Alicja Kwade da Pace a New York

Molto bella la mostra in corso ora alla Pace  con le opere di  Alicja Kwade "Telos Tales"  a New York. Con sculture monumentali inedite e nuove opere a tecnica mista, questa mostra segna il debutto di Kwade alla Pace di New York da quando la galleria ha iniziato a rappresentarla nel 2023. Aperta dal 7 maggio al 15 agosto, la mostra coincide con l'edizione di quest'anno di Frieze New York.

Kwade è nota a livello internazionale per sculture, installazioni pubbliche di grandi dimensioni, film, fotografie e opere su carta che si confrontano poeticamente e criticamente con concetti scientifici e filosofici. Attraverso un vocabolario distintivo che abbraccia riflessione, ripetizione e manipolazione di oggetti quotidiani e materiali naturali, l'artista solleva interrogativi sulle strutture e sui sistemi che governano e plasmano la nostra vita quotidiana. Nelle sue opere contemplative, che smantellano i confini della percezione, sfida idee e convinzioni comunemente accettate, proponendo al contempo nuovi modi di vedere e comprendere la realtà.

Le opere di Kwade sono presenti nelle collezioni del Los Angeles County Museum of Art, dell'Hirshhorn Museum and Sculpture Garden di Washington, DC, del Centre Georges Pompidou di Parigi, della Neue Nationalgalerie di Berlino, della National Gallery of Australia di Canberra, del mumok – Museum Moderner Kunst Stiftung Ludwig di Vienna e dello Yuz Museum di Shanghai, tra le altre istituzioni internazionali. Le sue sculture pubbliche si trovano anche in tutto il mondo: alla Stanford University di Palo Alto, in California, al MIT di Cambridge, nel Massachusetts, oltre che in Germania, Italia, Svezia e altri paesi. La sua pratica si inserisce in una tradizione di pionieri dell'astrattismo del XX secolo, all'interno del programma di Pace, tra cui Louise Nevelson – che ha plasmato quella che sarebbe diventata nota come arte installativa con i suoi iconici "ambienti" scultorei – e Agnes Martin, la cui opera è stata esposta insieme a quella di Kwade in una mostra a due presso lo spazio della galleria a Los Angeles nel 2024.

Tyler Hobbs arte e tecnologia

 Tecnologia e ricerca pittorica è l'interessante lavoro che la galleria  Pace 508 West 25th Street a New York  propone sulle sperimentazioni di Hobbs con il nuovo Algoritmo QQL NFT che ha sviluppato in collaborazione con il collega artista generativo Dandelion Wist. QQL: Analogs, si tratta della prima mostra di Pace dedicata al progetto web3 di un singolo artista.

Black Art alla Pace di New York

 

La galleria Pace di New York propone fino al 25 Febbraiio il progetto  [action=query]: Black Arts and Black Aesthetics , una mostra organizzata da Kristen Owens, Wikimedia Fellow .

Presentata nella biblioteca al primo piano della galleria, questo evento è il culmine della ricerca autoguidata di Owens sugli artisti neri americani e della diaspora nera che sono stati rappresentati o esposti con Pace durante i suoi 60 anni di storia. In occasione del Black History Month, [action=query]: Black Arts and Black Aesthetics si svolgerà dall'1 al 25 febbraio.

La Wikimedia Fellowship della durata di sei mesi, iniziata nel settembre 2022, è stata istituita come parte di una partnership in corso tra Pace e Black Lunch Table, un'organizzazione senza scopo di lucro che lavora per costruire un archivio digitale completo e solido delle storie degli artisti neri. Nel 2021, Pace ha collaborato con Black Lunch Table per presentare un evento fotografico Juneteenth presso il suo fiore all'occhiello a New York. Fondato nel 2005 dagli artisti Heather Hart e jina valentine, Black Lunch Table è dedicato all'archiviazione e alla condivisione del lavoro, delle voci e delle esperienze degli artisti neri nel corso della storia. Attraverso tavole rotonde, edit-a-thon di Wikimedia e altri programmi, l'organizzazione facilita iniziative collettive e collaborative al servizio di questa missione.

Li Songsong a Pechino

La galleria Pace di Pechino presenta la sesta mostra di Li Songsong dal titolo Beihai. Sono presentati i più recenti lavori di questo artista dalle intense pennellate. 

