Gego, Gertrud Goldschmidt, al Guggenheim di New York

Gego installing Reticulárea, Museo de Bellas Artes de Caracas, 1969. Photo: Juan Santana © Fundación Gego

 Questa primavera il Guggenheim di New York presenterà la mostra  “Gego: misurare l'infinito”, una importante retrospettiva che offrirà una visione completamente integrata dell'influente artista tedesco-venezuelano e del suo approccio distintivo al linguaggio dell'astrazione.

Si tratta di una grande retrospettiva dedicata al lavoro di Gego, o Gertrud Goldschmidt (n. 1912, Amburgo; m. 1994, Caracas), ospitata al Solomon R. Guggenheim Museum da marzo 31, 2023, fino al 12 settembre 2023. Una visione completamente integrata dell'influente artista tedesco-venezuelano e del suo approccio distintivo al linguaggio dell'astrazione. 

Attraverso le cinque rampe della rotonda del museo, Gego: Measuring Infinity presenterà circa 200 opere d'arte dai primi anni '50 fino ai primi anni '90, tra cui sculture, disegni, stampe, tessuti e libri d'artista.

Gego si è formato dapprima come architetto e ingegnere presso la Technische Hochschule Stuttgart (ora Universität Stuttgart). In fuga dalle persecuzioni naziste nel 1939, emigrò in Venezuela, dove negli anni Quaranta intraprese una carriera artistica che durò più di quattro decenni. In opere bidimensionali e tridimensionali su una varietà di mezzi, ha esplorato la relazione tra linea, spazio e volume. Le sue ricerche nei campi correlati dell'architettura, del design, dell'arte pubblica e della pedagogia completavano quelle indagini.

Sebbene Gego sia stato probabilmente uno degli artisti più significativi emersi in America Latina durante la seconda metà del ventesimo secolo, il suo lavoro rimane meno conosciuto negli Stati Uniti. Esaminando i contributi formali e concettuali che ha dato attraverso le sue forme organiche, le strutture lineari e le indagini spaziali sistematiche, Gego: Measuring Infinityfonderà la sua pratica nei contesti artistici dell'America Latina fioriti nel corso della sua lunga carriera. Prenderà in considerazione le intersezioni di Gego con - e le deviazioni da - movimenti artistici transnazionali chiave tra cui l'astrazione geometrica, l'arte cinetica, il minimalismo e il post-minimalismo, tracciando un percorso artistico marcatamente individuale. Questa mostra si basa sull'illustre eredità del Guggenheim Museum di presentare innovative mostre personali moderne e contemporanee che promuovono l'arte non oggettiva. Una selezione di questa retrospettiva sarà presentata al Guggenheim Museum Bilbao nell'autunno del 2023.

La presentazione di Gego: Measuring Infinity al Solomon R. Guggenheim Museum è organizzata da Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York, e Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao e Solomon R. Guggenheim Museum and Foundation, New York.

Gego: Measuring Infinity è organizzato dal Solomon R. Guggenheim Museum di New York; Museo Jumex, Città del Messico; e Museu de Arte de São Paulo Assis Chateaubriand—MASP. La mostra è stata sviluppata da Julieta González, Direttrice Artistica, Instituto Inhotim, Brumadinho, Brasile; Geaninne Gutiérrez-Guimarães, curatore associato, Guggenheim Museum Bilbao, e Solomon R. Guggenheim Museum and Foundation, New York; e Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York, ed ex Adjunct Curator of Latin American Art, Museu de Arte de São Paulo Assis Chateaubriand—MASP; in collaborazione con Tanya Barson, ex Curatrice Capo, Museu d'Art Contemporani de Barcelona; e Michael Wellen, Senior Curator, International Art, Tate Modern, Londra.

Finanziatori
Il comitato direttivo per Gego: misurare l'infinito è grato per la generosità, con un ringraziamento speciale a Clarissa Alcock e Edgar Bronfman, Jr., presidenti, nonché a Dominique Lévy e Brett Gorvy, Estrellita e Daniel Brodsky, Adriana Batan Rocca, Peter Bentley Brandt, Catherine Petitgas, Maria Belen Avellaneda-Kantt, Alice e Nahum Lainer e Ana Julia Thomson de Zuloaga.
Il finanziamento è anche generosamente fornito dalla Kate Cassidy Foundation, dalla David Berg Foundation, dalla Diane and Bruce Halle Foundation e dalla Henry Moore Foundation.
Un sostegno significativo è fornito dal National Endowment for the Arts.
Ulteriori finanziamenti sono forniti dal Circolo latinoamericano del Solomon R. Guggenheim Museum.
Mostra: Gego: Measuring Infinity
Luogo: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Luogo: Rotunda livelli da 1 a 5 e High Gallery
Data: 31 marzo 2023–12 settembre 2023

Successo per il grande Galà del Solomon R. Guggenheim

 

Ieri sera, 9 Novembre, a New York si è svolta la celebre cena di beneficenza nella suggestiva rotonda del museo Guggenheim; un galà internazionale ideato con la collaborazione di Dior, la serata ha avuto l'onore dell'esibizione speciale della cantante Norah Jones.

Ogni anno il museo Solomon R. Guggenheim organizza questo importante evento che in questa occasione ha anche onorato Richard Armstrong, che concluderà il suo mandato di direttore del museo nel 2023, durato quindici anni. 

L'evento è stato sostenuto e realizzato con la collaborazione della maison francese Dior, che da dieci anni supporta la manifestazione.

Il menu della cena è stato creato dallo chef Rōze Traore, che intrattenuti dalla celebre cantante Norah Jones, hanno creato un'atmosfera magica, che ha permesso di raccogliere ben  2,7 milioni di dollari a sostegno della Fondazione Solomon R. Guggenheim. In quanto evento annuale di raccolta fondi del museo, il gala sostiene la programmazione delle celebri mostre internazionale, i programmi educativi e iniziative lungimiranti del Guggenheim e garantisce che il Guggenheim rimanga un faro per l'arte moderna e il pensiero innovativo.

