DAVID HOMINAL – NO TITRE (COLLECTION 2021)

Posted on 2020-06-01

Painting is a common denominator in David Hominal’s work, a physical and sculptural element that traces the genealogy of his multimedia oeuvre, between performance, video, dance, and object. Everything centres around the material quality of painting, which Hominal has continued to develop as a practice, including in its potential to be combined with other media.
In the new series No titre (collection 2021), the subject is colour. Its manipulation over large canvases allows Hominal to get beyond the traditional systems of analysis separating figuration and abstraction. He can incorporate kitsch like he can incorporate tragedy, travelling across the entire history of representation, from still life to portraiture, via landscape. The application of colour becomes the subject of the painting. It is in this context that the flower motifs, in a scrupulous loop, make their grand return to his work, proving he hasn’t lost his touch. Undoubtedly, they have a place in the history of art and they also play a role in his personal and daily life. Yet it is clearly impossible not to think of the symbolic significance of the gestures with which they are most often associated. Offering, paying respects, remembering, giving joy, flowers embody care and devotion, as they are carriers of memory.

Opposite – Installation view

Exhibition runs through to July 5th, 2020

kamel mennour
47, rue Saint-André des arts
75006 Paris
France

kamelmennour.com

  

GIDEON RUBIN

Posted on 2020-06-01

Rubin creates paintings where the figures are rendered without their facial features. Thus the gaze of the viewer is not captured by physiognomy, but by the atmosphere unleashedbby the entire images; the subjects are characterized by their positions and attitudes, by the way they move in space and dress.
Evanescent and melancholic, Rubin’s works speak of a past or a recollection that has surfaced in memory. The paint is dense and seductive, with fluid strokes that describe intimate atmospheres and complicity between the subjects portrayed. With their forcefully evocative character, these figures trigger direct empathy in the viewer. The subjects are depicted during everyday activities; the artist draws us into moments of elusive intimacy. A couple walking with arms around each other, a young woman undressing, flowers gradually wilting become part of a temporal dimension of slowness and calm. Landscapes are barely indicated settings, colors that stand out, revealing parts of untouched canvas.
The delicate colors used by Rubin, sandy tones, grayish blues, milky whites, combined with the multiple brushstrokes on the canvas suggest the desire to bring something almost forgotten back to life and give it permanence. The viewer can complete the missing details using his own memories.

Opposite – Red Trousers, 2019

Exhibition runs through to October 10th, 2020

Monica De Cardenas
Via Francesco Viganò 4
20124 Milan
Italy

www.monicadecardenas.com

  

MARIA LASSNIG – ODE TO NEW YORK: DRAWINGS 1968–1980

Posted on 2020-06-01

Developed in close collaboration with the Maria Lassnig Foundation, the exhibition comprises six watercolors and nine pencil drawings depicting Maria Lassnig’s time in New York City from 1968–1980, alongside film footage shot by Lassnig documenting her fascination with the performers, musicians, and pedestrian dancers that she encountered on the pulsating streets of Manhattan.

Opposite – Untitled, c. 1979

Exhibition runs through to July 13th, 2020

Petzel Gallery
456 W 18th Street
NY 10011
New York

www.petzel.com

  

FRED EVERSLEY – CHROMOSPHERES II

Posted on 2020-05-25

A key figure in the Light and Space movement and one of the most representative artists based in Los Angeles during the postwar period, Fred Eversley has dedicated a significant portion of his five-decade-plus career to the development of the Parabolic Lenses that are his signal achievement. These objects also constitute one of the most sustained and iconic bodies of work in American minimalism and are ravishing visual conundrums whose subjects are no less than the movement of energy—including light, sound, and even metaphysical forces—and the mechanisms of perception.

Important for historical reasons, Eversley’s recent lenses are equally significant for technical ones: until a late burst of creative output necessitated in part by circumstance, the artist had not attempted three- and two-color sculptures of this kind since the 1970s. These works, therefore, represent both a return and a bold step forward, as Eversley brought decades of experience to
their making.

Opposite – Untitled (parabolic lens), (1969) 2019

Exhibition runs through to June 17th, 2020

David Kordansky Gallery
5130 W. Edgewood PL.
CA. 90019
Los Angeles

www.davidkordanskygallery.com

  

21st CENTURY LANDSCAPES

Posted on 2020-05-25

While landscape painting dates back to antiquity, it only became a serious genre when artists began using landscapes as a retreat from the complexities of modern life. The 19th century brought landscapes to the forefront through plein air techniques. The landscape became a reflection of the philosophy when previously, landscapes were simply an image of pastoral idyll.

The effects of the anthropocene on art have intensified with time. Today we are faced with new challenges: climate change, environmental destruction, and population density. The 21st century has an even more strained relationship with nature and an even greater dependence on technology. Our ecological crisis marked the collapse of traditional landscape, and modern gives way to contemporary. We have a radical new conceptualization of landscape, no longer tethered to factual depiction. Our perception is distorted by digital aesthetics which results in new, imagined landscapes. Scenes that could only be afforded by contemporary technology are present in the works by Yael Bartana, Thomas Eggerer, Sean Landers, Adam McEwen, Rodney McMillian, Sarah Morris, Seth Price, Stephen Prina, Dirk Skreber, John Stezaker, Nicola Tyson, and Corinne Wasmuht. Today, we can only dream of the bucolic landscapes of the past while we try to make sense of the present.

Opposite – Tears IX, 2018

Exhibition runs through to June 8th, 2020

Petzel Gallery
456 W 18th Street
NY 10011
New York

www.petzel.com

  

LIXIA

Posted on 2020-05-25

Lìxià presents major works by Josef Albers, Harold Ancart, Mamma Andersson, Lucas Arruda, Michaël Borremans, Noah Davis, Suzan Frecon, Isa Genzken, Yun Hyong-keun, Yayoi Kusama, Giorgio Morandi, Oscar Murillo, Alice Neel, Neo Rauch, Josh Smith, Wolfgang Tillmans, Luc Tuymans, and Lisa Yuskavage. The online-only exhibition also includes reflections on the city of Hong Kong from the gallery’s artists who have exhibited or are scheduled to exhibit there.

Opposite – Alice Neel, Takahara Shindu, 1969

Exhibition runs through to June 1st, 2020

David Zwirner
525 West 19th Street
NY 10011
New York

www.davidzwirner.com