva apertura nel rapporto con lo spazio, in cui viene meno la dipendenza rispetto alla struttura lineare della scrittura. Il segno diviene via via una traccia, senza un preciso ordine di svolgimento, e si identifica come pura energia senza un inizio e una fine. Così, quasi fossero solchi nella superficie, i tratti che percorrono le opere della serie “Passo dopo passo” (1988-1990), “Il movimento delle cose” (1990-1996) e dei successivi “Sein und Zeit” (1997-2000), attraverso un minuto e costante proliferare di segni sulla superficie trasparente del poliestere, racchiudono il rapporto tra l’infinitamente piccolo del gesto preciso e chiuso nel momento definito dall’accadimento e l’infinitamente grande del tempo nel suo continuo scorrere.

In occasione della mostra verrà pubblicato un volume bilingue che ripercorrerà l’iter creativo di Dadamaino dalla fine degli anni Cinquanta al 2000, con la riproduzione delle opere in mostra, un saggio introduttivo di Bruno Corà, una poesia di Carlo Invernizzi e un aggiornato apparato bio-bibliografico.

DADAMAINO. DARE TEMPO ALLO SPAZIO
VOLUME CON SAGGIO DI: BRUNO CORÀ
PERIODO ESPOSITIVO: 28 NOVEMBRE 2019 – 5 FEBBRAIO 2020
ORARI: DA LUNEDÌ A VENERDÌ 10-13 15-19, SABATO SU APPUNTAMENTO

A ARTE INVERNIZZI
VIA DOMENICO SCARLATTI 12  20124  MILANO  ITALY
TEL. FAX +39 02 29402855  info@aarteinvernizzi.it

Immagine: Costellazioni, 1986

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Marcel Duchamp: The Barbara and Aaron Levine Collection

The Smithsonian’s Hirshhorn Museum and Sculpture Garden has announced a two-part exhibition on the life and legacy of Marcel Duchamp, commencing with “Marcel Duchamp: The Barbara and Aaron Levine Collection” on view Nov. 9–Oct. 12, 2020. This first part of the exhibition will feature the recent gift of over 50 major historical artworks, including more than 35 seminal works by Duchamp, promised to the museum by Washington, D.C., collectors Barbara and Aaron Levine. The second stage of the exhibition, on view April 18, 2020–Oct. 12, 2020, will examine Duchamp’s lasting impact through the lens of the Hirshhorn’s permanent collection, including significant works by a diverse roster of modern and contemporary artists. Both exhibitions are organized by Evelyn Hankins, the Hirshhorn’s senior curator, and accompanied by a 224-page publication.

“The Levines’ gift is transformative for the Hirshhorn, and because of their generosity we are able to present the works of one of the most significant artists of the 20th century, whose influence is still felt by artists working today,” said Hirshhorn Director Melissa Chiu. “Through this exhibition, museum visitors will observe firsthand the evolution of Duchamp’s creative output alongside examples of artworks by his peers and artists of subsequent generations.”

“Marcel Duchamp: The Barbara and Aaron Levine Collection” comprises an unparalleled selection of artworks, thoughtfully acquired over the course of two decades and offering a rarely seen view of the entire arc of Duchamp’s career. The exhibition will include a number of Duchamp’s most famous readymades, including “Hat Rack,” “Comb,” “Apolinère Enameled,” “With Hidden Noise,” “L.H.O.O.Q.” and “Why Not Sneeze?,” which together embody Duchamp’s then-radical idea that an artist’s ideas are more important than craft or aesthetics. Also prominently featured will be a number of Duchamp’s unique drawings and prints related to his magnum opus, “The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),” including “Pendu Femelle,” “Studies for the Bachelors in the Cemetery of Uniforms and Liveries, No. 2,” “Bride” and “Nine Malic Moulds.” Further insight into his unique working process is revealed by “The Bride Stripped Bare by Her Bachelors, Even (The Green Box)” and “In the Infinitive (The White Box),” which contain more than 150 facsimiles of Duchamp’s working notes for “The Large Glass.” His forward-thinking mindset can be seen in his later kinetic works, such as the “Rotoreliefs (Optical Disks)” and “Cover of S.M.S. (Esquivons les ecchymoses des esquimaux aux mots exquis),” which demonstrate the artist’s interest in creating works that call upon the brain to enhance, instead of merely process, the information received by the eye, deftly anticipating future experiments in film and Op art. The exhibition will also include portraits of Duchamp, as well as works by his contemporaries and those he influenced, including Man Ray, Tristan Tzara, Henri Cartier-Bresson, Diane Arbus and Irving Penn, among others. An educational resource room for visitors of all ages will be included at the end of the exhibition, featuring books about Duchamp and his practice and hands-on making activities inspired by the artist’s work. An interactive chess table will also be included at the end of the exhibition—a nod to one of the artist’s favorite pastimes.

