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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Wong Ping: Hong Kong Fables Ocula Conversation Wong Ping: Hong Kong Fables

There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

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...

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Eva Hesse

(1936 - 1970), Germany

Born under the Nazi government in Hamburg, Germany, in 1936 to a German-Jewish family, Eva Hesse was sent away at two years old along with her five-year-old sister on one of the final Kindertransports (trains rescuing Jewish children from Nazi Germany). Her parents escaped later and joined their children in Holland. Eventually the entire family made it safely to New York in 1939. However, their extended family were not so lucky. The Hesses had a hard time settling in their new home and Hesse's mother struggled with depression, committing suicide when Hesse was only nine years old.

Hesse first studied at Pratt Institute, then The Cooper Union for the Advancement of Science and Art and Yale University. Between studies at Pratt and Cooper Union, Hesse held an internship at Seventeen. At Yale she studied under artist Josef Albers, who, before escaping Nazi Germany, taught at the Bauhaus—the German institution that merged art, craft and design. After leaving Germany, Albers taught at Black Mountain College in North Carolina, known for its own American flavour of interdisciplinary experimentation. The philosophy of both Bauhaus and Black Mountain College undoubtedly was carried along with Albers to Yale and to a young Hesse.

Hesse's career began in the mediums of drawing and painting. Her early works are largely portraits of figures in thick brushstrokes headed towards complete abstraction. No title (1960), shows a gestural figure, with the barest indication of eyes, nose and mouth, standing shyly near the left edge of the canvas. The figure seems ambivalent about its presence, as if it may leave the picture plane altogether at any moment. Upon her return to New York after her studies, Hesse worked as a textile designer and jewellery store assistant to support herself while she continued to paint.

In 1964 Hesse followed her then-husband, sculptor Tom Doyle, to Germany for 15 months for a residency. This was less than 20 years after the end of the war; it was a difficult journey for Hesse, to return to the country that had destroyed her family. However, during the residency, Hesse found the inspiration to transition from painting to sculpture. She experimented with metal and string that was lying around her studio and soon found her work in a meeting-point between the two-dimensional and three-dimensional. In Legs of a Walking Ball (1965), for example, a straight red rod and a yellow curved rod with a bulbous form on the end protrude from the picture plane as if they are lines that have jumped off the page. Their shadows become like drawn lines on the image they float above. In such work, the mixed media, organic, bodily forms that Hesse would become known for begin to feel themselves in space.

The first exhibition of Hesse's new sculptural leanings occurred at Kunsthalle Düsseldorf in 1965. The institution showed 14 of Hesse's relief works, including Tomorrow's Apples (5 in White) (1965). In Tomorrow's Apples (5 in White) two sections on the white picture plane are textured with thick white paint. On the edges of these two sections five cords connect one white space to the other. The cords, in blue, pink and yellow, form a bridge across the space, creating shadows on the canvas. Between the lines of the cords and the lines of their shadows, perhaps the five apples alluded to in the title are formed.

From these initial experiments with relief, Hesse developed her sculptural language even further upon her return to New York. She began using latex, fibreglass, polyester resin and rubber. In Contingent (1969), Hesse created eight banner-like forms in which latex-covered cheesecloth is stretched between rectangles of fibreglass. These forms are hung in space, perpendicular to the wall. In their grouping and organic nature, these works are reminiscent of stretched, hanging bodies. One of the first artists to take the language of Minimalism and stretch it beyond its rigid structures, Hesse's world of materiality—such as in Contingent—held a direct relationship to the body through the pathos of her materials.

Over her life, Hesse corresponded with contemporaries such as Sol LeWitt. Her extensive journals and letters are in the collection of the Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. She was also close to Carl Andre and felt a very visceral connection to his work, comparing his metal pieces to the concentration camps in an interview with Cindy Nemser for Artforum in May 1970.

