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Friday, December 15, 2017

ANDREAS GURSKY-BANGKOK AT GAGOSIAN GALLERY

From Thursday, December 14 to March 2, 2018, Gagosian is pleased to present photographs by Andreas Gursky, on view for the first time in Italy. Featuring works from the Bangkok series (2011), as well as the monumental Ocean VI (2010), the exhibition coincides with the tenth anniversary of the Rome gallery.

Gursky has demonstrated that a photographer can make or construct—rather than simply take—photographs about modern life and produce them on the scale of epic painting. Just as history painters of previous centuries found their subjects in the realities of everyday life, he finds inspiration in his own spontaneous visual experience and through reports of global phenomena in the daily media. From initially using the computer as a retouching tool, he began exploring its transformative potential, sometimes combining elements of multiple shots of the same subject into an intricate yet seamless whole, at other times barely altering the image at all. The resulting pictures have a formal congruence deriving from a bold and edgy dialogue between photography and painting, representation and abstraction.

In spring of 2011, Gursky visited Bangkok and observed the Chao Phraya that flows through the city and empties into the Gulf of Thailand. In the Bangkok photographs, he depicts the flickering surface of the fast-flowing river at close range. The luminous ripples, captured in an expansive vertical format, echo the chromatic effects of Impressionism, or the bold compositions of the American postwar modernists. The river mutates endlessly, revealing a mercurial, iridescent pattern. This formal beauty, however, gives way to a toxic, scientific reality. Like urban waterways worldwide, Rome’s own Tiber included, the Chao Phraya is revealed by Gursky to be at once a dumping ground for all manner of manmade detritus (used condoms, mattresses, car tires); a crucible for natural disorder (dead fish and the pretty but devastating weed known as water hyacinth); and a reflecting, refracting mirror of the modern city in a constant state of flux.

For the Oceans series, he sourced high-definition satellite photographs from which to generate his own interpretations of sea and land, consulting shoal maps to obtain the appropriate visual density. Dominated by the Atlantic, with Caribbean islands and parts of the North and South American coastlines visible in the outermost edges, Ocean VI underscores the vulnerability of the Earth’s continents as ocean levels rise at an increasing pace. Gursky’s photographs thus touch a topical nerve in contemporary life, symbolizing environmental threats on both a local and a global scale.

Bangkok VI

Bangkok IX

Bangkok VIII

Bangkok V

Bangkok III

Bangkok II

Ocean VI

Thursday, December 7, 2017

ART BASEL MIAMI 2017-GAGOSIAN GALLERY

Since launching in 2002, Art Basel has become North America’s premier art fair, so expect amazing contemporary paintings, films and videos, sculptures, drawings, photography, digital art and installations from more than 4,000 artists.
Now in its 16th year, the prominent North American art fair showcases hundreds of galleries inside the Miami Beach Convention Center.
Gagosian Gallery partecipates in Art Basel Miami Beach 2017 from Dec 7th to 10th presenting a selection of works by modern and contemporary artists including: Richard Artschwager, Jean-Michel Basquiat, Cecily Brown, Glenn Brown, John Chamberlain, Dan Colen, John Currin, Urs Fischer, Sam Francis, Helen Frankenthaler, Katharina Grosse, Mark Grotjahn, Andreas Gursky, Damien Hirst, Alex Israel, Neil Jenney, Jasper Johns, Jeff Koons, Harmony Korine, Roy Lichtenstein, Brice Marden, Adam McEwen, Takashi Murakami, Albert Oehlen, Pablo Picasso, Richard Prince, Sterling Ruby, Ed Ruscha, Jenny Saville, Frank Stella, Rudolf Stingel, Mark Tansey, Robert Therrien, Cy Twombly, Andy Warhol, Mary Weatherford, Tom Wesselmann, and Christopher Wool.

Tom Wesselmann is considered one of the major artists of New York Pop Art, along with Roy Lichtenstein and Andy Warhol. Best known for his 1960s series “Great American Nude,” which featured flat figures in an intense palette of red, white, blue, and other patriotic colors, Wesselmann, in an effort to reject Abstract Expressionism, made collages and assemblages that incorporated everyday objects and advertising ephemera.

John Chamberlain is best known for his twisting sculptures made from scrap metal and banged up, discarded automobile parts and other industrial detritus. His work has been described as a kind of three-dimensional Abstract Expressionist painting.

