I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Exhibition view: Dan Graham, Solo Exhibition, Galeria Nara Roesler, São Paulo (12 August-12 November, 2017). Courtesy Galeria Nara Roesler.
The first exhibition of Graham's work at Galeria Nara Roesler features Pavilion (2016), a new work created specifically for the occasion, in addition to six untitled maquettes (2011-2016) and the video work Death by Chocolate: West Edmonton Shopping Mall (1986-2005). Parallel to the exhibition, the Museum of Image and Sound will screen two of the artist's emblematic video works: Rock My Religion (1982-1984) and Don't Trust Anyone Over 30 (2004).
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.
Just as art is internalized within society, the architecture that displays it is defined by the needs of society at large, and by art as an institutional need. Art as an institution produces ideological meanings and positions that regulate and contain the subjective experience of people placed inside its boundaries. — Dan Graham, "Art in Relation to Architecture / Architecture in Relation to Art," Artforum, 1979
Galeria Nara Roesler | São Paulo is pleased to present a solo exhibition of Dan Graham's works (b. Urbana, IL, USA, 1942), on view August 12 through September 30, 2017. The first exhibition of Graham's work at Galeria Nara Roesler features Pavilion (2016), a new work created specifically for the occasion, in addition to six untitled maquettes (2011–2016) and the video work Death by Chocolate: West Edmonton Shopping Mall (1986 – 2005) . Parallel to the exhibition, the Museum of Image and Sound will screen two of the artist's emblematic video works: Rock My Religion (1982–1984) and Don't Trust Anyone Over 30 (2004). Presented in collaboration with Galeria Nara Roesler, the screenings will take place at the museum on Sunday, August 13, at 4pm, followed by a roundtable with guests including Marta Bogéa and Solange Farkas, who will engage in a discussion about Graham's works, also at the Museum.
Exhibited across the globe, Dan Graham's pavilions are emblematic of his critical engagement with the visual and cognitive parameters of architectural language within and outside of art institutions. This exhibition provides insight into the oeuvre of an artist who has, since the 1960s, engaged in multimedia experiments in performance, video, and architecture as means to reflect not only on the art institution and its commercial context, but also on the social implication of structures of consumption, representation, and communication.
Emerging in the New York art scene in the 1960s, Graham detected in the approach of Minimal artists a similarity with Functionalism in architecture, insofar as both believed in "objective" form and, as the artist wrote in the essay "Art in Relation to Architecture / Architecture in Relation to Art," "denied the connotative, social meaning and the context of other, surrounding art or architecture." Since 1976, Graham has been producing glass and mirror pavilions, which bridge the gap between the objective materiality of art and its connotative significance. As described by the artist, "a first effect for the spectator might be to see the structure and materials in purely aesthetic terms; after a time in the space ... the psychological and social aspects of the materials and structure would become evident." Graham creates a subjective experience for the viewer, who is led to participate in a game of psychological exclusion and inclusion wherein he does not observe artworks or commodities, but instead is himself an object of the gaze. The use of glass and mirrors to modify the experience of viewers finds a corollary in public spaces such as those found in international airports and maternity wards, where these materials are used as partitions and delimitations. As the artist points out, "within the art context it is often only the aesthetic effects of glass and mirror which are noticed, whereas outside the exhibition frame, these same materials are employed to control a person or a group's social reality."
A prolific writer, Graham has often focused on issues such as class, gender, popular culture, and social history in his texts. In fact, curator Bennett Simpson believes that Rock My Religion (1982–1984), along with the artist's writings about the "ideological ramifications of punk music," positioned Graham as a precursor to what in academic circles was becoming known as 'cultural studies.' A documentary collage of music, texts, and film footage, Rock my Religion contrasts the history of religious groups in the United States with the development of rock 'n' roll. The piece creates a cultural genealogy that begins with the Shakers, an early religious group that promoted celibacy and labor, convening once a week to perform religious rituals in which worshipers rocked and reeled into a hypnotic state. The connection between the rock movement and the Shakers goes beyond the mutual incorporation of trances into their practices. Graham writes, "In the 1950s a new class emerged, a generation whose task was not to produce but to consume; this was the 'teenager.' Freed from the work ethic so as not to add to postwar unemployment and liberated from the Puritan work ethic, their philosophy was fun. Their religion was rock 'n' roll. Rock turned the values of traditional American religion on their head." Rock My Religion highlights the emergence of Rock culture as a signpost for the development of a market-driven teenage culture that emerged in the postwar context.
Don't Trust Anyone Over 30 (2004) shares with Rock My Religion the capacity to pierce the American dream in its consideration of an individualistic youth-culture, which conspires with mainstream media and delights in a market of mass consumption. Conceived as a live puppet show and written by Graham, the work was enacted in collaboration with puppet master Phillip Huber and set designer Laurent Bergen, with live music by Japanther, theme by Rodney Graham, and video projections by Tony Oursler. The multimedia work depicts the story of Neil Sky, the youngest-ever President of the United States, who rises to power by dosing Congress with LSD and lowering the voting age to 14. Sky's platform consists of free dope, free love, and re-education of everyone over 30 through imprisonment in concentration camps. The multimedia theatrical setup that Graham employs to convey the narrative indicates the artist's interest in systems of communication and rituals of gathering as sociopolitical instruments. Similar to Graham's pavilions, the Brechtian Gesamtkunstwerk deconstructs the entertainment aspect of the media forms employed, while considering theater symbolically as a vehicle that at once restricts and releases the partition between audience and art.
A semiotic analysis often underlies Dan Graham's work, which approaches symbols and their interpretation in contemporary society. Death by Chocolate: West Edmonton Shopping Mall (1986–2005), produced by Graham at the Banff Centre, Canada, captures humdrum activity at the West Edmonton Mall spanning almost 20 years. The eight-minute compilation shows a synthetic grass garden, domesticated jaguar cubs, an ornamental fountain within a food court, and pools crowded with children. The short video, whose title refers to a store in the mall, draws attention to the plethora of symbols of consumption, leisure, and entertainment placed within the mall's built landscape, which is largely composed of glass and mirrored walls, surfaces and enclosures. The work embodies Graham's texts on public spaces in its critique of a capitalist commercial ecosystem created through the visual and structural language of the shopping mall, a corporate capitalist structure. Death by Chocolate: West Edmonton Shopping Mall (1986-2005) touches on the question that, according to Graham, is implicit in every architectural work: "What is art and architecture's relation to and sociopolitical effect on their immediate environment?"
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.