An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Discordant Harmony, 2017, Exhibition view. Courtesy: Beijing Inside-Out Art Museum.
From explorations into the varied meanings of 'Asia' to an uncomfortably personal solo show, highlights of the best shows across the city
Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and 1990s, Beijing Inside-Out Art Museum, 4 November – 4 February 2018.
Beijing is the final stop in a series of exhibitions that began in Seoul in 2014 before moving to Hiroshima and then Taipei. The four curators – Chien-Hung Huang, Yukie Kamiya, Sunjung Kim and Carol Yinghua Lu (a contributing editor to frieze) – have worked towards fostering a platform for new explorations into the varied meanings of 'Asia' and how the connections between the contemporary artistic practices of these four countries might be considered afresh. The Beijing show, which focuses on a number of late-1980s to early-1990s case studies, continues Yinghua Lu and Inside-Out Museum's (where she is director) interest in historical exhibitions that challenge the status quo of art historical narratives. Spread across the museum's three floors there is no thematic link between the projects that are presented here, rather materials are collected together so as to give an insight into some of the happenings that the curators have decided are worthy of elaboration. Some events are more well-known than others, for instance, the Tokyo street-based group exhibitions, The Ginburart (1993) and Shinjuku Shonen Art (1994) (both featuring a young Haruki Murakami), versus the almost completely forgotten Garage Show (1991), a three day exhibition that took place in an underground car park in Shanghai, reanimated here with photographs, posters and a recreation of a small Hu Jianping installation.
Founded in 1999, Galeria Filomena Soares was the first gallery to open in the then abandoned industrial area of East Lisbon, now a flourishing neighbourhood in full redevelopment. Its main objective is to encourage contemporary artistic production by stimulating and maintaining a bracing dialogue between artists, curators and institutions.
The refurbished warehouse holds a 1.000m2 space with two exhibition rooms, allowing for group shows and expanded solo exhibitions. Throughout its 17 years of existence, the gallery has represented emerging as well as established artists, working in diverse media. Among the first artists to present a solo exhibition there was the pivotal Portuguese artist Helena Almeida. Over the years, international artists Renée Green, Shirin Neshat, Allan Sekula, Tracey Moffatt, Günther Förg and Imi Knoebel and Portuguese artists Angela Ferreira, Bruno Pacheco, Pedro Barateiro, Rodrigo Oliveira and Rui Chafes have presented solo shows, the most recent being Dan Graham with a pavilion especially made for the exhibition. Group shows at the gallery included the artists Art&Language, Carol Bove, Keren Cytter and Slater Bradley among many others.
Continuously committed to the development of its artists, Galeria Filomena Soares has become a reference in the Portuguese and international art scene. Parallel to its exhibition programme it has published monographs and exhibition catalogues, and has maintained a pattern of participating in the leading art fairs around the world.
For over forty years, Marian Goodman Gallery has played an important role in introducing European artists to American audiences and helping to establish a vital dialogue among artists and institutions working internationally. Marian Goodman Gallery was founded in New York City in late 1977. In 1995 the gallery expanded to include an exhibition space in Paris and in 2014 an exhibition space in London. In late 2016 she realised her dream of opening a bookstore and project space in Paris.
In 1965, prior to the establishment of the gallery, Marian Goodman was a founder of Multiples, Inc. which published prints, multiples, and books by leading American artists, such as Richard Artschwager, John Baldessari, Dan Graham, Sol LeWitt, Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Andy Warhol. From 1968 to 1975, Multiples worked with European artists, introducing early editions by Joseph Beuys, Marcel Broodthaers, Blinky Palermo and Gerhard Richter to American audiences.
In 1974, after starting to work closely with Marcel Broodthaers, Goodman tried to find a gallery to represent him in New York. America’s knowledge of contemporary European art was scant at this time due to a lack of travel, exposure and exchange of information. She could not find a gallery for Broodthaers and decided to open a gallery of her own to show his work alongside that of other European artists.
Since then, Goodman has used her gallery to show artists who are leaders of their generation: Eija-Liisa Ahtila, Chantal Akerman, Giovanni Anselmo, John Baldessari, Nairy Baghramian, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, Marcel Broodthaers, Maurizio Cattelan, James Coleman, Tony Cragg, Richard Deacon Tacita Dean, Rineke Dijkstra, Luciano Fabro, David Goldblatt, Dan Graham, Pierre Huyghe, Christina Iglesias, Amar Kanwar, William Kentridge, Steve McQueen, Julie Mehretu, Marisa Merz, Annette Messager, Juan Muñoz, Maria Nordman, Gabriel Orozco, Giulio Paolini, Giuseppe Penone, Gerhard Richter, Anri Sala, Matt Saunders, Thomas Schütte, Tino Sehgal, Ettore Spalletti, Thomas Struth, Hiroshi Sugimoto, Niele Toroni, Adrián Villar Rojas, Danh Vō, Jeff Wall, Lawrence Weiner, Francesca Woodman and Yang Fudong.
Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by Partner and Vice President Marc Payot. A family business with a global outlook, Hauser & Wirth has expanded over the past 26 years to include outposts in Hong Kong, London, New York, Los Angeles, Somerset and Gstaad. The gallery represents over 70 artists and estates who have been instrumental in shaping its identity over the past quarter century, and who are the inspiration for Hauser & Wirth’s diverse range of activities that engage with art, education, conservation and sustainability.
Hauser & Wirth has built a reputation for its dedication to artists and support of visionary artistic projects worldwide. In addition to presenting a dynamic schedule of exhibitions, the gallery collaborates with renowned curators to present museum quality surveys and invests considerable resources in new scholarship and research. Since its earliest days, the gallery has mounted historically significant exhibitions. The inaugural exhibition in 1992 took place at Hauser & Wirth’s first gallery, located in the first-floor apartment of an Art Deco villa in the heart of Zurich; it united mobiles and gouaches by Alexander Calder with sculptures and paintings by Joan Miró. Since then, the gallery has continued to forge an academically rigorous, ambitious program of historic exhibitions, providing a natural home for a number of major 20th-century European and American artist estates, and encouraging a continued and engaging discourse around their oeuvres. These include Louise Bourgeois, The Estate of Philip Guston, The Eva Hesse Estate, Allan Kaprow Estate, Mike Kelley Foundation for the Arts, The Estate of Jason Rhoades, Dieter Roth Estate and The Estate of David Smith.
Hauser & Wirth is widely admired for a sympathetic approach to restoring historic buildings and giving them a new lease of life as contemporary art spaces that invigorate surrounding communities. From the conversion of its first permanent venue in the former Löwenbräu brewery building that became Hauser & Wirth Zürich in 1996, the gallery has developed and sensitively restored existing structures that respond to their environments, connecting international art with local culture through architecture. In 2003, an Edward Lutyens-designed former bank on Piccadilly became Hauser & Wirth’s first London gallery, while a decade later, in 2013, the legendary Roxy discotheque and skating rink became the gallery’s second New York space. In recent years, the gallery has renovated Durslade Farm, a collection of dilapidated farm buildings in rural Somerset, into world-class art center Hauser & Wirth Somerset, as well as redeveloping a 100,000 sq. ft. former flour mill, the Globe Mills complex, in downtown Los Angeles in 2016. In 2018, Hauser & Wirth Los Angeles was awarded Los Angeles Conservancy’s highest honor, the Chair’s Award, which recognizes the importance of preserving the historic places that make Los Angeles unique. Hauser & Wirth is currently constructing its first purpose-built gallery space at 542 West 22nd Street in New York’s West Chelsea art district.
As a publisher specializing in books on modern and contemporary art, Hauser & Wirth has published over 100 titles in its quarter-century history of exhibitions, projects and research. Hauser & Wirth’s publishing activity, brought together under Hauser & Wirth Publishers, consists of monographs, artists’ books, historic exhibition catalogues, collections of artists’ writings and catalogues raisonnés. Hauser & Wirth Publishers works with academics and curators to bring current, leading research to its readers. Its first dedicated bookshop opened in November 2016 in the new home of Hauser & Wirth’s downtown Manhattan gallery.
A commitment to education underpins the Hauser & Wirth exhibition roster. Every show is accompanied by a series of lectures, interactive seminars, innovative workshops, and special events developed for a range of ages and target audiences. These programs are intended to inspire creativity and foster a passion for contemporary art, nature and architecture within all areas of the community. In Somerset, the gallery has created strong links with local schools, universities and charities, and also provides courses for adults and special interest groups. Hauser & Wirth Somerset welcomes around 100 school groups every year. Events include an annual summer school for young people in collaboration with Bristol Old Vic Theatre, seasonal workshops for adults, such as basket weaving, and Open Farm Sunday, a yearly initiative that opens Durslade Farm to visitors, as well as the annual Pumpkin Festival in celebration of the harvest. This public engagement is mirrored in Los Angeles where the learning program aims to instigate a dialog between the works on view and the city’s diverse audiences.
