Amos Gebhardt / Evanescence

Amos Gebhardt / Evanescence

Tolarno Galleries, Melbourne
Online viewing Room.

28 April –  28 May 2020

ONLINE EXHIBITION

Text by Joanna Kitto

It has been said that if the earth’s lifespan could be represented in 24 hours, the entirety of human existence would begin and end in one second. It is this sense of deep time, and the relative ephemerality of humankind, that Amos Gebhardt draws upon in the performative moving image Evanescence, 2018.

Video excerpt (above): A 1:52min excerpt of selected moments from the Evanescence video.
Courtesy of Amos Hebhardt and Tolarno Galleries


Across four large-scale screens, bodies emerge from and coalesce with the land. Forty dancers move within four sprawling Australian landscapes—a salt lake, rock formations, crescent-shaped sand dunes, and a waterfall—all sites that echo the vastness of geological time. Dwarfed by the landscapes, the human figures appear as living sculptures extending upwards from the earth; a reminder that they are made of the same matter.

AMOS GEBHARDT | ‘Evanescence’ 2018
4 channel, 4K video installation with multi-channel sound; 34 minutes (loop)
Installation view 2018 Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide. Photography by Saul Steed. Courtesy of Tolarno Galleries.


Time is elastic in Evanescence. An infinite loop with no ostensible duration, the unbroken horizon line is fixed in place and the characters are locked in a dance with no beginning and no end. Labelling them ‘characters’ draws our attention to the way narrative is treated by the artist. A trained filmmaker, Amos Gebhardt is alert to screen language and to our aptitude in reading it. Traditional cinema relies on pulling the camera towards the face to encourage empathy with the protagonist, and Hollywood in particular has asked us to view the world through the metric of the white male body. Without cutaways or close-ups, Gebhardt breaks from these cinematic narrative constructs to offer no such privilege. The bodies that populate Evanescence are diverse in age, gender, and race; an array of human expression that creates a space of pluralism and makes visible identities that are frequently excluded from the dominant paradigm of western screen culture. Together, they form a portrait of contemporary Australia – diaspora, settlers and First Nations Australians entwined.

Evanescence, installation view, 2018 Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide. Photography by Saul Steed. Courtesy of Tolarno Galleries
AMOS GEBHARDT | ‘Evanescence’ (Water #3)
2018; archival inkjet pigment print, 100 x 150 cm – Courtesy of Tolarno Galleries.


And, while our eyes are trained to focus on the human form, sustained viewing of Evanescence reveals an anti-hierarchical treatment of the bodies and the landscapes. The human forms are reduced in the composition, a tactic that disrupts the Anthropocentric belief in our significance. How small we are against the immensity of time, and of the natural world.

Sounds emitting from the dancers are woven through field recordings to create a soundtrack that reinforces the idea that place does not preference the human experience. At once we hear the intake and exhale of breath, a grunt, a slap of skin on skin, running water and the bracing call of the butcherbird. A native Australian songbird, the butcherbird species is thought to have diverged from the currawong thirteen million years ago and the magpie six million years ago. Its ancient song is a call into deep time.

AMOS GEBHARDT | ‘Evanescence’ (Rock #4)
2018; archival inkjet pigment print, 80 x 130 cm – Courtesy of Tolarno Galleries


Ruptures ripple through Evanescence. At a certain point, the languid movement choreographed by Gebhardt and Melanie Lane takes a dramatic shift and the dancers begin to act out a form of self-flagellation. In this violent flinging of limbs, arms collide with backs and torsos and we hear the impact of flesh on flesh. The dancers’ feet slide into the sand as they attempt to find solid ground. The earth makes its mark on the bodies, and the bodies make their mark on the earth. As this scene plays out across the four screens, there is a suggestion that the violence and damage wrought is evidence of humankind’s inevitable impermanence. The cycle will end, but when?

Joanna Kitto is Associate Curator at the University of South Australia’s Samstag Museum of Art.

AMOS GEBHARDT | ‘Evanescence’ (Cave #1)
2018; archival inkjet pigment print, 80 x 135 cm – Courtesy of Tolarno Galleries


Amos Gebhardt’s works have a cinematic scale. Techniques of collage, dance, slow motion and time lapse are used to frame large-scale, multi-screen video installations and photographs that examine intersections between culture, nature and the body. Gebhardt is interested in mapping both human and non-human narratives.
Amos Gebhardt is the 2019 recipient of the inaugural Adelaide Studios Artist Residency, presented by the South Australian Film Corporation and Adelaide Studios in partnership with SALA (South Australian Living Artists) Festival, and the Anne & Gordon Samstag Museum of Art. The 3 channel video: Amos Gebhardt: Small acts of resistance will premiere at Samstag from 3 July to 11 September 2020.