Tantissimi gli ospiti della cena di beneficenza tra cui ricordiamo Derek Blasberg, Rachel Brosnahan, Alexandra Daddario, Nina Dobrev, Thuso Mbedu, Leandra Medine Cohen, Isabela Merced, Maye Musk, Christian Serratos, Nicole Warne, Shaun White e Amelie Ziber. Tra gli artisti c'erano Sanford Biggers, Nick Cave, Rujeko Hockley, Sheree Hovsepian, Rashid Johnson, Jeff Koons, Angel Otero, Sarah Sze, Mickalene Thomas, Hank Willis Thomas e Christopher Wool.

I visionari cochair del Gala sono stati la Fondazione Anna-Maria e Stephen Kellen, Pietro Beccari, Maria Grazia Chiuri, Cindy Chua-Tay e Liam Tay, Valerie e Charles Diker, Wendy Fisher, Marina Kellen French, Kenneth Griffin, Guggenheim Partners, Barbara e Andrew Gundlach , Janine e J. Tomilson Hill, Sheree Hovsepian e Rashid Johnson, Jill e Peter Kraus, Francesca Lavazza, Peter O. Lawson-Johnston, Sr., Phyllis e Bill Mack, Linda Macklowe, Denise e Andrew Saul, Susy e Jack Wadsworth, Frank Yu.

Sulla Fondazione Solomon R. Guggenheim

La Fondazione Solomon R. Guggenheim è stata fondata nel 1937 ed è dedicata a promuovere la comprensione e l'apprezzamento dell'arte moderna e contemporanea attraverso mostre, programmi educativi, iniziative di ricerca e pubblicazioni. La costellazione internazionale dei musei comprende il Museo Solomon R. Guggenheim, New York; la Collezione Peggy Guggenheim, Venezia; il Museo Guggenheim di Bilbao; e il futuro Guggenheim Abu Dhabi. Icona architettonica e "tempio dello spirito" dove si incontrano arte e architettura radicali, il Museo Solomon R. Guggenheim fa ora parte di un gruppo di otto strutture di Frank Lloyd Wright negli Stati Uniti recentemente designate come patrimonio mondiale dell'UNESCO. Per saperne di più sul museo e sulle attività del Guggenheim nel mondo, visita guggenheim.org

 crediti foto 
Fotografie (sfondo blu Dior/GIG) o Galà Internazionale Guggenheim 2022 © Solomon R. Guggenheim. 
Foto: Eventi di Will Ragozzino/Scott Rudd

S.O.B. "Chi guarda cosa?" a Venezia con Swatch e Guggenheim

E' stato selezionato l'artista #stefanoogliaribadessi, in arte S.O.B., noto per le sue installazioni trae ispirazione dalla natura e dai sogni, come lui stesso afferma, per essere il protagonista del workshop Chi guarda cosa?, dal 14 al 16 maggio sull’isola della Certosa di #venezia. Si tratta della quarta e ultima tappa del progetto SuperaMenti. Pratiche artistiche per un nuovo presente, ciclo di quattro laboratori gratuiti che la #collezionepeggyguggenheim, con la partecipazione di Swatch Art Peace Hotel, ha dedicato agli under 25.

Amedeo Modigliani sosteneva: “Quando conoscerò la tua anima dipingerò i tuoi occhi”. Partendo da questa affermazione e da una riflessione sul rapporto indissolubile tra la città di #venezia e l’acqua, il laboratorio di S.O.B. vuole approfondire e onorare tale relazione, sottolineando importanza e potenzialità dell’anima fluttuante e liquida di #venezia. Alla luce della situazione attuale, e nel rispetto della normativa per il contenimento del Covid-19, gli incontri tra l’artista e i partecipanti nell’arco delle tre giornate di lavoro sono progettati in forma ibrida, combinando momenti online e in presenza presso l'Isola della Certosa, e ideati come un percorso di indagine e sviluppo del tema proposto.

Da questi incontri, e dal dialogo attivo con S.O.B., verrà realizzata un’installazione galleggiante: due “occhi fluttuanti”, creati grazie a una struttura gonfiabile, marca espressiva che già in passato ha contraddistinto il lavoro dell’artista cremasco. I due “occhi” verranno poi trainati lungo la laguna nord di #venezia, su imbarcazioni dotate di un motore elettrico molto silenzioso che utilizza la tecnologia a batteria agli ioni di litio, che non emette sostanze inquinanti. Da sempre gli occhi sono carichi di una simbologia complessa, misteriosa, addirittura divina per le civiltà mesopotamiche: così con il suo laboratorio S.O.B. intende far riaffiorare l’anima di #venezia per poi farla simbolicamente galleggiare tra le sue acque.

Racconta #carlogiordanetti, CEO Swatch Art Peace Hotel: “L’incontro con Stefano nel suo pallone dorato fra le mura della nostra residenza d’artista a Shanghai è stato il primo episodio di un percorso lungo il quale Swatch, in piena sintonia con i valori creativi di S.O.B., lo ha accompagnato sempre in luoghi magici. Dalla terrazza dell’hotel Excelsior al Lido di #venezia durante la Biennale Arte 2015, alle vette ghiacciate di Verbier, al tetto della sede milanese dell’azienda, a un box trasparente in piena via Montenapoleone a #milano: sempre un nuovo sogno, una nuova esperienza, un nuovo emozionante gioco in cui Swatch e S.O.B. hanno coinvolto il pubblico.

