FIAC 2019 in images

FIAC 2019

in images

As seen by Alexandra Gilliams for XIBT

Beneath the glass ceiling and green steel frames of the Grand Palais, a selection of contemporary art pieces from 199 international galleries comprised the 46th edition of FIAC in Paris, France. This year the fair hosted galleries from 29 different countries, including the Ivory Coast and Iran who were represented at FIAC for the first time. Stunning pieces of all genres permeated the fair, including a decorative installation displayed by London’s Lisson Gallery by the French artist Laure Prouvost, who represented France this year at the Venice Biennale.

FIAC 2019, Lisson Gallery, Laure Prouvost. Photo Alexandra Gilliams

To the side of the gallery’s booth was a space designated only for Prouvost, which displayed a playful pink globe with flowers descending from its center, made entirely from Murano glass, entitled “Growing in Softness Chandelier”.

FIAC 2019, Lisson Gallery, Laure Prouvost. Photo Alexandra Gilliams

The installation was completed with two chairs entitled “Early Work of Grandad, found in the tunnel of history” numbered 6 and 8. Scattered throughout the fair were walls lined with Picasso’s and Picabia’s, iconic prints of flowers taken by Thomas Ruff and Robert Mapplethorpe, and a complex acrylic glass sculpture by Berta Fischer, to name a select few. And of course, no contemporary art fair would be complete without one or two of Anish Kapoor’s famous Mirrors with rows of people waiting to take photos of themselves distorted in its colorful, concave reflection.

FIAC 2019, Regen Projects, Anish Kapoor. Photo Alexandra Gilliams
FIAC 2019, Mai 36 Galerie, Thomas Ruff. Photo Alexandra Gilliams
FIAC 2019, Krinzinger Gallery, Hans Op De Beeck. Photo Alexandra Gilliams

The Palais’ glass vault bathed Hans Op de Beeck’s distinct grey sculptures at the Vienna’s Gallery Krinzinger in a soft, even lighting. Wandering throughout the fair is a sensory overload as your eyes are inundated with neon sculptures, glass, copper, wood, large scale paintings and miniatures, sketches and photographs, and installations. FIAC’s unique venue and choice in the galleries it represents distinguishes it from other international art fairs. Further, in the wake of Brexit, as more and more galleries begin to open up spaces in Paris, the city is rumored to once again become the European center for art.

Here are some of the highlights from this year’s edition of
FIAC from our correspondent Alexandra Gilliams:

FIAC 2019, Xavier Hufkens, Antony Gormley / Tracey Emin. Photo Alexandra Gilliams
FIAC 2019, Gladstone Gallery, Anicka Yi. Photo Alexandra Gilliams
FIAC 2019, Barbara Weiss Gallery, Berta Fischer. Photo Alexandra Gilliams
FIAC 2019, Barbara Weiss Gallery, Berta Fischer. Photo Alexandra Gilliams
FIAC 2019, Esther Schipper Gallery, Tomas Saraceno. Photo Alexandra Gilliams
FIAC 2019, Art Concept Gallery, Adam McEwen. Photo Alexandra Gilliams
FIAC 2019, Kukje Gallery. Photo Alexandra Gilliams
FIAC 2019, Magazzino Gallery, Gianluca Malgeri e Arina Endo. Photo Alexandra Gilliams
FIAC 2019, Perrotin, Jean-Michel Othoniel. Photo Alexandra Gilliams
FIAC 2019, Art Concept Gallery, Richard Fauguet. Photo Alexandra Gilliams
FIAC 2019, Victoria Miro Gallery, Grayson Perry. Photo Alexandra Gilliams
FIAC 2019, Victoria Miro Gallery, Grayson Perry. Photo Alexandra Gilliams
FIAC 2019, 303 Gallery, Eva Rotschild. Photo Alexandra Gilliams
FIAC 2019, Kukje Gallery, Jean-Michel Othoniel. Photo Alexandra Gilliams
FIAC 2019, Gagosian Gallery, Picasso. Photo Alexandra Gilliams
FIAC 2019, Galleria Continua, Pascale Marthine Tayou. Photo Alexandra Gilliams
FIAC 2019, Galleria Continua, Pascale Marthine Tayou. Photo Alexandra Gilliams
FIAC 2019, Kamel Mennour, Christodoulos Panayotou. Photo Alexandra Gilliams
FIAC 2019, Galerie Lelong&CO, Fabienne Verdier. Photo Alexandra Gilliams



November 15 – 22, 2019

Anna Jermolaewa, The Penultimate, Installation, 2017

From November 15 – 22, 2019, everything in Vienna will once again revolve around art: the VIENNA ART WEEK will focus attention on the city‘s comprehensive art scene and, together with more than 70 program partners, offer a rich program of events. Under the motto “Making Truth” the VIENNA ART WEEK 2019 sets out in search of the truth at a time when ”Fake News”, is prevalent.

On the occasion of the 15th anniversary of the VIENNA ART WEEK the Open Studio Day will be extended. For the first time, it will start on a Friday. Making use of the weekend (16 – 17 November) the Open Studio Days will offer a unique opportunity to take a comprehensive look behind the scenes of artistic production. For two days, curated exhibitions will present already existing as well as newly created works in selected studios.