Gli strumenti dello spirito

Fino all'11 Febbraio 2017 la galleria Pace di Hong Kong presenta le ricercate ceramiche dell'artista Yin Xiuzhen, che ha intitolato l'esposizione  "The Instrument of Spirit".

There was a bad tree

Un evento speciale organizzato dalla galleria Pace che prende avvio nei giorni di Frieze

English

THERE WAS A BAD TREE, N. Dash, John Giorno and Alfred Jensen

6-10 Lexington Street, London, W1F 0LB 13 October – 15 November 2014

London—Pace London is delighted to present THERE WAS A BAD TREE, a collective exhibition of works by N. Dash, John Giorno, and Alfred Jensen. The exhibition will be on view from 13 October to 15 November 2014 at 6–10 Lexington Street, marking Dash and Giorno’s first exhibitions with the gallery. The exhibition’s catalogue features an original essay by Jens Hoffmann, Deputy Director of the Jewish Museum in New York.

Taking its title from the eponymous 2001 poem by Giorno, THERE WAS A BAD TREE brings together three American artists, all rarely exhibited in the UK. Giorno’s sound piece plays alongside new work by Dash and a collection of Jensen’s paintings which range in date from 1958 to 1975. Although each artist belongs to and emerged from distinct cultural milieux, the exhibition explores the formal and conceptual affinities shared between the three, revealing the broad cultural influences and forces that inspire each artists' practice and bridges their work.

Jensen’s intricate methodology reflects a distinctive approach to painting, refining his wide-ranging studies of science, math, and philosophy— such as Goethe colour theory, Pythagorean mathematics, the Mayan calendar, the I Ching—into a personal artistic vernacular. Jensen employs colour as an organizing system within the diagrammatic structure of his paintings, creating optical rhythms that allude to a deeper symbolic meaning. His paintings present information whose specificity may be obscured by the erudition of Jensen’s beliefs and interests, but nonetheless gestures toward an alternate mode of painting and history. Jensen’s work can “be seen as the opening of a possibility of other kinds of relations among things…. If all Western painting up to Jensen’s time had as its condition an underlying notion of how things are disclosed according to a particular understanding of time and space (perhaps ultimately derived from the Greeks), we sense in Jensen’s painting a striving toward another way of being in the world,” wrote art historian Michael Newman. [1]

“If Jensen’s works are preoccupied with centuries–old logics that strive to make sense of sense, Dash’s are concerned with the sensorial here and now. Viewing Jensen’s paintings is akin to embarking on an archaeological dig. Dash creates new artefacts. What unites these very different practices is their subtle revival of the romantic pursuit. Both speak in terms that are both expansive and precise. Both deeply invest in conveying a sense of wonder. Both foreground sense perception and readily make use of the authenticity of lived experience.” — Jens Hoffman. [2]

Jensen's dynamic compositions find certain affinities with Dash's wall hung constructions. As one can see a landscape shift with the slightest movement of perspective, looking at Dash’s works from differing vantage points reveals a completely different experience for each composition. Their multipart constructions belie their sense of unity; each composition is a study in geometry and equipoise. Dash's works possess a range of materials: some are cloaked in painted linen, while others hang on the wall and display planes of adobe or adobe coated with graphite. Though they resist definition, they are the sum of their details. Her sculptures, which she has said “interweave time and space and navigate information in idiosyncratic ways that search for something that is outside of language,” can be seen as the starting point and primary source for her painting.

Echoing N. Dash’s evocations of landscape, a recording of Giorno reading his poem “THERE WAS A BAD TREE,” which weaves a dynamic narrative around the life of a tree, will play in the gallery. Working in sound, performance, visual art and poetry, Giorno has pushed the context and possibilities of poetry in his more than five decades of work. Describing his process as growing out of Pop art and Dada, Giorno says that he “finds” sounds and ideas and then makes them concrete through the act of writing. “When poets write a poem, they don’t really see words first… they first hear a word in their mind; they experience it as sound and feel something. This is the moment wisdom arises—the sound becomes a word when it gets written down on the page, and then it becomes a poem,” he has said.[3] Giorno’s work uses words but pushes beyond their literal meanings to find aesthetic value in their form, sound and inflection. His poetry thus emerges from an abstract space akin to that of Dash and Jensen, transforming and transmitting nebulous ideas and concepts through personal experience and philosophies.