Oggi questo viaggio si arricchisce di una magica tappa che attira i giovani sull’isola della Certosa, grazie alla collaborazione di Swatch Art Peace Hotel con la meravigliosa ed emozionante #collezionepeggyguggenheim. Siamo eccitati, felici, curiosi di aprire nuovi occhi!”

Il workshop di S.O.B. chiude il progetto SuperaMenti, che ha visto la partecipazione, dallo scorso ottobre, di altri tre artisti di fama internazionale: #janvormann, con il laboratorio “Catelli di vetro”, #alicepasquini, con “Oltre il muro: arte e contesto”, e #ceciliajansson, con “Esplorare la distanza”.

Nell’affrontare i temi della contemporaneità attraverso la lente dell’arte, SuperaMenti. Pratiche artistiche per un nuovo presente rientra nella collaborazione, nata nel 2018, tra la #collezionepeggyguggenheim e ASviS, l’Alleanza Italiana per lo Sviluppo Sostenibile che si occupa di promuovere i 17 Obiettivi dell’agenda 2030 delle Nazioni Unite, toccando in particolare il goal 4, istruzione di qualità.

La collaborazione con Swatch Art Peace Hotel permette la partecipazione di due artisti emergenti a livello internazionale, come S.O.B e #ceciliajansson, che sono stati in passato ospiti della residenza d’artista ideata da Swatch. Aperta nel 2011 per volontà di #nickhayek, Presidente di Swatch Group, lo Swatch Art Peace Hotel riunisce sotto lo stesso tetto creativi di varie discipline, arti visive, performance, danza, musica, scrittura, fotografia e video, e offre loro la possibilità di vivere e lavorare per alcuni mesi a Shanghai portando avanti in piena libertà la propria ricerca creativa. Lo Swatch Art Peace Hotel ha ospitato finora oltre 400 artisti da più di 50 nazioni. Questa comunità di creativi ha reso la residenza un laboratorio di sperimentazione, incontro, scambio culturale e centro nevralgico della creatività contemporanea in città.  

La volontà di creare uno spazio ed una comunità intorno all’idea di libera espressione contraddistinguono il legame che Swatch ha con l’arte da più di trent’anni: allo Swatch Art Peace Hotel si traduce in un spazio di assoluta libertà artistica. Da qui nasce il desiderio di sostenere la #collezionepeggyguggenheim e di condividerne i valori, non solo in qualità di socio storico di Guggenheim Intrapresæ, ma anche, nel 2020, nel valorizzare e sostenere la creatività contemporanea con questa ulteriore iniziativa.

Countryside, The Future secondo Rem Koolhaas al Guggenheim di New York

 Photo: David Heald © Solomon R. Guggenheim Foundation.  

Il progetto dello studio Amo e di Rem Koolhaas al Guggenheim di New York dal titolo  "Countryside, The Future" è un interessante riflessione sul ruolo odierno della campagna. 

 Photo: David Heald © Solomon R. Guggenheim Foundation.  

Un progetto dallo sfondo antropologico che evidenzia il complesso valore sociale delle relazioni e della realtà ambientale di quel territorio che ancora oggi chiamiamo "campagna" ma che spesso non ha più nessun legame romantico con quel termine, ma è diventato un nuovo concetto di società e sviluppo. 

Image: Laurian Ghinitoiu courtesy AMO

Articolata nei diversi spazi del museo è un intervento diffuso in equilibrio fra installazione e analisi critica, che parte dal grande trattore esterno che richiama il pubblico all'immergersi in una mondo, indagato sia nella storia che nella contemporaneità, che ora pare quasi epico mentre ancora oggi è centrale per la sopravvivenza del genere umano. 

Image: Laurian Ghinitoiu courtesy AMO

Hugo Boss Prize 2020

E' partita la nuova edizione del progetto Premio Hugo Boss che si realizza col Guggenheim di New York.

Ecci i sei artisti che sono stati selezionati per l'Hugo Boss Prize 2020, il premio biennale per risultati significativi nell'arte contemporanea.

 La breve lista è selezionata da una giuria di curatori e critici internazionali in riconoscimento di artisti il cui lavoro sta trasformando il campo. 

Fin dalla sua istituzione nel 1996, il premio ha costantemente funzionato come una piattaforma per l'arte più rilevante e influente del presente ed è diventato una pietra miliare della programmazione contemporanea del Guggenheim.

I seguenti artisti sono finalisti per il premio Hugo Boss Prize 2020:

Nairy Baghramian (n. 1971, Isfahan, Iran)

Kevin Beasley (nato nel 1985, Lynchburg, Va.)

Deana Lawson (n. 1979, Rochester, N.Y.)

Elias Sime (1968, Addis Abeba, Etiopia)

Cecilia Vicuña (1948, Santiago, Cile)

Adrián Villar Rojas (n. 1980, Rosario, Argentina).

CS

“On the occasion of the thirteenth Hugo Boss Prize, I’m delighted to announce the finalists for the 2020 cycle,” said Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, Solomon R. Guggenheim Museum and Foundation, and jury chair. “After a rigorous examination of today’s artistic landscape, the jury identified a group of artists whose practices are beacons of cultural impact. While diverse in their approaches and themes, they each exemplify the spirit of experimentation and innovation that the prize has always championed.”

“The Hugo Boss Prize is our most prestigious engagement in the field of arts,” said Mark Langer, CEO and Chairman of HUGO BOSS AG. “We are excited about this diverse and distinguished short list for 2020 and looking forward to the announcement of the winner next fall.”

The Hugo Boss Prize recognizes the achievements of both emerging and established artists, and sets no restrictions in terms of age, gender, nationality, or medium. The winner, who will receive a $100,000 honorarium, will be announced in the fall of 2020 and will present a solo exhibition at the Solomon R. Guggenheim Museum in spring 2021.

