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...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
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...
Galerie Lelong is pleased to participate in The Armory Show 2017 with a presentation of works by McArthur Binion, Petah Coyne, Andy Goldsworthy, Alfredo Jaar, Samuel Levi Jones, Rosemary Laing, and Jaume Plensa.
At The Armory Show 2017, Galerie Lelong will introduce work from McArthur Binion’s newest series, DNA: Sepia. Binion layers personal documents under grids of oil paint stick, reimagining a minimalist aesthetic through the use of innovative visual language and explorations of color, texture, and composition. His work will be included in the upcoming 57th Venice Biennale, VIVA ARTE VIVA, curated by Christine Macel. Samuel Levi Jones examines and subverts the grid pattern in his own work by tearing covers from hardbound books and washing them clean of text or images to expose the gaps in narrative history. Gris (2017), a new work composed of Ohio state law book covers, examines human subjectivity within interpretations of the law.
Alfredo Jaar’s works borrow from political, philosophical, and literary sources to emphasize the continuation of history and the corresponding consequences. The neon sculpture, Teach Us To Outgrow Our Madness (1995), quotes the Japanese author and Nobel Laureate Kenzaburō Ōe’s 1977 novel of the same name. Jaar’s This is what happened, Miss Simone (2015) quotes the song “Mississippi Goddam” by the iconic American singer Nina Simone, which was written in response to the 1960s hate crimes targeting African Americans in the South. Viewers are invited to take a piece of the work with them and contemplate what might fill in the blank of the phrase “____ GODDAM” for our current era.
Andy Goldsworthy and Rosemary Laing both engage with landscape and the body’s relationship to space and the environment. Recent photographs and moving images by Goldsworthy, which document the artist’s process and experimentation, will be on view. As with his renowned permanent works, Goldsworthy has continued his investigation of understanding the landscape around him through actions like crawling into a rooted hedge or spitting leaves and flowers from his mouth. Laing’s photographic series, The Paper, presents a landscape where decomposing newspapers carpet the forest floor. Through analogue photography without digital manipulation, Laing captures the tension between natural and unnatural disturbances as the newspaper’s written content is allowed to deteriorate with time and natural erosion.
The booth further features a dedicated section of new sculptures by Petah Coyne. Coyne takes inspiration from literature, film, and art history, creating new works that are rich in mystery while still evoking the essence of their cultural influences. Untitled #1419 (Bruno Schulz: The Street of Crocodiles) (2016), a new suspended sculpture, and Untitled # 1425 (Susan Sontag) (2016), a smaller, intimate work, reveal her unique exploration of a range of unorthodox materials such as wax, flowers, glass, feathers, and fabrics. Coyne’s rarely seen photograph Untitled #1007 (Susan's Hem I, Bridal Series) (2001), which captures the erratic movements of a dress hem, completes the trio.
Finally, a recent sculpture by Jaume Plensa, White Forest (Laura) (2015), will be on view in tandem with a work on paper, Slumberland XIX (Isabella) (2014). Although widely known for his sculptures, Plensa has also created a prolific number of drawings. Utilizing a wide range of materials throughout his career, Plensa works with bronze with a white patina in his White Portrait series to evoke a softness against the hard material. The presentation coincides with Plensa’s solo exhibition at the gallery, Silence, featuring new sculptures in wood and bronze.
For more information, please visit The Armory Show website.
To view the works that will be in our booth, please click here.
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