The fourth edition of Huxley-Parlour Gallery's annual exhibition Masters of Photography will include over 30 masterworks by leading international photographers, spanning the entire history of the medium.
Masters of Photography is specifically conceived to promote understanding and connoisseurship of the photographic print, as much as the images themselves. Carefully planned and selected for up to a year in advance, the exhibition contains works of the finest quality that have been chosen for their particular subtlety, age, history and rarity.
The exhibition includes works by artists including Edward Weston, Bill Brandt, Henri Cartier-Bresson, Irving Penn, Robert Mapplethorpe, Cindy Sherman, Andy Warhol and Joel Sternfeld.
'The artist should not only paint what he sees before him, but also what he sees in himself.' – Casper David Friedrich
HdM GALLERY is delighted to present Xie Lei / Christopher Orr, a two-person exhibition, of Chinese-born artist Xie Lei and British artist Christopher Orr.
The exhibition will intersperse the work of the two painters, conjuring a dialogue between them grounded in their shared, quasi-Romantic sensibility.
Both artists create figurative paintings drawn from and set in dreamlike spaces. The backgrounds in the works of both artists are hazy, indistinct and ambiguous. The atmospheres in Orr's paintings evoke the painting effects seen in the skies of J.M.W. Turner and Caspar David Friedrich—soft, uncertain passages of light built up through layers of translucent washes and pigments. In Xie Lei's luminous, almost neon paintings, the backgrounds are often flat and abstract or generically natural; water, mountains, vegetation. Mostly the spaces in the paintings by both artists, are shallow, sometimes even claustrophobically so, frustrating expectations of pictorial depth and foregrounding the subjects, placing them, as it were, dramatically, centre stage.
Archetypes, stereotypes and symbols populate the works. The people in Orr's paintings are, judging from their clothes, visitors from 1950's Britain. They look safe and wholesome and uncannily in the wrong place—accidental tourists in Orr's phantasmagoric creations—dutifully starting into sublime voids. In Xie Lei's works the humans and animals are more anonymous, more purely archetypal, figures powerfully evoked, but without individual features—ghost forms his nether world—compelling, dark, threatening even. Like dreams these works are deeply allusive, full of opaque meanings.
In an age in thrall to empires being built in digital space the works of Xie Lei and Orr and timely reminders that we all, already, carry virtual worlds within us. They are powerful messages sent to us from the infinite lands of the imagination.
This show will be Xie Lei's first exhibition in the UK.
Christopher Orr (1967), born in Helensburgh, Scotland, lives and works in London. Orr graduated from Duncan of Jordanstone College of Art and Design with a bachelor's degree in 2000, then studied at the Royal College of Art and received a master's degree in 2003.
Orr's works have been exhibited widely, including in a solo show A Stone Walks Slowly Under A Cloud at La Borie, Solignac in France in 2019, The Beguiled Eye at Talbot Rice Gallery in University of Edinburgh, Scotland in 2013. Light Shining Darkly at Kunsthaus Baselland in 2013, another one Christopher Orr at the Hauser and Wirth, Zürich in 2010. Notable group exhibitions including Foncteur d'oubli at FRAC ile-de-Paris in 2019, No New Things Under the Sun at the Royal Academy (London U.K., 2010), 2007 Old School at the Hauser and Wirth, Zürich in 2007, another one London in Zürich curated by Gregor Muir in 2005, Tate Triennial in 2006, (...) The Duck Was Still Alive at CAC Meymac in France in 2005 and Ideal Worlds at Schirn Kunsthalle in Frankfurt Germany in 2005.
Xie Lei, (1983) born in Huainan, Anhui province, China, lives and works in Paris since 2006. He graduated from China Central Academy of Fine Arts and École nationale supérieure des beaux-arts in Paris, and received his PhD (practice-based) in visual arts in 2016 from École normal supérieure and Ecole nationale supérieure des beaux-arts in Paris.
Xie Lei's work is included in public and private collections, such as Musée d'Art Contemporain du Val-de-Marne (MAC VAL) and Burger Collection. He has been exhibited widely in France, Switzerland and China. His remarkable solo exhibitions including Chimères at Yishu 8 in Beijing (2012), several other important shows at the Galerie Anne de Villepoix from 2009 to 2015, Entre Chien et Loup in Palais des Beaux-Arts, Paris (2016), Poe's Garden in Z Gallery Arts in Vancouver both in 2017 and 2019. Significant group shows such as Persona Grata in MAC VAL (2019) and Musée national de l'histoire de l'immigration, Paris (2018); How To See [What Isn't There], Langen Foundation, Neuss, Germany (2018); Collection David H. Brolliet - Geneva, Fondation Fernet-Branca, Saint-Louis (2018); Memo II at White Space, Beijing (2014) and Ligne de Chance, Fondation Ricard, Paris (2010).
