'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
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...
Exhibition view: Alexander Calder, Calder: Nonspace, Hauser & Wirth, Los Angeles (27 October 2018–6 January 2019). Photo: Fredrik Nilsen / Hauser and Wirth.
The stark white room is punctuated by abstract black forms — jagged, organic, dramatic and playful — that sprout up from the floor or dangle languidly from the ceiling. Glimpsed out of the corner of your eye, they shift ever so slightly as you walk down the long gallery space, a former bank building. Around each corner, a new surprise.
This is a new exhibition of work by Alexander Calder, one of the most iconic American artists of the 20th century, at Hauser & Wirth's Los Angeles location. Titled Calder: Nonspace, it brings together 30 sculptures spanning 1939 to 1976, the year the artist died.
Kukje Gallery has been a pivotal cultural hub in Seoul, Korea since its inception in 1982. Kukje Gallery is located in the heart of Samcheong-dong, a historically and culturally significant district. The gallery boasts three unique buildings, each titled according to its age: K1, K2, and K3. K2 opened in 2007 to celebrate the gallery’s 25th anniversary, and K3 opened in 2012 to commemorate its 30th anniversary.
Committed to showcasing both international and Korean artists, Kukje is widely celebrated for its diverse and ambitious programming. Specializing in modern and contemporary art, Kukje is often the first venue in Korea to present prominent artists, and major exhibitions have been staged to introduce leading international artists such as Anthony Caro, Anselm Kiefer, Alexander Calder, Louise Bourgeois, Donald Judd, Anish Kapoor, Bill Viola, Roni Horn, Candida Höfer, Julian Opie, Paul McCarthy, Jenny Holzer, Eva Hesse and Jean-Michel Othoniel.
In conjunction with its focus on international artists, Kukje is committed to promoting Korean artists abroad, introducing artists such as Haegue Yang, Kimsooja, Gimhongsok, Kyungah Ham, Yeondoo Jung, Sora Kim and Jae-Eun Choi at major art fairs around the world. Just as importantly, Kukje has made a strong commitment to post-war Korean artists including Ha Chong-Hyun, Lee Ufan, Chung Chang-Sup, Kwon Young-Woo, Park Seo-Bo, and Chung Sang-Hwa. In particular, Kukje has played a critical role in introducing Korean artists to important collectors, museums and cultural venues around the world, and many Korean artists supported by Kukje Gallery have exhibited in international biennials and major museum exhibitions.
These projects along with the gallery’s ambitious and scholarly exhibition catalogues and ongoing lecture series are what make Kukje a significant contributor in shaping Korea’s cultural landscape. Building on its unmatched reputation, Kukje continues to play a key role in developing the domestic art market as well as providing an important venue for introducing international trends.
Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the twentieth and twenty-first centuries.
Under the leadership of President and CEO Marc Glimcher, Pace is a vital force within the art world and plays a critical role in shaping the history, creation, and engagement with modern and contemporary art. Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy for vibrant and dedicated relationships with renowned artists. As the gallery approaches the start of its seventh decade, Pace’s mission continues to be inspired by our drive to support the world’s most inﬂuential and innovative artists and to share their visionary work with people around the world.
Pace advances this mission through its dynamic global program, comprising ambitious exhibitions, artist projects, public installations, institutional collaborations, and curatorial research and writing. Today, Pace has 7 locations worldwide: a new flagship gallery at 540 West 25th Street in New York; one in London; one in Geneva; one in Palo Alto, California; one in Hong Kong; one in Seoul; and an office space in Beijing.
Hauser & Wirth is proud to present the gallery’s first exhibition in Los Angeles devoted to renowned artist Alexander Calder (1898–1976). Organised in collaboration with the Calder Foundation, New York, Calder: Nonspace presents primarily monochromatic, abstract sculptures that create volumes out of voids. Works on view will fill the South Gallery, central open-air courtyard, and planted garden with thirty stabiles, mobiles, and standing mobiles weaving through a specially-designed environment created by Stephanie Goto. This unique installation has been conceived to reveal the sculptures’ subtleties and intuitive spatial relationships. Calder: Nonspace also features five large-scale outdoor sculptures, transforming the industrial landscape of the Arts District into an oasis for contemplation of Calder’s monumental vision.
