Oscura meraviglia

 Presso la sede di Los Angeles della galleria Marian Goodman  in corso la mostra di Tavares Strachan dal titolo "Magnificent Darkness" parte di un ampio progetto sul tema della diaspora africana. 

L'esposizione, molto ben allestita, è realizzata in sei ambienti immersivi site-specific, che sviluppa il progetto The Encyclopedia of Invisibility, su cui l'artista sta lavorando da diverso tempo. 

Giulio Paolini alla Librairie di Marian Goodman a Parigi

 

Molto interessante la mostra che la Librairie di Marian Goodman di Parigi dedica alla produzione delle edizioni limitate di Giulio Paolini. 

CS
Librairie Marian Goodman is pleased to present an exhibition devoted to Giulio Paolini’s early printed editions and multiples, focusing on the first ten years of production from 1967 to 1977. Paolini, who has just been awarded this year’s Japanese Praemium Imperiale International Arts Award in Painting, is also taking part in the group exhibition Renverser ses Yeux at Jeu de Paume and at Le Bal in Paris from 11 October 2022 to 29 January 2023.

The artist’s limited editions, which he began in 1967, include approximately 150 works. Since his first works in the early 1960s, Paolini has oriented his practice towards a conceptual dimension, drawing attention to the elements that make up the painting, the space of the representation, the relationship between the work and the viewer, as well as to the figure of the author. Over the course of time, the artist’s oeuvre has led him to include the ‘act of the exhibition’ and the artist’s studio as the space where the work comes into being. Paolini’s frame of reference is the classical tradition of beauty and the metaphysical dimension of art, far removed from the evolution of the world and of life as we know it.

Comprising a predominantly consistent range of materials (photographs, plaster cast, drawing paper, Plexiglas, objects, graphics and books), Paolini’s works dialogue with Time and History. Each possesses a complex structure that references art history or literature, forming a coherent and polysemous whole composed of a set of fragments. It is through our attentive observation of each detail that we can gain a reading of the complete composition, exceeding our initial perception of the work itself.

The exhibition presents 13 works including printed editions, artist’s books and multiples, personally selected by the artist. The ensemble highlights how the conceptual research developed by Paolini in the sixties and seventies is brilliantly mapped out and summarized in the editions; in some instances, they were realized in parallel with paintings, sculptures or collages bearing the same title.

Born in Genoa, Italy, in 1940, Giulio Paolini lives and works in Turin. He made his first “painting,” Disegno geometrico, in 1960 and had his first solo exhibition in Italy in 1964. In the mid-1960s, he became associated with the Italian artists of the Arte Povera movement and took part in numerous group shows. He has also had solo shows in major international institutions such as the Castello di Rivoli Museo d’Arte Contemporanea in Rivoli (2020); the Museo Poldi Pezzoli in Milan (2016); the Center for Italian Modern Art (CIMA) in New York (2016); the Whitechapel Gallery in London (2014); the MACRO (Museo d’Arte Contemporanea) in Rome (2013); the Kunstmuseum Winterthur (2005); MAMCO in Geneva (1999); the Fundação C. Gulbenkian in Lisbon (1995); the Stedelijk Museum Amsterdam (1980). In France he was invited by the Nouveau Musée de Villeurbanne (1984) and by the Musée d’Art Moderne de la Ville de Paris (1978).

A major solo exhibition, Giulio Paolini. Quando è il presente? has just ended at the Museo Novecento in Florence. Paolini has shown at several Documenta (V, 1972; VI, 1977; VII, 1982, and IX, 1992) and at numerous Venice Biennales (1970, 1976, 1978, 1980, 1984, 1986, 1995, 1997 and 2013). He has also designed many stage sets since 1969, including one for the opera Die Walkürie by Richard Wagner at the Teatro di San Carlo, Naples, in 2005.

The Librairie is open from Tuesday to Saturday, from 11 am to 7 pm.

Gerhard Richter apre la Goodman di Londra

Oggi saranno i recenti lavori di Gerhard Richter a inaugurare la nuova sede della Galleria Marian Goodman a Londra al 5/8 di Lower John Street.

