French gallerist Almine Rech-Picasso opened her first space in Asia on Shanghai's historic Bund in July this year, bringing her eponymous gallery's total locations to five. The Shanghai gallery occupies roughly 4,000 square feet on the second floor of the three-storey Amber Building, a beautiful warehouse space, originally occupied by the Central...
There's an inside joke amongst the team of Ashkal Alwan, The Lebanese Association for Plastic Arts: that every time an edition of its biennial forum on cultural practices is planned, a national crisis happens. The eighth edition of Home Works was no different: it opened on 17 October amidst the most devastating wildfires that Lebanon had witnessed...
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...
Kiki Smith, Sky, 2012. Image courtesy of Timothy Taylor Gallery, London.
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 more interesting to me than an artwork in a gallery.' This intimate encounter with artists immersed in their work has inspired a show grounded in process and materials.
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.
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.
The chair sculptures are comprised of a steel frame that has been painted black with the seat and back upholstered with woven, text-adorned polyester straps. The writing on the chairs ranges from 'WHO IS GOING TO GRAB MY BOOTY?' to 'ACID WEED XANAX MUSHROOMS MDMA COKE K' and 'STOP PROTECTING YOURSELF.'
Rather than scrolling through a million images at a dizzying rate, the sculpture itself asks us to pause for a moment in quiet contemplation. Its textured surface, which appears almost frayed, echoes the delicate edges of each photographic print. Together, these lines create a dynamic rhythm that relates to much the artist's other works, in which...
As is usual for Cloud, his new works-arrangements of exposed stretcher bars and paint-slathered canvas—are as much relief sculptures as paintings. 'I've always felt that there was a really strong formal noise created by the format of painting,' Cloud told me as we walked through the exhibition. 'If you have a big, rectangular, unbroken...
When I learned to paint fifteen or twenty years ago, the dominant ideology was late modernism. In that ideology, painting was a territory where each painter staked a small aesthetic claim. There was room for all the painters because we dug downward in search of formal riches rather than moving outward into one another’s territories. So one painter...
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