HUGO BOSS PRIZE 2020 SHORT LIST

Nairy Baghramian (b. 1971, Isfahan, Iran) lives and works in Berlin. In an oeuvre that probes the boundaries between the decorative, the utilitarian, and the art object, Baghramian has illuminated new possibilities for sculpture. The artist’s disarming biomorphic forms, made with a range of materials including steel, silicon, resin, and leather, elicit various unexpected art-historical and sociopolitical references, reimagining the workings of the body, gender, and public and private space.

Baghramian’s work has been presented in solo exhibitions such as Privileged Points, Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean (2019), Breathing Spell (Un respire), Palacio de Cristal del Retiro, Madrid (2018); Déformation Professionnelle, Museum der Moderne Salzburg, and Walker Art Center, Minneapolis (2017); S.M.A.K. Museum of Contemporary Art, Ghent (2016); Nairy Baghramian: Scruff of the Neck (Supplements), Zurich Art Prize, Museum Haus Konstruktiv, Zurich (2016); Hand Me Down, Museo Tamayo, Mexico City (2015); Fluffing the Pillows, MIT List Visual Arts Center, Cambridge, Mass. (2013), and Kunsthalle Mannheim, Germany (2012); and Class Reunion, Contemporary Art Gallery, Vancouver (2012).

Kevin Beasley (b. 1985, Lynchburg, Va.) lives and works in New York. Working at the intersection of sculpture, installation, and performance, Beasley constructs revelatory formal and sonic experiences. In works that embed found objects in substances such as resin, foam, and tar, or incorporate unconventionally manipulated audio equipment, he amplifies the cultural resonances of his materials to excavate personal and shared histories of class, race, and institutional power.

Beasley has presented and performed in solo exhibitions such as ASSEMBLY, The Kitchen, New York (2019); a view of a landscape, Whitney Museum of American Art, New York (2018); Kevin Beasley, The Institute of Contemporary Art, Boston (2018); Movement V: Ballroom, CounterCurrent Festival, Cynthia Woods Mitchell Center for the Arts, Houston (2017); Hammer Projects: Kevin Beasley, Hammer Museum at Art + Practice, Los Angeles (2017); Rubbings, Kim? Contemporary Art Center, Riga, Latvia (2017); and inHarlem: Kevin Beasley, The Studio Museum in Harlem, New York (2016).

Deana Lawson (b. 1979, Rochester, N.Y.) lives and works in New York. Her large-format photographs channel vernacular, art-historical, and documentary traditions within the medium, in compositions that valorize black diasporic culture. Picturing individuals she encounters over the course of her everyday life within carefully staged domestic settings, Lawson choreographs every nuance of scenery, lighting, and pose to create tableaux that powerfully evoke the agency of her subjects.

Lawson’s work has been presented in solo exhibitions including Deana Lawson, Huis Marseille, Museum voor Fotografie, Amsterdam (2019); Deana Lawson: Planes, The Underground Museum, Los Angeles (2018); Deana Lawson, Carnegie Museum of Art, Pittsburgh (2018); Deana Lawson, Contemporary Art Museum St. Louis (2017); Deana Lawson, The Art Institute of Chicago (2015); and Corporeal, Light Work, Syracuse, N.Y. (2009).

Elias Sime (b. 1968, Addis Ababa, Ethiopia) lives and works in Addis Ababa. Forged from salvaged e-waste, organic matter, and objects sourced from local markets, the artist’s absorbing collages and assemblages explore the relationship between society, nature, and technology. Sime’s repurposing of materials aligns with his long-standing practice of community engagement, in which he asserts the potential for human connection and ecological renewal.

Sime’s work has been presented in solo exhibitions such as Elias Sime: Tightrope, Wellin Museum of Art, Clinton, N.Y. (2019); Elias Sime, Zoma Museum, Addis Ababa (2019); Tightrope, GRIMM, Amsterdam (2018), and British Council, Goethe Institute, Italian Cultural Institute and Alliance Éthio-Française, Addis Ababa (2013); Eye of the Needle, Eye of the Heart, North Dakota Museum of Art, Grand Forks (2012), and Santa Monica Museum of Art, Calif. (2009); and What Is Love?, Alliance Éthio-Française, Addis Ababa (2008).

Cecilia Vicuña (b. 1948, Santiago, Chile) lives and works in New York and Santiago. Vicuña’s multivalent practice as an artist, poet, filmmaker, and activist spans five decades. Weaving together form, language, and ritual, her diverse body of what she terms arte precario (“precarious art”) elucidates obscured histories in Latin American culture as well as her personal experiences of displacement, tracing a return to the body and the earth, and to indigenous ways of being.

Vicuña has been featured in solo exhibitions such as Cecilia Vicuña: Seehearing the Enlightened Failure, Witte de With Center for Contemporary Art, Rotterdam (2019); Cecilia Vicuña: Lo Precario | The Precarious, Wexner Center for the Arts, Columbus, Ohio (2019); Cecilia Vicuña: About to Happen, Henry Art Gallery, Seattle (2019), Institute of Contemporary Art, Philadelphia (2019), Berkeley Art Museum and Pacific Film Archive (2018), and Contemporary Arts Center, New Orleans (2017); Quipu desaparecido, Museum of Fine Arts, Boston (2018), and Brooklyn Museum, New York (2018); Artists for Democracy: El Archivo de Cecilia Vicuña, Museo de la Memoria y los Derechos Humanos, Santiago (2014), and Museo Nacional de Bellas Artes, Santiago (2014); Les Immémoriales, 46 nord 6 est—Frac Lorraine, Metz, France (2013); Water Writing: Anthological Exhibition, 1966–2009, Institute for Women and Art, Rutgers University, New Brunswick, N.J. (2009); DIS SOLVING: Threads of Water and Light, The Drawing Center, New York (2002); and Thread Mansion, Boulder Museum of Contemporary Art, Colo. (2002).