Food comprises a pivotal element of the experience of Hauser & Wirth’s galleries. Bringing together Iwan and Manuela Wirth’s passion for art with their enthusiasm for hospitality, gastronomy and community, the galleries sit alongside a series of bars and restaurants conceived as social gathering spaces. The Roth Bar & Grill in Somerset and Manuela restaurant in Los Angeles provide informal and convivial atmospheres where honest, seasonal and locally-sourced food is served. The Roth Bar & Grill works closely with local farmers, gamekeepers and gardeners, to use entirely local and ethical British produce. Similarly, at Manuela, an urban kitchen garden provides the restaurant with herbs, fruits and vegetables as well as a chicken house and run for the restaurant’s 11 rare-breed chickens.
Also onsite at Hauser & Wirth Somerset is Durslade Farmhouse, a six-bedroom guesthouse within a Grade II-listed farm building, full of character and bold twists that celebrate the natural antiquity of the building. More recently, renovations have begun on The Fife Arms in Braemar, Scotland, an imposing Arts & Crafts hotel currently undergoing extensive restoration to return the building to its former glory. With their deep-rooted investment in community, history, wildlife and landscape, each of the Wirths’ ventures is embedded in the unique heritage and traditions of its local culture.
Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Today the gallery supports and develops 61 international artists across two exhibition spaces in London and two in New York as well as its new space in Shanghai. Established in 1967 by Nicholas Logsdail, Lisson Gallery pioneered the early careers of important Minimal and Conceptual artists, such as Art & Language, Carl Andre, Daniel Buren, Donald Judd, John Latham, Sol LeWitt, Richard Long and Robert Ryman among many others. It still works with many of these artists as well as other artists of that generation from Carmen Herrera to the renowned estates of Leon Polk Smith, Ted Stamm and Roy Colmer.
In its second decade the gallery introduced significant British sculptors to the public for the first time, including Tony Cragg, Richard Deacon, Anish Kapoor, Shirazeh Houshiary and Julian Opie. Since 2000, the gallery has gone on to represent many more leading international artists such as Marina Abramović, Ai Weiwei, John Akomfrah, Susan Hiller and Tatsuo Miyajima. It is also responsible for raising the international profile of a younger generation of artists led by Cory Arcangel, Nathalie Djurberg & Hans Berg, Ryan Gander, Haroon Mirza, Laure Prouvost, Pedro Reyes and Wael Shawky.
Taka Ishii Gallery opened in 1994 with an exhibition program devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice. The gallery has since exhibited and published the work of contemporary master Japanese and foreign artists as well as supported the development of younger artists.
In the winter of 2011, the gallery inaugurated Taka Ishii Gallery Photography / Film, a second exhibition space located in the Roppongi district of Tokyo. With this new exhibition space, the gallery serves as a forum for the presentation of a focused program considering the work of lesser-known pre and post-war Japanese photographers as well as a site for the exhibition of masterworks by historical and contemporary photographic masters from Japan and abroad.
Since its establishment in 1992, Galerie Urs Meile has contributed to the presentation and dissemination of contemporary art, from painting and sculpture to photography, installation and video. The gallery is working from two locations: Lucerne (Switzerland) and Beijing (China). While its centre of operations is based in Switzerland, the Beijing gallery has established itself as an international meeting place for collectors, curators, artists and aficionados of the arts.
Galerie Urs Meile was one of the first international galleries to focus on the Chinese art scene and has been working on an international level with Chinese artists since 1995. The gallery represents established artists such as Wang Xingwei, Xie Nanxing, Qiu Shihua, Not Vital, Tobias Rehberger (in Asia), as well as emerging artists such as Cao Yu, Chen Fei, Cheng Ran, Li Gang, Zhou Siwei, Hu Qingyan and Julia Steiner.
The opening of Galerie Urs Meile’s new space in the 798 Art District in Beijing in May 2017 marks a further stage in the expansion of the gallery’s activities. The new space is located in one of 798’s historical buildings that once made up the Dashanzi factory complex. The former warehouse has been completely renovated under the guidance of the Japanese architect Mitsunori Sano. On 520 square metres, it contains generous exhibition and reception areas, offices, and storage rooms. Offering perfect conditions for exhibitions and events featuring its diverse roster of contemporary artists, the new venue represents Galerie Urs Meile’s commitment to the city’s vibrant art scene.
The artist-in-residence program supported and run by Galerie Urs Meile in Beijing offers Western artists the opportunity to work in China for several months and establish a network within the Chinese art scene. In the frame of this cooperation, emerging and established artists present projects that have been specifically made for the Beijing gallery space.
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