Sophia Süssmilch, Kokon / Galerie Krobath

Networking and exchange are the leitmotifs of the VIENNA ART WEEK, which is why the online communication will also be put on a new footing: In the future, a digital insight into the art city of Vienna will be presented in a new design, offering a platform for the Viennese art scene throughout the year. The new website and the social media channels can be accessed as before.

Josephine Pryde, Who Were You?, 2016 

This year too, the varied program of the VIENNA ART WEEK ranges from exhibitions, discussions, tours, and guided tours through the exhibitions to a high-level program with lectures and talks on this year‘s motto „Making Truth“. Openings of important exhibitions at the Leopold Museum, the mumok – Museum moderner Kunst Stiftung Ludwig Wien, the Secession, Belvedere 21, and the MAK – Museum für angewandte Kunst are also part of the art week. The high-quality programs organized by the city‘s most important museums, exhibition halls, art spaces, educational institutions, and galleries provide a major contribution to the success of the Kunstwoche, which has become a fixed point in the city‘s cultural life since 2004 and, with around 35,000 guests from Austria and abroad, emphasizes Vienna‘s importance as an art city.

LEONARD COHEN: A CRACK IN EVERYTHING at Kunstforeningen GL STRAND and Nikolaj Kunsthal / Copenhagen

LEONARD COHEN: A CRACK IN EVERYTHING at Kunstforeningen GL STRAND and Nikolaj Kunsthal / Copenhagen

OCTOBER 24, 2019 – MARCH 8, 2020


Leonard Cohen
Courtesy of Old Ideas, LLC

Some 40 international contemporary artists and musicians interpret Leonard Cohen’s life and work in a comprehensive exhibition, setting new standards for the encounter between music, literature and visual art in a contemporary art exhibition. Drawing large crowds when it opened in November 2017 in Cohen’s home town of Montréal, the exhibition invites visitors to participate in several interactive works. In this way, the exhibition develops an immersive and engaging sensory experience.

Listening to Leonard, 2017. Multimedia audio environment with sound recordings of Leonard Cohen compositions produced, arranged, and performed by a group of musicians and vocalists. Installation view of the exhibition Leonard Cohen: A Crack in Everything presented at the Musée d’art contemporain deMontréal, 2017-2018.
Photo: Guy L’Heureux

A Life’s Work Recounted Through Contemporary Art

International artists such as Candice Breitz, Tacita Dean, Taryn Simon, Janet Cardiff and George Bures Miller as well as musicians such as Moby, The National with Sufjan Stevens, Ragnar Kjartansson, Richard Reed Parry, Socalled, Feist, Julia Holter and many more contribute to the comprehensive exhibition. All works have been created exclusively for the exhibition. In their own special way, each of the artists communicate the unique manner in which the world-renowned Canadian combined text and music. Included is a large installation which highlights fifty years of Cohen concerts and a special video installation which invites spectators to experience Cohen’s reflections, thoughts and ideas close up. During the entire exhibition, there will be a wide range of events, including talks, salons, lectures, concerts and intimate shows organised by Kunstforeningen GL STRAND and Nikolaj Kunsthal.

Christophe Chassol, Cuba in Cohen, 2017. Single-screen video installation, black-and-white with sound, 15 min., 19 sec., including annotated musical scores in a display cabinet. Installation view of the exhibition Leonard Cohen: A Crack in Everything presented at the Musée d’art contemporain deMontréal, 2017-2018. Courtesy of the artist. Photo: Richard-Max Tremblay

Developed with the Approval of Leonard Cohen

Leonard Cohen approved of the exhibition concept, which concentrated on artists’ reflections on his life and work. Unfortunately, he was unable to see the finished exhibition prior to his death. Three years in the making, the exhibition premiered in the fall of 2017 in Montréal, on the first anniversary of Cohen’s passing, and will travel inthe spring of 2019 to the Jewish Museum in New York. In October 2019, it will come to Kunstforeningen GL STRAND and Nikolaj Kunsthal.

Leonard Cohen
Courtesy of Old Ideas, LLC

‘We are very proud to present the exhibition Leonard Cohen: A Crack in Everything at Kunstforeningen
GL STRAND and Nikolaj Kunsthal in the fall of 2019. The exhibition sets an entirely new standard for contemporary art exhibitions. It is an exhibition you will want to visit again and again’, 
says Helle Behrndt, Director of Kunstforeningen GL STRAND. She continues: ‘We are very excited to able to give the Danish audience an opportunity to experience the exhibition. Whether or not you are a fan of Leonard Cohen, you have something to look forward to’.

‘This exhibition is an amazing opportunity, and we look forward to getting such an exciting and large-scale exhibition to Copenhagen. Guests can experience the exhibition at two unique locations, where the artwork is really allowed to unfold into a historical architecture. We look much forward to inviting the audience into both exhibition centers for a completely unique experience where poetry, spirituality and music play a leading role’, says Helene Nyborg, Artistic Director at Nikolaj Kunsthal.

Ari Folman, Depression Chamber, 2017. Interactive computer- animated video installation, live camera, Kinect sensor, black-and- white and colour with sound, 5 min., 10 sec., including resting platform. Installation view of the exhibition Leonard Cohen: A Crack in Everything presented at the Musée d’art contemporainde Montréal, 2017-2018. Courtesy of the artist.
Photo: Guy L’Heureux

The exhibition includes works by Kara Blake, Candice Breitz, Janet Cardiff and George Bures Miller, Christophe Chassol, Daily tous les jours, Tacita Dean, Kota Ezawa, George Fok, Ari Folman, Jon Rafman, Zach Richter, The Sanchez Brothers and Taryn Simon.