Adrián Villar Rojas (b. 1980, Rosario, Argentina) lives and works in Rosario and New York. The artist’s densely imagined, context-specific installations and environments negotiate new paradigms for the institutional presentation of works of art. Constructed from organic and synthetic substances that evolve or decay over the course of their exhibition, Rojas’s entropic forms summon a mutable world untethered from humanity’s past, present, and future.

Rojas has presented solo exhibitions including Sometimes you wonder, in an interconnected universe, who is dreaming who?, Tank Shanghai (2019); The Theater of Disappearance, The Geffen Contemporary at MOCA, Los Angeles (2017), The Metropolitan Museum of Art, New York (2017), Kunsthaus Bregenz, Austria (2017), and NEON Foundation, Athens (2017); Fantasma, Moderna Museet, Stockholm (2015); Rinascimento, Fondazione Sandretto Re Rebaudengo, Turin, Italy (2015); Today We Reboot the Planet, Serpentine Gallery, London (2013); Films Before Revolution, Museum Haus Konstruktiv, Zurich (2013); Before My Birth, Arts Brookfield with the New Museum, New York (2012); and Poems for Earthlings, SAM ART Projects, Musée du Louvre, Paris (2011).

HUGO BOSS PRIZE JURY

The 2020 jury is chaired by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, Solomon R. Guggenheim Foundation. The jurors are Naomi Beckwith, Manilow Senior Curator, Museum of Contemporary Art, Chicago; Katherine Brinson, Daskalopoulos Curator, Contemporary Art, Solomon R. Guggenheim Museum; Julieta González, independent curator; Christopher Y. Lew, Nancy and Fred Poses Curator, Whitney Museum of American Art; and Nat Trotman, Curator, Performance and Media, Solomon R. Guggenheim Museum.

HISTORY OF THE PRIZE

Since its inception in 1996, the Hugo Boss Prize has been awarded to twelve influential contemporary artists: American artist Matthew Barney (1996); Scottish artist Douglas Gordon (1998); Slovenian artist Marjetica Potrč (2000); French artist Pierre Huyghe (2002); Thai artist Rirkrit Tiravanija (2004); English artist Tacita Dean (2006); Palestinian artist Emily Jacir (2008); German artist Hans-Peter Feldmann (2010); Danish artist Danh Vo (2012); American artist Paul Chan (2014); American artist Anicka Yi (2016); and American artist Simone Leigh (2018). The related exhibitions have constituted some of the most compelling presentations in the museum’s history.

Previous finalists include Laurie Anderson, Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura in 1996; Huang Yong Ping, William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in 1998; Vito Acconci, Maurizio Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le Va, and Tunga in 2000; Francis Alÿs, Olafur Eliasson, Hachiya Kazuhiko, Koo Jeong-A, and Anri Sala in 2002; Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004; Allora & Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal in 2006; Christoph Büchel, Patty Chang, Sam Durant, Joachim Koester, and Roman Signer in 2008; Cao Fei, Roman Ondák, Walid Raad, Natascha Sadr Haghighian, and Apichatpong Weerasethakul in 2010; Trisha Donnelly, Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell in 2012; Sheela Gowda, Camille Henrot, Hassan Khan, and Charline von Heyl in 2014; Tania Bruguera, Mark Leckey, Ralph Lemon, Laura Owens, and Wael Shawky in 2016; and Bouchra Khalili, Teresa Margolles, Emeka Ogboh, Frances Stark, and Wu Tsang in 2018.

To see a timeline and video on the first twenty years of the Hugo Boss Prize, as well as an overview of past prize catalogues, visit guggenheim.org/hugobossprize.

ABOUT HUGO BOSS AG

HUGO BOSS is one of the leading companies in the upper premium segment of the apparel market and focuses on the development and marketing of premium fashion and accessories for men and women. Since 1995 the company has provided critical support to many Guggenheim programs. In addition to the Hugo Boss Prize, the company has helped make possible retrospectives of the work of Matthew Barney (2003), Georg Baselitz (1995), Ross Bleckner (1995), Francesco Clemente (1999–2000), Ellsworth Kelly (1996–97), Robert Rauschenberg (1997–98), and James Rosenquist (2003–04); the presentation Art in America: Now (2007) in Shanghai; the Felix Gonzalez-Torres (2007) and Ed Ruscha (2005) exhibitions in the U.S. Pavilion of the Venice Biennale; and the exhibition theanyspacewhatever (2008–09) at the Solomon R. Guggenheim Museum. At the 54th Venice Biennale in 2011, HUGO BOSS was the lead sponsor of the Allora & Calzadilla exhibition in the U.S. Pavilion. Further information on the company and its extensive arts program can be found at group.hugoboss.com.

ABOUT THE SOLOMON R. GUGGENHEIM FOUNDATION

The Solomon R. Guggenheim Foundation was established in 1937 and is dedicated to promoting the understanding and appreciation of modern and contemporary art through exhibitions, education programs, research initiatives, and publications. The international constellation of museums includes the Solomon R. Guggenheim Museum, New York; the Peggy Guggenheim Collection, Venice; the Guggenheim Museum Bilbao; and the future Guggenheim Abu Dhabi. In 2019 the Frank Lloyd Wright–designed Solomon R. Guggenheim Museum celebrates 60 years as an architectural icon and “temple of spirit” where radical art and architecture meet. The museum is among a group of eight Frank Lloyd Wright structures in the United States recently designated as a UNESCO World Heritage site. To learn more about the museum and the Guggenheim’s activities around the world, visit guggenheim.org.

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Licenza d'artista al Guggy di New York

Per festeggiare i sessanta anni di attività il Guggenheim ha aperto i suoi caveau agli artisti Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, e Carrie Mae Weems per il progetto espositivo “See Artistic License at the Guggenheim”.

