An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
For three months from 1 June to 1 September 2019, Tai Kwun Contemporary in Hong Kong showcases MURAKAMI vs MURAKAMI, a major survey exhibition of the Japanese artist Takashi Murakami. Curated by Tobias Berger, head of art at Tai Kwun, and Gunnar B Kvaran, director of Astrup Fearnley Museet, Oslo, the exhibition spans the three floors of Tai Kwun's...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
I paint nature.
Gagosian is pleased to present Morocco, an exhibition by Brice Marden, traveling from the Musée Yves Saint Laurent in Marrakech, Morocco.
Nearly forty years ago, Marden visited Morocco for the first time, setting into motion a new line of artistic inquiry inspired by the intricate architecture and late afternoon light of the Rose City. This exhibition includes more than sixty works on paper, forty-eight of which were once contained in a workbook that accompanied the artist over the past decade. In the majority of the works, a square or rectangle is set within the white of the page, with winding lines and loose blots rendered in coloured ink or gouache forming tangled grids of varying densities. Infinitely fluid, Marden's gestures in yellow, red, and blue oscillate between foreground and background, light and darkness.
The cornerstone of the exhibition is Helen's Moroccan Painting (1980), a large-scale canvas titled for Marden's wife, also a painter. The canvas is divided horizontally into two rectangles—green on top (evoking Morocco's valleys) and burnt sienna below (recalling the red earth)—both applied in thick encaustic and inspired by Marden's memory of the landscape during a drive from Ouarzazate in 1978. An untitled work from 2018 swaps these colours, so that a narrower band of green appears at the bottom of the composition and the rest is deep red. What sets the two works apart most, however, is the vibrating veil of multicoloured lines that seems to float at the surface of the picture plane in the latter painting.
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