Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
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.
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