[1] Alfred Jensen’s Diagrams,” in Alfred Jensen: Concordance, eds. Lynne Cooke and Karen Kelly (New York: Dia Art Foundation, 2003).
[2] THERE WAS A BAD TREE catalogue essay, Pace London 2014.[3] “John Giorno” by Marcus Boon. Bomb. Fall 2008.

NOTES TO EDITORS

N. Dash (b. 1980, Miami Beach, FL) received a BA from New York University in 2003 and an MFA from Columbia University, New York, in 2010. An exhibition of her work is on view at the Hammer Museum, Los Angeles through January 25, 2015. In 2013, White Flag Projects, Saint Louis, MO presented a solo exhibition of her work. In 2014, her work has been featured in group exhibitions including, Pier 54, High Line, New York; Dreams That Money Can’t Buy, Maxxi Museum, Rome; The Possible, University of California Berkeley Art Museum. Other group exhibitions include Painting in Place, Farmers and Merchants Bank presented by Los Angeles Nomadic Division (2013); My Crippled Friend, Columbus College of Art and Design, Columbus, OH (2013); Notations: Contemporary Drawing as Idea and Process, Kemper Art Museum, Washington University, Saint Louis, MO (2012); and Transient Response / Land Tender, High Desert Test Sites, Joshua Tree, CA (2011). She lives and works in New York.

John Giorno (b. 1936, New York, NY) graduated from Columbia University, New York in 1958 and has been a major figure in the downtown Manhattan avant-garde since the 1960s. Although his work is grounded in poetry and was affiliated with William S. Burroughs, Giorno’s collaborations and friendships with leading visual and performance artists, such as John Cage, Brion Gysin, Yvonne Rainer, Robert Rauschenberg and Andy Warhol pushed his work into performance, film, painting and other media. Giorno’s work and performances have been presented worldwide at venues such as The Museum of Modern Art, New York; Artists Space, New York; the New Museum, New York; and the Serpentine Gallery, London. Among other solo exhibitions, the Palais de Tokyo, Paris, presented his work in 2012 and 2013 and will present a larger solo exhibition of his work in 2015. His work is included in many public collections including Centre national d’Art et de Culture Georges Pompidou, Paris, and The Museum of Modern Art, New York. Giorno has published criticism and many volumes of poetry. A collection of his poetry, Subduing Demons in America: Selected Poems 1962-2007, was published by Soft Skull Press in 2008. He lives and works in New York.

Alfred Jensen (b. 1903, Guatemala City, d. 1981, Livingston, NJ) studied at the San Diego Fine Arts School and in Munich under the tutelage of Hans Hofmann before leaving to complete his studies in Paris where he refined and developed his impasto technique. Demonstrating a range of interests from science, systems theory, colour theory, mathematics, and philosophy, Jensen’s colourful paintings of grids and diagrams also reflect the metaphysical dimension of these schools of thought. Jensen has been featured in numerous important international group exhibitions including Documenta (1964, 1968, 1972), the Venice Biennale (1964), Biennial of São Paulo (1977), and Post Painterly Abstraction, a landmark travelling exhibition curated by Clement Greenberg for the Los Angeles County Museum of Art (1964). His work is included in numerous prominent public collections and has been the subject of solo exhibitions at Dia Center for the Arts, New York (2002); Solomon R. Guggenheim Museum, New York (1961, 1985); Albright-Knox Gallery, Buffalo, NY (1978); Kunsthalle, Basel (1964, 1975); Kestner-Gesellschaft, Hannover (1973); and the Stedelijk Museum, Amsterdam (1964). Pace has represented Jensen since 1972.

PACE

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the 20th and 21st centuries. Founded by Arne Glimcher in Boston in 1960 and led by Marc Glimcher, Pace has been a constant, vital force in the art world and has introduced many renowned artists’ work to the public for the first time. Pace has mounted more than 700 exhibitions, including scholarly exhibitions that have subsequently travelled to museums, and published nearly 400 exhibition catalogues. Today Pace has ten locations worldwide: four in New York; two in London; one in Beijing, one in Hong Kong and two temporary spaces in Menlo Park, California and Zuoz, Switzerland. Pace London inaugurated its flagship gallery at 6 Burlington Gardens with the exhibitionRothko/Sugimoto: Dark Paintings and Seascapes, in October 2012.

