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...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Hauser & Wirth is delighted to present Tables, Carpets & Dead Flowers, a four-week exhibition bringing together works by modern and contemporary masters that document and record daily activities in the studio. Taking inspiration from Rodney Graham’s series Dead Flowers in My Studio, Tables, Carpets & Dead Flowers, organised by Florian Berktold, examines the chance encounters between artist, artwork and the studio space.
Taking centre stage of the presentation will be a large, four metre long carpet from Dieter Roth’s Bali studio. Embedded with traces of studio life, including the scribbles and drawings from his children’s visits, this expanse of material is at once a visual document and a chance product of the artistic process itself. Formally reminiscent of works by Joan Miró or Arshile Gorky, Dieter Roth’s studio carpet is exemplary of a seamless combination of art and life. One of Roth’s renowned Tischmatten (table mats), entitled Tischmatte Bali (from office table) (c. 1996–1998), will also be presented as cumulative diary of the artist’s activities.
Following on from this line of inquiry, a selection of Paul McCarthy’s White Snow monochromes from 2012 will also be on view. Originally pieces of cardboard which covered the artist’s studio floor during the creation of his White Snow works, McCarthy later cut these into rectangular strips to resemble paintings. By collecting and catching the remnants and residue of the fabrication process and staining the cardboard, McCarthy’s monochromes become documents of the work’s journey from the studio floor to the gallery wall.
Tables, Carpets & Dead Flowers presents works by artists including Rodney Graham, Arshile Gorky, Guillermo Kuitca, Sterling Ruby and Ian Wallace. Further important works will include a selection of David Smith‘s Untiled series of sprayed enamel canvases, Lee Lozano‘s drawings which depict her studio surroundings, Keith Tyson’s Studio Wall (Punchcard) (2017), Isa Genzken’s Basic Research paintings and Roni Horn‘s Pair Object Vis: For Two Locations in One Place (1998/2007). Horn’s metal cone-shaped sculptures are rolled over the floor, picking up the residue from uneven surfaces and initiating a conversation between the artwork and its environment. Isa Genzken’s Research Paintings similarly react to the setting of the studio space; by laying monochrome painted canvases on the ground and raking over them, these works become physical impressions of the artist’s surroundings.
Also on display will be Matthew Day Jackson’s Lumpenproletariat (2010), a sculpture made of collected debris from the studio floor and sculpted into a life-size, sci-fi figure. The debris of the studio particularly plays an important role in Otto Muehl’s Untitled (1988–1991). Before commencing his prison sentence, Muehl destroyed the letters and documents left in his studio by burning them, their ashes were then applied to his canvas.
Last but not least, the exhibition explores the artistic possibilities when it comes to cleaning: Dieter Roth’s Tuchlauben collages comprise dust and scraps that he swept together from his studio in Vienna on Tuchlaubenstrasse. Günther Förg also finds use for his rubbish in his Untitled assemblages. In this manner, the contents of the studio become base material for the artists.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.