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...
'From early and earthy stacks made at the Royal College of Art, through to his later and larger columnar, spinning stacks in wood, stone, bronze and steel, Tony Cragg's sculpture continues to surprise and enthral, offering up a fascinating mixture of order and disorder, balance and imbalance, method and madness, encouraging us to think about our place in the world and what lies beneath.'-Dr Jon Wood, 2019
For Tony Cragg's fifteenth exhibition with Lisson Gallery, the artist will present a selection of complex polymorphic sculptures, rendered in bronze, wood and steel, including a new series of works entitled Stack, alongside works from the 'Lost in Thought' and 'In No Time' series, as well as works on paper. This exhibition will also extend outside the galleries, featuring the debut of a monumental, outdoor bronze Stack. This presentation illustrates the movement, growth, dynamism and sense of wonder at the seemingly unlimited possibilities of sculptural form. The exhibition will also celebrate the artist's long-standing relationship with Lisson Gallery-the show being 40 years since his first with the gallery in 1979.
The exhibition focuses on the resonance of stacking in Cragg's practice, considering how the creation of solid, cohesive forms out of small, disparate parts has been a constant in his work, spanning over five decades of making. Cragg's Stacks developed initially in the '70s, coinciding with his emergence as an artist and the critical recognition of his exhibited work, as well as his move to Germany in 1977. Cragg has variously stacked, gathered and layered ever since, deploying various acts of stratification, compilation, accrual and accumulation in his work. These constructive, physical activities have also been animated by a range of ideas, references and narratives, drawing from geology, archaeology, biology, chemistry, natural history, psychology and anthropology. The geological concerns displayed by these early works-including the sculptural Stack presented at Tate in 1975 and Minster (1987) presented at Hayward Gallery that year, combining a multitude of miscellaneous, recycled and geological materials with physical hand-made endeavour-set Cragg apart from the other artists working in Britain at the time.
The exhibition will also include works from Cragg's 'Lost in Thought' and 'In No Time' series. These works conjure up emotionally-charged ideas of bodily enclosure, intimate habitation and the feeling of living between the layers. These works also speak to the connection between 'layer' and 'history'-the accumulation of meaning, and developing histories. Cragg has always been interested in etymologies and the ways in which experiences, ideas and words are materialised. In German, the word Geschichte means both 'history' and 'story'-two theoretically different concepts, with history referring to a 'factual' event in the past, and a story referring to a narrative or fictional tale. 'We might also talk about 'storey' and 'story': the storeys of buildings and the stories of life', says Cragg. 'Telling 'histories' as telling 'stories' and recounting 'tales'. I think about 'telling' as 'narrating' but also about 'accounting' or 'recounting'. You might recount a tale and tell a history, for example, or account for yourself. Counting and accounting, telling and numbering, adding and accumulating... these words and ideas also introduce time and are part of a broader, bigger idea of history as layering or a layering upwards of deeper experiences.'
The exhibition follows a solo presentation of Cragg's work at this year's Armory show with the gallery, and museum exhibitions at the Kunstpalast Düsseldorf and the Franz Marc Museum in Kochel Am See (2 June-6 October), as well as a major installation of his works at the Boboli Gardens, behind the Pitti Palace in Florence (7 May-13 October).
A publication focused on the history of Cragg's Stack works will accompany the exhibition, featuring an essay by Dr Jon Wood, entitled 'Strata, structures, stories: "Stacking" in Tony Cragg's sculpture'.
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