AMOS GEBHARDT | ‘Evanescence’ (Salt #1)
2018; archival inkjet pigment print, 70 x 110 cm – Courtesy of Tolarno Galleries


A Sidney Myer Creative Fellow (2014) and Masters graduate of Australian Film, Television and Radio School (AFTRS), Gebhardt’s work has been exhibited at M+ Museum, Hong Kong; ACMI, Melbourne; MONA, Hobart; Monash Gallery of Art, Melbourne and broadcast on SBS and ABC.
Gebhardt created visuals for Kate Miller-Heidke’s 2016 Helpmann Award-winning concert with the Tasmanian Symphony Orchestra at MOFO. Gebhardt directed Second Unit on Justin Kurzel’s Macbeth (2015), starring Marion Cotillard premiering in competition at Cannes Film Festival.
Tolarno Galleries presented Amos Gebhardt’s solo exhibition, Night Horse, at the 2019 Sydney Contemporary art fair.

Pier Paolo Calzolari: Muitos estudos para uma casa de limao

Pier Paolo Calzolari: Muitos estudos para uma casa de limao

Repetto Gallery Viewing Room

ONLINE EXHIBITION

Into the yellow of the rose
Perennial, which, in bright expansiveness,
Lays forth its gradual blooming, redolent
Of praises to the never-wintering sun…

Divine Comedy, Paradise, XXX, 122-125

Pier Paolo Calzolari – Untitled, from “Muitos estudos para uma casa de limão” series
2018; Salt, tempera, pastels “à l’écu” and oil pastels on Arches watercolor “Torchon” paper laid on board; 58.5 x 38.5 x 1.5 cm – Courtesy of Repetto Gallery


In his elegant writing, David Anfam cites the yellow of Goethe’s lemons; thus in this brief note, we could not forgo mention of our great Dante. Yellow as a colour, but yellow most of all as a symbol of light, of warmth and of grace: at the same time lightness and potency, energy and candour. Towards the end of the ’60s, at the start of his brilliant career, Pier Paolo Calzolari (Bologna, 1943) emerged as one of the most original and intransigent artists of the second half of the 20th century.

Pier Paolo Calzolari – Untitled, from “Muitos estudos para uma casa de limão” series
2018; Salt, tempera, pastels “à l’écu” and oil pastels on Arches watercolor “Torchon” paper laid on board; 77 x 57.5 x 2 cm – Courtesy of Repetto Gallery


A profound and refined interpreter of the poetics of the sublime – more in its Baroque than its Romantic acceptation, in terms of theatricality, experimentation and marvel – he has always toyed and created with the force of the elements. Suspended between the two extremes of its possible etymology – sub-limen, beneath the architrave of the gateway, way up high; and sub-limo, beneath the mud, way down low – like a new Ulysses, he drew back the stiff bow of creativity, each time shooting the arrow of inspiration right up to his decisive encounter with the pure star of Form. But just what kind of Form? Not that based on the poetics of beauty – at least not beauty viewed as order, measure, equilibrium and symmetry – but on the contrary, each time espousing the risks of the sublime: the sentiment of the boundless, the vibrations of the unknown, the doubts of experimentation, the asymmetries of the void and the matter that feeds on its uninterrupted transformations. Hence the flame, vegetable matter, salt, water, tobacco, frost and ice became his forms and symbols. Like that of Ulysses, his is a colourful mind, and one which with endless skill adapts to the will of destiny, to the order of the elements, transforming itself and much else around him. In the identification of his extraordinary creativity, both archaic and unprecedented, remote and futuristic, in which the two sacred memories of Georges de La Tour and Caspar David Friedrich – fire and ice, heat and freezing, black and white – meet up once more in an embrace which is both intimate and impossible, real and infinite.

Pier Paolo Calzolari – Untitled, from “Muitos estudos para uma casa de limão” series
2018; Salt, tempera, pastels “à l’écu” and oil pastels on Arches watercolor “Torchon” paper laid on board; 77 x 57.5 x 2 cm – Courtesy of Repetto Gallery


However, with these new works, his recent creations which we are happy and honoured to present – paper applied to the board, on which salt (presented as a large and dominant surface) dialogues with the milk tempera and various kinds of crayon – his creativity manages to regain a greater degree of decoration, an unprecedented pleasantness, like an extreme and lyrical song. In these new works, Calzolari seems to counterbalance a degree of calm, of tenderness, a fortuitous gracefulness made up of joyful and lively colours to his traditional stormy, restless and experimental waters; woven to form a candid fabric of kindly, refined gestures, in a chromatic approach which is both energetic and humble, brilliant and delicate. An unprecedented ‘pictorial’ universe, in which his previous ‘brazen cry’, having acquired a new air of wisdom, has been transformed into a multicolour zen chant.

Carlo and Paolo Repetto

Pier Paolo Calzolari – Untitled, from “Muitos estudos para uma casa de limão” series
2018; Salt, tempera, pastels “à l’écu” and oil pastels on Arches watercolor “Torchon” paper laid on board; 77 x 57.5 x 2 cm – Courtesy of Repetto Gallery
Pier Paolo Calzolari – Untitled, from “Muitos estudos para uma casa de limão” series
2018; Salt, tempera, pastels “à l’écu” and oil pastels on Arches watercolor “Torchon” paper laid on board; 77 x 57.5 x 2 cm – Courtesy of Repetto Gallery


Here is the third Calzolari, an intimate philosopher. Muitos estudos para uma casa de limão stems from this sensibility.

