Steve Turner, Los Angeles

20 june / 18 July 2020

Steve Turner presents Why you really mad?, a solo exhibition by Los Angeles-based David Leggett which features paintings and works on paper from the last few years that utilize a comic style to deal with serious subjects like racial injustice and police brutality alongside lighter ones like art history and pop culture. While he makes his works accessible with colorful depictions of Bart Simpson, Fat Albert, Alfred E. Newman and other somewhat familiar blobby characters coupled with catchy phrases, he does so to get you in. Once there, you will have to face the more difficult issues that are part of every work. The question in the title is Leggett’s, one he poses to anyone who might take offense at his work. 

Why you really mad? Installation view, Steve Turner, 2020
Why you really mad? Installation view, Steve Turner, 2020
Why you really mad? Installation view, Steve Turner, 2020
Why you really mad? Installation view, Steve Turner, 2020
David Leggett. I got it wholesale, 2019. Acrylic, spray paint, color pencil and collage on paper, 48 x 42 inches (121.9 x 106.7 cm)
David Leggett. Who that is?, 2020. Acrylic and felt on canvas, 12 x 9 inches (30.5 x 22.9 cm)
David Leggett. Not with my daughter, 2020. Acrylic, screen print, watercolor, color pencil and rubber stamp on paper, 20 x 16 inches (50.8 x 40.6 cm)

David Leggett (born 1980) earned a BFA at Savannah College of Art and Design (2003) and an MFA at the School of the Art Institute of Chicago (2007) before attending Skowhegan School of Painting and Sculpture (2010). He has had solo exhibitions at Shane Campbell Gallery, Chicago (2017 & 2019) and his work has been included in group exhibitions at Zidoun & Bossuyt Gallery, Luxembourg; James Fuentes Gallery, New York; Kunstverein Langenhagen, Germany and the Contemporary Art Museum, Raleigh, North Carolina. This is his first exhibition at Steve Turner, Los Angeles.

Yigal Ozeri – My New Home

Yigal Ozeri – My New Home

Galerie Ernst Hilger, Vienna

until 28 August 2020

With A New York Story, Ozeri is now embarking on a new type of imagery. Influenced by the ideas and images captured by several contemporary street photographers, he has taken his figurative paintings in a decidedly urban direction and is looking at the spontaneous energy of New York Streetlife. He has walked around Chinatown, gone into the subways, entered barbershops and all sorts of stores, and has prowled around NYU with his camera in hand. Shaped by the ideas, lighting and compositions of Philip-Lorca di Corcia, Ozeri juxtaposed people and places that did not necessarily go together all the while, taking hundreds of pictures, not a single shot imagined worthy of a painting. 

Yigal Ozeri, Untitled (Zuzanna); Subway Series
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A Tel Aviv Story


NO SIGNAL, a solo exhibition by the Mexican artist G.T. PELLIZZI.

NO SIGNAL, a solo exhibition by the Mexican artist G.T. PELLIZZI.

Galerie Kandlhofer, Vienna

Until 18 July 2020

The exhibition contains two related bodies of work. The first are a series of tapestries modeled after test cards used to calibrate broadcast signals and for color correction in television and film. The second group of works is a series of light sculptures using incandescent bulbs and steel conduits whose compositions are modeled after old circuit and communications diagrams. 

Sheep wool and natural dye
120 x 217 cm
47 1/4 x 85 3/8 in

The tapestries were created in collaboration with weavers from the town of Ayacucho in the highlands of Peru. Ayacucho is known for its rich arts and crafts traditions. It is a region that was originally inhabited by the pre-Inca Wari culture, which is also known for its elaborate textiles. For all indigenous cultures the textile was the screen on which they would weave their stories and myths. Ayacucho was the epicenter of the armed conflict and violence that gripped Peru for the better part of the 80’s and early 90’s. Today, with globalization, many indigenous communities struggle to maintain their traditional customs and cultural identity. The collapse of their local economy is also one of the primary causes of migration. Languages, traditions and crafts are rapidly disappearing. In the digital age, the weaving process, which can take months to complete, is antithetical to the immediacy promoted by today’s technologies. 

Sheep wool and natural dye
160 x 120 cm
63 x 47 1/4 in

Television became the screen through which new myths and ideologies were imparted. Test cards are an obsolete analogue tool once used to calibrate television monitors and cameras. They remain a testament to how film was calibrated for white skin tones. They are also stand-ins for broadcast signals, representing the control when television dominated the transmission of information. In many cases, a coup d’etat was presaged by the cutting of the television signal, as the control of information was the most effective way to maintain power. In todays globalized and information age, media communication has become more decentralized, therefore making it harder to control, but also making people more susceptible to fringe manipulations in a more fragmented society.