Marian Goodman is honoured to announce that an exhibition of new and recent works by Gerhard Richter will inaugurate her London gallery. This will be Richter’s first gallery exhibition of this nature in London for nearly two decades. Consisting of over 40 works, with important bodies of new ‘Strip’, ‘Flow’ and ‘Doppelgrau’ paintings, the show will also include a large glass sculpture and a selection of key earlier pieces. 

Over the past five years Richter has been primarily concerned with a series of paintings premised on systematically deconstructing a photograph of his own abstract oil on canvas from 1990. Revisiting an idea he first employed in his late-seventies project ‘128 Photographs of a Painting’, he divided the work’s surface into two vertical sections, then halved those halves, and so on, subjecting them repeatedly to a premeditated procedure he described simply as ‘dividing, mirroring, repeating’. At the point when this digital process had generated 4,096 infinitesimal vertical sections, Richter intervened with a rigorous selection process, re-imposing his subjective will and choosing particular preferred strips with which to continue working. Following one further final halving and mirroring, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of colour, the largest of which stretches over ten metres, as seen on the gallery’s first floor. By tellingly entitling these unique works ‘Strip’ paintings, Richter is referring not to those lines, but both to the miniscule vertical strips they represent of their source and to the sense of physically ‘stripping’ – taking apart and dismantling his original painting. Of not only reinventing, but wholly paring down and fundamentally abstracting his own abstraction. 

On contemplation, Richter’s ‘Strip’ paintings distill the pictorial investigations of a 60-year career into a body of work that is wholly consistent with, and contingent on, everything that has preceded them. As photography once opened new pathways for him in the 1960s, digital technology has now added to the expansive territories of his work. By refuting established categorization, Richter has again been able to exploit one media to deconstruct the possibilities of another, arriving at unchartered and unprecedented new propositions. Although the final incarnation of his ‘Strip’ paintings are empirically pigment printed on paper through a mechanical means, the processes, choices and concerns are entirely those of the artist as they would be in the process of making a traditional painting – and the results are as radical and rewarding. As Robert Storr puts it, ‘There has never been a body of work more “retinal” than Richter’s strip abstractions of the past several years…. these works await the individual viewer in ever shifting yet ever unique spatial and temporal circumstances identical to those in which his works on canvas await us.’

Another new territory through which Richter has reinvestigated his means of abstract painting, whilst undermining preconceptions of what it means for us to encounter them, are his ‘Flow’ paintings, a group of which are presented in one of the ground floor rooms of this exhibition. Their title refers to the gestural currents of enamel paint that have been frozen in motion at the moment Richter fixed a pane of glass directly to the surface of a painting in process on the floor – arresting a once fluid image at a precise chosen instance. His technique of pouring and manipulating paint captures a tension between chance versus the decisive gesture of the artist’s hand. And, while the glass face of each work serves to magnify the materiality of the paint, it also removes the element of direct tactility and undermines how immediacy of touch is typically supposed to facilitate an expressive connection between painter and viewer. Richter leaves us instead with a smooth surface that not only distances us from subjective gesture, but also reflects ourselves and our surroundings. 

If the latter is intrinsic to the experience of his ‘Flow’ paintings, in the four large diptychs Richter has presented in the main ground floor space, reflection has been employed almost entirely in lieu of mark-making in itself, which opens up fundamentally different readings of the monochrome. Each work juxtaposes two different shades of grey paint behind glass, hence their titles, ‘Doppelgrau [Double Grey]’. Sculptural as well as pictorial, each diptych is mounted to a support that projects the picture plane forward off the wall towards the viewer, hovering in space. Their fields of pure grey betray no gesture, so they and the reflections of the architectural space and spectators around them, mean we absorb both tangible spatial division and subtle differentiation of colour simultaneously. This series continues Richter’s nearly 50-year engagement with grey monochromes, an enduring fascination explained by his dictum that ‘Grey is the epitome of non-statement’.

