Kim Tschang-Yeul at ASIA NOW
Paris, 21 October 2020
Kim Tschang-Yeul, Waterdrops (1985). Oil on canvas. 50 x 50 x 1.5 cm. © Kim Tschang-Yeul. Courtesy the artist and Almine Rech.

ASIA NOW ran from 21 October to 7 November 2020. One of our highlights from the previews is this Kim Tschang-Yeul painting exhibited with Almine Rech.

Korean artist Kim Tschang-Yeul is internationally renowned for his abstract paintings depicting exquisitely detailed and perfectly formed drops of water. These droplets are depicted in a moment of equilibrium, whilst reminding us of the fragility of our existence.

Kim's family fled Communist North Korea when he was a young boy, and he was to later fight in the civil war from 1950 to 1953, which left an indelible mark on his practice. As he remarked in his conversation with Vivian Chui, 'I wanted to break away from the experience of the war. When I discovered the water drop, I thought I had found a playing ground that could be my own.'

Over the course of several decades living in Seoul, New York, and Paris, Kim Tschang-Yeul developed a precise, contemplative abstract style that moves far beyond the immediacy of hyperrealist trompe l'oeil effects, revealing a powerfully meditative atmosphere. The end result is long lasting and universal in its scope.


More in Advisory Picks

Louise Bourgeois
at Sotheby's

London, 17 October 2020
Louise Bourgeois, Fragile Goddess (2002). Fabric. 33 x 12.6 x 14 cm. Courtesy Sotheby's.

Included in the major 2007 Tate retrospective and derived from a similar bronze 30 years prior, here is Louise Bourgeois' Fragile Goddess from the Contemporary Evening Sale at Sotheby's on 21 October 2020.

Autobiographical in both theme and material, Louise Bourgeois' body of work represents a therapeutic desire to emotionally repair her tumultuous childhood. A Surrealist tactility—through her use of fabric—is combined with biomorphic forms, invoking themes of gender and womanhood. With rough, fragmented stitching in stark contrast to the body's soft fabric, Fragile Goddess is a potent evocation of the traumas of motherhood and childbearing.

On womanhood, Bourgeois wrote, 'I have endeavoured during my whole life time as a sculptor to turn woman from an object into an active subject'.

Alberto Giacometti
at Phillips

London, 17 October 2020
Alberto Giacometti, Femme debout, (1961). Bronze. 44.5 x 7.8 x 11.1 cm. Courtesy Phillips.

Alberto Giacometti's exquisite Femme debout sculpture was included in the 20th Century & Contemporary Art Sale on 20 October 2020 at Phillips.

Giacometti's incredible ability to work the female form through his obsessive technique of whittling the figure down to a delicate yet domineering presence is conveyed perfectly in this sculpture.

Giacometti had a deep fascination with the human gaze and its ability to discern the life of the individual. 'If I can hold the look in the eyes, everything else follows', Giacometti once said. The artist would expect his sitters—often his wife Annette Arm—to maintain a presence as attentive as the artist himself.

Detailed, smooth and dominating, the head is in stark contrast to the rigid ultra-thin vertical body that falls beneath. The fragile proportions yet soulful presence of the figure reinforces the awe we experience when faced with this masterpiece. Commenting on his innate ability to create such contradiction, Jean-Paul Sartre noted that Giacometti's depictions on humanity were 'always mediating between nothingness and being'.

Rachel Jones
at Thaddaeus Ropac

London, 16 October 2020
Rachel Jones, A Slow Teething (2020). Oil pastel, oil stick on paper. 160 x 250 cm. © the artist. Courtesy Galerie Thaddaeus Ropac, London-Paris-Salzburg. Photo: Eva Herzog.

This painting by Rachel Jones was shown at Galerie Thaddaeus Ropac, London, as part of their group exhibition, A Focus on Painting (12 September–21 October 2020).

Rachel Jones recently completed her MA at the Royal Academy Schools and lives in London. Painted on unstretched canvas or paper pinned to the wall, she constructs powerfully visceral images bursting with colour.

Abstract forms slowly reveal an interior landscape of teeth and gums; the depths of Jones's internal body are unearthed, becoming an expression of her own inner life. This gloriously imaginative and ambient interpretation of her self invites us to reconsider how society views the Black body in other forms of imagery or media. Although Jones's innate talent as a colourist envelopes us with such sensorial power, it's this energy that has the most telling affect on us.

Kai Althoff
at Whitechapel Gallery

London, 16 October 2020
Photo: Ocula Advisory.

'Beauty in your work takes many forms, and includes your febrile drawing, so sensitive, so ornate; and your effulgent colours, which to me evoke Renaissance tapestries. Your subjects, at times, describe the essence of perfect companionship, which by definition is beautiful in its equanimity and balance.'

Laura Hoptman quoted from her conversation with Kai Althoff in the catalogue that accompanied the artist's solo exhibition at MoMA in 2016.

The elusive artist's exhibition with Bernard Leach recently opened at Whitechapel Gallery in London.

Jill Mulleady
at Gladstone Gallery

Brussels, 10 October 2020
Jill Mulleady, Gardens of the Blind (2020). Oil on linen. 168 x 200 cm. © Jill Mulleady. Courtesy the artist and Gladstone Gallery, New York and Brussels.

Gladstone Gallery opened their first solo show by Jill Mulleady at their Brussels space recently.

Uruguayan-born Mulleady lives and works in Los Angeles. Her work was included in last year's Venice Biennale group exhibition, and she will be in the Hammer Museum's Made in L.A. 2020 later this year.

Mulleady's figurative paintings oscillate between complex narratives—broad in scope—and micro-cosmic details that harness metaphorical potency. Her world is imagined and fantastical.

