Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
'I am interested in transformation and artifice. My newest exhibition will engage with the history of France and its outward facing relationship to black and brown bodies, specifically relating to sexual proclivity. Gauguin features heavily in the imagination of France and her global interface–with that comes an entire history of complicated gazing. I interrogate, subsume, and participate in discourse about Māhū, about France, and about the invention of gender.'
– Kehinde Wiley (2019)
Kehinde Wiley, star of the American art scene and Barack Obama’s official portrait artist, is back in Paris. For his first Parisian exhibition since the 2016 show at Petit Palais, he will be unveiling a new series of paintings and a video-installation based on his time spent this past year in Tahiti.
Wiley’s new works are focused on Tahiti’s Māhū community, the traditional Polynesian classification of people of a third gender, between male and female. The Māhū were highly respected within their society until they were banned by Catholic and Protestant missionaries. Wiley's portraits of beautiful, transgender Tahitian women reference and confront Paul Gauguin's celebrated works, which also feature subjects from the transgender community, but are fraught with historical undertones of colonialism and sexual objectification. Building off of Wiley's earlier portraits that addressed issues of masculine identity and virility, these new portraits explore issues of identity through the lens of transformation, exploring both artifice and artificiality as a trans-cultural phenomenon.
Over the past fifteen years, Wiley has developed a remarkable body of work that at once questions and participates in the western art-historical canon of portraiture. Wiley’s encounter with Tahiti joins with the artist’s continued journey across the contemporary world, following his explorations of North America, South Asia, and West Africa. Wiley’s focus on Tahiti now offers the opportunity to re-examine France, its colonial history, and its image through the prism of Gauguin’s work. True to his oeuvre, this exhibition presents a uniquely political and aesthetic perspective on the power of art to shift perception and to make visible history’s forgotten figures.
Kehinde Wiley was born in Born in 1977 in Los Angeles. He currently lives and works between New York, Beijing, and Dakar.
Kehinde Wiley graduated from Yale University in 2001 and completed a residency at the Studio Museum in Harlem in 2002. In 2018 he became the first African-American artist to paint an official U.S. Presidential portrait for the Smithsonian National Portrait Gallery. Former U.S. President Barack Obama selected the artist for this honour.
Kehinde Wiley has held solo exhibitions at institutions across the United States and Europe including: Brooklyn Museum, New York; Bozar Centre for Fine Arts, Brussels; Modern Art Museum of Fort Worth, Texas; the Petit Palais, Paris; Saint Louis Museum of Art, Missouri; and Seattle Art Museum, Washington. His works are included in the collections of numerous public institutions.
In June 2019 in Dakar, Senegal, Kehinde Wiley will inaugurate a new multi-disciplinary artist-in-residency program, Black Rock Senegal.
On the island idyll, the artist has immersed himself in the lives and ways of the Mahu, a centuries-old community made up of transgender women (Mahu is the traditional Polynesian classification of people of a third gender). The result is a new series of paintings and a video installation on show at Galerie Templon in Paris, focused on this...
© Sylvie BoulloudGalerie Templon, ParisKEDINDE WILEYTahiti - Kehinde Wiley18 May—20 July 2019GALERIE TEMPLON, PARIS – GRENIER SAINT LAZARE
Costume trois-pièces, main droite sur la poitrine, main gauche sur un sceptre d’autorité. Sur son site Internet, Kehinde Wiley, 42 ans, prend crânement la pose, au risque du ridicule.Qu’on se rassure, le peintre américain, qui expose à Paris à partir du 18 mai, n’a pas la grosse tête. S’il mime un propriétaire terrien ou un aristocrate européen...
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