The second exhibition focuses on the extraordinary legacy of Duchamp by examining works from the Hirshhorn’s permanent collection that touch upon a number of broad themes pivotal to the artist’s practice. The exhibition will begin by introducing artwork created by Duchamp’s friends and contemporaries, many of whom explored similar ideas, often challenging traditional artistic mediums to create work that questioned the conventional ideas of fine art. Other issues investigated in the work of artists like Joseph Kosuth and Robert Rauschenberg include optics and light, language, the reuse and reproduction of existing images, the use of everyday objects, the artist’s commitment to self-representation and his belief that an artwork’s meaning is inherently dependent on the viewer.

The promised gift will establish the Hirshhorn as a preeminent Duchamp resource in the mid-Atlantic region, offering one of the most significant public collections in the United States alongside those of the Philadelphia Museum of Art and the Museum of Modern Art. Together the paired exhibitions, which demonstrate not only Duchamp’s incredible impact on art, but also the ways in which his revolutionary practice transformed people’s understanding of what an artwork can be, will give viewers a full awareness of the artist’s inimitable significance.Continue Reading..

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Musja. The Dark Side – Who is afraid of the Dark?

Christian Boltanski, Monica Bonvicini, Monster Chetwynd, Gino De Dominicis, Gianni Dessì, Flavio Favelli, Sheela Gowda, James Lee Byars, Robert Longo, Hermann Nitsch, Tony Oursler, Gregor Schneider, Chiharu Shiota

Curated by Danilo Eccher

Musja, the exhibition space in via dei Chiavari 7 in Rome presided over by Ovidio Jacorossi, becomes a private museum with the opening on October 9 of Who is afraid of the Dark?, the first exhibition within The Dark Side project, a three year programme curated by Danilo Eccher.

The vast art collection owned by Jacorossi, covering the period from the early 19th century Italian to the present, will be flanked by the most innovative contemporary trends in the international panorama in order to highlight the fundamental contribution of art to personal and collective growth. The new museum also sets out to become established as a focus for the development of civil society in Rome, and to carry forward cultural commitment, and dialogue with international public and private institutions and museums.

The complex thematic setting of The Dark Side project is organized into three exhibitions spread over three years, and dedicated to: “Fear of the Dark,” “Fear of Solitude,” and “Fear of Time.” The first event in the new exhibition programme—“Fear of the Dark”—brings together 13 of the most important international artists with large site-specific installations and large-scale artworks by established artists, such as Gregor Schneider, Robert Longo, Hermann Nitsch, Tony Oursler, Christian Boltanski, James Lee Byars as well as new protagonists on the contemporary art scene such as Monster Chetwynd, Sheela Gowda, and Chiharu Shiota. There is a substantial Italian component with works and installations by Gino De Dominicis, Gianni Dessì, Flavio Favelli, Monica Bonvicini. During the opening of the exhibition, and thereafter at monthly intervals, there will be a performance by “Differenziale Femminile,” a group of four actresses, in the rooms of the gallery.

The majority of the site-specific works will be produced especially for the exhibition, while others are loans from various institutions, galleries and some others are part of the Jacorossi collection. All of them were selected for their power to draw the viewer in and encourage reflection on the topic while, at the same time, introducing some essential aspects of current contemporary art research. Visitors will be able to analyse their own reactions to sensory and tactile experiences, theatrical and magical visions, rituals and settings, anxieties that take different and unexpected forms only to melt away.

The catalogue accompanying the exhibition, published by Silvana Editoriale, contains a wealth of images by all the participating artists as well as written contributions. In addition to Danilo Eccher’s contribution, there are also some intellectually complex views on the theme of the dark by theologian Gianfranco Ravasi, theoretical physicist Mario Rasetti, psychiatrist Eugenio Borgna and philosopher Federico Vercellone. Different points of view, cross-cutting approaches, intellectual fields that diverge, overlap and are interwoven, give the project much greater scope than a standard art exhibition.

In the course of the exhibition, Musja will also be holding a series of meetings on the theme, coordinated by Federico Vercellone, professor of Aesthetics in the Department of Philosophy at Turin University.

The Dark Side – Who is afraid of the Dark?
October 9, 2019–March 1, 2020

Musja
via dei Chiavari 7
Rome
Italy

Image artwork by Gino De Dominicis, Jacorossi collection