Never before exhibited, the project comprising twenty-two studies for a “lemon house” is sui generis, a one-of-a-kind suite complete in itself. Nevertheless, its matrix belongs to Calzolari’s wider practice – specifically the aforementioned painting-as-lyric mode. Executed on Torchon Arches paper mounted on board, the support’s roughness not only has a grain that helps texture the milk tempera medium, it also chimes with another of Calzolari’s signature substances, layered salt. In turn, the granular pigmented surface deftly embellished by marks made with ultra-soft, friable pastels (pastel à l’écu) establishes a concrete metaphor for the look and feel of a lemon’s skin. But before considering the fruit, Calzolari’s touch in this pictorial style merits mention. He has described painting as “a butterfly”. The butterfly and Calzolari’s facture have one common quality (beside their beauty): they quiver light as a feather (which, by no coincidence, belongs among the artist’s leitmotifs). Lightness is to materiality as transience is to time. After all, fruits form a late stage in a plant’s development, a prelude to its dormancy or death.

Extract of David Anfam’s text “Ripeness”, written in occasion of the exhibition of Muitos estudos para uma casa de limao, September 2019.

Beate Wheeler / The 1970s: Transition to Color Painting

Beate Wheeler / The 1970s: Transition to Color Painting

David Richard Gallery, New York

Mon 18 May 2020 to Fri 19 Jun 2020

David Richard Gallery presents its first solo exhibition of paintings by Beate Wheeler (1932 – 2017). The presentation includes 13 paintings that focus on her studio work leading up to and through the 1970s, an important and transitional decade in her career. The presentation chronicles a shift in her formal approach that had been brewing back in the 1960s, as well as a change in her color palettes and compositions that became more evocative of nature and gardens. During the 70s, Wheeler transitioned from her Abstract Expressionist “mark making” to more vibrant “color painting”, which defined the remainder of her studio practice.

Throughout nearly all six decades of Wheeler’s career, her paintings were about color and form, the influences of nature, and her feelings and emotions towards these topics. One can feel her energy and passion in the thousands of intentional and individual marks of pigment, each one deliberate to create stunning arrays of color and passages of pattern, forms and abstract imagery. Wheeler made specific marks, she did not scrub the canvas in a brushy back and forth or agitated manner. She made distinct marks, echoing the profound influences on her work by Impressionistic masters with their bold use of color as well as the subtle and elegant exploration of hues in Milton Resnick’s work, with whom she studied under in the 1950s in Berkeley, California. Wheeler had an intuition about color, she understood color adjacency and the interaction of hues in compositions, how the colors could meld and from a distance mix in the viewer’s eye allowing them to see something different than when close up and dissecting each hue in their respective shapes and placements. Wheeler’s color sensibility made her paintings dynamic, vibrant, almost alive and very distinct in appearance. Hence, the strong feeling that they are derived from nature and her keen ability to observe the subtle interplay of color in the natural world.

Beate Wheeler – Untitled (BW-5225)
1984, Oil on canvas, 112 x 117 cm – Courtesy of David Richard Gallery

Wheeler’s mark making was methodical and became rhythmic, which allowed distinct passages to emerge within areas of her compositions that became multiple individual foci of abstract forms. However, collectively, they created a dialogue that evoked organic forms and shapes, almost like leaves or blocks of colorful flowers that transition from one to the other effortlessly in a perennial garden.

Installation view – Courtesy of David Richard Gallery

The paintings from the early 1960s had compositions with a centrally located focus or bi-partite areas with thicker applications of impasto pigment distinct in color and palpable. The perimeters of the compositions had flatter and wider applications of paint, more atmospheric and fading to the background, thus creating distinct figure and ground relationships. In a number of paintings from the 1960s the distinct marks coalesced and became larger areas of color as opposed to distinct marks, and some with gritty textures across most of the surface that created an all over composition without a central focus. In several of the smaller paintings from the late 1960s the palettes became reduced to only 2 or 3 hues to generate elongated and curvaceous interlocking brush strokes that were nearly uniform across the canvas and creating subtle patterns. Both of these techniques essentially flattened the painting surfaces and made the compositions consistent across the canvas. Thus, reducing the forms to vessels for pigment and thereby making the color the only real distinction within her paintings.

Installation view – Courtesy of David Richard Gallery

Through the 1970s, Wheeler expanded on these developments, the forms became larger, more distinct with an organic feeling, yet the shapes were clearly non-objective and abstract. The all over compositions filled the canvases and spilled off the edges, in most cases. In many of the paintings it is clear that Wheeler reduced the detail, neutralized the colors and compressed the distance between the shapes to create a fade around the perimeter to always keep the viewer’s attention on the interiors of her paintings. It seemed as though she fixated on a specific aspect of a garden or landscape reference and expanded and increased the scale of that area so as to make it purely abstract with no specific reference, leaving only the essence of something from the natural world, a hint of something organic. While the individual marks were distinct and abstract, in the aggregate, the overall feeling of her paintings is that of a lush garden.