A second-generation Abstract Expressionist painter, Helen Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Arshile Gorky, Willem de Kooning, and Jackson Pollock. She gained fame with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952).

Katharina Grosse’s large and colorful installations explore how abstract painting functions in a three-dimensional field. The installations take her work on canvas out of the studio into a larger context in which she can isolate certain specific concerns.Grosse believes that incorporating painting with its immediate environment forms a total system of light and color that painting in two dimensions neglects.

Robert Therrien's work references Pop and Conceptual art, Marcel Duchamp, childhood experiences, cartoons, and American design. Primarily known as a sculptor, he has also worked in painting, drawing, printmaking, and photography. By forcing the viewer to adjust his relationship to familiar objects, Therrien pushes his works toward the status of classical Greek sculpture.

Monday, January 30, 2017

EQUIVALENZE
GIUSEPPE PENNONE
GAGOSIAN GALLERY ROMA

The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree. —Giuseppe Penone
Equivalenze is the new exhibition about Giuseppe Pennone's sculptures, that was opened at Gagosian Gallery in Rome.
In "Equivalenze," Penone uses sculptural attitude and artifice to reveal corresponding systems in organic materials and bodies. Fist-sized terracotta moldings bear the precise imprint of his forceful grip. The terracottas are appended to iron plates, which he has oxidized in areas of repeated strokes. The repetition of blots and arcs yields a lively abstraction that resembles the flickering shadows of a leafy plant or the staccato marks of a Fauvist landscape—the ambiguous zone between nature and art. Penone's works are bodily memories, materialized. They speak to his belief that we, like rocks, trees, and water, are constantly molding, and being molded by, our environments. Our gestures mirror the twisting and stretching of trees, which contain concentric records of time in their wood. For a new sculpture, Equivalenze (2016), Penone made plaster molds of tree parts and cast them in bronze, erecting an artificial tree, piece by piece. From the roots, an anthropomorphic helix of bark emerges, becoming a figure in contrapposto, facing its botanical counterpart. Penone thinks of such convergences as gesti vegetali (plant-like gestures). In his hands, the human form is freed from the tree, and the tree, in turn, reveals the visceral qualities of the human body. Using sculptural media and techniques, he releases the animas of things, thus uniting the essence of nature with the sensations of direct human action.
A survey exhibition of Penone's work organized and supported by FENDI and curated by Massimiliano Gioni, will be on view at the Palazzo della Civiltà Italiana in Rome from January 27 to July 16, 2017.

GIUSEPPE PENONE EQUIVALENZE JANUARY 27 - APRIL 15, 2017
GAGOSIAN GALLERY- Via Francesco Crispi 16-Roma

Le vene d'acqua che sgorgano dal terreno scorrono in rivoli che confluiscono, come i rami nel tronco, come le dita nel palmo di una mano, come il bronzo nella matrice di un albero. —Giuseppe Penone Equivalenze è la nuova mostra di sculture di Giuseppe Pennone presentata Venerdì 27 Gennaio alla Gagosian Gallery di Roma.
In Equivalenze Penone utilizza il processo scultoreo per rivelare le corrispondenze tra il corpo e la natura. Forme di terracotta modellate nel pugno dell'artista contengono l'impronta della sua energica presa. Penone le ha fissate su piastre di metallo dove l'ossidazione riproduce il contatto della pelle con la superficie dando vita ad una vivace astrazione che richiama le ombre tremolanti di una pianta rigogliosa o le macchie intermittenti di un paesaggio fauve: una zona di confine tra natura e arte. Le opere di Penone sono memorie corporee, materializzate, testimoni della sua idea che anche noi, come le rocce, gli alberi, e l'acqua, siamo costantemente in trasformazione, e trasformati dall'ambiente circostante. I nostri gesti rispecchiano la tortuosità e la verticalità degli alberi che contengono testimonianze concentriche del tempo nel loro legno. Per l'opera Equivalenze (2016), Penone ha realizzato il calco in gesso di alcune parti di un albero, facendone poi una fusione in bronzo. Dalle radici emerge una spirale antropomorfa di corteccia che si trasforma in figura di fronte alla sua controparte vegetale, in un'equivalenza di forme tra il negativo dell'albero e il negativo della persona. Penone considera questi incontri come gesti vegetali. Nelle sue mani la forma umana viene liberata dall'albero e l'albero, a sua volta, rivela i tratti viscerali del corpo. Attraverso la scultura, Penone svela l'anima delle cose, creando un legame tra l'essenza della natura e la percezione del gesto umano.
Una mostra sul lavoro di Penone, promossa e organizzata da FENDI e curata da Massimiliano Gioni, sarà visitabile al Palazzo della Civiltà Italiana a Roma dal 27 gennaio al 16 luglio 2017.

