French gallerist Almine Rech-Picasso opened her first space in Asia on Shanghai's historic Bund in July this year, bringing her eponymous gallery's total locations to five. The Shanghai gallery occupies roughly 4,000 square feet on the second floor of the three-storey Amber Building, a beautiful warehouse space, originally occupied by the Central...
There's an inside joke amongst the team of Ashkal Alwan, The Lebanese Association for Plastic Arts: that every time an edition of its biennial forum on cultural practices is planned, a national crisis happens. The eighth edition of Home Works was no different: it opened on 17 October amidst the most devastating wildfires that Lebanon had witnessed...
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...
Opening on November 14th in Marian Goodman Gallery's Third Floor Project Space, we are pleased to host a special exhibition by Giuseppe Penone, which features a unique installtion, A question of identity (Une questione di identitaà) (2017), one of the most meditative works created by the artist to date. The exhibition will be on view through Friday, December 22nd.
Consisting up of multiple works from 1981 to the present to create a whole installation, A Question of Identity crystallised in the artist's mind over three decades ago, but was realised just this past year. With its incarnation here, Penone refines to a stringent purity his search for the expression of the elemental idenity unique to all of us which defines the essence of his work, the unity between man and nature, and the search for our place within the incomprehensible magnitude of the natural world. In this exhibition, the artist offers us a glimpse of arrested time and of eternity through essential works which ask us to contemplate the identity of an imprint, the identity of a river stone, the identity of a grain of sand molded by the wind.
Looking more closely, in the void of the palm of the hand sit two grains of sand, representing two opposing images of unity and of infinity: A grain of sand taken from the desert, repeated perfectly in its specific form in another larger sized grain of sand capable of containing it. Poised next to each other, one echoes nature and the other is man-made, carved by lasers to replicate sand's physical qualities, with the artist working closely with researches in physics and geomechanics at the Institut Néel and Laboratorie 3SR in Grenoble to achieve this microscopic sculpture.
Set side by side on top of the severed trunk of a fossilised tree-prant becomes mineral-these two identical grains of sand, poised between unity and infinity, mark human presence. Because of their perfect twinship they suddenly appear in this cycle if universal metamorphoses, the constant movement continues to modify the nature and appearance of things, just like those two grains of sand which have, for the moment, stalled the machine. - Guy Tosatto
Nearby, a work amplified in scale and relative to the above, titled Essere fiume (To be the river) (1981), echoes the physical qualities of the previous, consisting of two large stones - one a found and natural river stone and the other its identically carved doppelgänger.
To extract a stone sculpted by the river, to travel upstream and discover the exact point from which the stone came and extract another piece of rock from the mountain and duplicate exactly the stone taken from the river is to be the riverl producing a stone of stone is perfect sculpture, it reenters nature and is cosmic heritage, a pure creation. - GP
In conjunction with these works, Propagazione (2006), a drawing on a scroll containing the artist's single fingerprint in ink radiating in successive rotations of dense concentric rings, hangs on an adjacent wall. Beginning with an impression signifying our cultural index of individuality-the imprint of the skin-it evolves into a landscape of the body, with its expanse and its limits. Nearby, Albero di, 3,50 metri (1985), a sculture hand-carved from the trunk of a tree, bears the whittled twigs and intrinsic knots of its existence. Resting on its side on a large plinth it preserves its memory from a young sapling while also displaying the mark of time of growth in the forest.
Giuseppe Penone's recent solo exhibitions include Des Corps de Pierre, Chataue La Coste, Le Puy-Sainte-Réparade (2017); Matrice: An exhibit by Giuseppe Penone, Palazzo della Civilità, Rome (2017); Germination, Louvre Abu Dhabi, UEA (2017); Giuseppe Penone: Sculpture, MART, Rovereto (2016); Penone in the Rijksmuseum Gardens, Rijksmuseum, Amsterdam (2016); Giuseppte Penone: Being the River, Repeating the Forest, Nasher Sculpture Centre, Dallas (2015); Giuseppe Penone - Breath Is A Sculpture, the Beirut Art Center, Lebanon (2014); Giuseppe Penone: Desseins, Musée de grenoble, France (2014); Petone Versailles, the Château de Versailles, France (2013); Giuseppe Penone, Kunstmuseum Winterthur (2013); Giuseppe Penone: Ideas of Stone, Madison Square Park, New York (2013); and Giuseppe Penone: Spazio di Luce, Whitechapel Gallery, London (2013. Penone recently recieved the McKim Medal (2017) and the prestigious Praemium Imperiale International Arts Awards for Sculpture in 2014. Giuseppe Penone has exhibited at Documenta V (1972), VII (1982), VIII (1987) and XIII (2012) and at the Venice Biennale in 2007, 1995, 1986, 1980, and 1978.
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