Galerie Thaddaeus Ropac is pleased to announce a group exhibition curated by Matthieu Poirier. The exhibition will bring together works by twenty artists of eight different nationalities to explore the notion of landscape. Landscope, the exhibition and book, intend to call into question the art historical precedent of the correlation between landscape and drawing. The exhibition thus assembles, in two successive shows (Paris and Salzburg), over one hundred works, often in atypical formats, by artists for whom drawing is often just one medium among others, and landscape, a non-exclusive genre. Under the neologistic title "Landscope" - a contraction of "landscape" and "scope" [from the Greek skopein "to behold, to observe"], landscape is regarded as both a site and a view. The landscapes brought together here are often natural, yet reject conventional narrative or narcissistic themes. As in the mirror-like illustrations of Maeterlinck's dream of a theatre without actors, these scenes systematically exclude all human presence and thus contribute to the establishment of a scenography of absence, of a paradoxical phenomenology of emptiness. Even if these landscapes are completely deserted, they nevertheless remain "event-scenes [paysages d'évènements]" (Paul Virilio), genuine locations, resulting most frequently, from the collision of formal, logical and scopic motivations, rather than as a result of a narrative. Chosen here for its manifest artificiality and its necessarily dialectic relationship with the world, drawing appears as the indispensable tool for reconsidering this notion of landscape as well as the related themes of perspective, space and representation. It is not so much the spatial landscapes that are observed here, but through their archetypal characteristics, the very notion of landscape itself.--Press release.
The interfaces between art and the scientific disciplines of biology, environmental science, neuroscience, and physics pose interdisciplinary questions that are an inspiration to researchers. The authors compare artists’ experimentation set-ups and thereby reveal new levels of knowledge. The examples in the Artists-in-Labs program illustrate how artists approach problems and, in this way, create new tools for science. The authors of this illustrated volume of essays include Harriet Hawkins, Irene Hediger, Jill Scott, Arnd Schneider , Susanne Witzgall, Lisa Blackman, Jens Hauser and Dieter Mersch.
To the Wall Street Journal, it's "Europe's most prestigious twentieth-century art fair;" to the New York Times, the "Olympics of the Art World." Either way it's one of the most glamorous and important international art fairs going. This comprehensive catalogue fits 275 top galleries between two covers--550 illustrations, 700-plus pages--for reference until the next year.
Widely regarded as the most influential curator of the second half of the twentieth century, Harald Szeemann (1933–2005) is associated with some of the most important artistic developments of the postwar era. A passionate advocate for avant-garde movements like Conceptualism and Postminimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture. Szeemann once stated that his goal as an exhibition maker was to create a “Museum of Obsessions.” This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing the evolution of his curatorial method through letters, drawings, personal datebooks, installation plans, artists’ books, posters, photographs, and handwritten notes. This book documents all phases of Szeemann’s career, from his early stint as director of the Kunsthalle Bern, where he organized the seminal Live in Your Head: When Attitudes Become Form (1969); to documenta 5 (1972) and the intensely personal exhibition he staged in his own apart-ment using the belongings of his hairdresser grandfather (1974); to his reinvention as a freelance curator who realized projects on wide-ranging themes until his death in 2005. The book contains essays exploring Szeemann’s curatorial approach as well as interviews with collaborators. Its more than 350 illustrations include previously unpublished installation photographs and documents as well as archival materials. This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center February 6 to May 6, 2018 (a satellite show will be at the Institute of Contemporary Art in Los Angeles February 4 to April 22, 2018); at the Kunsthalle Bern in Bern, Switzerland, June to September 2018; at the Kunsthalle Düsseldorf in Düsseldorf, Germany October 2018 to January 2019; and at the Castello di Rivoli Museo d’Arte Contemporanea Rivoli in Turin, Italy, February to May 2019.
This journey through the American suburban imagination--by Pennsylvania-born Amy O'Neill, who currently lives and works in New York--reveals the uncanny that lies just beneath the banal. O'Neill's work is situated between the past and present, vernacular and global, high and low cultures. Her sculptures, installations and drawings trade in recycled bits of Americana like bald eagles, carnival midway games and basement rec rooms. As critic Gregory Williams writes, O'Neill's work looks back, "nostalgically to those sites in the American cultural landscape that leave a deep-fried residue on one's childhood memories." A recent installation, "Forest Park Forest Zoo" (2007), memorializes an abandoned roadside petting zoo that O'Neill found off a country road in the midst of a Gallitzin, Pennsylvania, forest. This first monograph includes a text by artist and writer John Miller.