Galeria Nara Roesler | São Paulo presents Superfícies [Surfaces], Vik Muniz's third solo exhibition hosted by the gallery. Featuring a brand-new series of unique works produced this year, the show opens to the public on October 24, 2019.
After moving to the United States in 1983 and being in close contact with artworks he had known only in reproductions, Muniz realised the enormous difference between interacting with artworks physically and engaging with them via replicas. These two distinct ways of experiencing art have informed the artist's practice throughout his career that spans three decades.
His work invites the spectator to explore ambiguous territories loaded with dualities: between the image and its physical counterpart, between mind and matter, between perception and phenomenon. According to the artist, this 'metaphysical exercise' challenges our senses and perceptions by breaking new ground through a reality that is constantly changing, forcing us to acknowledge the fragility of our certainties.
The constant need to reconfigure the reality that emerges with the advent of new media is seized by Muniz as a way of breaking the paradigms that traditionally polarise painting and photography, reviving the relationship between the material and the pictorial, which recurs in his work since the start of his career. In one of his first series, Best of Life, the artist drew famous photographs by memory then photographed the drawings and exhibited the resulting images.
Painted surfaces—which are traditionally an epistemological field reserved exclusively for painters—have been repeatedly viewed and reproduced throughout history, weakening their material aura. Their colours, context or compositions are easily remembered rather than the texture of their surface or physicality.
In his new series, the artist once again removes the concrete element that differentiates a painting from a photograph by representing it via a layered image. The artworks presented in Superfícies explore two approaches that are recurrent in Muniz's artistic vocabulary: a material in search of meaning or an image in search of physical renovation.
Even though the artworks use painting both in their process and concept, they are not paintings. Yet, as photographic images or artworks that exist in an autonomous and physical way, they are also not abstractions. The results are non-reproducible photographic images, which, in an ambiguous way, simultaneously value the material and conceptual surfaces of painting and require the observer's physical presence in order to be successful.
This entropic negotiation between material loss and virtual gain encourages viewers to question their relationships with the physical experience of the work of art, within a context where images and the idea of reality itself are mediated by digital technology, which is currently omnipresent in our day-to-day.
Galeria Nara Roesler | New York is pleased to present Sérgio Sister-Then and Now, a solo show curated by Luis Pérez-Oramas that presents a selection of paintings and drawings produced by the artist between 1967 and 1974, some of them conceived while Sister was confined as a political prisoner during military dictatorship in Brazil, alongside a compelling group of his most recent works, all abstract and monochromatic in nature, but nonetheless sharing their fundamental painterly roots with the early work of the artist.
Mostly known as an abstract painter and placed among the most rigorous and subtle artists in Brazil today, Sérgio Sister developed along the past decades a work that is characterised by its serial unfolding and featuring masterfully achieved colour-field structures that according to Oramas, 'can arguably be considered among the most significant examples of late-modern monochromatic painting in Latin America.'
The production in the emprisonnement context was a mean of resistance, a way of recovering his own identity and finding a spiritual place to help him through such a dark period. In the curator's words, works produced in this conditions are 'a struggle for life and the grounding axes for hope: a form of survivor'.
Sergio Sister's drawings and paintings from the 1960's share a common language at that time: one determined by the broad internationalisation of American Pop Art. In Brazil, the pop movement reflected the tensions triggered by the imposition of its military regime and like other artists of his generation, Sister intuitively utilised pop art's irony and aggressiveness as an outlet for social and political issues.
A careful look at these early drawings and paintings surprisingly reveals that their compositional structures echo-as anticipations-the essential, basic framing configurations of Sister's mature and recent work, marked by a consistent production of abstract painting that began around the end of the 1980's, with a a landmark series of dark, almost black, monochromes. In these and later works, the surfaces of the canvases are defined by a subtle variation of textural brushstrokes, resulting in the production of richly 'tonal' surfaces that is a signature in his production until today.
On November 6, 2019, MadeIn Gallery will launch XU ZHEN®'s solo exhibition "Hello", marking the second show of the artist's brand in the gallery after 'XU ZHEN Store' was presented in 2016. The exhibition will showcase a monumental kinetic sculpture and a set of newly created two-dimensional works. "Hello" pursues XU ZHEN®'s continuous focus on civilization iteration, fusion, collision as well as the constant exploration of the diversity of creative media, and adheres to the new development and acuteness of visual creation within the context of the post-global era.