In 1969, the headaches Hesse had been prone to became increasingly serious. She was diagnosed with a brain tumour. Though the subsequent surgeries Hesse underwent were at moments thought to be successful, the tumours soon returned. They dealt the final blow in 1970. Hesse made the work Untitled (Rope Piece) (1970) with help from friends as she was nearing the end of her life. Rope, string and wire is covered in latex and hung from approximately 13 wires, shelter-like, each section blending into the other like a spider's web, both taut and limp. Hesse was 34 when she died.

Casey Carsel | Ocula | 2018
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Featured Artworks

View All (12)
H + H by Eva Hesse contemporary artwork
Eva HesseH + H, 1965 Varnish, ink, gouache, enamel, cord, metal, found object (wood), paper-caché, unknown modelling compound, particle board, wood
68.6 x 69.9 x 12.4 cm
Hauser & Wirth
No title by Eva Hesse contemporary artwork
Eva HesseNo title, 1960 Oil on canvas
35.2 x 35.2 cm
Hauser & Wirth
No title by Eva Hesse contemporary artwork
Eva HesseNo title, c. 1962 Oil on canvas
121.3 x 90.5 cm
Hauser & Wirth
No title by Eva Hesse contemporary artwork
Eva HesseNo title, 1964 Watercolour, gouache, coloured inks, graphite and collage on paper
50.2 x 62.2 cm
Hauser & Wirth
No title by Eva Hesse contemporary artwork
Eva HesseNo title, 1961 Oil on canvas
41.3 x 41 x 2.2 cm
Hauser & Wirth
Repetition Nineteen III by Eva Hesse contemporary artwork
Eva HesseRepetition Nineteen III, 1968 Fiberglass, polyester resin
Hauser & Wirth
Sans II by Eva Hesse contemporary artwork
Eva HesseSans II, 1968 Fiberglass, polyester, resin
96.5 x 1092 x 15.6 cm
Hauser & Wirth
No title by Eva Hesse contemporary artwork
Eva HesseNo title, 1960 Oil on masonite
53.7 x 42.2 cm
Hauser & Wirth

Current Exhibitions

Contemporary art exhibition, Group Exhibition, Unconscious Landscape. Works from the Ursula Hauser Collection at Hauser & Wirth, Somerset
Open Now
25 May–8 September 2019 Group Exhibition Unconscious Landscape. Works from the Ursula Hauser Collection Hauser & Wirth, Somerset

Represented By

In Related Press

Turning women’s work into art Related Press Turning women’s work into art Apollo Magazine : 21 February 2017

For almost four years the critic Karen Wright wrote a weekly column for Radar, the Independent newspaper's magazine, entitled In The Studio, which was based on nearly 200 visits to artists' studios. As she puts it in her catalogue essay for Entangled, currently at Turner Contemporary, 'Looking at what is lying around or pinned to the wall is often...

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A guide to New York City's historic artist studios Related Press A guide to New York City's historic artist studios Hyperallergic : 5 August 2016

In New York City’s constantly changing urban landscape, artist studios can be ephemeral. Reborn as private condos, such as Willem de Kooning’s West 22nd Street space, or demolished, like Andy Warhol’s first Silver Factory on East 47th Street, many of these historic sites are inaccessible or lost. Several of the city’s...

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The sinuous lines of influence between Eva Hesse and Sol LeWitt Related Press The sinuous lines of influence between Eva Hesse and Sol LeWitt Hyperallergic : 29 July 2016

When I first saw the wall, I didn’t see what was on it. I thought it was blank, a strange aberration in the middle of an otherwise full exhibition. It was only when I moved closer that I started to see them: wavy pencil marks running down the wall in small- to medium-length strokes, like residue from drops of rain. When I stood close, I could...

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A psychological portrait of Eva Hesse Related Press A psychological portrait of Eva Hesse Hyperallergic : 6 May 2016

Telling the story of Eva Hesse’s life and work presents one major challenge: as a narrative arc, it is necessarily truncated. In most respects Hesse is the perfect subject for a drama-filled documentary. Her childhood was full of pain and upheaval. The early years of her career were marked by relentless experimentation and constant...

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