Rudolf Stingel at Sadie Coles HQ
London, 03 April 2021
Rudolf Stingel, Kirchner Wald im Winter 1925 (2021). Exhibition view: Sadie Coles HQ, 8 Bury Street, London (2021). © Rudolf Stingel. Courtesy Sadie Coles HQ, London. Photo: Robert Glowacki⁠.

Fostering his sublime photorealist mountainscapes, Rudolf Stingel's conceptual approach to art-making is brilliantly exemplified in this replica of the German Expressionist Ernst Ludwig Kirchner's 1925 work Wald im Winter, on view at Sadie Coles HQ. ⁠

While the vibrant pink undertones and thick gestural strokes perfectly mirror the original, on closer inspection, Stingel's characteristic interrogation of a painting's authenticity shines through.⁠


More in Advisory Picks

Mimosa Echard at Galerie Chantal Crousel
Paris, 02 April 2021
Mimosa Echard, Numbs (Narcisse) (2021). Aluminium frame, analogue photographic print, glass beads, plastic beads, mirrors, elastics, bracelets, synthetic hair, flower pistils, silk rope, fake flower pistils, electric cables, capsules, glass bulbs, sequin thread, pearl beads, organza, acrylic medium, acrylic lacquer, gloss. 260 x 120 x 6 cm. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Aurélien Mole. 
Mimosa Echard, Numbs (Narcisse) (2021) (detail). Aluminium frame, analogue photographic print, glass beads, plastic beads, mirrors, elastics, bracelets, synthetic hair, flower pistils, silk rope, fake flower pistils, electric cables, capsules, glass bulbs, sequin thread, pearl beads, organza, acrylic medium, acrylic lacquer, gloss. 260 x 120 x 6 cm. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Aurélien Mole. 

A recent discovery by Ocula Advisor Simon Fisher was this wonderfully atmospheric work by Mimosa Echard from her inaugural exhibition Numbs at Galerie Chantal Crousel.

Living and working in Paris, Echard's work looks to reexamine the binary between nature and technology by intermixing organic and manufactured materials through collage; a technique which closely aligns her practice with the appropriated reality and assemblage works of artists of the Nouveau Réalisme movement in 1960s Paris.⁠⁠

Park Seo-Bo at White Cube
London, 30 March 2021

The spectacular Park Seo-Bo exhibition at White Cube's Bermondsey space will open to the public on 13 April.

Seo-Bo is one of the most celebrated Korean contemporary artists and a leading figure from the Dansaekhwa movement, which included internationally renowned abstract painters Yun Hyong-keun, Kim Tschang-yeul, Chung Sang-Hwa, and Lee Ufan.

Since 1962, Seo-Bo has incorporated Korean hanji paper into his works. As he has explained in Ocula Magazine, 'hanji absorbs colour and becomes one with the paint. The Eastern view on nature disagrees with the idea of revealing oneself. Hanji absorbs everything because as a paper medium, it is rooted in this Eastern perspective.'

Images: Exhibition view: Park Seo-Bo, White Cube, London (17 March–1 May 2021). Photo: Eva Fuchs, Ocula.
Arshile Gorky at Sotheby's
Online, 27 March 2021

This stunning Arshile Gorky painting, Garden in Sochi (1941) was a highlight for us from the Sotheby's cross-category sale on 25 March 2021 and sold for well over the estimate, fetching GBP 8,585,700 (including buyer's premium).

Main image: Arshile Gorky, Garden in Sochi (ca. 1940–1941). Courtesy Sotheby's.
William Kentridge at Marian Goodman Gallery
New York, 20 March 2021
William Kentridge, Lekkerbreek (2013). Linocut on Universal Technological Dictionary (or Familiar Explanation of the Terms) used in all Arts and Sciences by George Crabb. 182.9 x 121.3 x 5.1 cm (framed). © the artist. Courtesy the artist and Marian Goodman Gallery.
William Kentridge, Mantegna (2016). Edition of 12 plus 4 artist's proofs. Woodcut printed from 12 woodblocks onto 21 sheets of various sizes of Somerset Soft. 215.6 x 213.4 x 7 cm (framed). © the artist. Courtesy the artist and Marian Goodman Gallery.