Installation view – Courtesy of David Richard Gallery

About Beate Wheeler (1932 – 2017):

Beate Wheeler, born in Germany in 1932, fled with her family in 1938 and arrived at Ellis Island in New York. She studied at Manumit in Pawling, New York until 1945, an experimental Christian socialist boarding school for refugee children. After receiving her BFA degree at Syracuse in 1954, Wheeler earned her MFA at the University of California, Berkeley under Abstract Expressionist painter, Milton Resnick. While in the Bay area, she met Mark di Suvero and the two moved to the East Village in New York. Together with Robert Beauchamp, Elaine de Kooning and Patricia Passlof, they formed the March Gallery, one of the eight galleries and artist cooperatives that were known as the 10th Street Galleries. Wheeler married the writer and artist Spencer Holst. They were some of the early residents at the Westbeth Artists Housing in New York’s West Village. Wheeler lived and worked there the rest of her life. She painted regularly and produced drawings and artworks for Spencer’s publications. She exhibited primarily at the Wesbeth galleries and had many dedicated private collectors, including Nelson A. Rockefeller. Following a 15-year battle with Parkinson’s disease, she passed away May 14, 2017.

Georg Baselitz / Years Later

Georg Baselitz / Years Later

Gagosian, Hong Kong

Thu 21 May 2020 to Sat 8 Aug 2020

An early pioneer of the Neo-Expressionist movement that had its origins in postwar Germany, Baselitz combines a vigorous and direct approach to art making with a sensitivity to art historical lineages. He counts Willem de Kooning and Philip Guston among his key influences, and is known for his uncompromising approach and critical stance. In 1969, he began to compose his images upside down to slow the processes of making, looking, and comprehending. Over the past fifty years, often referring to and reinterpreting his own body of work, he has further augmented his visual language with a range of formal and historical allusions yet has consistently returned to the human figure as his central motif.

Georg Baselitz – Da sind zwei Figuren im alten Stil (That’s two figures in the old style)
2019, Oil and painter’s gold varnish on canvas; 300 x 212 cm
© Georg Baselitz. Photo: Jochen Littkemann. Courtesy Gagosian.

This exhibition is focused on a set of thirteen large oil paintings that Baselitz made using a “contact-printing” technique related to the one applied in his series, What if… (2019), which was exhibited at Gagosian San Francisco earlier this year. To create each new black-and-gold painting he uses a stencil to render inverted figures on blank canvas, painting just the panel’s background to generate bold negative silhouettes. Against this ground he presses a black canvas, lifting this second support to produce an image distinguished by a slightly softer look than those made more directly. The hybrid result not only stresses medium over image, but is also distinguished by an element of unpredictability that bespeaks freedom and vitality. In a single painting in pink, the figures are rendered without a stencil as positive images.

Georg Baselitz – Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast) – 2019, Oil on canvas, 302 x 427 cm
© Georg Baselitz. Photo: Jochen Littkemann. Courtesy Gagosian.

With part of their material substance surrendered to the transfer technique, the works in Years later incorporate a palpable sense of organic change and variation; they juxtapose traces of Baselitz’s haptic intervention with marks derived specifically from the contact-printing process. This lends their surfaces a specific tension, while the play of subtle similarities and differences from one panel to the next adds a dynamic rhythm to the series as a whole—a nod to the idea of the human frame in motion. As one image begets another, the figures become less and less distinct and gradually merge with their backgrounds, dissolving subject into context, humanity into reality at large. In these paintings, the dark, chaotic nature of this reality finds its full expression.

Installation view – © Georg Baselitz. Photo: Martin Wong

A fully illustrated catalogue with a foreword by Zeng Fanzhi and an essay by Lu Mingjun will accompany the exhibition.

A Note to the visitors:
The gallery will reopen in compliance with the Hong Kong government’s health guidelines regarding social distancing and visitor and staff protection.

Ida Ekblad: A DEEP MEDICINE

Ida Ekblad: A DEEP MEDICINE

Galerie Max Hetzler, Paris

Wed 20 May 2020 to Sat 27 Jun 2020

Galerie Max Hetzler presents an exhibition with new oil paintings by Ida Ekblad.

Ida Ekblad – THE MARINADE IN WHICH HER BRAIN STEEPED
2020, Oil on belgian linen, 220 x 180 cm;
Photo Uli Holz © Ida Ekblad, Courtesy Galerie Max Hetzler Berlin I Paris I London


Ida Ekblad explains that she has tried to copy in oil what she recently achieved in her signature puff and plastisol works. In oil there is another world of pigment. Ekblad uses the highest quality paint with no fillers, pure cold pressed linseed, which makes the colors extremely varied. Puff turns matte when heated and dried, but these oils are saturated and shiny, vibrant, almost freaky.

Ida Ekblad – CRUEL, DECEPTIVE EMPIRE
2020, Oil on belgian linen; 180 x 140 cm.
Photo Uli Holz © Ida Ekblad, Courtesy Galerie Max Hetzler Berlin I Paris I London


Ekblad adds that for this show she has reached back into the 80-ies of her childhood and tried to strike a “Vangelis chord”, a wet neon noir but without the clichés. Clouds of noble gas, laser shapes and ionized helium. She calls it a “Phildickian reality-flip”; an archive of sweet memories is everted and turned into a paranoid delirium. A crisp landscape, a plein-air TRON, translucent, fluorescent but also upside down and slippery, trippy, nauseating. Ida Ekblad tries to process these “sights” through her Scheveningen rose, cobalt violet, ruby red, and the Old Holland green, she is overdoing it, exaggerating it, “adding a sour Vermillion”. She lets the oils build up, sediment, smear and mushroom. She is “pouring out the juice, adding sauce, always more sauce”.