Richter has placed in the middle of this main room a monumental work entitled ‘7 Panes of Glass (House of Cards)’, one of the key new glass pieces Benjamin H. D. Buchloh describes as ‘The culmination of a lifelong preoccupation with the material… [and] an allegorical negation of the long and heroic history of material tropes within the painting and utopian architecture of the twentieth century’. Falling somewhere at the intersection of architecture, picture-making and sculpture, while defying categorization within each, it is constructed from sheets of glass propped against each other at angles that produce the illusion of shards slicing through, layering and dislocating light. If all such Richter glass pieces belong to a lineage from his 1966 ‘Four Glass Panes’, this work in particular also recalls a trip he made to Greenland in 1972, initially inspired by Friedrich but during which Richter soon abandoned that romanticism for a fascination with the formal qualities of icebergs, and took whole volumes of photographs of them. 

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years – including his ‘Abstraktes Bild’ and ‘Farben’ paintings – which inform and re-contextualize his more recent pieces. And that sense of continuum is not only appropriate, but vital to this exhibition. To return to Storr, ‘As he has done so many times before, Richter manages to debunk one set of clichés while taking the measure of fresh, as yet “unscripted” possibilities, in particular novel frameworks that qualify or condition the act of looking… What emerges is a desire to claim the whole of an unexplored territory he could see laid out before him from a vantage point to which a previous, intensively pursued practice had lead him.’

Gerhard Richter has recently been the subject of substantial solo exhibitions at the Fondation Beyeler, Basel; The Kunstmuseum Winterthur; and the Staatliche Kunstsammlung, Dresden. The artist’s work was last seen in London in ‘Gerhard Richter: Panorama’, a comprehensive retrospective at Tate Modern in 2011, which travelled to the Neue and Alte Nationalgalerie, Berlin, and The Centre Pompidou, Paris. A fully-illustrated, hardback catalogue with essays by Benjamin H. D. Buchloh, Dieter Schwarz, and Robert Storr will accompany his Marian Goodman exhibition.

The new Marian Goodman Gallery London is housed in a former Victorian factory warehouse measuring 11,000 square feet over two floors, which has been completely renovated with the help of David Adjaye. The gallery is located on Soho’s Golden Square and open to the public Tuesday through Saturday from 10:00am-6:00pm. For further information please call +44 (0)20 7099 0088 or email martin@mariangoodman.com 

The next exhibition in this space will be new work by Danh Vo, opening in January 2015. This will be Vo’s first solo show in London, and will precede his representation of Denmark in the 2015 Venice Biennale.

William Kentridge da Marian Goodman

William Kentridge da Marian Goodman  

http://www.mariangoodman.com

William Kentridge da Marian Goodman

Ieri sera la galleria Marian Goodman presenta nei suoi spazi di 24 West 57th Street un nuovo importante lavoro di William Kentridge, che sarà impegnato anche al  Metropolitan Opera per l’allestimento di un’opera di Šostakovich.

La mostra prende spunto dalla serie di Norton Lectures all'Università tenute dall’artista ad Harvard nel 2012, e vedrà la proposta di alcuni disegni, tre nuovi filmati e diversi interventi ambientali con sculture. 

L’autunno caldo londinese

  

Sempre più Londra attrae l’arte internazionale, e con il riavviarsi della stagione ecco nuove importanti aperture, ma non solo. La più attesa sarà l’arrivo della gallerista americana Marian Goodman in Mayfair a cui si affiancherà i primi d’Ottobre la terza galleria del gruppo Gagosian, progettata dallo studio d’architettura Caruso St John, al 20 Grosvenor Hill. L’area è quella che vede già presenti altre importanti galleria quali Pace, David Zwirner, Michael Werner e a breve anche la casa d’aste Phillips.

Si avviano poi nuove iniziative come la fresca proposta dell’ Art Licks Weekend 2013; una nuova rassegna artistica che si svolgerà la prima settimana d’ottobre coordinata dalle giovani gallerie inglesi, oltre 70 sparse fra  Bermondsey, Bethnal Green, Deptford, Hackney, Hackney Wick e Peckham. Un festival di energie giovanili che si struttura in modo molto dinamico e innovativo.

L’arte contemporanea fa sempre più rima con Londra.