One of the most influential artists of the twentieth century, Calder transformed the very nature of sculpture with his invention of the mobile, introducing the fourth dimension of time and the actuality of real-time experience into the realm of sculpture. His prolific artistic output extended to wire sculpture, carved figures, stabiles, standing mobiles, oil paintings, works on paper, jewellery, furniture, and domestic objects, and grew to encompass monumental public commissions across the globe.
Calder: Nonspace takes its title from a 1963 essay by American novelist James Jones. Upon encountering a series of large-scale sculptures at the artist’s studio in Saché, France, Jones remarked, ‘[Calder] is willing to believe equally in a nonspace as well as in space. Because of this, his stabiles (and his mobiles as well) are able to fill a given space without occupying it …. He has taken a given space and, by moulding beautiful elements of steel around it, caused it to become nonspace.’ Calder’s deep understanding of architectural and natural environments enabled him to reorder a viewer’s perception of the world around it. In thus challenging key tenets of modernist abstract art, he has significantly influenced generations of artists into the present day.
Calder: Nonspace will be on view through 6 January 2019. The exhibition is the artist’s first solo show in Los Angeles since the landmark 2013 exhibition, Calder and Abstraction: From Avant-Garde to Iconic at the Los Angeles County Museum of Art (LACMA).
Hauser & Wirth’s indoor-outdoor presentation begins in the South Gallery, featuring numerous examples of Calder’s revolutionary mobiles – an original form of modernist kinetic sculpture that the artist first realised in 1931 and explored continuously for the rest of his life. Among the mobiles on view, Untitled (c. 1955)–a predominantly black sculpture with hints of red, yellow, and white – underscores the guiding principle of disparity in Calder’s sculpture. He addressed this idea on a number of occasions, writing in 1962: ‘My whole theory about art is the disparity that exists between form, masses and movement.’
Also on view in the South Gallery are two large-scale mobiles – 3 Segments (1973) and Untitled (1976). Created in the last several years of the artist’s life, these works reveal Calder at his most deft, commanding space through a tangible sense of scale and gravity.
The indoor presentation additionally includes a variety of small-scale models, or maquettes; this type of work, first materialising in 1936, afforded Calder the ability to three-dimensionally sketch works in metal that were intended for enlargement. Three of the maquettes on view–4 Planes in Space (1955), The Tall One (1968), and Feuille d’arbre (1973)–can be compared to their full-scale counterparts, two of which are installed in the gallery’s outdoor courtyard and garden. The intermediate maquette Trois pics (1967) is displayed here alongside its small–scale model (its monumental equivalent, nearly forty feet tall, can be found in Grenoble, France).
Enlarged from a small-scale stabile made two decades earlier, the intermediate maquette Morning Cobweb (1967) is a model for the nearly thirty-foot tall sculpture featured in Calder’s 1969 retrospective at the Fondation Maeght, Saint-Paul de Vence, France. In making this site-specific work, Calder took inspiration from the concrete roof of the Fondation’s museum building, designed by Josep Lluís Sert. He viewed the two spikes of his sculpture–a meditation on the two-dimensional plane shifted into the third dimension–as complementing the two half- pipes of Sert’s roof.
Outdoors and presented for the first time in the United States, Feuille d’arbre (1974), a standing mobile over twenty-feet tall, is positioned directly across from a native Southern California oak tree. In this juxtaposition, Calder’s sculpture is neither an imitation nor an abstraction of nature; instead, it exudes an inherent naturalness. For Dent de sagesse (1964), Calder pierced the sheet metal elements of various planes, creating moments of stillness and absence within the work’s angular, shifting presence. Large-scale stabiles, such as The Tall One (1968) and The Pagoda (1963), relate to retinal space by acknowledging that our experience of them changes depending on our location, thus engendering complex, active encounters.
In the mid-1930s, the vast landscape of Calder’s property in Roxbury, Connecticut inspired him to create outdoor sculptures. These early projects, in turn, prompted the development of his large-scale works as well as a wide range of international commissions and permanent installations. James Jones’ observation that Calder’s sculptures ‘fill a given space without occupying it’ astutely describes the artist’s extraordinary ability to create works that transform their environments.
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