Pace London at 6-10 Lexington Street is open to the public from Monday to Saturday, from 10 am to 6 pm, and from 10 am to 7 pm during Frieze week. www.pacegallery.com/

James Turrell alla Burlington Gardens di Londra

Un’altra grande proposta da Pace London dal prossimo 7 Febbraio fino al 5 Aprile, si tratta di un intervento di James Turrell nei maestosi spazi del Burlington Gardens di Londra, sicuramente un’altra fantastica emozione di luce. 

Press Release:

Pace London is honoured to present an exhibition of work by James Turrell from 7 February to 5 April 2014 at 6 Burlington Gardens. Turrell is among the most influential artists of the past fifty years and Pace is proud to continue its long commitment to the artist stretching back to 1967. This is the gallery’s sixth exhibition of his work following his unprecedented concurrent museum exhibitions at the Solomon R. Guggenheim Museum in New York, Los Angeles County Museum of Art (LACMA, on view until 6 April 2014), and Museum of Fine Arts, Houston.

For over three decades, Turrell has used light and indeterminate space — not objects, nor images — to extend and enhance perception. Turrell’s inspiration draws from astronomy, physics, architecture and theology.

Turrell’s first solo exhibition at Pace London features two never-before-seen works from the Wide Glass series staged in site-designed chambers on the ground floor of the gallery. Works from this series were recently included in the LACMA’s exhibition. Each Wide Glass work is unique and features an aperture with a frosted and curved glass surface animated by an array of sophisticated LED lights. With these new works, Turrell continues his exploration of technological possibilities combined with sensory practices, and invites the viewer to a meditative experience.

“I am really interested in the qualities of one space sensing another. It is like looking at someone looking. Objectivity is gained by being once removed. As you plumb a space with vision, it is possible to ‘see yourself see’. This seeing, this plumbing, imbues space with consciousness.” James Turrell.

Also displayed in the exhibition are two works from the Tall Glass series: Sojourn (2006), presented in the downstairs gallery between the two Wide Glass works, and Sensing Thought (2005), upstairs. Each piece from this series is constructed to create a tangible and physical plane of light. The artist has likened the processional development of colours to a musical system utilising themes and gradient tones. The physical construction of these works relates to the earlier series entitled Shallow Space Constructions from the late 1960s and early 1970s.

NOTES TO EDITORS

James Turrell (b. 1943, Los Angeles) attended Pomona College, where his studies concentrated on psychology and mathematics. Since 1966, he has created art works made primarily out of light. In 1973 he received a Master's degree in Art from Claremont Graduate School. His work is represented in international public collections including the Tate Modern, London; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; the Solomon R. Guggenheim Museum, New York; Whitney Museum, New York; Chichu Art Museum, Naoshima Island, Japan; The Museum of Modern Art, New York; and the Israel Museum, Jerusalem. The James Turrell Museum opened in Colomé, Argentina in 2009. His solo exhibitions include Stedelijk Museum, Amsterdam (1976); Whitney Museum of American Art, New York (1980); Israel Museum (1982); Museum of Contemporary Art, Los Angeles (1984); MAK, Vienna (1998–99); Mattress Factory, Pittsburgh (2002–03); and Kunstmuseum Wolfsburg, Germany (2009–10). In 2011, Pace and the Garage Center for Contemporary Art organized a major retrospective of Turrell’s work in Moscow.                                       

In May and June 2013, the Los Angeles County Museum of Art (LACMA), the Museum of Fine Arts, Houston (MFAH), and the Solomon R. Guggenheim Museum in New York concurrently presented three separate exhibitions highlighting the achievements of James Turrell. Independently curated by each presenting institution, the three simultaneous and complementary exhibitions together offered a full sense of Turrell’s oeuvre, and explored different facets of his five-decade career. Audiences at all three exhibitions were able to see and experience an unprecedented range of his work—from a retrospective in Los Angeles, to work from the extensive permanent collection and commissions in Houston, to a monumental site-specific installation in New York. The LACMA exhibition was on view from 26 May – 4 April 2013; the MFAH exhibition from 9 June – 22 September 2013; and the Guggenheim exhibition from 21 June – 25 September 2013.

