Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
This exhibition took place at our previous 537 West 24th St, New York location.
New York—Pace Gallery is privileged to present new paintings by Raqib Shaw. The exhibition showcases Shaw's first work in the long tradition of landscape painting, signifying a new direction for the London-based Kashmiri artist. Drawing inspiration from his childhood memories of Kashmir and the nature and architecture of the Indian subcontinent, Shaw has mined and re-envisioned his own personal history through the compulsively-detailed, meticulously-painted, and emotionally-potent works. Raqib Shaw Landscapes will be on view at 537 West 24th Street from 5 April-18 May 2019, with an opening reception on Thursday 4 April from 6-8pm. A full-colour catalogue featuring a conversation between the artist and Pace Gallery Founder Arne Glimcher will accompany the exhibition.
This exhibition is the culmination of two decades of the artist's continual refinement and experimentation with Hammerite enamel paint-a dedication that has allowed Shaw to push the material beyond its traditional capabilities. Shaw has approached this material and his practice with a mentality resonant with the Japanese mindset of Monozukuri. For the latest paintings, Shaw initially swirled the paint around with matchstick splinters and pieces of wood, then porcupine quills, and finally fine needles attached to quills for the most detailed areas of the compositions. The result is a paint surface that appears both fragile and highly textured, encompassing an extravagant colour palette.
While grounded in the artist's personal history in Kashmir, the new works also demonstrate Shaw's careful study and appreciation of the tradition of Western landscape painting, including the work of masters Pieter Bruegel the Elder, Annibale Carraci, John Constable, Caspar David Friedrich, and Thomas Gainsborough. East meets West in Shaw's final works fusing them with pictorial traditions of Persian and Mughal miniature paintings.
Autobiographical in nature, this exhibition presents Shaw's experiences, observations, and memories of his life to the present date, with a particular focus on his early years spent in Kashmir before political unrest forced his family to relocate. Shaw referred to the series as: 'A cathartic exercise to try to suture the wounds of separation from Kashmir.'
Although an artist of note, his work should be considered philosophically closer to that of Dubuffet and 'outsider artists' than being integral to the concerns of contemporary figuration.
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