I noti artisti hanno così potuto portare, dalla vasta collezione permanente, oltre 300 opere nella mitica spirale di Frank Lloyd Wright, creando un interessante percorso fra storia e gusto personale condiviso con i visitatori del museo.

Giacometti a New York

Il Guggenheim di New York presenta per la stagione estiva una grande mostra antologica su Alberto Giacometti, con alcune delle sue opere più importanti. 

Evento organizzato con la Fondazione  Giacometti di Parigi, sponsor dell'evento la torinese Lavazza.

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From June 8 to September 12, 2018, the Solomon R. Guggenheim Museum will present the work of the Alberto Giacometti (1901–1966)—the first major museum exhibition in the United States in more than 15 years dedicated to the Swiss-born artist. Installed within the museum’s rotunda, Giacometti examines this preeminent modernist who is renowned for the distinctive figurative sculptures that he produced in reaction to the trauma and anguish of World War II, including a series of elongated standing women, striding men, and expressive bust-length portraits. The exhibition encompasses the entirety of the artist’s career, featuring more than 175 sculptures, paintings, and drawings, some of which have never before been shown in the United States, as well as archival photographs and ephemera.

Giacometti is organized by Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Museum, and Catherine Grenier, Director, Fondation Giacometti, Paris, with support provided by Mathilde Lecuyer-Maillé, Associate Curator, Fondation Giacometti, and Samantha Small, Curatorial Assistant, Solomon R. Guggenheim Museum.

The exhibition underscores the historical relationship between the Guggenheim Museum and Giacometti. In 1955, in a temporary location, the Guggenheim organized the first-ever museum presentation of Giacometti’s work, which was also the earliest significant exhibition that the Guggenheim dedicated to sculpture. Under the leadership of then director James Johnson Sweeney, the museum brought key sculptures by Giacometti into its collection during this period in an effort to integrate the medium into its holdings and to support “the art of today.” In 1974, in the Frank Lloyd Wright-designed building, the Guggenheim organized a posthumous retrospective devoted to Giacometti. Beginning in the 1940s Peggy Guggenheim, Solomon’s niece, amassed Giacometti’s works along with examples of Surrealist and abstract art that would travel with her from New York to Europe and form the core of the Peggy Guggenheim Collection in Venice, now part of the Solomon R. Guggenheim Foundation.

Visitors to this fresh presentation on Giacometti will have the opportunity to view works from across his career, which largely was spent in France and which spanned several decades and various mediums. Examples of his early production reveal his engagement with Cubism and Surrealism as well as African, Oceanic, and Cycladic art, and reflect interactions with writers including Jean-Paul Sartre and Samuel Beckett. The exhibition’s selection of Giacometti’s paintings and drawings demonstrates his attempt to capture the essence of humanity-an endeavor that is also apparent in his incessant sculptural investigations of the human body. Sculptures of various heights will be installed on pedestals in the round or set back into the museum’s walls. Displayed in vitrines, a number of pocket-size figures and heads created immediately before World War II explore spatial concerns of perspective and distance that would become paramount to his work. Giacometti’s studio practice, a particular focus of the exhibition, is shown through rarely exhibited plaster sculptures. The artist painted some of these works or later cast them in bronze, but others’ intended medium was plaster. Rich historical photographs and ephemera, such as journals and sketchbooks containing drawings, also provide insight into Giacometti’s process and document his artistic development.

Giacometti features selections from the Fondation Giacometti and celebrated works from the Guggenheim collection, such as the bronze sculptures Spoon Woman (1926; cast 1954) and The Nose (1949; cast 1964). Loans from private and public collections further supplement the exhibition. Other highlights include a group of three sculptures from the late 1950s related to Giacometti’s unrealized project for the Chase Manhattan Bank plaza in New York, a major monument designed for an urban public space. Installed in the museum’s High Gallery, these large-scale works embody three motifs Giacometti explored during last 20 years of his life: standing female nudes, walking male figures, and bust-length portraits of family and friends. The final section of the exhibition, on the museum’s top ramp, presents footage from a film by Ernst Scheidegger, a friend of the artist, showing Giacometti at work in his longtime Paris studio.

A catalogue will be published to accompany Giacometti. Edited by Megan Fontanella and Karole P. B. Vail, Director, Peggy Guggenheim Collection, the volume features essays by Valerie J. Fletcher and Catherine Grenier and graphic design by Gavillet & Cie. A range of programs will be offered in conjunction with Giacometti, with details to be posted at guggenheim.org/calendar.

Giacometti is made possible by Lavazza. Additional support is provided by Northern Trust. The Leadership Committee for this exhibition is gratefully acknowledged for its support, with special thanks to Linda Macklowe, Cochair, as well as Acquavella Galleries, Larry Gagosian, FX and Natasha de Mallmann, Hauser & Wirth, Per Skarstedt, Ulla Dreyfus-Best, Grande Albergo Excelsior Vittoria – Sorrento, kamel mennour, Gigi and Andrea Kracht, La Prairie, Lévy Gorvy, Richard Gray Gallery, Thomas Ammann Fine Art AG, Thomas Gibson Fine Art, and those who wish to remain anonymous. Funding is also provided by Christie’s and the Swiss Arts Council Pro Helvetia. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. It is co-organized by the Solomon R. Guggenheim Foundation and the Fondation Giacometti, Paris.