Pace

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the 20th and 21st centuries. Founded by Arne Glimcher in Boston in 1960 and led by Marc Glimcher, Pace has been a constant, vital force in the art world and has introduced many renowned artists’ work to the public for the first time. Pace has mounted more than 700 exhibitions, including scholarly exhibitions that have subsequently travelled to museums, and published nearly 400 exhibition catalogues. Today Pace has seven locations worldwide: four in New York; two in London; and one in Beijing. Pace London inaugurated its flagship gallery at 6 Burlington Gardens with the exhibition Rothko/Sugimoto: Dark Paintings and Seascapes, 4 October – 17 November 2012.

Pace London at 6 Burlington Gardens is open to the public from Tuesday to Saturday, from 10 a.m. to 6 p.m. 

Fra Mingei e Francis Gray da Pace-London

Nei maestosi spazi di Burlington Gardens la Galleria Pace presente le recenti opere di Francis Gray che mi ricordano molto le dinamiche di Gustave Rodin

Press Release 

The first exhibition of Kevin Francis Gray’s work at Pace London. The new sculptures aim to transcend the natural and the material in both form and subject matter seeking to render a physical perfection that is not reached in the temporal world.

Kevin Francis Gray (b. in 1972 in Northern Ireland)  has generated bodies of work which address the complex relationship between abstraction and figuration.

His work has been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.

Mentre negli spazi di Lexington Street è in corso, sempre fino al 18 Gennaio, un'esposizione dei manufatti d'arredo ideato dal gruppo denominato Mingei, che operava negli anni 20 e 30 del secolo scorso.

Press Release 

Pace London's first group exhibition exploring the legacy of Mingei, a Japanese folk craft movement led by philosopher and critic Sōetsu Yanagi, and featuring  paintings, sculptures, ceramics, and textile works.  Curated by Nicolas Trembley, the exhibition juxtaposes historical works from Japanese Mingei artists with modern and contemporary artists inspired by Mingei.  

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.

Turrell da Pace

Si inaugura domani alla Pace Gallery di New York una mostra su James Turrell, uno degli artisti che amo di più, sono proprio curioso di vedere che presenterà in questa nuova occasione espositiva, che anticiperà tre importanti mostre negli USA. 

Comunicato stampa:

Pace is honored to present an exhibition of work by James Turrell in anticipation of his unprecedented three-venue museum exhibition on view concurrently at the Solomon R. Guggenheim Museum in New York, Los Angeles County Museum of Art, and Museum of Fine Arts, Houston this spring. Known for his work with light and visual perception, Turrell is among the most influential artists of the past fifty years. He has been represented by Pace since 2002. This is the gallery’s fifth exhibition of his work.

James Turrell: Roden Crater and Autonomous Structures will be on view at 32 East 57th Street from March 15 through April 20, with an opening reception for the artist and public on Thursday, March 14, 6 to 8 PM.

The exhibition will focus on the Roden Crater, an extinct volcano in the Painted Desert of Northern Arizona that Turrell has been transforming into a monumental work of art since the 1970s. One of the most ambitious projects ever envisioned by an artist, Turrell’s masterwork will convert the inner cone of the 400,000-year-old crater into a massive naked-eye observatory, designed specifically for viewing and experiencing skylight, solar, and celestial phenomena. Pace will present bronze and plaster models of spaces within the crater, as well as photographs of the project by Turrell, including the first known aerial photo of the Roden Crater, taken from the artist’s plane.

The exhibition will also feature fiffeen Autonomous Structures, freestanding chambers designed for experiencing visual phenomena and connecting visitors with the movements of the cosmos. As Turrell explains, “Autonomous Structures are just containers for the light; the art is in the experience of the viewer.” Made between 1989 and 2010, the models evolved from spaces Turrell built and designed within the Roden Crater and, like the crater’s chambers, contain Skypaces (apertures to the sky carved into an enclosed space) or Ganzfeld pieces (unmodulated field of light that dissolve architectural space). Influenced by the design of ancient observatories, including Angkor Wat, Machu Picchu in Peru, and the Mayan and Egyptian pyramids, the structures are simultaneously ancient and futuristic. Though most of the Autonomous Structures are unrealized, four of the models on view have been built, including Light Reign(2003) for the Henry Art Gallery, Seattle. In 2012, the Autonomous Structures Twilight Epiphany was realized at Rice University in Houston.