Jon Rafman, Legendary Reality, 2017 (still). Video projection, colour with stereo sound, 15 min 45 s, including a sculptural set of theatre seats. Courtesy of the artist; Sprueth Magers, Los Angeles; and Galerie Antoine Ertaskiran, Montreal

International musicians have contributed to the work Listening to Leonard. They are: Aurora, Brad Barr, Basia Bulat, Douglas Dare, Melanie De Biasio, Dear Criminals, Lou Doillon, Feist, Chilly Gonzales and Jarvis Cocker with the Kaiser Quartett, Half Moon Run, Julia Holter, Li’l Andy and Joe Grass, Little Scream, Moby, Ariane Moffatt with Orchestre symphonique de Montréal, The National with Sufjan Stevens, Ragnar Kjartansson and Richard Reed Parry, Socalled, Leif Vollebekk.

Janet Cardiff and George Bures Miller, The Poetry Machine, 2017. Interactive audio/mixed-media installation including organ, speakers, carpet, computer and electronics. All poetry written and performed by Leonard Cohen from Book of Longing, published in 2006 by McClelland & Stewart. Installation view of the exhibitionLeonard Cohen: A Crack in Everything presented at the Muséed’art contemporain de Montréal, 2017-2018. Courtesy of the artists; Luhring Augustine, New York; Fraenkel Gallery, San Francisco; and Gallery Koyanagi, Tokyo.
Photo: Guy L’Heureux

Leonard Cohen: A Crack in Everything is organised by the Musée d’artcontemporain de Montréal (MAC) and curated by John Zeppetelli, Director and Chief Curator at the MAC, as well as Victor Shiffman, Guest Curator. The exhibition is presented in Copenhagen by Kunstforeningen GL STRAND in collaboration with Nikolaj Kunsthal. The exhibition is on display at both art galleries from October 24, 2019 to March 8, 2020.

Hoard Inaugural

Hoard Inaugural

06SEP(SEP 6)0:0011OCT(OCT 11)0:00Hoard InauguralL.A.C.A, 709 N Hill Street Suite 104/8 (upstairs) 90012

Anonymous, Autonomous Oral History Group, Kelman Duran, Arshia Haq, Nick Kochornswasdi, Halldora Miyoko Magnusdottir, Olivia Mole, Misael Oquendo, Rapterotica/Cephalerotica Index, Hande Sever, Alan Tofighi, Adam Wand

Organized by Scott Benzel

Collier Mansion, New York, NY, 1947

Hoard Inaugural is the ‘inauguration’ of a collection of works whose subjects or creators tread the line between the indexical, rationalized modality of the archive, the aestheticized art collection, and the ‘hoard’, a term that has become synonymous with irrationality and psychological dysfunction as manifested in material accumulation.  The title begs the question- can a ‘hoard’ in fact be ‘inaugurated’ or does it necessarily arise spontaneously from repressed, subconscious forces- either in the interior psychological realm, the ‘real’ or objective realm, or in the ossification of the irrational within the otherwise ‘objective’ historical origins of much of the work?

The standard cultural interpretation of hoarding roots it in dysfunction, in OCD and the legacy of Freudian anality as it collides with the material world. Hoarding is often regarded as a malady affecting the lower tiers of the class spectrum, however, when value judgments regarding specific materiality are removed, it bears remarkable similarity to some of culture’s most highly regarded activities. Activities such as the accumulation and preservation of artifacts in museums, libraries, and archives, and the acquisition of wealth or money above levels necessary for survival.

Photographs of the homes of Modernist collectors like the Arensbergs, or Gertrude Stein and Alice B. Toklas, or of Andre Breton’s atelier, or of Freud’s office, betray similarities to scenes on the television show Hoarders, with the important difference that the objects piled into the collectors’ spaces are considered ‘culturally significant’. This significance is very much a phenomenon of external cultural agreement; the value of a given collection or ‘hoard’ is based almost entirely on externalist considerations. The hoard differs from the archive perhaps only in the degree of its subjective definition of value.  Erich Fromm defined hoarding as:

…the acquisition of, and failure to discard, possessions which appear to be useless or of limited value. 

The hoard is thus often a source of private meaning or pride and public shame. Hidden, occulted, a family secret, it’s meanings and connections are known to only one or a few, perhaps to an amour fou, perhaps to a ‘nuclear’ family, perhaps to a generation or two of descendants.

Social Psychologists Randy O. Frost And Rachel C. Gross’s landmark 1993 study The Hoarding Of Possessions was a detailed attempt to get beyond Freudian analysis and OCD and to address instead the psychocultural roots of the phenomenon. Frost and Gross cite Furby’s analysis as one sociocultural precursor:

Furby concluded that central to the meaning of possession is control. Possessions are meaningful because people have use of them, or control over the use of them. People need to feel in control of their environment, and possessions allow them to do so. 