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

The Fondation Giacometti, Paris, is a private institution of public interest recognized by the French state, established in December 2003. Its goal is to preserve, promote, and present the work of Alberto Giacometti. With over 300 sculptures, 90 paintings, and thousands of works on paper, it possesses the richest collection of artworks by the artist in the world: a collection that it is responsible for conserving, restoring, and enriching. The Foundation also has a remarkable collection of photographs and archival materials. A large proportion of this heritage has remained inaccessible to the public since the artist’s death in 1966. In 2014, the Foundation launched a vast exhibition program in France and abroad, designed to reach new audiences. In 2018, it will co-organize a number of major exhibitions of Giacometti’s work, including presentations at the Musée national des beaux-arts du Québec (February 8-May 13, 2018); Beyeler Foundation, Basel (Bacon Giacometti, April 29-September 2, 2018); Solomon R. Guggenheim Museum, New York (June 8-September 12, 2018); Musée Maillol, Paris (September 14, 2018-January 20, 2019); and Guggenheim Museum Bilbao (October 19, 2018-February 24, 2019).

guggenheim.org/giacometti
#giacometti

One Hand Clapping

Wong Ping, Dear, can I give you a hand?, 2018 (detail). Animated LED color video installation, with sound, dimensions variable. Solomon R. Guggenheim Museum, New York, The Robert H. N. Ho Family Foundation Collection 2018.18 © Wong Ping

Ecco la terza tappa del progetto realizzato con The Robert HN Ho Family Foundation Chinese Art Initiative, dal titolo "One Hand Clapping" che si svolgerà al Guggenheim di New York dal 4 Maggio al 21 Ottobre con le recenti opere di Cao Fei, Duan Jianyu, Lin Yilin, Wong Ping e Samson Young.

Lin Yilin - Digital rendering of Monad, 2017 - Multimedia presentation proposed for the third exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative, Solomon R. Guggenheim Museum, New York, May 4–October 21, 2018  © Lin Yilin

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The Solomon R. Guggenheim Museum presents One Hand Clapping, a group exhibition of newly commissioned works by Cao Fei, Duan Jianyu, Lin Yilin, Wong Ping, and Samson Young. The exhibition is the third of The Robert H. N. Ho Family Foundation Chinese Art Initiative, a research, curatorial, and collections-building program begun in 2013. On view from May 4 through October 21, 2018, One Hand Clapping will be accompanied by a catalogue and public and educational programming.

The artists in One Hand Clapping explore our changing relationship with the future. Produced in both new and traditional mediums—from virtual reality technology to oil on canvas—their commissioned works challenge visions of a global, homogeneous, and technocratic future. On Tower Level 5, Wong Ping creates a multimedia installation centered on a colorful, racy animated tale that explores the tension between an aging population and the relentless pace of a digital economy; in her paintings and sculptures, Duan Jianyu depicts a surreal, transitory place where the rural meets the urban; and Lin Yilin constructs a virtual-reality simulation featuring a professional basketball star, testing the potential for using technology to inhabit the experience of another. On Tower Level 7, Cao Fei examines the new realities and potential crisis driven by automation and robotics at some of China’s most advanced storage and distribution facilities, and Samson Young reflects on our obsession with ritual and authenticity through a sonic and sculptural environment of imaginary musical instruments and their digitally engineered sounds.

The exhibition title One Hand Clapping is derived from a koan—riddles used in Zen Buddhist practice to challenge logical reasoning—that asks, “We know the sound of two hands clapping. But what is the sound of one hand clapping?” Emerging from a tradition that originates in China’s Tang period (618–907), the phrase “one hand clapping” encompasses a history of cross-cultural translation and appropriation that continues into the present, from its citation as the epigraph to J. D. Salinger’s Nine Stories (1953) to its referencing in the titles of a Cantopop song and an Australian film and the name of a British band. In this light, “one hand clapping” becomes a metaphor for the processes by which meaning is fabricated, transmitted, and restated in a globalized world. The image of “one hand clapping” also suggests connotations of solitude and the ability of artists to put forth a singular perspective and to challenge prevailing beliefs, stereotypes, and conventional power structures.

One Hand Clapping is organized by Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art, and Hou Hanru, Consulting Curator, The Robert H. N. Ho Family Foundation Chinese Art Initiative. Kyung An, Assistant Curator, Asian Art, provides curatorial support. The Robert H. N. Ho Family Foundation Chinese Art Initiative is part of the Guggenheim’s Asian Art Initiative, directed by Alexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts.

“The work of the artists in this third iteration of The Robert H. N. Ho Family Foundation Chinese Art Initiative epitomizes the fresh artistic energy coming out of Greater China and fosters deeper perspectives on the art of our time,” said Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation. “We are deeply grateful to Robert H. N. Ho, Founder, and Robert Y. C. Ho, Chairman, for their vision in advancing this ambitious venture and their enthusiasm and dedication to furthering the scholarship, innovation, and accessibility of the art and culture of Greater China.”

“The Chinese Art Initiative seeks to support the Guggenheim’s vision for contemporary art, which reaches beyond the confines of geographical and cultural boundaries. It engages Chinese artists and their creativity in diverse contexts, acknowledging the complexity of contemporary art practice as a global phenomenon,” said Robert Y. C. Ho, Chairman, The Robert H. N. Ho Family Foundation. “The Guggenheim has built upon its expertise to integrate the voices of the Chinese artists into multiple discourses. Through the creative endeavors of both the artists and the museum, we encourage meaningful interactions with various art perspectives as well as deeper thinking about the intrinsic value of art in today’s globalized world.”

“Through The Robert H. N. Ho Family Foundation Chinese Art Initiative, we have sought to challenge, deconstruct, and redefine ideas of ‘contemporary Chinese art’ and to present some of the most thoughtful and provocative artworks being made today,” said Xiaoyu Weng. “For this concluding phase of the initiative, we invited these five artists to think with us about how art that imagines the future also reflects our understanding of the present and the past. Shaped by the artists’ bold imaginations, sharp social critique, and humor, their newly created works encourage and inspire possibilities for a future art to come.”

