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The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
In his London studio, Mark Wallinger contemplates our desire for self-reflection and recognition, going public as an artist, and his new Mirror Painting series.
Wallinger’s Mirror Paintings follow his earlier id Paintings (2015–2016) and Self-Portrait series (2007–2015). The dimensions of these tactile canvases are based on the artist’s own height and arm-span. Through the use of silver paint applied with the artist’s hands in freeform gestures these new works represent a further fetishised encounter with the canvas. The memory of his touch is suspended in the substance of the paintings. Their surfaces are insistently sculptural, tracing his hand and fingerprints, asserting direct and immediate engagement. They also take on an unpredictable illusory quality as the material sets. This transformation infuses the paintings with ‘a quality of otherness,’ a sense of elusiveness that Wallinger likens to gazing through the surface of water.
The theme of reflection is central to Wallinger’s oeuvre; the artist deploys it to probe questions about the psyche and the self, and to challenge our attachment to our identities and the socio-cultural mechanisms that inform them. Study for Self Reflection, Mark Wallinger’s first solo exhibition with the gallery in the United States, is on view at Hauser & Wirth New York, 22nd Street from 13 September through 27 October 2018.
Mark Wallinger, born Chigwell, UK, 1959, has created some of the most subtly intelligent and influential artworks of the last thirty years. Wallinger is known for his career-long engagement with ideas of power, authority, artifice and illusion. Using epic narratives, lyrical metaphors and ardent punning, the artist interleaves the mythological, the political and the everyday.
His work has dealt with religion, nationalism and class, explored urgent social issues, and pondered Einstein's theory of relativity and Freud's concepts of the nature of the human mind. A surprising, inventive and profound artist, whose astonishingly multi-faceted work encompasses painting, sculpture, printmaking, photography, film and video, performance and work for the public realm. Stylistic disparity conceals a conceptual coherence, as Wallinger poses big questions about identity, and about the social, cultural and political power structures that guide us, and because of which we are as we are.
In recent years, Wallinger has intensified this exploration of identity in more personal interrogations of the self. This is keenly apparent in the id Paintings (2015-2016), a development of his extensive Self Portrait series. They move his practice, as he says from 'painting 'I's to 'I paint' - from image to action. Each painting pivots round the line of symmetry created by the artist's body evoking the bilateral symmetry of Leonardo da Vinci's Vitruvian Man and more explicitly the Rorschach test. Created by sweeping paint-laden hands across the canvas in active freeform gestures, the id Paintings bear the evidence of their making and of the artist's encounter with the surface.
Wallinger was first nominated for the Turner Prize in 1995, and won it in 2007 for his installation State Britain, an exact replica of peace campaigner Brian Haw's protest camp in London's Parliament Square. Ecce Homo (1999), a life-sized sculpture of Jesus Christ, was the first work to occupy the empty plinth in Trafalgar Square. Wallinger represented Britain at the Venice Biennale in 2001.
Public commissions are central to Wallinger's practice, the most recent being Writ in Water, a monumental installation to commemorate the sealing of the Magna Carta commissioned by the National Trust for Runnymede, England, and The World Turned Upside Down, a major sculpture for the London School of Economics. In 2013, Wallinger created Labyrinth, a permanent commission to celebrate their 150th anniversary of the London Underground that spans all 270 stations on the network.
Hauser & Wirth is pleased to present Study for Self Reflection Turner prize-winning artist Mark Wallinger's first solo exhibition with the gallery in the United States. One of Britain's foremost contemporary artists, Wallinger is recognised for his rich and complex body of work, spanning painting, sculpture, installation, printmaking, video, performance, and photography. This exhibition features new paintings and two large-scale sculptures presented for the first time to an American audience. The works on view extend Wallinger's career-long engagement with ideas of power, authority, artifice, and illusion. The theme of reflection is central to Wallinger's oeuvre; the artist deploys it to probe questions about the psyche and the self, and to challenge our attachment to our identities and the socio-cultural mechanisms that inform them.
Entering the gallery, visitors are confronted with Superego (2016), a sculpture composed of a mirrored triangular prism rotating atop a post. Inspired by the revolving New Scotland Yard sign, which marks the entrance of London's police headquarters, Superego directly references this symbol of authority; Wallinger interprets the sign's constant motion as the unremitting and omniscient eye of law enforcement. In distilling this totem, Wallinger produces an enigmatic symbol of intimidation and dominance. While the sculpture's seductive surface appeals to our own desire for self-reflection and recognition, its position above viewers' heads denies direct access to our mirrored image.
Moving through the gallery, viewers encounter Self Reflection (2016) suspended from the ceiling. First exhibited at the final home of Sigmund Freud in London, Self Reflection was originally installed in the psychoanalyst's study, which houses all the books, objects, and furnishings, including the famous couch, that Freud brought with him when fleeing Vienna in 1938. Wallinger's intervention effectively displaced each totem and object and doubled the space with unnerving clarity. For this exhibition, Wallinger has transplanted the artwork to the gallery, installing it at the exact height as the ceiling in Freud's study and retaining the same orientation. The austere space references Freud's Viennese study on Berggasse 19, left empty after his forced departure from Austria. 'The mirror exists without the benefit of my acknowledgement or scrutiny, my absence or presence. 'I was expecting you' it seems to say. But it is always expecting me,' Wallinger writes.
Through an adjacent doorway, visitors encounter Wallinger's suite of new Mirror Paintings (2018). These works follow his earlier id Paintings (2015-2016) and Self-Portrait series (2007-2015). The dimensions of these tactile canvases are based on the artist's own height and arm-span. Through the use of silver paint applied with the artist's hands in freeform gestures these new works represent a further fetishised encounter with the canvas. The memory of his touch is suspended in the substance of the paintings. Their surfaces are insistently sculptural, tracing his hand and fingerprints, asserting direct and immediate engagement. They also take on an unpredictable illusory quality as the material sets. This transformation infuses the paintings with 'a quality of otherness,' a sense of elusiveness that Wallinger likens to gazing through the surface of water.
Accompanying these large-scale Mirror Paintings is a small black-and-white photograph of Claude Monet from 1904. In this self-portrait, the artist's shadowy reflection appears to gaze back from the quiet depths of a lily pond, just out of reach, conjuring the myth of Narcissus within his most celebrated subject. The exhibition's recurring theme of reflection and perception is also embodied in Statue (Fragment) (2018), a bronze cast of Wallinger's spectacles. Rendered opaque, the lenses suggest the gelid tribute of commemorative sculpture and recall Blind Faith, the alter-ego Wallinger assumed in earlier works such as the Speaking in Tongues trilogy (1997-1999) and Word in the Desert (2000).
Public works are an integral part of Wallinger's practice and the gallery is pleased to exhibit a small-scale sculptural rendering of the focal point of his major architectural project Writ in Water (2018). Commissioned by the National Trust and produced in collaboration with architects Studio Octopi, the work commemorates the 800th anniversary of the sealing of Magna Carta at Runnymede and draws inspiration from the fundamental principles of justice it embodies. Upon entering the installation, visitors navigate left or right around an outer passage that leads to a central chamber comprised of a circular pool of water beneath a wide oculus. Inscribed along the inner side of the pool is the reversed and inverted lettering of Clause 39 of Magna Carta, so that one reads the text reflected in the water. The clause is considered the basis of common law in Britain and the due process of law in the 5th Amendment: 'No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any way, nor will we proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land.'
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