In gallerie in questi giorni a Londra

Eccovi una breve carrellata di proposte galleristiche in questi giorni qui a Londra

Parasol Unit presenta la prima importante analisi sull'artista britannico Siah Armajani, ripercorrendo le opere di Armajani su carta dal 1950 ad oggi giorno dedicate alle commissioni di scultura pubblica.

Pochi giorni, fino al 20/10, per vedere il film di Warren Du Preez & Nick Thornton Jones ispirato a Rodin dal titolo Erebus presentato da Londonewcastle Project Space.

Un'altra occasione di contemporaneità la offre Edge of Arabia, presso la Ayyam Gallery con i lavori di Abdulnasser Gharem, fra i più promettenti artisti sauditi. 

Prossimamente a Londra un nuovo grande spazio

Nel centro di Londra nell'elegante quartiere di Bloomsbury  accanto al British Museum, il magnate Frank Cohen e Nicolai Frahm, stanno ristrutturando dei grandi spazi di un ex-centrale del latte per trasformarli in un nuovo grande spazio espositivo, che forse si chiamerà "the dairy". La mostra di apertura sara in Aprile con John Armleder.

Hauser & Wirth nuovi spazi a New York

Hauser e Wirth inaugura in 511 west 18th street a New York dei nuovi stupendi spazi e per l'inaugurazione ha scelto le opere di Dieter Roth e Bjorn Roth. 

Comunicato stampa:

Sculptor, painter, printmaker, collagist, poet, diarist, graphic designer, publisher, filmmaker and musician, German-born Swiss artist Dieter Roth (1930 – 1998) has been described as ‘a performance artist in all the mediums he touched’. Everything Roth made involved acting out a central concept of art and life as utterly indivisible – a single enterprise in which material stuff is subservient to the emotional and sensual experience for which it stands. Roth was not an artist who tolerated boundaries. In seeking to pulverize them, he elevated the processes by which things happen, embracing accidents, mutations, and accretions of detail over time; inviting nature to have its way with unstable mediums, including fruit, chocolate, and sugar; and perhaps most boldly, inviting the dilution of his own authorship through constant, intensive collaboration with other artists. Those partners included such significant figures as Richard Hamilton, Emmett Williams, Arnulf Rainer, and Hermann Nitsch. But it was Roth’s long and symbiotic collaboration with his own son, artist Björn Roth, that stands as testament to the enormous and enduring potency of his restless, relentless process.

On 23 January 2013, Hauser & Wirth New York will open ‘Dieter Roth. Björn Roth’, a landmark exhibition of masterworks that highlights this remarkable twenty-year collaboration and, through it, the diversity of the practice that has established Dieter Roth as one of the most inventive and influential artists of the second half of the 20th century. ‘Dieter Roth. Björn Roth’ culminates Hauser & Wirth’s 20th anniversary and inaugurates the opening of the gallery’s new, second exhibition space in New York City, at 511 West 18th Street, between Tenth and Eleventh Avenues. Moreover, the exhibition sets the stage for major exhibitions to be presented at 18th Street in 2013 by three artists – Paul McCarthy, Roni Horn and Matthew Day Jackson – who claim Roth as their touchstone.

Organized with the cooperation of the Dieter Roth Foundation, Hamburg, Germany, ‘Dieter Roth. Björn Roth’ presents more than 100 objects created since the 1970s, including numerous works never before exhibited in the United States. Among these will be ‘The Floor I (Studio-floor from Mosfellsbaer, Iceland)’ from 1973 to 1992; a series of wall-mounted works form the 1980s comprised of such at-hand materials as toys, sweets, tools, refuse, and dead insects in plastic tubes; and key works from the ‘Tischtücher’ series of paintings made in the late 1980s and early 1990s from used tablecloths. Key examples of Dieter Roth’s poignant ‘Kleiderbilder’ paintings, made from the artist’s own clothes, also will be on view, as will the installation ‘Grosse Tischruine (Large Table Ruin)’, created by Dieter and Björn Roth with Eggert Einarsson between 1978 and 1998.

Triple Candie

Fra i progetti più interessanti di questi ultimi anni Triple Candie, si propone ora in una forma nomade che si muove nelle poliedrica New York, ecco alcuni scatti dal recente progetto.

By Being Empty, and Saved That Way, Five Blocks Halt Progress(April 30 - June 7, 2009)

This exhibition celebrated the founding of the Forrent Land Trust, an urban land trust dedicated to the preservation of empty storefronts in West Harlem. The goal of the Trust is to obtain permanent "for rent" conservation easements on unoccupied storefronts from West 147th Street to 152nd Street, between Broadway and Amsterdam Avenues, maintaining them as is--with "for rent" signs on their facades. Why would they do this? Well, if successful, the Trust believes that its land-management initiative will curb predatory commercial development, slow rent hikes, and retard the rapid increase in property values and taxes in the area.

The exhibition visualized the Trust's plans. It included a large-spray-painted map of the neighborhood and the target properties, a sprawling found-object floor sculpture that reflected on issues of cultural preservation, nearly one hundred photographs of the targeted storefronts -- picturing them in the present and ten and twenty years into the future -- and a copy of a samle Forrent Land Trust Conservation Easement.

Critics of the Trust complain that the massive lock-down on empty properties will only increase demand, resulting in short-term price increases in adjacent properties." Regardless, the Forrent Land Trust's biggest challenge will be making a convincing argument that the properties in question all have "conservation value" as defined in Section 170 (H)(4)(A) of the Internal Revenue Code. The Trust claims that they are "historically important structures," not for any intrinsic value they might possess but rather for their instrumental value, historically, in preserving local culture in a highly vulnerable community by maintaining a state of perpetual under-development.