Ida Ekblad – HER MOTOR CENTER
2020, Oil on belgian linen; 180 x 140 cm.
Photo Uli Holz © Ida Ekblad, Courtesy Galerie Max Hetzler Berlin I Paris I London

The artist talks about “filtering Jean Michel Jarre” through a deviant manga feed, pink synth orgies, a feeling of watching full movies in the reflection of Gargoyles ANSI sunglasses – Starman, Flight of the Navigator. A neon casino where you cash in more than you lose. Cigarette smoke curling. She sees Daryl Hannah’s blonde wig and airbrushed eyes. Tiled bathrooms and bulb-lit, jam-packed medicine cabinets. Android dreams. Dark flasks with deep medicine.

Ida Ekblad – SHE HAS SWALLOWED US ALL
2020, Oil on belgian linen; 220 x 180 cm.
Photo Uli Holz © Ida Ekblad, Courtesy Galerie Max Hetzler Berlin I Paris I London

Ida Ekblad (1980, Oslo)
Lives and works in Oslo, Norway. In June 2020, her work will be presented in a solo exhibition at the Kunstnernes Hus, Oslo. Her work has been presented at the Venice Biennale (2017) and has been the subject of numerous solo exhibitions including Kunsthalle Zurich, Museo Tamayo, Mexico City (both 2019); Kunstverein Braunschweig (2018); Kunsthaus Hamburg (2017); BALTIC Centre for Contemporary Art, Gateshead (2015); National Museum of Norway – Museum of Contemporary Art, Oslo (2013); Bonniers Konsthall, Stockholm, Bergen Kunsthall (both 2010), among others. She participated in numerous group shows such as National Museum of Norway – Museum of Contemporary Art, Oslo (2018); FRAC Normandie, Les Bains-Douches, Alençon (2016); Astrup Fearnley Museet for Moderne Kunst, Oslo (2015 and 2012); Kunsthalle Bern (2015); Kunstmuseum Luzern, Lucerne, Palais de Tokyo, Paris (both 2013) and New Museum, New York (2009). Her works are in the collections of the Aishti Foundation, Beirut; Astrup Fearnley Museum of Modern Art, Oslo; Contemporary Art Society, London; De La Cruz Collection, Miami; Fondation Louis Vuitton, Paris; Hessel Museum of Art, Annandale-on-Hudson; Kunsthaus Zürich, Zurich; Migros Museum für Gegenwartskunst, Zurich; National Museum, Oslo; Preus Museum, Horten; Zabludowicz Collection, London, among others.

Kristina Riska, Fysis

Kristina Riska, Fysis

Galerie Forsblom, Helsinki

until 31 May, 2020

Kristina Riska (b. 1960) is one of Finland’s most internationally renowned ceramic artists. Fysis marks her first solo exhibition at Galerie Forsblom. The works in the exhibition form two series. One consists of stylized portraits and figures alluding to the former women’s psychiatric hospital on Seili Island and the patients who were effectively imprisoned there until 1962. Women were often sent to the island on spurious grounds such as their low socio-economic status or counter-normative behavior, such as choosing to remain unmarried or succumbing to burnout. The stories of the women of Seili are interwoven with Riska’s personal experiences of mental illness in her family, underlining how important it is to discuss these issues openly and break taboos in society.

Kristina Riska
nomoreworries, 2019
Ceramic
135h cm / 53.15h inches

The title of the exhibition refers to the ancient Greek word denoting growth occurring in the natural world. The ancients espoused the belief that physis occurs by volition as if plants and beasts willed it to happen without the significant influence of external factors. Some of the works featured in the exhibition are based on this concept, while also symbolizing Riska’s creative process of artistic conceptualization, through which she lifts ideas from cognitive darkness into the light. Chance inevitably plays a major role in ceramics, a medium with a mind of its own in quite a literal sense: in the kiln, the clay changes size and shape, and the glazes can take on surprising tones and textures. The basic forms of Riska’s sculptures are nevertheless carefully planned and crafted.

Kristina Riska
speechlessface, 2019
Ceramic
95h cm / 37.40h in


The thin but sturdy undulating walls of the fragile-looking sculptures are achieved using the coil construction technique: Riska uses her fingers to roll out soft, thick coils which she layers one on top of the other. She then decorates the surface with self-made stencils and glazes. Her monumental vessels are not intended for storing anything, but the interior – and the fact that we can see inside the sculptures – is an integral part of each work.