Editor’s pick: Art Basel 2020 a collection of our favourite galleries selected by Editor in Chief Alice Zucca

Editor’s pick: Art Basel 2020 a collection of our favourite galleries selected by Editor in Chief Alice Zucca

The online version of the famous art fair opened yesterday to the public. Whilst no physical show will take place in Basel this year, you will still be able to discover over 4,000 exceptional artworks in the Online Viewing Rooms, presented by 282 of the world’s leading galleries from 35 different countries. As said by Marc Spiegel, Global Director of the prestigious event, one of the defining characteristics of Art Basel is the depth of historical material, for example this year you can find artworks by Donald Judd, Josef Albers, Louise Nevelson, Lygia Pape, as well as a huge selection of fantastic pieces from some of the artists most active today. There are also dozens of events everyday, talks between gallerists and artists, screenings of documentary films and live conferences.

The Online Viewing Rooms are full of high quality and interactive content and they will run from June 19, 1pm CET to June 26, 1pm CET.

Here’s a selection of some of the best galleries chosen by our Editor in Chief Alice Zucca.

You can check them all going to the Art Basel website.

Mai 36 Galerie

Artist’s Artist

Artist’s artists are influential to their peers, curators and a circle of aware collectors. They have a high level of integrity; significant bodies of work and are critical to their community. The term „artist’s artist“ applies to figures whose work possesses a strange brilliance or strong foresightedness that their fellow art community cannot resist. Some of the artists experience fame and recognition but, just as often, they are heavily underrated and their time is still to come.

Thomas Ruff, press++51.14, 2016
edition of 4 + 2 AP, ed. 2/4
185.0 x 231.0 (cm)
72.8 x 90.9 (inch)


Rémy Zaugg, LOOK/I AM/BLIND/LOOK (Nr. 23), 1998 - 1999

Von Bartha

The Backward Glance can be a Glimpse into the Future

Von Bartha presents leading contemporary artists in the gallery’s programme such as Terry Haggerty, Landon Metz, and Superflex, alongside a historical section of the gallery’s modern artists. Von Bartha‘s 50-year history can be traced through artworks from its four most important influences: Swiss Concrete Art (Camille Graeser); Hungarian Avant Garde (László Moholy-Nagy); 20th century Swedish art (Olle Baertling); and major works from the Latin American art movements Arte Concreto Invencion and Arte Madí. These historic pieces are accompanied by works from contemporary artists such as Andrew Bick, Imi Knoebel, and Sarah Oppenheimer, highlighting the influence that the gallery’s modern roster has had on many living artists. Contemporary works such as Imi Knoebel’s ‘Sommer’ (2009) are seen in context with modern works such as ‘Komposition’ (1935) by László Moholy-Nagy. Von Bartha’s online viewing room at Art Basel takes its title from the upcoming group exhibition of the same name, curated by Beat Wismer and taking place at the gallery’s Basel space, 5 September – 7 November 2020, on the subject of von Bartha’s 50-year history.

Exhibited artists: – Olle Baertling – Barry Flanagan – Camille Graeser – Terry Haggerty – Imi Knoebel – Landon Metz – László Moholy-Nagy – Sarah Oppenheimer – Francisco Sierra – Carmelo Arden Quin – Superflex – Bernar Venet – Beat Zoderer

Galleri Nicolai Wallner

For Art Basel’s Online Viewing Room, Galleri Nicolai Wallner has focused this presentation on the works of Alexander Tovborg, David Shrigley, Elmgreen & Dragset, Jeppe Hein, Jose Dávila and Julie Lænkholm. The presentation centres itself around the idea of connection. Through portraiture, reflective and playful materials, shared narratives and the idea of suspense, the chosen artworks carefully and poetically create moments through which we are given the space to explore our sense of self.

Jeppe Hein - Thoughts... #10, 2019

Esther Schipper


PS81E brings together the works of: Matti Braun, AA Bronson and Reima Hirvonen, Angela Bulloch, Etienne Chambaud, Simon Fujiwara, Ryan Gander, Ann Veronica Janssens, Gabriel Kuri, Jac Leirner, Roman Ondak, Philippe Parreno, Ugo Rondinone, Anri Sala, and Karin Sander.