Alan Tofighi’s TPLRDR Stereographically Reprocessed I VII incorporates seemingly polar extremes of the ontological axis – hoarding and VR  – opposing the overactualized to the purely virtual. Tofighi’s photographic VR reproduction of an actual hoarder’s home suggests that the two phenomena are linked existentially and epistemically. The hoard which renders a home uninhabitable appears here tied to mounting terror around the crisis of homelessness which removes the body from the home entirely, exposing it to the ‘outside’, the violence of the street, and tying it to virtuality, the disappearance of ‘actual’ objects and enclosed space. Fullness and alienation, the fullness of terror in Freud’s ‘unheimlich’ (unhomely), and the ‘uncanny’ emptiness of VR are linked. The piece also suggests the ongoing critique of materiality in art rooted in twin exhibitions by Arman and Yves Klein, ‘Full’ and ‘The Void’, one filling, the other emptying the space of Iris Clert’s Paris gallery.

Hande Sever’s video works reveal the mechanisms of the index and collecting in the process of ‘othering’ political dissidents and immigrants, a methodology born in the 19th Century with the Hollerith tabulator, a punchcard based protocomputer for sorting populations. Günler Yürüdüğünde (As Days Started Walking) chronicles her mother’s experiences, told through vintage Turkish television footage and objects, following the aftermath of the 1980 Turkish coup d’état.

Olivia Mole’s VR and video work upsets cultural agreements on the values and meanings embodied by mainstays of popular and children’s culture. Across a wider project, Mole reinvents the figures of Bambi and the medieval unicorn as cultural fugitives who have rejected the work of cuteness and availability. Bambi Holes presents a Bambi unmoved by a barrage of casting agent pitches, in a state of emotional inertia brought on by an excess of manipulation. 

Misael Oquendo’s video Ladrón vertiginously accumulates AI and CGI imagery, obscure subcultures, and peculiar narratives, piling a story about a family’s multigenerational oyster addiction onto a narrative about an archive of samizdat maintained by a ‘master’ incel. The result is something like a hallucination of the contemporary through the skewed lenses of Reddit and 4chan, the fog of Youtube and Gab aesthetics, and outrageous but weirdly personal narratives.

Halldora Miyoko Magnusdottir’s ongoing Serendipity Pattern of Geomyths traces the global spread of myth. In collections of artifacts, artist’s books, and videos documenting her online and IRL explorations mapping tangled subterranean connections, she links disparate contemporary sites of myth to ancient global roots.

In Use By ۸۷ (Use by 87), Arshia Haq memorializes the television and advertising culture of the SWANA region (a region that she reimagines in her ongoing project Discostan) from the period of her youth, to create a catalog of personal and cultural ‘expired’ desires.

Kabbalah scholar and Walter Benjamin associate Gershom Scholem’s speech at the inauguration of the Golem Aleph, the first Israeli supercomputer, linked the retributive folk legend of the Golem and the alphanumerical mysteries of Kabbalah to the birth of technoscience. Adam Wand’s video The Golem of Rehovoth integrates Scholem’s speech, ephemera and publicity related to the unveiling of the supercomputer, and scenes from the early 20th Century Golem film subgenre.

Works by Kelman Duran, the Autonomous Oral History Group, and Nick Kochornswasdi raise questions of presentation, distribution, and facticity. Each incorporates the aesthetic and distributive elements of ‘entertainment’ to deliver information and data most often reserved for the sociological database or the activist meeting. Duran’s underground dance music and videos incorporate documentary sound and footage from the Dakota Water Protectors and other contemporary indigineous protection and liberation movements, bringing these movements into conversation with international youth culture. The Autonomous Oral History Group counterveils diverse individual’s relationships to power in the form of recorded oral histories with danceable music and indexical, gridlike videos. Nick Kochornswasdi’s online game Please come over, featuring a friendly yet disturbing avatar of the artist showing the player around his virtual home, drove Markiplier, a Youtube gamer with 24 million followers, to near insanity and in the process exposed 3.2 million viewers to the artwork.

Several works explore the vast world obscured by Nondisclosure Agreements, other forms of hidden information, and what could be characterized as the archival equivalent of Bataille’s ‘accursed share’. This type of illicit archive is well known to legal scholars and tabloid journalists and the viewing of it, sometimes the mere knowledge of it, can invoke a sense of rapturous disoccultation, of ‘scales falling from the eyes’. Alternatively, it can trigger one’s sense of ‘never being able to unsee’ unethical, specious, or fetishistic information. The Bibliotheque Nationale’s archive of the Marquis de Sade, the Vatican library’s collection of grimoires and other ‘opposition’ literature are but two examples of how the abject and tentacles of irrationality can be indexed, rationalized, and recuperated by the archive.

In their work with smuggled footage, Anonymous explore the subject of their own NDA’s, a Malibu based narcissist intent on turning her life into a reality television show. Another anonymous suppressed film tracks the descent into drug abuse and madness and the eventual demise of a pharmaceutical heiress. The Rapterotica/Cephalerotica Index catalogs the products of several fetish subcultures, in the case of Rapterotica a parodic fetish subculture with roots in the ‘real world’, in the case of Cephalerotica, a subculture with roots in Hosukai’s infamous 18th Century print The Fisherman’s Wife culminating in the ‘accursed’ Overfiend films of 1990’s Japan. 

