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...
Taka Ishii Gallery is pleased to announce Rrose Sélavy, an exhibition of works by Ikko Narahara, from Nov 1 to Dec 21, 2019. In the 1970s, Ikko Narahara was commissioned by Shuzo Takiguchi to photograph Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) in the Philadelphia Museum of Art's Collection. The resulting series of photographs, which captured the transparent glass work amidst the shifting natural light that fills the exhibition room, was published in 1991 as Duchamp's Large Glass and Shuzo Takiguchi's Cigar Box. This exhibition features the photographic portfolio Rrose Sélavy (1991), which was constituted by seven of the most representative images from Duchamp's Large Glass and Shuzo Takiguchi's Cigar Box.
Ikko Narahara was determined to never shoot any photographs in museums or restaurants. Commanded, however, by Shuzo Takiguchi's unrealized dream to write a book with images of Marcel Duchamp's Large Glass, Narahara entered the legendary premises of the Philadelphia Museum of Art one fall day in 1973. Luckily, the fountain, which could be seen through the window that had replaced a wall, but often stopped, begun to spout.
Looking back on what had brought him to this day, the photographer said that he had been a drop of water landed on a mountain top. Having traveled on a dark underground road, it arrived at the root of a tree, which sucked it up and brought it into one of its leaves. He thought of the Large Glass as a leaf and his photographs of it as a drop of water.
That whole day, the drop of water devoted itself to watching the changes in light over time as it passed through the cracked glass. After many years underground, that drop of water has now been revived as crystal prints, waiting to splash in a brilliant, mesmerizing coincidence.
Takashi Hiraide, 'Dispersal of a Drop,' text written for Ikko Narahara's portfolio Rrose Sélavy
The Rrose Sélavy (1991) portfolio features seven photographs from Narahara's 'Large Glass' series, which had not been published as his work at the time. Narahara's close friend Mitsuo Katsui designed the portfolio and the images, which were selected by another close friend the artist Kazuo Okazaki, were printed on crystal photo paper to emphasize transparency and vividness. The Rrose Sélavy portfolio not only provides occasion to reexamine Narahara's photographic work but also evokes the various relations that shaped the work, between the artist, Katsui, and Okazaki, as well as that between Duchamp and Takiguchi.
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