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...
The eight monumental, hyperreal charcoal drawings in the exhibition continue Robert Longo's Destroyer Cycle, a series that focuses on the indelible imagery generated by the current politics of power, greed, aggression, and inhumanity. The title Fugitive Images refers to the transitory appearance and displacement of impactful media images from across the globe. Longo believes it is morally imperative to secure their permanence.
Longo’s drawing of Jamal Khashoggi is central to the exhibition, which includes works depicting a range of world events from disparate locations. The journalist is shown disappearing into a field of static that recalls a television with poor reception, struggling to maintain the picture. In stark contrast to the evanescent portrait of the murdered journalist is a deeply humane drawing of a mass of migrants on a gruelling journey from Central America. The work focuses on the faces and personal effects of the individual men, women, and children, who appear desperate and exhausted. Another drawing that shares the main gallery counters this sympathetic sentiment, showing a choreographed military parade of North Korean soldiers in an exaggerated, highly athletic, mechanised goose step commonly associated with dictatorial regimes and blind obedience.
The reference images that are the basis of Longo's drawings are generally extensively altered and merged. His drawing of a Jewish cemetery in France crudely vandalised by Neo-Nazis is an exception. Longo maintains the legibility of the tombstones despite the spray-painted swastikas, which fail to obscure the engraved epitaphs of the people buried there–a widow, a religious man who lived a long life, and an honest hardworking man who died on Shabbat.
The exhibition ends with a moment of optimism, determination, and progress. Longo's drawing of Congress during President Trump’s second State of the Union Address immortalises the female representatives and lawmakers who chose to wear white in solidarity with the suffragette movement by portraying them as a blurred beacon of light within a sea of darkness.
Robert Longo was born in 1953 in New York, where he lives and works. In 2016 Longo's work was featured in the major exhibition Proof: Francisco Goya, Sergei Eisenstein, Robert Longo organized by the Garage Museum of Contemporary Art, Moscow. The exhibition then traveled to the Brooklyn Museum in 2017 and to the Deichtorhallen Hamburg in 2018.
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