Giuseppe Penone in his Turin studio, Italy, November 2016 ©Archivio Penone. Photo by Angela Moore.

Friday, January 15, 2016

PROTOTYPOLOGY-GAGOSIAN GALLERY

New opening yesterday, January 14th, at Gagosian Gallery of Rome:
PROTOTYPOLOGY-AN INDEX OF PROCESS AND MUTATION
"Prototypology" explores research and development in the work of thirty contemporary artists, tracing the evolution from idea to finished artwork through drawings, archives, maquettes, and bricolage. In doing so the exhibition establishes a typology of diverse drafts. The studio is a liminal zone for sourcing, modifying, and testing. The "sketch" represents the initial impulse from mind to hand, the developmental process whereby form begins to emerge. The exhibition reveal moments of process that lead to epiphanies. Monumental, civic, everyday, and otherworldly gestures are visible in a range of preparatory drawings and proposals.
These varied forms represent important moments of mutation via trial and error—in essence, the risk of experimentation that typifies the artist's quest. Through sketches both graphic and sculptural, the process behind each artist's production finds form.
Artists: Vladimir Arkhipov, Richard Artschwager, Nina Beier, Will Boone, Mike Bouchet, Chris Burden, Jason Dodge, Aleksandra Domanović, Dan Graham, Loris Gréaud, Michael Heizer, Carsten Höller, Thomas Houseago, Allan McCollum, Takashi Murakami, Albert Oehlen, Claes Oldenburg, Steven Parrino, Giuseppe Penone, Kirsten Pieroth, Ry Rocklen, Nancy Rubins, Arcangelo Sassolino, David Smith, Rudolf Stingel, Robert Therrien, Mungo Thomson, Tatiana Trouvé, Cy Twombly, Rachel Whiteread.
Untill March 5, 2016. Gagosian Gallery- Via Francesco Crispi 16. Rome

Ieri sera, 14 gennaio, alla Gagosian Gallery di Roma ha inaugurato:
PROTOTYPOLOGY-AN INDEX OF PROCESS AND MUTATION
"Prototypology" esplora e svela la fase di ricerca e sviluppo nel lavoro di trenta artisti contemporanei, affermati ed emergenti, raccontando, attraverso il disegno, l'archivio, la maquette e il bricolage l'evolversi dell'opera dall'idea alla realizzazione finale. Lo studio è una zona "di confine" dove trarre ispirazione, trasformare e sperimentare. Lo sketch, rappresenta l'impulso iniziale dalla mente alla mano, il processo di sviluppo dal quale la forma inizia ad emergere.
Sono presenti studi di scultura che rivelano istanti del processo creativo altrimenti nascosti. Gesti monumentali, quotidiani e mistici sono visibili nella selezione di schizzi preparatori e progetti.
La diversità di queste forme suggerisce importanti momenti di trasformazione: l'avventura della sperimentazione che caratterizza la migliore ricerca artistica.
Artisti: Vladimir Arkhipov, Richard Artschwager, Nina Beier, Will Boone, Mike Bouchet, Chris Burden, Jason Dodge, Aleksandra Domanović, Dan Graham, Loris Gréaud, Michael Heizer, Carsten Höller, Thomas Houseago, Allan McCollum, Takashi Murakami, Albert Oehlen, Claes Oldenburg, Steven Parrino, Giuseppe Penone, Kirsten Pieroth, Ry Rocklen, Nancy Rubins, Arcangelo Sassolino, David Smith, Rudolf Stingel, Robert Therrien, Mungo Thomson, Tatiana Trouvé, Cy Twombly, Rachel Whiteread.
Fino al 5 Marzo 2016. Gagosian Gallery- Via Francesco Crispi 16. Roma