Kristina Riska
bodyinside II, 2020
Ceramic
60h cm / 23.62h in
Kristina Riska
someofusare II, 2020
Ceramic


Riska is a senior member of the Arabia Art Department Society of Helsinki. Her internationally acclaimed, award-winning work has featured in numerous exhibitions from Denmark to the US and Japan. Her sculptures are found in many private collections abroad, and she is also represented in public collections, including the Saastamoinen Foundation and the Swedish State collection

Edward Burtynsky, Anthropocene

Edward Burtynsky, Anthropocene

Christophe Guye, Zurich

until 29 Aug 2020

The ‘Anthropocene’ Project is a multidisciplinary body of work combining fine art photography, film, virtual reality, augmented reality, and scientific research to investigate human influence on the state, dynamic, and future of the Earth. The exhibition at the gallery focuses on fine art photography from the series ‘Anthropocene’, dating from 2012 to 2017 as well as on the film. The works highlight the artist’s visual exploration into the global consequences of coastal erosion, logging, mining, and industrial agriculture with subjects ranging from the surreal phosphate rock deposits mined near Lakeland Florida to the psychedelic potash mines in Russia’s Ural Mountains. 

Edward BURTYNSKY (*1955, Canada)
Basque Coast #1, UNESCO Geopark, Zumaia, Spain, 2015
Pigment inkjet print on Kodak Professional Photo Paper
121.9 x 162.5 cm (48 x 64 in.)

Born in St. Catharines, Ontario in 1955 and based in Toronto, Edward Burtynsky is regarded as one of the world’s most accomplished contemporary photographers. He received his Bachelor of Applied Arts in Photography and Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto’s art community. Early exposure to the sites and images of the General Motors plant in his hometown helped to formulate his photographic work.

Edward BURTYNSKY (*1955, Canada)
Chino Mine #5, Silver City, New Mexico, USA, 2012
Pigment inkjet print on Kodak Professional Photo Paper
148.5 x 198.2 cm (58 1/2 x 78 in.)

Burtynsky’s ‘Anthropocene’ explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes. He has turned his lens on the terrible beauty of industrial interventions in nature such as mining, quarrying, manufacturing, shipping, the production of oil, and recycling. The title ‘Anthropocene’ refers to a proposal circulating in the scientific community to formally recognize the commencement of a new geological epoch – the Anthropocene – in which humans are the primary cause of permanent planetary change.

Edward BURTYNSKY (*1955, Canada)
Oil Bunkering #4, Niger Delta, Nigeria, 2016
Pigment inkjet print on Kodak Professional Photo Paper
148.4 x 198.3 cm (58 3/8 x 78 1/8 in.)

‘We have reached an unprecedented moment in planetary history,’ stated Burtynsky. ‘Humans now arguably change the Earth and its processes more than all other natural forces combined.’

Edward BURTYNSKY (*1955, Canada)
Phosphor Tailings #6, Near Lakeland, Florida, USA, 2012
Pigment inkjet print on Kodak Professional Photo Paper
148.4 x 198 cm (58 3/8 x 78 in.)

For ‘Anthropocene’, Burtynsky travelled to every continent, with the exception of Antarctica, and visited twenty countries including Canada, Chile, China, Germany, India, Indonesia, Italy, Kenya, Nigeria, Russia, Spain and the United States. Often shooting from his signature bird’s-eye view using airplanes, helicopters and drones, his large-scale photographs are rich in detail and vast in scale, sometimes verging on the appearance of painterly abstractions. His images strike an intricate balance between a sombre reportage and a powerfully seductive aesthetic. ‘Anthropocene’ reflects the dilemma between society’s desire for prosperity and its impact on the environment.

Edward BURTYNSKY (*1955, Canada)
Phosphor Tailings Pond #4, Near Lakeland, Florida, USA, 2012
Pigment inkjet print on Kodak Professional Photo Paper
148.6 x 198 cm (58 1/2 x 78 in.)

‘Humans have always taken from nature. This is normal, part of the human condition, and, indeed, a fact of life for all life forms. What is different now is the speed and scale of human taking, and the Earth has never experienced this kind of cumulative impact. If my images appear surreal at times, it must be remembered that they depict our extractive world as it is.’ – Edward Burtynsky

Edward BURTYNSKY (*1955, Canada)
Salt Pan #18, Little Rann of Kutch, Gujarat, India, 2016
Pigment inkjet print on Kodak Professional Photo Paper
121.9 x 162.7 cm (48 x 64 in.)

His photographs are included in the collections of over sixty major museums around the world, including the National Gallery of Canada; the Museum of Modern Art, New York; the Reina Sofia Museum, Madrid; the Tate Modern, London and the Los Angeles County Museum of Art, California. Exhibitions include Anthropocene (2018) at the Art Gallery of Ontario and the National Gallery of Canada (international touring exhibition); Water (2013) at the New Orleans Museum of Art & Contemporary Art Center, New Orleans, (international touring exhibition) and Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (touring 2009-2014). Awards and distinctions include the TED Prize, the Governor Gernal’s Award in Visual Media Arts, The Outreach award at the Rencontres d’Arles, and the Roloff Beny Book award. In 2006, Burtynsky was awarded the title of Officer of the Order of Canada. Most recently, Burtynsky was named Photo London’s 2018 Master of Photography. He currently holds eight honorary doctorate degrees. 

Jitka Hanzlová at Mai 36 Galerie

Jitka Hanzlová at Mai 36 Galerie

Mai 36 Galerie, Zürich.

Fri 15 May 2020 to Sat 8 Aug 2020 / By Appointment

Mai 36 Galerie presents the third solo exhibition of works by Jitka Hanzlová at the gallery. The artist’s wide-ranging photographic oeuvre, which evolved between the two cultural systems of East and West, reflects personal and overarching historical processes of transformation.