James Turrell (b. 1943, Los Angeles) attended Pomona College, where his studies concentrated on psychology and mathematics. Since 1966, he has created art works made primarily out of light. In 1973 he received a Master's degree in Art from Claremont Graduate School. His work is represented in international public collections including the Tate Modern, London; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; the Solomon R. Guggenheim Museum, New York; Whitney Museum, New York; Chichu Art Museum, Naoshima Island, Japan; The Museum of Modern Art, New York; and the Israel Museum, Jerusalem. The James Turrell Museum opened in Colomé, Argentina in 2009. His solo exhibitions include Stedelijk Museum, Amsterdam (1976); Whitney Museum of American Art, New York (1980); Israel Museum (1982); Museum of Contemporary Art, Los Angeles (1984); MAK, Vienna (1998–99); Mattress Factory, Pittsburgh (2002–03); and Kunstmuseum Wolfsburg, Germany (2009–10). In 2011, Pace and the Garage Center for Contemporary Art organized a major retrospective of Turrell’s work in Moscow.

In May and June 2013, the Los Angeles County Museum of Art (LACMA), the Museum of Fine Arts, Houston (MFAH), and the Solomon R. Guggenheim Museum in New York will concurrently present three separate exhibitions highlighting the achievements of James Turrell. Independently curated by each presenting institution, the three simultaneous and complementary exhibitions together offer a full sense of Turrell’s oeuvre, and explore different facets of his five-decade career. Audiences at all three exhibitions will be able to see and experience an unprecedented range of his work—from a retrospective in Los Angeles, to work from the extensive permanent collection and commissions in Houston, to a monumental site-specific installation in New York. The LACMA exhibition will be on view from May 26 – April 4; the MFAH exhibition from June 9 – September 22; and the Guggenheim exhibition from June 21– September 25.

Robert Irwin alla The Pace di New York

Tre colonne semplice e suggestive sono state installate da Robert Irwin alla The Pace 25th Street, in contemporanea c'è anche un'altra sua mostra alla 57th Street, ma questa mi piace molto di più, semplice e suggestiva. 

Tutti qui appassionatamente - Nuove gallerie internazionali aprono a Londra

Londra è sempre più il centro dell’arte mondiale, conferma sono le tre prossime aperture di alcune gallerie internazionali quali le gallerie: Pace, David Zwirner e Michael Werner, che si stanno insediando nel centrale quartiere di Mayfair. 

In questi anni questa città è passata dalla nebbia delle sue industrie, che lentamente hanno chiuso, per trasformarsi in una cosmopolita ricca città, che ha puntato su un’ampia capacità di attrarre nuovi abitanti, possibilmente molto ricchi, che frequentano i tantissimi interessanti eventi cosmopoliti. L’arte è stata una delle punte di rinnovamento che ha visto la trasformazioni di quasi tutti i principali musei con l’apertura di nuovi spazi e grandi ampliamenti. Arricchiti da interessantissime mostre e da tanti altri importanti eventi. 

L’apertura di queste gallerie è un’ulteriore conferma che in città ci sono e passano i principali collezionisti di arte contemporanea dell'Europa centrale e, soprattutto, dalle nuove frontiere: la Russia, l'Asia e il Medio Oriente. Che spesso finisco anche per risiedervi. 

Pare giusto che anche l’offerta internazionale sviluppi qui una sede, come già ha fatto la Gagosian, con ben due spazi. Queste nuove gallerie apriranno nei prossimi giorni. La prima sarà la Galleria Michael Werner, il 27 Settembre, con una mostra di Peter Doig. Seguirà La Pace che aprirà il 4 Ottobre con due mostre di grande valore, le fotografie di Hiroshi Sugimoto e le opere di Mark Rothko. Il giorno dopo, il 5 Ottobre, inaugurerà la Galleria David Zwirner puntando sulle opere del pittore belga Luc Tuymans.