Gabriel Kuri, untitled (AE DEC 18), 2020
Philippe Parreno, Speech Bubbles (Fuchsia), 2015

Galleria Franco Noero

Some works to hold on to for the future

Taking a cue from Darren Bader’s 109 things to begin a new civilization, a sculpture realized for our last exhibition with the artist and included in this presentation, Franco Noero Gallery wishes to create a dialogue among a series of works which reaffirm the idea that art aims to go beyond the present, reaching for a universality which naturally coincides with faith in the future. The scale of the works presented covers a wide range, from the intimate to the nearly monumental, showing the capacity of the artists to express themselves in a variety of compelling, and perhaps unexpected, ways.

Sam Falls, Pacific Ocean (Leo Carrillo, CA, B), 2018

This is altered within the online exhibition space, where proportions are hard to discern. The digital then becomes an opportunity to focus on the strength of a work’s details, the smaller and the more subtle features that may be overlooked when experiencing an artwork in person. Works that are meaningful, which help to portray the present while offering an opportunity for interpretation in anticipation for times to come.

Francesco Vezzoli, Self-Portrait (Après Pierre-Auguste Renoir), 2019

Featuring works by Darren Bader, Lothar Baumgarten, Pablo Bronstein, Sam Falls, Mario García Torres, Arturo Herrera, Gabriel Kuri, Jac Leirner, Marepe, Robert Mapplethorpe, Mike Nelson, Henrik Olesen, Simon Starling, Tunga, Francesco Vezzoli

Sean Kelly

Sean Kelly Gallery presents a carefully curated selection of works that reveals the rich spectrum of aesthetic tendencies expressed by artists with whom they work, including Marina Abramović, Jose Dávila, Candida Höfer, Rebecca Horn, Idris Khan, Joseph Kosuth, Hugo McCloud, and Shahzia Sikander, amongst others, and offers a particular focal point on Kehinde Wiley’s monumental sculpture, Rumors of War, 2019. Our presentation includes historically important works by iconic artists Abramović, Horn, and Kosuth, as well as exciting works by mid-career artists such as Callum Innes and Mariko Mori, and compelling new works by Julian Charrière, Hugo McCloud and Sam Moyer. Abramović’s Self Portrait with Skeleton, 2003, is linked to her performance Nude with Skeleton, and is one of her most iconic images.

Marina Abramović, Self Portrait with Skeleton, 2003

Horn’s Der Sonnenseufzer, 2006, which translates as “The Sun Sigh,” is a classic example of the artist’s sculpture and was included in her retrospective at the Museum Tinguely in 2019. In this work, the violin plays three haunting sounds, representing two contained worlds of light and dark.

Rebecca Horn, Der Sonnenseufzer, 2006

Kosuth’s Titled (A.A.I.A.I.)’ [begin], [middle], [end], Webster’s N.D., 1968, is an exceptionally rare example from his “Definitions,” series, a work whose apparent graphic simplicity belies its unmistakable philosophical and psychological complexity.

Joseph Kosuth, 'Titled (A.A.I.A.I.)' [begin], [middle], [end] - [Webster's N.D.], 1968

Jose Dávila’s Untitled (Les Ménines),2020, similarly engages a deconstructed graphic sensibility to riff on iconic moments from the history of art.

Jose Dávila, Untitled (Les Ménines), 2020

Callum Innes’s Exposed Painting Quinacridone Gold, 2020, suggests a freezing in time, or the momentary arrest of an ongoing process, whereas Idris Khan’s Two Bar Rhythm, 2020, engages a series of densely layered texts that speak to the metaphysical collapse of time into singular moments.

Callum Innes, Exposed Painting Quinacridone Gold, 2020

While these artist’s works express the timelessness of art, Kehinde Wiley’s monumental sculpture Rumors of War, 2019, which was unveiled in Times Square in September 2019, before moving to its final home at the entrance to the Virginia Museum of Fine Arts in Richmond in December is decidedly of the moment, having quickly become an iconic emblem of the Black Lives Matter movement. Today this sculpture stands as an untarnished beacon to the future, as the very works that it was created in response to — the numerous memorials to the Confederacy lining Richmond’s Monument Avenue — are being permanently removed.

Kehinde Wiley, Rumors of War, 2019

Galerie Thomas Schulte

Conference of the Birds

The second iteration of the Art Basel Online Viewing Rooms is happening in challenging times of changing perceptions and questions about values and virtues; questions comprehensively addressed in Farid Al-Din Attar’s wonderful epic twelfth century poem “The Conference of the birds”. This poem lends its title to our selection of works which themselves resemble a conference of birds, whose stories—like Attar’s parables—“inhabit the imagination” and whose “wisdom can trickle down into the heart” as the poet Sholeh Wolpé described it. In her words, “they are being absorbed by each of us in a different way, reflecting on our ideals, ideas, our fears and anxieties.” And they ask us to open up to the truth.

