JUAN MUÑOZ

Posted on 2014-12-29

Three key works by Muñoz will be featured: the sculptural installations Thirteen Laughing at Each Other, 2001, Many Times, 1999 and a Figure Hanging from One Foot, 2001. These will be accompanied by works on paper and early wall sculptures. Including works such as empty or occupied balconies, isolated figures, and those laughing and in conversation, this group of works often puts viewers in an ambiguous position, looking but also seemingly being looked at. The work suggests, as Russell Ferguson writes, “the tension between the comfort of the group and the desire for individual autonomy.”

Regarded as one of the most important sculptors of his generation, Juan Muñoz was known for his return to the human form in art and for his emphasis on the relationship of sculpture, architecture and the viewer. In sculptures, drawings, ‘conversation pieces’, and immersive installations, he often placed the viewer in dramatic relationship to space and objects that were at once architectural and implied narrative or silence, a sense that something had happened or was about to happen. His sources ranged from literature, architecture, mythology, to music, film, theater, poetry. Ever the storyteller, his artistic activity extended to plays for radio and theater, writings and essays. Frequently, Muñoz’s sculptural tableaux offer the viewer an experience of physical passage through interior spaces, suggesting a psychological landscape of presence and distance, labyrinths and solitudes, urbanscapes and empty interiors, the collective and the individual.

Opposite – Thirteen laughing at each other (2001)

Exhibition runs through to January 29th, 2015

Marian Goodman Gallery
24 West 57th Street
New York
NY 10019

www.mariangoodman.com

  

ANTON HENNING – GREAT HITS

Posted on 2014-12-22

Anton Henning, born in Berlin in 1964, whose artistic career since the mid-eighties has taken him to Berlin, London and New York, has been based in the countryside above Berlin for over 20 years now. He lives and works there with unabated zest on a work which due to its sheer opulence, complexity and playfulness cannot be classified amongst the common -isms of art criticism.
The self-educated Anton Henning paints, photographs, films, sculpts, draws, makes music, designs and builds whole rooms. He virtually challenges the risk of provoking misunderstandings and polarising them without directly addressing the political side. In the figurative sense he is dismantling the entire history of art up to the present day, in order to completely reconstruct it. A kind of artistic synthesis.

Opposite – Portrait No. 401, 2014

Exhibition runs through to January 24th, 2015

Tim Van Laere Gallery
Verlatstraat 23-25
2000 Antwerp
Belgium

www.timvanlaeregallery.com

  

LATIFA ECHAKHCH – HADASH

Posted on 2014-12-22

Adolescence, with its assorted baggage of mixed ideals, has a certain naiveté about it.

Looking back at that, which turned us both outward and against everything, we cannot but do it with bemused sympathy. That courage to leap from up high, to play among the gravestones, to pen manifestos on peace and friendship.

Such writings may have been kept secret, hidden for decades in the pages of diaries, and youthful defiance is surely made easier when roaming in bands; the same goes for the ground on which one plays, whose sheer gravity is easily forgotten by youthful distractions. Yet at the time we were quite certain of that, that we were the new. Such are the moments that Latifa Echakhch evokes in her current exhibition, instances of a time elapsed and forgotten.

Carian Hmimar, which translates as “reddish shantytown,” refers to Mediouna, a town in the vicinity of Casablanca, Morocco. A peripheral implant on the city’s outskirts, its children have made the adjacent cemetery into a playground, coming there regularly to play.

Opposite – Vendredi 11 août 1989 – Part 1, 2014

Exhibition runs through to January 17th, 2015

Dvir Gallery
14 Reshit Hochma Street
PO Box: 35411
6135302 Tel Aviv
Israel

www.dvirgallery.com

  

EURASIA – A VIEW ON PAINTING

Posted on 2014-12-22

Galerie Thaddaeus Ropac is delighted to present the group exhibition Eurasia. A View on Painting, which brings together the works of 16 artists across different genres and styles.

In light of this confrontation between various subject matters and approaches, it remains evident how deeply rooted each artist is in his culture, past and present, addressing issues of universal interest. This painting exhibition focuses on the possible junctions and their repercussions from East to West and West to East, spanning from Europe to Asia.


The gallery has invited Norman Rosenthal to work on the concept, the narrative and the installation of this exhibition. In the essay he wrote for the catalogue of the exhibition, he states: “We wish to concentrate the imagination on the landmass Eurasia that stretches from the Atlantic to the Pacific, from Paris to Shanghai via Berlin, Tehran and Moscow.

Opposite – Yan Pei-Ming Wild Game: Second Way of the Tigers, 2014

Exhibition runs through to February 17th, 2015

Galerie Thaddaeus Ropac
69, avenue du Général Leclerc
93500 Pantin
France

ropac.net

  

DEXTER DALWOOD – LONDON PAINTING

Posted on 2014-12-15

The ‘London Paintings’ signal an exciting shift in Dalwood’s formal approach towards a more fluid, personal and interpretative working method. These paintings provoke consideration of how history is painted and how it might continue to be painted. Historical references and quotations are increasingly mediated through the painting process, resulting in images of a world that can never be quite settled upon or interpreted. The paintings refuse to coalesce into a space or place, demanding from the viewer a longer and more involved process of looking. The satisfaction of recognition is denied, instead a space is created whose function – purely through its painted reality – is to produce a strong sense of time, site, memory and history – the very things that make up a sense of place.
Somewhere between the title, the fragments of imagery and the viewer’s subjectivity, each work acquires its meaning.

Moving with ease between the subjective and the specific to create a rich and individual language, Dalwood expertly combines elements from painting’s past to produce something startlingly original in the present: a body of work that continues to re-invigorate and re-invent contemporary history painting.

Opposite – The Thames below Waterloo, 2014

Exhibition runs through to January 24th, 2015

Simon Lee Gallery
12 Berkeley Street
W1J 8DT
London

www.simonleegallery.com

  

MARTIN PURYEAR

Posted on 2014-12-15

Puryear’s abstract organic forms are rich with psychological and intellectual references that explore issues of ethnicity, culture, and history. His new sculptures incorporate a diverse range of materials, from bronze, cast iron, and mirror-polished stainless steel to a variety of woods, including red cedar, tulip poplar, maple, holly, Alaskan yellow cedar, walnut, and ebony. Puryear’s sculptures, typically made by hand with labor-intensive methods, often require months to complete. His techniques, developed over a forty-year career, combine practices adapted from many different traditions, including wood carving, joinery, and boat building, as well as recent digital technology.

Big Phrygian, a large sculpture made of red cedar painted a vivid red, directly evokes the cap from the engraving, recreating its creases and folds with meticulously applied layers of wood veneer. A wall sculpture, Phrygian Plot, derives it shape from the same cap, tracing its profile with a gently curved silhouette composed of alternating bands of black ebony and white holly. The possibilities of this form are further explored in Up and Over, a sculpture cast in ductile iron.

Opposite – Big Phrygian, 2010-2014

Exhibition runs through to January 10th, 2015

Matthew Marks Gallery
522 West 22 Street
10011 New York
USA

www.matthewmarks.com