A collection is a tricky thing. Somewhat akin to the creation of the Winchester house, with its chaos of useless spaces and deadend staircases (following a psychic’s suggestion, the owner, heiress to the Winchester armaments fortune, continuously added to the home as a means of placating the hungry ghosts of victims of gun violence), a rational, organized collection can devolve into chaos much as valuable artifacts can devolve into uselessness. More prosaic than the vaults of unseen artworks that termite the mountains surrounding Zurich are the overstocked vintage record and book stores of the San Fernando Valley, stores like Atomic Records and Ulysses’ Voyage,  with aisles rendered impassable by unexamined cardboard boxes full of unknown pleasures and their abject neighbors, prop houses and FX shops like Dapper Cadaver that overflow with polyfoam severed heads and limbs. Famous cultural institutions are similarly results of this process, the Watts Monument, the chaotic bookshelves of the Warburg Institute, or artistic and literary works, Benjamin’s Arcades project, Warburg’s Mnemosyne Atlas, Noah Purifoy’s 66 Signs, Harold Szeeman’s Museum of Obsessions…

Hoard Inaugural’s works function on a vector divorced from the model of the standardized, refined index or ‘complete’ artwork. They are works and collections that tarry with the hoard and sometimes succumb. The works suggest the possibility of endless conjugation and the impossibility of final categorization, they contain evidence of digging, of obsession, and in some cases unresolvable moral quandaries. If the index, the archive, and the collection are tools and signs of power, the hoard is itself a form of power, prerational, preconcious; transcending categorization, ‘information’, and knowledge; occasionally eclipsing human understanding itself.

The Fletcher Family: A Lifetime in Surf

The Fletcher Family: A Lifetime in Surf

25JUL(JUL 25)0:0030AUG(AUG 30)0:00The Fletcher Family: A Lifetime in SurfGAGOSIAN NYC, 980 Madison Avenue NY 10075 New York , USA

The practice of the artist . . . is no different than that of the surfer, who inscribes his or her self in the ocean—a bigger canvas could not be engaged, defining their humanity in the most personal way, using themselves to draw their lifelines through the massive fleeting freedom of that power. The power and majesty of the sea—Herbie shared that with me and with my family as well as his own.
—Julian Schnabel

Herbie Fletcher, Wrecktangle #12, 2014. Foam, fiberglass, acrylic paint, and steel 90 x 264 x 24 in 228.6 x 670.6 x 61 cm © Herbie Fletcher. Courtesy Fletcher Family and Gagosian

Gagosian presents an exhibition celebrating the publication of Fletcher: A Lifetime in Surf by Rizzoli in 2019. The legendary Fletcher family has been an institution and guiding presence in surf and skate culture for decades, with an influence that extends to the worlds of fashion, music, streetwear, and art. Now, Fletcher: A Lifetime in Surf, written by Dibi Fletcher—wife of Herbie and matriarch of what Esquire has called “surfing’s first family”—simultaneously traces the evolution of the Fletcher family’s life and offers an oral history of surfing’s counterculture from the 1950s to today.

Throughout the volume, the family’s intimate storyline is augmented with anecdotes from luminaries including surfing legend Gerry Lopez, Mike Diamond of the Beastie Boys, artist Julian Schnabel, eleven-time world champion pro surfer Kelly Slater, and Steve Van Doren, of the Vans skate shoe company. Dibi’s recollections begin with her childhood memories of her father, big-wave surfing pioneer Walter Hoffman. She then goes on to narrate her union with Herbie, as well as the lives of their sons Christian and Nathan, both surfers, and their grandson, Greyson, a renowned skateboarder, all of whom have erased the boundaries between surfing and skateboarding.

To commemorate the publication of the book, Gagosian will install artworks from four different series by Herbie Fletcher at 976 Madison Avenue. Fletcher’s Wrecktangles are large sculptures made from once-perfect, custom surfboards that have been ridden and broken by the greatest contemporary tube riders at the Banzai Pipeline in Hawaii. For years now, elite surfers, known as “Wave Warriors,” have saved their boards to be made into Wrecktangles. The accumulated boards tell oblique stories about the culture of surfing. The board recurs in the Wall of Disaster series, which features masses of skateboards mounted to the wall in anarchic accumulations. Similar to their surfboard counterparts, they form a cacophony of logos and images.

In his Blood Water paintings, Fletcher uses mineral-rich earth from the Waimea River, Hawaii. After the winter rains on the North Shore of Oahu have subsided, he paddles up the river with large pieces of untreated canvas on the nose of his surfboard, staining them in the iron-oxide-rich red earth washed down from volcanoes. After they are completely saturated, he paddles back to the coral sand beach and lays the canvas out to dry, creating visions reminiscent of ancient petroglyphs. Similarly, in his Connecting to the Earth paintings, Fletcher affixes found objects from the Hawaiian shores such as netting, and burlap used to carry taro, to the canvas, paying homage to native Hawaiian traditions.

Alongside these works will be an installation of ephemera—including photographs, posters, sketches, maps, surf magazines, boards, and memorabilia—accumulated from the family’s life of surfing. Gagosian Shop will also feature magazines, T-shirts, limited-edition skate decks, surfboards, and other items linked to the Fletcher family, including a Gagosian/Fletcher designed T-shirt to commemorate the exhibition.

Gagosian will also screen the film Heavy Water, released in 2019, a documentary about Nathan Fletcher, at 7pm on Monday, July 29, at Guild Hall, East Hampton, with an introduction by Julian Schnabel.

