The Allure of Matter: Material Art from China at Los Angeles County Museum of Art (LACMA) (2 June 2019–5 January 2020) is an inter-generational show of 21 Chinese artists working from the 1980s to the present, including Ai Weiwei, Cai Guo-Qiang, Lin Tianmiao, Song Dong, He Xiangyu, Yin Xiuzhen, and Ma Qiusha.Staged on Level 2 of LACMA's Renzo...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
To coincide with Art Basel 2019, which opens to the public from 13 to 16 June, galleries and institutions across the city are presenting a range of stellar exhibitions. From Rebecca Horn at Museum Tinguely to Geumhyung Jeong at Kunsthalle Basel, here is a selection of what to see.William Kentridge, Dead Remus (2014–2016). Charcoal on found ledger...
David Zwirner is pleased to announce an exhibition of works by Guy Mees (1935–2003) in THE UPPER ROOM at the gallery's London location–the first solo presentation of the artist's work in the United Kingdom. A leading figure of the Belgian postwar avant-garde, Mees is known for his radical and poetic approach to space, form, and material. On view will be works from the artist's key bodies of work, spanning from the 1960s through the 1990s, that collectively demonstrate both the formal breadth and conceptual consistency of his singular oeuvre.
Mees first gained recognition as a member of the Nieuwe Vlaamse School (New Flemish School) that formed in Antwerp in 1960 who, thanks to their contact with many of the artists affiliated with the international ZERO network, mounted a number of group shows throughout Europe during their brief existence. It was during this period that Mees developed his breakthrough series Verloren Ruimte (Lost Space), 1960–1967, which comprised wall-mounted monochromatic panels and freestanding neon objects, both of which were covered in lace. This early body of work–titled in reference to the artist's desire to shatter pictorial space–constitutes a programmatic assertion of Mees's working method, which was relentlessly experimental and deliberately open-ended and malleable.
Though distinct in their appearance, subsequent series maintain the same emphasis on the deconstruction of preconceived notions around medium and style in order to investigate the concept of space itself. In a recently discovered series of sculptures begun in 1970, Mees subtly undermines the seriality and rationality commonly associated with Minimalist practices. Placed on the floor, these strips of metal were arranged in a geometric configuration. Visitors were then allowed to move individual pieces around the gallery, emphasising the precariousness of such structures. Despite their industrial materials, these works are inherently fragile–an overarching characteristic of Mees's oeuvre.
Likewise, his series Niveauverschillen (Differences in Levels) from the 1970s consisted of snapshot-like photographs of individuals arranged on different levels of a makeshift platform meant to mimic those used to award Olympic medals. Presented in a variety of formats, these images present a humorous take on the conceptual photography that was beginning to emerge during this period.
The later part of Mees's oeuvre is characterised by his inventive use of colour as a means of delineating space. In the mid-1980s, he returned to the notion of lost space, creating a second series of Verloren Ruimte works, which he pursued through the early 1990s. Bearing little physical relation to the earlier, eponymous series, this second group took the form of thin scraps of coloured paper cut in varying shapes and pinned to the wall. Mees imbues these open structures with a sense of weight and tactility, thereby emphasising their relationship with external factors such as negative space, light, architecture, and even the body of the viewer; thus gesturing implicitly outside of themselves.
Guy Mees was born in 1935 in Mechelen, Belgium and died in 2003 in Antwerp. His work has been the subject of major museum solo exhibitions, including those held at Palais de Beaux-Arts, Brussels (1990 and 1993); Museum van Hedendaagse Kunst Antwerpen, Antwerp (2002); and Museum Leuven, Belgium (2012). The artist's work has been featured in numerous international group exhibitions including Zero Avantgarde, Lucio Fontana's Atelier, Milan (1965); The Sixties: Art in Belgium, Stedelijk Museum voor Actuele Kunst (SMAK), Ghent (1979); Betekende Ruimte II-Plaats van Handeling/Designated Space II-Space as Scene, Museum Dhondt-Dhaenens, Deurle, Belgium (1993); A Story of the Image: Old & New Masters from Antwerp, Museum van Hedendaagse Kunst Antwerpen, Antwerp (travelled to Shanghai Art Museum, followed by National Museum of Singapore, 2007–2009), among others. In 2012, Mees's work was included in the 9th Shanghai Biennale: 50 Days at Sea. Most recently, the artist's work was featured in The Gap: Selected Abstract Art from Belgium, curated by Luc Tuymans, which was first on view in 2015 at the Parasol unit foundation for contemporary art, London and travelled to the Museum van Hedendaagse Kunst Antwerpen, Antwerp in 2016. Work by the artist is represented in several museum collections, including Museum Leuven, Belgium; Museum van Hedendaagse Kunst Antwerpen, Antwerp; and Musées royaux des Beaux-Arts de Belgique, Brussels. This show is organised in collaboration with Galerie Micheline Szwajcer, Antwerp, who has represented the work of the artist since 1982.
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