Narrative elements are gleaned from literature and art history, but these are interwoven with contemporary references, resulting in slippery, time-bending ensembles.

Frieze OVR Highlights:
Vaughn Spann

London, 10 October 2020
Vaughn Spann, Laurel Canyon (Saguaro) (2020). Mixed media, silk, polymer paint, canvas on stretcher bars. 156.8 x 126 x 11.1 cm. © Vaughn Spann. Courtesy Almine Rech.

Almine Rech exhibited this Vaughn Spann work in Frieze Art Fair's 2020 online viewing rooms.

Since graduating with an MFA from the Yale School of Art in 2018, Spann has already been included in more than three dozen group shows across the U.S., and there is a lot of heat around his work after recent strong secondary market auction results.

Avoiding the temptation to settle on one signature style, Spann has remained committed to making surreal figurative scenes and abstractions, as well as works that float between the two.

'I don't want to choose one conversation,' the artist has explained. 'I want to be rebellious and think through lots of ideas. I learn through the chaos.'

Frieze OVR Highlights:
Alex Da Corte

London, 07 October 2020
Alex Da Corte, Cavatica's Moon Song (2020). Neon, vinyl siding, laminate, plywood, house paint, velvet, hardware. 182.9 x 182.9 x 11.4 cm. © Alex Da Corte. Courtesy Sadie Coles HQ, London.

Sadie Coles HQ showed this Alex Da Corte sculpture for Frieze Art Fair's 2020 online viewing rooms.

Informed by Pop Art and Surrealism, Alex Da Corte creates exploratory and fantastical works. Frequently combining video and film, his hypnotic installations often fall in the category of Gesamtkunstwerk or 'total work of art', where different art forms are combined to create a single cohesive work.

Da Corte combines high and low brow American cultural references to explore the psychological complexities, desires and illusions so prevalent in capitalist culture. Cavatica's Moon Song represents a continuation of the artists use of window imagery in his work.

The shape of the hand carved out by spider webs in the open window can be seen as both beckoning and ominous, suggesting the sinister potential of the home.

Frieze OVR Highlights:
Prafulla Mohanti

London, 07 October 2020
Profulla Mohanti, Padma (1979). Mixed media on canvas. 140 x 99 cm. © Prafulla Mohant. Courtesy Jhaveri Contemporary.

We picked out this wonderful work showing with Jhaveri Contemporary for Frieze Art Fair's 2020 online viewing rooms.

Led by Zoe Whitley (Director of Chisendale Gallery), Prafulla Mohanti features in Possessions: Spirituality and the Art of our Time, Frieze's new curated section focusing on the theme of spirituality in contemporary art.

After graduating as an architect in Bombay, Mohanti moved to the U.K. in 1960 working as an architect-town planner in London. Now devoting himself to painting and writing, Mohanti's mixed media works—inspired by Indian traditional theories of cosmogony—feature concentric circles in vivid colours.

Born and having grown up in Nanpur, a village located in the east of Odisha, India, Mohanti's paintings are simultaneously rooted in his village culture, particularly yoga and tantra.

Reflecting on old village life and his move to the U.K., Mohanti notes 'Actually, I have never left the village, either physically or emotionally or spiritually because for me the two worlds are not really separate, they are one. Wherever I go, I carry my village inside of me'.

Frieze OVR Highlights:
Philip Guston

London, 07 October 2020
Philip Guston, Paw II (1975). Oil on canvas. 170.2 x 203.2 cm. © The Estate of Philip Guston. Courtesy the Estate and Hauser & Wirth. Photo: Genevieve Hanson.

Hauser & Wirth included this Philip Guston painting in their Frieze Art Fair 2020 online viewing room.

Tate and several other American museums recently announced their postponement of a major touring Guston retrospective due to the sensitivity of his material during this time of political and social unrest, particularly in America.

From within the art world, there has been widespread criticism of the decision, given the overtly thoughtful nature of Guston's work that critiques many facets of Western society. There have been numerous comparisons of the present political context to that of the 1970s in the U.S. and despair at the lack of progress made.

This painting was made five years after Guston dramatically eschewed his abstract style for a more crude figurative approach. Thick brushstrokes are applied in fleshy tones, imbuing the image with a menacing grotesqueness.

Guston often focused on specific domestic or studio objects, transforming them into harrowing metaphors for broader existential doubts he felt so acutely. At times surreal and lugubrious; Guston uses visceral texture as a vehicle for ridiculing our modes of living, whilst profoundly expressing his own impending confrontation with mortality.

Frieze OVR Highlights:
David Hammons

London, 07 October 2020
David Hammons, Untitled (Body Print) (1974). Pigment on paper. 93.7 x 78.7 x 4.1 cm. Courtesy David Hammons. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane.

Hauser & Wirth showed this historic David Hammons Body Print work in their online viewing room for Frieze Art Fair 2020.

Born in Illinois in 1943, David Hammons' diverse oeuvre, spanning the past 60 years, encompasses conceptual, performance, and installation art.

Untitled (Body Print) is part of Hammons' earliest and most renowned Body Print series. Coating bodies—usually his own—with grease or margarine, Hammons would press these body parts against a sheet of paper. Black pigment would subsequently be dusted onto the work leaving behind a figure detailed with skin, hair, and clothing.

On the process, Hammons notes, 'I have to carefully decide how to get up after I have made the impression that I want. Sometimes I lie there for perhaps three minutes or even longer just figuring out how I can get off the paper without smudging the image that I'm trying to print'.

Recording his presence in his works, and bringing visibility to the narratives and experiences of racism, Hammons reckons with the absence of Black representation in 1970s America, which he has endeavoured to confront and rectify through his work.

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