Herbie Fletcher was born in 1948 in Pasadena, California, and lives in San Clemente, California. Exhibitions include Harder. Betterer. Fasterer. Strongerer, Brucennial, New York (2012); Wrecktangles, The Hole New York (2013); Path of a Wave Warrior: Selections from the Fletcher Collection, Museum of Art & History, Lancaster, CA (2014); and Barry McGee: SB Mid Summer Intensive, Museum of Contemporary Art Santa Barbara, CA (2018). Fletcher is globally recognized as a surfing legend and a pioneering inventor who helped shape the way surfing is practiced today. He has produced and starred in numerous surfing films, and in 1976 founded Astrodeck, a company that produces equipment for surfers.

Elizabeth Murray: Flying Bye at Camden Arts Centre, London

Elizabeth Murray: Flying Bye at Camden Arts Centre, London

Elizabeth Murray: Flying Bye

5 July – 15 September 2019

Camden Arts Centre, London

This is the first UK exhibition of celebrated American painter Elizabeth Murray (1940-2007). The exhibition highlights a dramatic decade that saw Murray’s work dominate the art scene of 1980s New York. Her innovative paintings paved the way for a revival of the medium that included Julian Schnabel, David Salle and Anselm Kiefer. This landmark exhibition will focus on her vibrant, monumental, multi-panel and three-dimensional paintings and innovative works on paper from the 1980s and early 1990s. Absorbing influences from Arp to late Kandinsky, as well as her contemporaries — including Warhol and the Chicago Minimalists—Murray was part of a group of like-minded artists who rejected the hard-edged painting style of the previous generation in late 1960s New York.  On view are signature paintings including Wake Up, from 1981, featuring a shattering coffee cup across three canvases that plays between illusion and the literal. This use of domestic imagery—the focus in so many of her most celebrated works—led critics to brand her a “woman painter.” In response Murray said: “Cézanne painted cups and saucers and apples, and no one assumed he spent a lot of time in the kitchen.”

Elizabeth Murray, Wake Up, 1981, Oil on canvas (three parts), 111 1/8 x 105 5/8 x 3 3/4 in. (281.94 x 267.97 x 9.5 cm), Collection of the Murray-Holman Family Trust, courtesy Pace Gallery, New York. © The Murray-Holman Family Trust / Artists Rights Society (ARS), New York / DACS 2019

The exhibition also includes Sandpaper Fate, from 1993, a wild, towering, and expressive work that combines figuration and abstraction. Neither works have been exhibited in Europe.

Timely and revealing this exhibition is a unique opportunity to see and reassess the exhilarating three-dimensional paintings from this influential but previously undervalued, artist.

Elizabeth Murray (b. 1940, Chicago; d. 2007, Washington County, New York) earned a BFA from the Art Institute of Chicago (1962) and an MFA from Mills College in Oakland (1964). Her work is held in over sixty public collections in the United States and has been the subject of over eighty solo exhibitions worldwide. Her retrospective, Elizabeth Murray: Paintings and Drawings, jointly organized by the Dallas Museum of Art, the Albert and Vera List Visual Arts Center, MIT, Cambridge, and Museum of Fine Arts, Boston, opened in 1987, and travelled to The Museum of Contemporary Art, Los Angeles; Des Moines Art Center; and the Walker Art Center, Minneapolis, closing at the Whitney Museum of American Art, New York, in 1988. In 2005, The Museum of Modern Art, New York, organized a retrospective that travelled to Institut Valencià d’Art Modern in Spain. Her work was featured at the 52nd Venice Biennale in 2007.

Murray was the recipient of numerous academic and institutional honours, including an award from the American Academy of Arts and Letters, New York (1984), to which she was elected as a member in 1992. She was awarded the Skowhegan Medal for Painting, New York (1986), and was named a MacArthur Fellow by the John D. and Catherine T. MacArthur Foundation (1999).

Roy DeCarava Light Break at David Zwirner, NYC

Roy DeCarava Light Break at David Zwirner, NYC

Roy DeCarava: the sound i saw

September 5—October 26, 2019

David Zwirner, NYC

David Zwirner present concurrent exhibitions of photographs by Roy DeCarava at two of its New York gallery locations: 533 West 19th Street and 34 East 69th Street. Curated by art historian Sherry Turner DeCarava, this will be the gallery’s first presentation since announcing exclusive representation of the Estate of Roy DeCarava in 2018, and the first opportunity to view a major grouping of the artist’s work in New York since his 1996 retrospective at The Museum of Modern Art. 

Roy DeCarava, Curved branch, 1994 (detail)

Over the course of six decades, DeCarava produced a singular collection of black-and-white photographs that combines formal acuity with an intimate and deeply human treatment of his subjects. His pioneering work privileged the aesthetic qualities of the medium, providing a counterpoint to the prevailing view of photography as mere chronicle or document and helping it to gain acceptance as an art form in its own right.

Having trained as a painter and draftsman, DeCarava began working with the camera in the mid-1940s, seeking an inclusive artistic statement for the culturally diverse uptown Manhattan neighborhood of his Harlem youth. Working without assistants and rejecting standard techniques of photographic manipulation, DeCarava honed his printing technique to produce rich tonal gradations, enabling him to explore a full spectrum of light and dark gray values more akin to a painterly mode of expression. Relying on ambient light and a point of view that neither monumentalizes nor sentimentalizes his subjects, he was able to produce a highly original oeuvre that carries significant visual and emotional meaning.