William Kentridge's show of prints at Marian Goodman Gallery in New York is nothing short of a spectacle.

Lekkerbreek reveals Kentridge's long-standing fascination with trees as a subject, which he paints and prints over dictionary paper.

Lekkerbreek trees are indigenous to Southern Africa, and through placing them within the context of words, they recall a series of associations relating back to Kentridge's childhood.

Touching on themes of procession, history, and memory, the woodcut print Mantegna reimagines Andrea Mantegna's painting Triumphs of Caesar (1484–192), as a means of expressing the weight of one's history.

Isabella Ducrot at Capitain Petzel
Berlin, 19 March 2021
Isabella Ducrot, Eros III (2000). Signed and dated recto, colour and china ink on paper. 170.5 x 131 cm (framed). © the artist. Courtesy Capitain Petzel, Berlin. Photo: Jens Ziehe.

Isabella Ducrot's works on view at Capitain Petzel in Berlin fuse fabrics and drawings that she collected in China, India, and Tibet.

The Rome-based artist, who collected these materials on travels to Asia with her friend and fellow painter Cy Twombly, explores themes of sensuality through the depiction of touch and human emotion.

The artist's solo exhibition runs until 17 April 2021.

Chung Chang-Sup at Axel Vervoordt
Hong Kong, 14 March 2021
Chung Chang-Sup, Meditation (1991). Mulberry fibre, burlap canvas. 130 x 162 cm. Courtesy Axel Vervoordt Gallery, Hong Kong.⁠

Chung Chang-Sup's solo show at Axel Vervoordt, Hong Kong, presents his exploration into 'tak', a natural material from Korea's indigenous mulberry tree.

Through this material, Chung contemplates Korean identity, having grown up in Korea in the years following the Japanese occupation. The artist played a key role in the Dansaekhwa movement of 1970s South Korea.⁠

Louise Bonnet at Galerie Max Hetzler
Online, 12 March 2021
Louise Bonnet, Untitled (2021). Coloured pencil on paper. 64 x 76.8 cm (framed). Courtesy Galerie Max Hetzler, Berlin | Paris | London. Photo: def image © Louise Bonnet.

We loved this brilliantly strange coloured pencil on paper work from Louise Bonnet's OVR with Galerie Max Hetzler, echoing the accentuated Surrealist forms of Man Ray and Dorothea Tanning.

Thomas Demand at FIAC
Online, 09 March 2021
Thomas Demand, Canopy (2020) C-print/Diasec. 180 × 144 cm. © Thomas Demand, VG Bild-Kunst, Bonn, 2021. Courtesy Sprüth Magers.

A highlight from last week's FIAC OVR. Thomas Demand's recent show at Sprüth Magers is exceptional.

Demand's painstakingly detailed and unique approach to model-making and photographing challenges how we make and absorb images, and interrogates artists', as well as society's, relationship with appropriation.

Cindy Sherman at FIAC
Online, 06 March 2021
Cindy Sherman, Untitled (1989). Chromogenic color print. 96.5 x 69.9 cm. Edition of 6, AP 1/1. Courtesy Metro Pictures.

One of Cindy Sherman's 'History Portraits' from the late 1980s featured in Metro Pictures' FIAC OVR last week.

Sherman humorously plays with Old Master portraiture tropes, whilst alluding to the male gaze and more specifically, the objectification of women.

Takesada Matsutani at FIAC
Online, 05 March 2021
Takesada Matsutani, Point de Contact 65-12 (1986). Vinyl adhesive, acrylic and graphite on paper mounted on canvas. 162 x 130 cm. © Takesada Matsutani. Courtesy the artist and Hauser & Wirth. Photo: Thomas Barratt.

This beautiful 1986 painting by Takesada Matsutani, a Japanese artist from the Gutai group, featured in Hauser & Wirth's FIAC OVR.

Incorporating vinyl adhesive to create tactile and curvaceous forms protruding from the canvas, Matsutani's painting expands the possibilities of surface, whilst remaining tightly bound to the colour black, except for a deliciously deep blue emerging from underneath.

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