Jitka Hanzlová – #7 Untitled, 1993 (Yellow Earth) from ‘TONGA’, 1993
C-print, Image 28.5 x 19 cm; Courtesy of Mai 36 Galerie and the Artist.

Through her direct and meticulous approach, she lends her subjects a compelling immediacy and presence; the person and even the setting seem to address the viewer almost personally. What appears self-evident to the viewer harks back to her own personal attachment to the people and things she photographs. She studies them carefully and patiently, rather than merely making an image of them. In her portraits, it is not only the appearance and history of the subjects that are rendered visible, but also Hanzlová’s personal connections and attitudes to them. Her works reveal references to the history of photography and art as well as to media beyond the confines of the artworld. This is evident, for instance, in the series There is something I don’t know, aesthetically evolved out of her studies of quattrocento painting, as it is in Vanitas, based on scientific herbarium illustrations.

Courtesy of Mai 36 Galerie.

Irrespective of her broad knowledge of aesthetic theory, ranging from John Berger to Roland Barthes, the central focus of Hanzlová’s work is her subjective approach to that which she portrays – the subject matter she captures with a direct and unadulterated gaze, lending it an emancipatory role within the existing world.

Jitka Hanzlová – Untitled (Thunderstorm) from ‘Hier’, 1998
C-print, Image 30.3 x 20.2 cm; Courtesy of Mai 36 Galerie and the Artist.

The exhibition at Mai 36 Galerie focuses on works from the new series WATER and conceptualizes these as an integral part of the artist’s earlier and current serial work. In her latest series, Hanzlová expands on her themes by complementing them with aspects of the contemporary debate about resources, and by exploring the various ways in which the material, seemingly open to interpretation, manifests itself in seemingly self-evident ways, in the form of air, water, and ice. In addition, individual works from the series Brixton, Cotton Rose, Flowers, Hier, Horse, Tonga and the earlier series Rokytník, Bewohner and Forest are also being shown for the first time as freely juxtaposed pieces within an exhibition context, rather than as a series.

Jitka Hanzlová – UR#4 Untitled, 2018 (rust) from ‘WATER’, 2018
C-print Image 44 x 29.5 cm; Courtesy of Mai 36 Galerie and the Artist.

Jitka Hanzlová (born 1958 in Náchod; grew up in Rokytnik, Eastern Bohemia, in former Czechoslovakia) came to Germany in the 1980s and studied photography at the Folkwang Universität der Künste in Essen, where she still lives and works. Her works are exhibited internationally; most recently, until February 2020, at the National Gallery of Prague in the first major retrospective of her thirty years of artistic work. From 2005 to 2007, the artist taught at the Akademie der Künste in Hamburg and from 2012 to 2016 at the Zürcher Hochschule der Künste.

Takesada Matsutani / Stream

Takesada Matsutani / Stream

Hauser & Wirth

14 May – 14 Jun 2020

ONLINE EXHIBITION

‘Time is for me, most important. I was born, I must die. But my conscious is streaming for infinity.

My infinity, my purpose, my desire is there.

That’s my imagination.’

—Takesada Matsutani

The artist’s unique visual language forms one of the most pioneering oeuvres to emerge from post-war Japan and is continually celebrated globally. With the online exhibition, ‘Stream’, Ōsaka-born and Paris-based artist Takesada Matsutani presents a series of previously unseen works, alongside a significant body of preparatory drawings, multi-media paintings and lithographs, dating from the 1970s to present day.

Stream 78-1 – Takesada Matsutani,1978
Graphite pencil and turpentine on paper; 81 x 119.5 cm
© Takesada Matsutani. Courtesy the artist and Hauser & Wirth

Buddhist teachings were a central element in Matsutani’s childhood education, with our existence seen as a constantly changing current. Although he doesn’t consider himself a Zen practitioner in his art, he has felt a profound affinity with the philosophy’s call for a ‘return to the simplicity of everyday experience,’ its rejection of ‘system-based thinking,’ and its emphasis on ‘a constant moment-to-moment praxis.’ In his multifaceted works, Matsutani attempts to stop time, to materialize a suspended moment and acknowledge the repetition and fluidity of everyday life.

Puffed up-2 (膨らみ-2) – Takesada Matsutani, 2020.
Vinyl adhesive, graphite pencil, acrylic, on canvas and plywood, 91.5 x 63 x 10.5 cm
© Takesada Matsutani. Courtesy the artist and Hauser & Wirth

Matsutani began creating vast expanses of metallic black graphite on mural-size sheets of paper built up with painstaking individual strokes, commonly known as his Stream series. The successive layers produce a sense of volume through the interplay of shadows and the direction of the pencil strokes, developing a tactility and inner luminosity as seen in the earliest work in the online presentation, ‘Stream 78-1’ (1978) and ‘Stream 99-5’ (1999). This ritualized manner of mark-making has a performative gesture that presents a time-based record reminiscent of Matsutani’s artistic beginnings in Japan.