 On view at the gallery uptown will be a selection of photographs from the sound i saw, DeCarava’s unwavering exploration of the relationship between the visual and the aural. Created between the mid-1940s and 1960 and first assembled as an artist book, it has never before been exhibited in its original form. This work delivers musicians, those known and unknown, including Ornette Coleman, John Coltrane, Duke Ellington, Billie Holiday, and others in their milieu, into a sound and a sense rarely seen in visual arts. These figures are glimpsed both mid-set and off-stage in moments of repose, emphasizing their status not as musical icons, but as people deeply engaged in the everyday process of living.

Presented in Chelsea, Light Break features a dynamic survey and range of images that underscores DeCarava’s subtle mastery of tonal and spatial elements across a wide array of subject matter. Spanning the years 1948 to 2006, the photographs in the exhibition—including a number of images that have never been seen before—provide an introduction to the artist’s singular vision, particularly his ability to see with great sensitivity into people and to find a complexity of relationships that coincide with our lives. 

Wang Yan Cheng at Acquavella, NYC

Wang Yan Cheng at Acquavella, NYC

Wang Yan Cheng


Acquavella Galleries, NYC

Acquavella Galleries presents the first exhibition of works by Wang Yan Cheng, from September 11 – October 18, 2019. This exhibition of new work, featuring 20 paintings from this year, is the artist’s first solo presentation in the United States.

Since his early training as a representational artist, Wang Yan Cheng has developed a deep understanding of painting in terms of structure, color and technique. In recent years he has frequently gone beyond the “abstract.” He hopes to merge Eastern and Western aesthetic development, to guide people away from traditional concepts, and to feel the artist’s love for creation. Wang Yan Cheng’s foundation is never a pure canvas in the metaphoric sense. He has reached beyond the canvas with various methods to make the works “immersed and cultivated.” Using his ideas, he is able to exercise artistic control over his medium; his paintings thus inhabit a wonderful place between inevitability and chance and achieve “imperfect perfection.”  

Wang Yan Cheng Untitled (Triptych), 2019 Oil on canvas in three panels 82 5/8 x 307 inches (210 x 780 cm)

Born in 1960, after graduating from Shandong University of Arts, Wang Yan Cheng went to Central Academy of Fine Arts in Beijing to complete his academic art education in China. Later in 1989 he traveled to France and studied at Jean Monnet University (Saint-Étienne), where he was able to broaden and expand his creative vision of art. In the past 30 years, Wang Yan Cheng has traveled from the East to the West and has returned from the West to the East. Over time, he has found a profound affinity between Oriental philosophy and Western science and pushed his paintings to engage micro and macro themes. 

Wang Yan Cheng Untitled, 2019 Oil on canvas 45 5/8 x 35 inches (116 x 89 cm)

In the 20th century, Chu Teh-Chun and Zao Wou-Ki introduced Eastern aesthetic concepts into Western abstract painting working in the form of lyrical abstraction. Following in the tradition of established lyrical abstractionists Zao Wou-Ki and Chu Teh-Chun, both of whom are recognized internationally, Wang Yan Cheng approaches painting with a different texture, language and visual energy than his two predecessors. In his paintings, Wang Yan Cheng elevates the image to the level of microcosmic vision, using energy, detailed texture and traditional culture to create his unique artistic language. Continuing in the traditional of lyrical abstraction, Wang Yan Cheng builds a majestic momentum from the shapes and colors, drawing on an atmospheric flow that comes from his soul. Each composition follows traditional Chinese cosmology to explore the mysterious driving force of the origin of the universe. The artist departs from the restraints of techniques and concepts, embracing instead the power of spirit and the experience of love. Thus, Wang Yan Cheng’s paintings form “a cosmic rhythm that embodies the spirit of the Oriental and Taoist philosophy, that open a universe, in bigger and bigger collisions.” (quote by art critic Jia Fangzhou). 

Wang Yan Cheng Untitled, 2019 Oil on canvas 102 x 82 5/8 inches (260 x 210 cm)

Today, Wang Yan Cheng maintains studios in Paris and Beijing. Major solo museum exhibitions have been held at the Guangdong Museum of Art (2000) and Musée de Montparnasse, Paris (2010). In 2014, the National Museum of History in Taipei mounted an extensive retrospective of the artist. Wang Yan Cheng was also selected to participate in the Shanghai Museum of Art Biennial (2002), the French Pavilion at the Shanghai World Expo (2010), and the Chinese Pavilion at the Milan International Expo (2015).  Over the past 20 years, he has won the honor of Chevalier des Arts et Lettres, the Legion of Honour and the Commander Medal of French Arts and Literature. He is the first Chinese artist to have won three medals of honor from the French government.  