Rebecca Horn, The Lover's Bed, 1990

303 Gallery

Selected Works

Featuring works by: Doug Aitken, Nina Canell, Sam Falls, Dan Graham, Rodney Graham, Mary Heilmann, Jeppe Hein, Karen Kilimnik, Alicja Kwade, Tala Madani, Florian Maier-Aichen, Nick Mauss, Sue Williams, and more.

Doug Aitken, Still Life with Setting Sun, 2020

303 Gallery is a contemporary art gallery located in New York. First established by owner and director Lisa Spellman in 1984, the gallery currently represents over thirty international artists.

Tala Madani, Rehearsal, 2020

Paula Cooper Gallery

Paula Cooper Gallery presents significant works of painting, sculpture, photography and mixed-media from the gallery’s landmark program of artists including Carl Andre, Tauba Auerbach, Jennifer Bartlett, Bernd and Hilla Becher, Sarah Charlesworth, Mark di Suvero, Dan Flavin, Charles Gaines, Ja’Tovia Gary, Julian Lethbridge, Sol LeWitt, David Novros, Walid Raad, Joel Shapiro, and Jackie Winsor.

Dan Flavin, "monument" for V. Tatlin, 1967
Ja'Tovia Gary, Citational Ethics (Saidiya Hartman, 2017), 2020

Galleria Continua

The Joy of Art

Celebrating thirty years this year, Galleria Continua remains faithful to the belief that art is a field of relations and encounters in continuous evolution. Continua is committed to making art through shared moments of exchange that are capable of taking over space, time and human thought, no matter how challenging it might be.

Hans Op de Beeck, Stéphanie, 2020

A selection of engaging works by artists such as Kader Attia, Daniel Buren, Hans Op de Beeck and Pascale Marthine Tayou and Nari Ward, to name just a few, as well as a compelling 1970s work by Michelangelo Pistoletto.

Galerie Eva Presenhuber

Galerie Eva Presenhuber participates in the second edition of Art Basel’s Online Viewing Rooms, presenting new and significant works by gallery artists Jean-Marie Appriou, Joe Bradley, Peter Fischli / David Weiss, Alex Hubbard, Shara Hughes, Wyatt Kahn, Karen Kilimnik, Adam Pendleton, Tobias Pils, Ugo Rondinone, Tschabalala Self, Steven Shearer, Michael Williams, and Sue Williams.

Steven Shearer, Feathery Carver, 2020

Galerie Isabella Bortolozzi

There is no world left to live in

There is no world left to live in



Jos de Gruyter & Harald Thys, The Rat Woman, 2019
Oscar Murillo, Conditions unknown (artificial intelligence), 2014

Tanya Leighton

Tanya Leighton’s Online Viewing Room features fifteen new and recent works across a variety of media and scales that would have been the foundation of the gallery’s presentation at Art Basel this June. Works are presented by artists including Math Bass, Antonio Ballester Moreno, Brian Belott, Pavel Büchler, Alejandro Cesarco, David Diao, Aleksandra Domanović, Esteban Jefferson, Oliver Laric, Elizabeth McIntosh, Kate Mosher Hall, Oliver Osborne and Hiroka Yamashita.

Aleksandra Domanović, Calf Bearer (New body), 2020
Oliver Laric, Fish Relief, 2020

Seba Kurtis / Lockdown Project

Seba Kurtis / Lockdown Project

Christophe Guye Galerie, Zurich.

8th Jun 2020  –  29th Aug 2020

Christophe Guye Galerie announces Seba Kurtis’ showroom exhibition ‘Lockdown Project’ at the gallery. During the Covid-19 lockdown, Seba Kurtis continued his Artist in Residence at Ucen Manchester in his house.

Seba KURTIS - Egypt Deaths & Recoveries
2020; Lambda print; Courtesy of Cristophe Guye Gallery.

Using the situation as an opportunity to create new work from his vast archive of negatives using the new data of the pandemic available to the public, combined with samples of light correction filters to produce images which appear as though seen through a surreal kaleidoscope – this itself a metaphor of each individual’s unique experiences of the lockdown.

Seba KURTIS - Morocco Active Cases by State
2020; Lambda print; Courtesy of Cristophe Guye Gallery.