Three Circles-19 – Takesada Matsutani, 2019.
Vinyl adhesive, acrylic, graphite pencil on canvas, 55 x 38 x 3.5 cm 
© Takesada Matsutani. Courtesy the artist and Hauser & Wirth

About the artist
Takesada Matsutani was born in Ōsaka in 1937. He began exhibiting with the Gutai Group in 1960, along with Shūji Mukai and Tsuyoshi Maekawa, and officially joined the group in 1963. In 1966, he received a grant from the French government after winning first prize in the 1st Mainichi Art Competition, and subsequently moved to Paris where he continues to live and work today.

Propagation 15-2-5 – Takesada Matsutani, 2015.
Vinyl adhesive, graphite pencil on canvas, 162 x 130 cm
© Takesada Matsutani. Courtesy the artist and Hauser & Wirth

Organized with Olivier Renaud-Clément, this intimate presentation embodies Matsutani’s intuitive and enduring connection with his materials over the past six decades, including a new work created in the artist’s studio and home during this period of isolation.

In keeping with his Gutai roots, Matsutani strove to identify and convey the essential character and expressive possibilities between vinyl adhesive and graphite. It is this confluence of materials, as seen in recent works ‘Propagation 15-2-5’ (2015) and ‘EVOLUTION-99’ (1999), that epitomizes the distinctive visual language the artist has made his own over the last 40 years.

Kao – Takesada Matsutani, 2011.
Vinyl adhesive, graphite powder, gouache and paper on wood, 19 x 12.8 x 1.7 cm
© Takesada Matsutani. Courtesy the artist and Hauser & Wirth

Alongside Matsutani’s rediscovery of the power of black and white, he also started to adopt bright colour planes and shaped canvases with a very personal palette, this is highlighted in ‘Three Circles-19’ (2019), photographed in the artist’s studio in the past month during isolation. Talking about whether the current global pandemic has changed his practice Matsutani says: ‘a little bit at first, but I find my routine is the same and focus on the work is the same. In the end, the beauty is still there and continues to exist.’

Takesada Matsutani. Courtesy the artist and Hauser & Wirth

This online exhibition follows Matsutani’s retrospective survey at the Centre Pompidou, Paris in Summer 2019 and coincides with the re-opening of ‘Takesada Matsutani: Prints, 1967-1977’ at les Abattoirs, Toulouse, in partnership with the National Institute of Art History, France (INHA). The artist’s work is also featured in our current group presentation at Hauser & Wirth Hong Kong, open until 30 May.

Under the umbrella of Hauser & Wirth’s new global philanthropic and charitable initiative #artforbetter, the gallery is donating 10% of gross profits from sales of all works in their online exhibitions to the COVID-19 Solidarity Response Fund for the World Health Organization.

The Order Of Time / HdM GALLERY Beijing

The Order Of Time / HdM GALLERY Beijing

HdM GALLERY, Beijing.

16/05/2020 – 04/07/2020

HdM GALLERY Beijing announces the opening of the exhibition “The Order of Time”. This exhibition is showing 15 Chinese and Western artists including Dong Dawei, Hu Weiyi, Li Yiwen, Lu Xinjian, Lu Song, Ma Ke, Manuel Mathieu, Charles Sandison, Wang Yi, Wang Qingsong, Yin Hang, Yun Yongye, Zhang Xuerui, Zhang Yunyao, Zhu Rixin. Each started a new journey at a specific “time” within painting, photography, installation and video. The exhibition will open from May 16, 2020 to July 4, 2020.

Wang Yi – Primary Structures – Epoxy resin cast; Courtesy of HdM Gallery

There is no “time” in the world. What we call “time” only exists as a concept of human culture. Our cognition of time comes more from people’s perception of space, objects and the causes of events. The time we recognise does not exist, and the traces of its passage are just countless points and lines. In the basic equations of the world, the “time” of the past, present and future is actually more akin to a type of memory, feeling and expectation within our mind. Therefore, the order of time is more like a network of events that affect each other. It cannot present a universal truth but an interpretation of the subjective behaviour of people as the basic starting point to control the time and space of a certain dimension that only someone’s consciousness can perceive.

Zhu Rixin – Landscape behind Walls No.2 
Archival ink pen and acrylic on paper – 40 x 50 cm – 2020; Courtesy of HdM Gallery.

In this exhibition, the artists use different media to show each other’s most personal inner feelings about the concept of time within this definition. Most of them are not limited to the abstract concept of “time” as an objective reality. Some artists use “time” as a mode of expression and language. Others record traces of “time” through thousands of repetitive actions. But more artists focus on time as individual memory, public history, death, space, subconscious and imagination.

Yun Yongye – Vomiting Christ 
Oil on wood block – 14.4 × 11.3 cm – 2020; Courtesy of HdM Gallery.

The journey of time is an endless river, which has stopped for some people, but continues for others who carry on their journey. The time and things around us are intertwined at their own speed, go forward or turn back on themselves, pointing to the future or to the present. Time is like a metaphor: we don’t know its true form. A particularly precious experience is the perception of different individuals intertwined in one space.

Hu Weiyi – Blue Bones No.5 – cyanotype on watercolour paper, wooden frame, aluminum-plastic board, white cardboard, acrylic – 52 x 38 cm – 2020; Courtesy of HdM Gallery.



PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

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