Constructing Her Universe: Loló Soldevilla at Sean Kelly Gallery, NYC

Constructing Her Universe: Loló Soldevilla at Sean Kelly Gallery, NYC

Constructing Her Universe: Loló Soldevilla 


Sean Kelly, NYC

Sean Kelly presents Constructing Her Universe: Loló Soldevilla, the first comprehensive exhibition ever mounted in the United States devoted to the work of this pioneering Cuban artist. Dolores “Loló” Soldevilla (1901- 1971) was one of the only women to be prominently associated with the development of geometric abstraction in Cuba, and one of the key figures responsible for promoting its development from the 1950s onward. Featuring over 60 artworks, including painting, sculpture, works on paper and constructions, as well as rare historical documents, photographs and personal ephemera, this wide-ranging survey will examine the breadth of Loló’s entire career. Concurrent to the exhibition, a fully-illustrated monograph featuring essays by Rafael DiazCasas and Olga Viso will be published, the first book devoted solely to Loló’s life and work. There will be an opening reception on Thursday, September 5, 6-8pm.w

Loló Soldevilla Paisaje Estelar, 1959

Loló Soldevilla was a passionate, largely self-taught artist whose career blossomed in the 1950s. A self-styled impresario and autodidact, she was a formidable artistic talent and an astute cultural promoter. Following earlier professional turns as a musician, political activist and party politician in Cuba, Loló was appointed the country’s cultural attaché to Europe in 1949. Residing in Paris, she began studying in the ateliers of prominent European artists. Although she did not take up painting and sculpture until her late-forties, she quickly gained command of her métier and was soon exhibiting her work in Parisian galleries and Salons transitioning from figuration to abstraction. By 1950, Loló was producing abstract paintings and sculptures inspired by geometric forms. In the ensuing years, Soldevilla developed her groundbreaking Color Luz theory that opened pathways to her Reliefs Lumineux, unique constructions that incorporated light as a working element in abstract designs, which premiered in Paris at the 1955 Salon des Réalités Nouvelles. Her paintings, collages and panel constructions explored the dynamics of light, shadow and relief, suggesting movement and rhythm through the use of geometric pattern and color.   

After returning to Havana in 1956, Loló played an active role as an artist, curator, and gallery owner. A fierce advocate for social justice, women’s rights and the working class in the 1930-40s, she began championing abstraction through ambitious international projects, gaining attention for her voice within the island’s abstractionist landscape and serving as a vital link between Cuba, Europe and Latin America. She organized the important exhibition Pintura de hoy: Vanguardia de la Escuela de Paris (Painting Today: The Avant-Garde of the School of Paris) at the Palacio de Bellas Artes, Havana, which featured the work of forty-six leading Hard-Edge, Op and Kinetic artists, including Jean Arp, Sonia Delaunay and Jesús Rafael Soto, amongst others. This pivotal exhibition introduced Cuban audiences to international abstract art for the first time.

In October 1957, Soldevilla along with fellow artist Pedro de Oraá founded the Galería de Arte Color Luz, a venue instrumental in fostering the development of abstract art in Cuba and solidifying the presence of the concrete art movement on the island. The gallery served as the incubator for a group of artists who would name themselves “10 Pintores Concretos,” of which Loló was the sole female member, its most public face, and strongest force. As Castro’s revolution began to transform Cuban culture, abstraction, though never explicitly censored, was deemed “obsolete” and “out of touch with the new society.” Although Loló’s activities around the visual arts diminished, she stayed active establishing a new association, Grupo Espacio, and continued to paint and exhibit her work until her death in 1971. Sean Kelly states, “we are delighted to have organized Loló Soldevilla’s first retrospective survey in the U.S. and the first outside of Cuba. This exhibition and the major monograph we have published position her as one of the strongest Latin American artistic voices in the years after World War II, as well as one of the first women to bring postwar abstraction to Latin America, firmly establishing her as a key figure in the development of abstraction in Cuba, Latin America and, indeed, the world.”

The Interaction of Colour at ALAN CRISTEA GALLERY, London

The Interaction of Colour at ALAN CRISTEA GALLERY, London

from 7 september to 26 october 2019



Anni Albers | Josef Albers | Polly Apfelbaum | Rana Begum | Michael Craig-Martin | Carlos Cruz-Diez | Ian Davenport | Patrick Heron | Ellsworth Kelly | Sol LeWitt | Bridget Riley

In 1963 Josef Albers (1888 – 1976) published one of the most influential art and design books of the twentieth century, Interaction of Color, as a handbook and teaching aid for his experimental way of observing, studying and teaching colour. It was the culmination of his groundbreaking courses first begun at Black Mountain College, North Carolina, and later at Yale, Connecticut, and was to have a marked effect on subsequent generations of artists. In his teaching and writing, Albers eschewed the historical approach to colour theory as a logical, formal scientific analysis, instead focusing on the unique behavioral properties of colour based on observation and practical application. For Albers, the nature of colour was an ever shifting paradigm, whose properties were relative and fluid.

Rana Begum No. 861, 2018
A set of 15 etchings withchine collé on Somerset and Canson Mi-Teintes paper
Paper 32.4 x 27.3 cm / Image 24.8 x 19.6 cm (each)
Edition of 20

Albers radical teaching was to have a direct influence on the numerous artists who studied on his courses, but also came at a time when there was a wider discourse underway about the nature of representation. Geometric abstraction as a vehicle for exploring the relationship of colours was being practiced internationally by artists aligned to a diverse array of movements including Pop, Op, and Minimalism, and still is today by many contemporary artists. This exhibition traces a period of over 50 years and includes prints and drawings by artists from Josef Albers to Bridget Riley, which will be exhibited together with a new site-specific installation by Rana Begum.





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