"Hello" is a large-scale kinetic sculpture especially created for this exhibition, its form is elaborated from ancient Greek architecture pillars. As viewers stepped into the gallery they will see this large Greek pillar occupying the space such as a magnified and mutated snake, observing its surrounding as if nodding to the visitors. The Greek column symbolizes the origin and cornerstone of Western civilization. The work fuses together the classical Greek column shape and the snake's aggressive biological attitude to stimulate viewers' perception and experience on classic civilization. The moment the public's eyes come across the vivacious Corinthian capital also represents a confrontation with the depth of history and civilization, gazing at each other, evoking Friedrich Nietzsche's saying 'If you gaze long enough into an abyss, the abyss will gaze back into you'. Nowadays, with the increasingly frequent blending and impacts among global civilizations, the work constitutes a reality and metaphor on the encounter between civilizations of different time and space.
"Hello" involves the combination of art and technology at the border between illusion and reality. It proposes a new vision imbued with Western classical aesthetics and cutting-edge robotics, expanding the concept of traditional sculpture.
Also displayed in the exhibition is a group of XU ZHEN®'s latest two-dimensional works 'Communication', consisting of multiple cartoon characters merged into a relief surface. These cartoon characters issued from classic mainstream animations include Mickey Mouse, Angry Birds, Mario Bros., Pikachu, Gingerbread Man, Smurf, Brown Bear, etc. They shape the younger generation's visual aesthetics. The computer program simulates the fall of each form to the ground, amalgamating them together to compose a superposition of irregular color blocks with a sense of volume, and with a variety of rich, vivid tones and shapes. Using these familiar figurative cartoon images as abstract elements, the works subtlety plays and explores the boundaries between figuration and abstraction, two-dimensional and three-dimensional, popular culture and conceptual art. The highly saturated color and visual stimuli of the cartoons show through the precise and logical calculation of the computer program the visual trend for wild and rational symbiosis, which also is a characteristic of the digital era.
Ocula presents comprehensive online access to its art gallery members' upcoming, current and past contemporary art exhibitions. Visitors gain unique insights into the art exhibitions at top art galleries in Asia, Australia, North America, South America, Middle East and Europe. Ocula's art gallery members includes galleries such as Tina Kim Gallery in New York, the Taka Ishii Gallery in Tokyo, David Zwirner and Victoria Miro galleries in London, Simon Lee in London and Hong Kong and Almine Rech in Paris and Brussels. Ocula provides useful information about each gallery's history and past, current and upcoming art exhibitions, artists and artworks. With a commitment to the exposure of exhibitions at both established and emerging galleries, the exhibitions featured on Ocula are both geographically and thematically expansive, and include photography exhibitions, painting exhibitions and conceptual art exhibitions. Ocula member galleries are found in over 50 cities around the globe and include many of the most prominent art galleries in Asia, Europe, the Middle East and the Americas. Exhibitions are the very vehicle through which art is shared with the world, presenting art in a hybrid public private space, and enabling a dissemination of ideas through those that visit it. An exhibition enables art to be juxtaposed and contextualised thereby also promoting new thoughts that may not have originated with its original making, but now form through the ideas and minds of people who experience it. The very practice of exhibiting art has a long and fascinating history which is in many ways as relevant to how contemporary art has unfolded. Historically exhibitions have questioned the very nature of art, igniting debate on what art is. Perhaps one of the earliest and most well-known exhibitions to question and protest the process of selection in the exhibition format was in the Salon des Refusés of 1863, which displayed those artworks rejected for the official Salon in the Palais d'Industrie. The impressionist artists also were able to make their mark by staging art exhibitions outside of the mainstream art institutions, thereby triggering a re-thinking of what art can be. By following exhibition history, a collector or curator (or other art enthusiast) can begin to form a more in-depth understanding of an artist's practice and the gallery's programme. Many galleries now see their spaces as being absolutely necessary to the need for their artists to exhibit their art and share their ideas, and to this end many museum quality shows take place in galleries today. Some galleries also are beginning to invest in online art exhibitions, and where relevant Ocula works with these galleries to drive attention to such exhibitions too. There is no better way to experience artwork than in the space the artist selects to show the work in, but where doing so is an impossibility, Ocula provides a possible alternative.