Seba Kurtis was born in Argentina in 1974. He studied journalism in Buenos Aires before leaving the country for Europe in the wake of the political and economic crisis of 2001. Several years spent as an illegal immigrant have informed much of his work, which explores the personal, social and cultural impact of irregular migration. ‘His photography is the sensitive extension of his robust nomad’s body with its magnanimous aura. It serves him as a performative means to talk about the world and to establish connections between world history and the individual story of his life in a sophisticated manner. As an artist Seba Kurtis is constantly on the move and is unconcerned by physical or aesthetic limits. He is among those who know that photography does not represent reality but that it is able to reveal its ruggedness, complexity and – above all – its inexhaustible poetry.’

– Stefano Stoll, Director of the Festival IMAGES in Vevey

Seba KURTIS - From Asia to Europe
2020; Lambda print; Courtesy of Cristophe Guye Gallery.

‘Kurtis has been working in areas of conflict over the last 12 years and is no stranger to the harsh realities in life that illegal immigration brings. In this isolation he has reflected on and made use of his own experiences by re-visiting past projects that didn’t make the final edit. He is now showing them in a new light amended by a form of intervention or collage used directly on his films to represent data on Covid-19. The information provided regarding the lockdown develops continuously – ‘Map of the outbreak in Arizona’, ‘Confirmed cases in France’, ‘Care Home deaths are still rising in the UK’. Kurtis represents the governmental imposed Lockdown guidance such as social distancing, combining this data with his empty landscapes and cities to make visible the rapid spread of coronavirus.’

– A. Mosley

Rhythms and Vibrations / Galerie Lelong & Co.

Rhythms and Vibrations / Galerie Lelong & Co.

Galerie Lelong & Co., Paris.

4 June – 24 July 2020

Right from the start of abstract art, there was a split between two lines, indicating seemingly opposed tendencies: on the one hand a structured and economical art, often proscribing curves, seeming to privilege the cerebral and programmatic, and on the other, a warmer and more informal art in which spontaneity and sensitivity imposed their rhythm. Yet these two lines have never ceased overlapping and enriching each other.
In the case of many painters, they co-exist or succeed one another.

Etel Adnan - Se perdre dans le désert
Oil on canvas, 2020; Courtesy of Galerie Lelong & Co.

Etel Adnan
It is through the minimalist simplicity of her forms as well as through the sincerity of her colours that Etel Adnan’s full originality expresses itself. Revealed by the Kassel Documenta in 2012, Adnan, who was already a well-known poet published in many languages, has won an absolutely singular place in the art world. Her paintings have the force and self-evidence of a haiku.

James Brown - Salt Cardinals 11
Painting on linen, 1990; Courtesy of Galerie Lelong & Co.

James Brown
By pasting the back of an old road map onto his canvas, James Brown relies on the orthogonal structure given by the map’s folds to suspend an abstract, supple and mysterious figure. James Brown’s work, which was revealed in the early 80’s, at the same time as Basquiat and Keith Haring, immediately met with an international recognition for its treatment of the figure. James Brown, who had been living in Mexico since many years, passed away at the beginning of the year in a car accident.

Nicola De Maria - Felicitàa AA
Mixed media on canvas , 1986; Courtesy of Galerie Lelong & Co.

Nicola De Maria
For Nicola De Maria, given their proportions, his small vertical paintings represent heads. That being the case, all that occurs on the surface, those points of colour interlinked by connections, the scratchings in the live material of the paint, is supposed to be the dream inhabiting this head. After a brief but intense international career in the 80s, Nicola Di Maria retired to Turino where, in isolation and calm, he pursues a secret and inspired work.

Günther Förg - Untitled
Acrylic on canvas, 2002; Courtesy of Galerie Lelong & Co.

Günther Förg
Grids, spots, drippings, none has better explored the infinite array of marks a paintbrush can make on a canvas as has Günther Förg. With irony and intelligence, he revisits art history, evoking through a form or a colour such or such another of his masters. The work chosen here is emblematic of our subject: the confrontation on the same surface of geometric rhythms and an informal and fluid space. Recently a major retrospective of Förg’s work was held at the Stedelijk Museum of Amsterdam, followed by one at the Dallas Museum of Art.

Samuel Levi Jones - House of Leaves
Portfolios on canvas, 2020; Coutesy of Galerie Lelong & Co.

Samuel Levi Jones
The formal description of Samuel Levi Jones’ work – cloth strips of varied width, length and colour, sewn together as in a patchwork – is not enough to reveal the painter’s aim. By having a closer look, one realizes that this surface is composed of fragments from the bindings ripped off scientific or legal books. It is the academic knowledge these books transmit which the American artist intends, through this iconoclastic gesture, to question and deconstruct. From these rags, he makes a coat of arms. The Museum of Indianapolis (USA) dedicated an exhibition to the artist in 2019.

