Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Almine Rech London is pleased to present Erik Lindman's sixth solo exhibition with the gallery. Parsifal, opening on November 27 through January 18, 2020, will offer a selection of paintings and sculptures developed simultaneously over the past four years. Reflecting on his work, Lindman writes:
Can paintings and sculptures be made today by anyone other than a poor fool, a holy fool, a pure fool, a Parseh-Fal?
A grouping of recently executed large-scale paintings will be presented in dialogue with smaller paintings on panel started four years ago. They are haunted by rotting vocabularies, disingenuously suggesting associative landscapes. Subtle chromatic plays and visible, direct brushstrokes remained that I would have once painted over, like spraying perfume to hide the corpse of expression these images once flirted with but now uncomfortably embrace.
Sculptures, here presented as unimposing monuments to haptic experience, mirror the central forms anchored in the paintings' layers of pigment. The pure fool, enlightened by compassion1, embalms found wood, styrofoam and metal in epoxy resin, like old bones holding new flesh.
My allusion should not be confused with a desire to illustrate morality. Here, art bubbles up between the fool's fingers joyfully dragged in an opaque sea, colliding unintentionally with the greasy dead. Wandering into a thicket of expiring tongues with a smile on my face, I catch what flies out.
-Erik Lindman, 2019
1 Durch Mitleid wissend, der reine Tor
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