'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...
Next week, when V.I.P.s and special guests shuffle through Christie’s new West Galleries, in Rockefeller Center, they will alight on a series of abstract paintings by a group of relatively unknown artists. These pieces reflect a recent market craze for attractive, anodyne work with an emphasis on process and materials. But the artists at the West Galleries are not young painters from Brooklyn, Berlin, or Los Angeles. They are a group of Korean octogenarians who comprise a movement known as Tansaekhwa (or “Dansaekhwa”) and have been producing in this style since the nineteen-seventies.
Boris Vervoordt created the Axel Vervoordt Gallery in 2011. The gallery opened in a historic space in the centre of Antwerp with an exhibition by Günther Uecker. Boris chose to open the gallery in the same exact place where his father had mounted exhibitions for Uecker and Jef Verheyen in the 1970s. The first exhibition—and those that followed—linked this new start to the company’s long history with art and its original home in the Vlaeykensgang. This continued a path of more than 40 years of working closely with artists.
'Our company has always followed a path of discovery and knowledge through art.'
– Boris Vervoordt
Boris's goal was to create the best possible platform for solo artists to present their work. Central to the gallery's on-going mission is a commitment to partnering with artist’s estates, as well as rediscovering artists whose work was under-appreciated during their lifetimes to preserve and promote their valuable contributions to art history.
The gallery expanded to Asia in 2014 with a space in central Hong Kong in the Entertainment Building.
In 2017, the Antwerp gallery moved to a new space at Kanaal, opening with a monumental retrospective of Kazuo Shiraga.
The gallery’s early program included a specialty in post-war and contemporary art with a specific focus on art from Europe, Japan, and Korea, particularly art from the ZERO and Gutai movements. An emphasis on Dansaekhwa followed, as the gallery’s program and participation in global art fairs grew in prominence and its roster of artists expanded.
'Art offers joy and endless inspiration. Artists force us to look at the world in new ways. Seeing works by gallery artists in in major institutions—like the Tate and Guggenheim—is validating, but even more, it ensures that they will be shared with a wide audience in the context of passionate scholarship.'
– Boris Vervoordt
Blum & Poe opened in 1994 in Santa Monica, California with a roster of young Los Angeles and international artists. Now occupying a 22,000 square foot space in Los Angeles, the gallery produces a dynamic program serving both established and younger artists, as well as mounts conceptually rigorous group shows. Blum & Poe was a catalyst for the Culver City Arts District and has played a significant role in the critical reception of Los Angeles artists and their inclusion in public and private collections worldwide. In August 2014, Blum & Poe opened an office and space in Tokyo, Japan, which will function as a base for Asian operations and cement the galleryʼs long-standing relationship with post-war Japanese art.
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.
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