Sean Scully - Raphael
Oil on linen, 2004; Courtesy of Galerie Lelong & Co.

Sean Scully
The luminous vibration of the many superposed layers of paint breathes life into the orthogonal structures which compose the framework of Sean Scully’s “Wall of Light” series. A major retrospective, for which Galerie Lelong is lending a seminal work, was to open this spring at the Fort Worth Museum. The new dates of the show have not been fixed yet.

Juan Uslé - Soñé que revelabas (Huang He)
Vinyl, dispersion, acrylic and dry pigment on canvas, 2017; Courtesy of Galerie Lelong & Co.

Juan Uslé
It is by listening, at night, to the rhythm of his heartbeats that Juan Uslé deposits each brushstroke, the succession of which form the intrigue of the paintings he calls Soñe que revelabas. Juan Uslé, who currently works in Cantabria and New York, just received in March 2020 the Florence and Daniel Guerlain Foundation Prize for Drawing.

Fabienne Verdier - Autumn Scape
Acrylic and mixed media on canvas, 2019; Courtesy of Galerie Lelong & Co.

Fabienne Verdier
By handling with all the strength of her body, a large suspended paintbrush conceived by herself, across the canvas, Fabienne Verdier on it deposits the trace, the flux, the energy she concentrates in her movement.
Control and freedom, premeditation and improvisation are here intimately linked. Following the huge success of her exhibition at the Musée Granet of Aix-en-Provence last summer, Fabienne Verdier is preparing for the Unterlinden Museum of Colmar in 2022 a series of paintings which will be a dialogue with Grünewald and Schongauer, the two artists whose masterpieces the museum hosts.

Tseng Kwong Chi: East Meets West

Tseng Kwong Chi: East Meets West

Yancey Richardson Gallery, NYC

Until 12 June, 2020

East Meets West, a selection of photographic self-portraits made between 1979 and 1989 by Tseng Kwong Chi (1950 – 1990). Combining performance and photography, political satire and personal identity, Tseng’s pioneering series exemplifies the art of the eighties while anticipating the social, political and philosophical themes of the present day.

Disneyland, California, 1979. Gelatin silver print, 16 x 16 inches.

Born in Hong Kong and raised in Vancouver by exiled Chinese nationalists, Tseng studied photography at L’Académie Julian in Paris. In 1978, Tseng moved to Manhattan, becoming a fixture of New York’s downtown art scene and a close friend of Keith Haring whose work and activities he documented. Soon after arriving, Tseng began the series East Meets West, photographing himself at iconic tourist locales throughout America, wearing a “Mao suit”, dark sunglasses and an enigmatic expression. Pictured at the Grand Canyon, the Statue of Liberty, and other monumental sites, Tseng’s persona suggests that of an austere, visiting dignitary, paying homage to sites signifying American greatness.

Grand Canyon, Arizona, 1987. Gelatin silver print, 16 x 16 inches.
New York, New York, 1979. Gelatin silver print, 16 x 16 inches.

The series was partly inspired by Richard Nixon’s diplomatic trip to the People’s Republic of China in 1972, where the visit consisted largely of a series of carefully staged appearances meant to generate the greatest possible visual impact, including the infamous Nixon-Mao handshake. In spite of the immutability of his Mao ensemble, Tseng responds distinctly to each locale, gazing contemplatively at the Grand Canyon, leaping raucously into the air at the Brooklyn Bridge or assuming a stiff, patriotic stance next to a rocket at Cape Canaveral. Describing himself as both an “ambiguous ambassador” and an “inquisitive traveler”, Tseng mischievously and subtly investigated core issues of outsider and identity politics.

Cape Canaveral, Florida, 1985. Gelatin silver print, 16 x 16 inches

Deceased in 1990 at age thirty-nine from AIDS-related illness, Tseng’s work has been widely exhibited and published. His work is in numerous public collections, including the Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art, San Francisco; Tate Britain; the Walker Art Center, Minneapolis; Smithsonian American Art Museum, Washington, D.C., and many others. In 2015, a retrospective Tseng Kwong Chi: Performing For the Camera was held at the Chrysler Museum of Art, Norfolk, and the Grey Art Gallery at New York University.

New York, New York, 1979. Gelatin silver print, 16 x 16 inches.

First Tallinn Biennial opens in July 2020

First Tallinn Biennial opens in July 2020

The first Tallinn Biennial kicks off in Estonian capital on 2 July 2020 and aims to fill the gap, geographically and institutionally, between the Kaunas, Riga and Helsinki Biennials. Tallinn Biennial will attract international attention to the local scene, present the work of artists to a broader public and through a curatorial standpoint will speak of issues relevant for today.