EXHIBITION CATALOGUE

The bilingual catalogue for One Hand Clapping features essays by coeditors Xiaoyu Weng and Hou Hanru about the scope of the exhibition and the genesis of its thematic commissions. Serving as an active component in the realization of the project, the catalogue assembles a diverse range of voices and visual elements, including sections presenting writings and images related to the creative process for each of the participating artists, a theoretical text on technology and culture by philosopher Yuk Hui; and selected poems by Wu Qing, Zhang Xiu, and the worker-poet Xu Lizhi (1990–2014), who was employed at the Foxconn factory in Shenzhen where products for major international brands such as Apple™and Sony™ are assembled. Additionally, a new cycle of poems was commissioned from Hong Kong–based poet Nicolas Wong, who imagines a Hong Kong of 2052 where Cantonese is banned but bilingual poets collaborate with AI translation programs to defy authority.

PUBLIC PROGRAMS

A series of public and educational programs will be presented in conjunction with One Hand Clapping. Keep up to date about programs by visiting guggenheim.org/calendar.

The Robert H. N. Ho Family Foundation Lecture

Saturday, May 5, 4:00 pm

During the opening weekend of One Hand Clapping, the Guggenheim hosts the third Robert H. N. Ho Family Foundation Lecture. Exhibition cocurators Xiaoyu Weng and Hou Hanru deliver short talks contextualizing the exhibition and Chinese Art Initiative, then moderate a group conversation with exhibition artists Duan Jianyu, Cao Fei, Samson Young, Wong Ping, and Lin Yilin. The lecture is followed by an exhibition viewing. For tickets, visit guggenheim.org/calendar.

THE ROBERT H. N. HO FAMILY FOUNDATION CHINESE ART INITIATIVE

Launched in 2013, The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim supports a curatorial residency, three exhibitions and publications, and commission-based acquisitions. By commissioning new works by artists born in mainland China, Hong Kong, Taiwan, and Macau (Greater China), the program offers a platform for artistic experimentation that responds to and reflects urgent issues of our time. The most recent presentation, Tales of Our Time (2016–17), was a group exhibition of nine new works by five artists, an artist duo, and an artist collective. The exhibition explored and challenged the notion of place against the backdrop of increasing tension between the global and local. It included a robot-operated installation of monumental scale, a public tea gathering in an indoor garden-like setting, immersive video works, and more. The first exhibition, Wang Jianwei: Time Temple (2014–15), featured a sculptural installation, paintings, a film, and a performance by Wang Jianwei, one of China’s leading conceptual artists. Works created through the initiative will form The Robert H. N. Ho Family Foundation Collection at the Guggenheim.

THE ROBERT H. N. HO FAMILY FOUNDATION

Established in Hong Kong in 2005 by Robert Hung Ngai Ho as a private philanthropic organization, The Robert H. N. Ho Family Foundation works to foster appreciation of Chinese arts and culture to advance global learning; and to cultivate a deeper understanding of Buddhism in the context of contemporary life. The Foundation supports efforts that make Chinese arts approachable and relevant to audiences worldwide. It also supports the creation of new works, exhibitions, and publications that offer original perspectives and improve the quality and accessibility of scholarship on Chinese art.

ABOUT THE SOLOMON R. GUGGENHEIM FOUNDATION

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

#onehandclapping

La Cina oggi a New York

La Cina oramai è parte del sistema statunitense, per cui più che valida la grande mostra che il Guggenheim dedica all'espressività artistica di questo vasto paese dal 1989 al presente. 

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Art and China after 1989 presents work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms. Bracketed by the end of the Cold War in 1989 and the Beijing Olympics in 2008, it surveys the culture of artistic experimentation during a time characterized by the onset of globalization and the rise of a newly powerful China on the world stage. The exhibition’s subtitle, Theater of the World, comes from an installation by the Xiamen-born, Paris-based artist Huang Yong Ping: a cage-like structure housing live reptiles and insects that coexist in a natural cycle of life, an apt spectacle of globalization’s symbiosis and raw contest.

For art and China, the year 1989 was both an end and a beginning. The June Fourth Tiananmen Incident signaled the end of a decade of relatively open political, intellectual, and artistic exploration. It also marked the start of reforms that would launch a new era of accelerated development, international connectedness, and individual possibility, albeit under authoritarian conditions. Artists were at once catalysts and skeptics of the massive changes unfolding around them. Using the critical stance and open-ended forms of international Conceptual art, they created performances, paintings, photography, installations, and video art, and initiated activist projects to engage directly with society. Their emergence during the 1990s and early 2000s coincided with the moment the Western art world began to look beyond its traditional centers, as the phenomenon of global contemporary art started to take shape. Chinese artists were crucial agents in this evolution.

Art and China after 1989 is organized in six chronological, thematic sections throughout the rotunda and on Tower Levels 5 and 7. For all the diversity the exhibition encompasses, the artists here have all sought to think beyond China’s political fray and simple East-West dogmas. This freedom of a “third space” has allowed for a vital distance, and a particular insight, as they contend with the legacies of Chinese history, international modernism, and global neoliberalism of the 1990s. Their rambunctious creativity can expand our ever-widening view of contemporary art and inspire new thinking at a moment when the questions they have faced—of identity, equality, ideology, and control—have pressing relevance.

This exhibition is organized by Alexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum; with guest cocurators Philip Tinari, Director, Ullens Center for Contemporary Art, Beijing; and Hou Hanru, Artistic Director, MAXXI, National Museum of 21st Century Arts, Rome.

Curatorial assistance is provided by Kyung An, Assistant Curator, Asian Art, and Xiaorui Zhu-Nowell, Research Associate and Curatorial Assistant, Asian Art, Solomon R. Guggenheim Museum. The archive section was developed in collaboration with Asia Art Archive, Hong Kong.