Tallinn Art Week 2018

The Tallinn Biennial has grown out of Tallinn Art Week, which will continue to accompany the biennial by taking place outside the capital in alternate years. Andra Orn, the head organiser of the biennial, says that unlike the festival style art week format, the biennial has a more in-depth approach and will be more comprehensive. “The biennial will offer locals, and hopefully in the future an international audience, the opportunity to see and experience the latest in Nordic and Baltic contemporary art, and over a longer period of time. This international biennial will put Tallinn on the map for art professionals and the public, and will help find new opportunities for Estonian artists and new collaborative projects for local creative institutions,” explains Orn about the importance of the biennial.

Within the framework of this year’s theme – Global language – a universal system of communication is sought, through which we could freely communicate regardless of gender, race, background, education and religion, within the paradoxical situation where we are increasingly closer to one another, yet moving further apart. A global language could create a platform for understanding and offer solutions to common global challenges that are more acute than ever before. The biennial proposes that this language could be art and culture, and asks what we are likely to gain or lose if it were applied.

Tallinn Art Week 2018

“Language and cultural identity are the threads that hold humanity together. Many of these have become stretched, torn apart, woven together or have completely disappeared,” explains organiser Andra Orn regarding her curatorial position. “How can we find a common understanding that reflects reality today and helps us adjust to the rapid changes? Is there a universal language that would help us understand the different notions and support one another? Can we face global challenges without a common language?” she asks.

Tallinn Biennial will take place this year from 2–30 July, 2020 in Tallinn, Estonia. The programme covering almost a whole month will include many exceptional art events, exhibition tours and performances. The traditional Tallinn Art Week events will take place during the opening week of the biennial. “The summer’s great art event takes the art public into the world of the creative underground, where experimentation and seeking ways of expression are more important than opposition to mainstream norms and expectations,” says Orn. “We hope to reveal more precise news about the programme fairly soon. The programme will certainly include the open air art event on Freedom Square, tours of galleries and exhibition halls, meetings with artists and much more” she added. The programme will be continually updated on the homepage https://tallinnbiennial.com/.

ANDRÉ BUTZER at Max Hetzler Gallery

Galerie Max Hetzler opens a new space in Berlin that will be inaugurated with an exhibition of recent works by André Butzer.

Galerie Max Hetzler, Berlin

29 May – 1 August 2020

Galerie Max Hetzler announces the opening of a new space at Bleibtreustraße 15/16, with an exhibition of recent works by André Butzer. The exhibition will inaugurate the gallery’s third location in Berlin. A street level gallery, in a magnificent art nouveau building, Bleibtreustraße 15/16 was formerly the home of the pioneering German avant-garde art dealer Alfred Flechtheim (1878 born in Münster; 1937 died in London), who lived there from 1923 to 1933, before the Nazi regime forced him to emigrate to London. A memorial plaque on the outside of the building commemorates him as: “art dealer, publisher and friend of modern art”. Situated in the heart of Berlin-Charlottenburg, the new space will join the gallery’s current locations at Bleibtreustraße 45 and Goethestraße 2/3, continuing Galerie Max Hetzler’s longstanding commitment to exhibiting the work of contemporary artists across generations.

Since 2018, André Butzer resides in California and continues his elementary explorations of colour, light, and pictorial scale. Yet, everything seems to be “seen anew”. His paintings virtually reinvent themselves. Some of them are now even titled again, often in the form of basic words such as “Pistachios”, “Barber Shop”, and “Lunch”. Everyday things, places and activities from which the mosaic of an American experience gradually forms itself.

Central to the selection of five recent paintings and one work on paper is English Muffins. In its visual abundance, the painting is just as overwhelming as it is ravishing. It encompasses the entire chromatic spectrum. Every hue, every state of colour is incorporated into this painterly simultaneity of escalation and serenity. Butzer keeps what is abstract and what is corporeal, what disintegrates and what assembles in a precarious balance.

English Muffins is accompanied by two paintings upon which coloured bands, together with metallic and flesh-like forms, ornamentally “create planes”, as well as by paintings of a single woman and a group. Planar pictorial figures gaining universal validity due to their iconic appearance, their reproducibility, and their accessibility. Butzer’s latest paintings reveal all those polar opposites to be one single whole and realise a coherent conjunction of colours, lines, planes, figuration and abstraction.

André Butzer (*1973, Stuttgart), lives in Altadena, California. Fusing European Expressionism with American popular culture since 1994, Butzer has painted his way through the artistic and political extremes of the 20th century: life and death, consumption and mass entertainment. Today, he is one of the internationally most recognized painters of his generation. Butzer’s work has been presented in solo exhibitions in renowned institutions, such as the IKOB Museum of Contemporary Art, Eupen (2018); Växjö Konsthall, Växjö (2018); Neue Galerie Gladbeck (2016); Kestnergesellschaft, Hanover (2011); Theseustempel, Vienna (2011) and Kunsthalle Nürnberg, Nuremberg (2009), among others. His works are in the collections of the Art Institute of Chicago; Carré d’Art, Nîmes; Deichtorhallen Hamburg; Hall Art Foundation, Reading; Nationalgalerie – Hamburger Bahnhof, Berlin; LACMA, Los Angeles; MOCA, Los Angeles; Paula Modersohn-Becker Museum, Bremen; Rubell Museum, Miami; Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Germany and YUZ Museum Shanghai, among others. This is the thirteenth exhibition of Butzer’s work at Galerie Max Hetzler since 2003. It will be followed by a solo exhibition at our Paris gallery space in autumn 2020.

Jonathan Horowitz, We Fight to Build a Free World

We Fight to Build a Free World: An Exhibition by Jonathan Horowitz 


Coming Soon

This exhibition, organized by artist Jonathan Horowitz, explores artists’ responses to social injustice from the early 20th century to now, featuring works by Horowitz as well as Huma Bhabha, Robert Colescott, Adrian Piper, Ben Shahn, Kara Walker, Andy Warhol, Max Weber, and others.

Jonathan Horowitz, Power, 2019, UV print on PVC board, vinyl sticker. Artwork © Jonathan Horowitz. Courtesy of Sadie Coles HQ, London. Photo: Robert Glowacki.

Artist Jonathan Horowitz (b. 1966) is known for combining the imagery and ambivalence of Pop Art with the engaged criticality of conceptualism. Throughout his three-decade practice, his work in video, sculpture, painting, and photography has examined the deep-seated links between consumer culture and political consciousness.

Bernard Perlin, Orthodox Boys, 1948, tempera on board. Tate, presented by Lincoln Kirstein through the Institute of Contemporary Arts 1950. Artwork © Bernard Perlin. Image courtesy of Tate.

We Fight to Build a Free World: An Exhibition by Jonathan Horowitz looks at how artists have historically responded to the rise of both xenophobia — including anti-Semitism and other forms of bigotry — and authoritarianism. The exhibition also addresses issues surrounding immigration, assimilation, and cultural identity.

Robert Colescott, George Washington Carver Crossing the Delaware: Page from an American History Textbook, 1975, acrylic on canvas. Private collection. Artwork © Estate of Robert Colescott  / Artists Rights Society (ARS), New York. Image courtesy of Blum & Poe. 

Featuring approximately 80 works of painting, sculpture, photography, and video, the exhibition will include examples of American social realism from the 1930s and 1940s, new works by Jonathan Horowitz, as well as 36 newly commissioned political posters by contemporary artists, including Judith Bernstein, Marcel Dzama, Rico Gatson, Kim Gordon and Jason Smith, Cheyenne Julien, Christine Sun Kim, Guadalupe Maravilla, and Marilyn Minter.

Malaquias Montoya, Cristobal Colón, 1992, offset-lithograph. Artwork © and courtesy of Malaquias Montoya.

The exhibition’s title, We Fight to Build a Free World, is adapted from a painting by Ben Shahn, which will be on view. Also included are works by Asco, Huma Bhabha, Enrique Chagoya, Robert Colescott, Philip Evergood, Luis Jiménez, Rebecca Lepkoff, Glenn Ligon, Abraham Manievich, Bernard Perlin, Adrian Piper, Fritz Scholder, Jaune Quick-to-See Smith, Henry Sugimoto, Kara Walker, Andy Warhol, Max Weber, and Charles White, among others.

Horowitz’s installation places disparate works in dialogue, making connections across time and place. Pointed juxtapositions of artworks and exhibition graphics raise questions and foster dialogue.


The exhibition is a project by artist Jonathan Horowitz, organized in consultation with Ruth Beesch, Senior Deputy Director, and Shira Backer, Leon Levy Assistant Curator, The Jewish Museum. The exhibition and graphic design are by Topos Graphics.
We Fight to Build a Free World: An Exhibition by Jonathan Horowitz is made possible by Toby Devan Lewis, the Martin and Rebecca Eisenberg Foundation, the Leon Levy Foundation, and other generous donors.
Additional support is provided through the Centennial Fund and the Barbara Horowitz Contemporary Art Fund.


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