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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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Sigmar Polke

(1941 - 2010), Germany

Most remembered for his satirical dot paintings of communism and capitalism, Sigmar Polke tested the boundaries of painting and examined contemporary culture through a playful and experimental gaze. The German artist was born in Oels, Germany (now Oleśnica, Poland) and raised there until his family moved to Thuringia, Germany in 1945. Following the rise of the communist regime in East Germany, however, the Polkes relocated to West Germany in the mid-1950s. Polke spent the last three decades of his life in Cologne and taught at the University of Fine Arts of Hamburg from 1977 to 1991.

Polke's early works are often associated with Capitalist Realism (Kapitalistischer Realismus), a movement he founded in 1963 with fellow students Gerhard Richter and Konrad Lueg at Kunstakademie Düsseldorf. Capitalist Realism referenced Socialist Realism—the state style promoted in the communist East—and also critiqued Western commercialism as visualised in American Pop art. The Sausage Eater (Der Wurstesser) (1963) depicts an individual holding the end of a long chain of frankfurters. The individual's lack of eyes and brain, and the exhausting length of sausages hint at state control feeding its citizens with dogma.

Polke frequently used common subjects such as socks and biscuits and, in Schokoladenbild (Chocolate Painting) (1964), notably, a half-unwrapped chocolate. Through the absence of labels or brand names, Polke could expose the banality and actual value of commodities so celebrated in Andy Warhol's Campbell's Soup Cans (1962). Moreover, in what came to be known as his signature 'Polke dots', he created figurative paintings after the works of Roy Lichtenstein. However, in Bunnies (1966)—a depiction of four young women in Playboy Bunny costumes—Polke's dots were hand-painted to deliberately provoke mistakes, in comparison with Lichtenstein's precise and uniform screened Ben-Day dots. Consciously producing images that were seen as puerile and crude, Polke made light-hearted parodies of both communism and consumerism.

Polke's playful satires continued to undermine the conventions of painting past the end of the 1960s. Kathreiner's Morning Wood (Kathreiners Morgenlatte) (1969–1979) is a painting in the broadest sense, with images collaged onto canvas and other fabrics, and an interior view of a room painted in acrylic. To further destroy traditional easel painting, Polke cut the wooden stretcher into pieces and attached the pieces onto the work's surface. He signed it 'Henri Matisse', thereby poking fun at the presumed significance of an artist's signature and revealing the difficulty of being original in contemporary times. Negative Value (1982)—exhibited in documenta 7 (1982)—redefined the relationship between the painter and the viewer. Using burnish that makes colours change from different angles and under different lights, Polke entrusted the viewer with their individual interpretation.

From the second half of the 1980s on, Polke explored ideas of transparency and alchemy. He created transparent panoramas in his 'Laterna Magica' series (1988–1990) by painting a set of seemingly unrelated images on both sides. Ranging from ancient glyphs to cartoons from 18th-century folk woodcuts, the images overlapped with a horizontality that suggested an absence of hierarchy in diverse cultures and histories. In his 'Axial Age' paintings (2005–2007), on the other hand, Polke painted a mixture of abstract and figurative images with varnishes, pigments, photographic chemicals, lapis lazuli and minerals that included gold, silver and malachite. The title refers to the 'axial period' from the works of the philosopher Karl Jaspers, who maintained that the period between 800 and 200 BCE marked the pinnacle of ancient civilisations. Polke's fascination with transparency began in his late teens when he worked as an apprentice in a stained glass factory in Düsseldorf. Drawing on the ancient practices of glassmaking and alchemy, and informed by his later travels to different parts of the world, he synthesized a visual history of mankind.

Polke regularly exhibited internationally after his first solo exhibition at Galerie René Block, Berlin (1966). These exhibitions included Punta della Dogana, Venice (2011, 2009); Museum moderner Kunst Stiftung Ludwig Wien, Vienna (2007); Ueno Royal Museum, Tokyo (2005); Tate Modern, London (2003); The Museum of Contemporary Art, Los Angeles (1995); Musée d'Art moderne de la Ville de Paris (1988); Kunsthalle Tübingen (1976); Kunsthalle Düsseldorf (1976); Stedelijk Van Abbemuseum, Eindhoven (1976); and documenta 5 (1972). In 2014, The Museum of Modern Art in New York presented a major retrospective called Alibis: Sigmar Polke 1963–2010. This retrospective travelled to Museum Ludwig in Cologne (2015) and Tate Modern in London (2014).

Polke received several international prizes during his lifetime, notably the Roswitha Haftmann-Preis (2010); the Praemium Imperiale (2002); the Carnegie Prize (1995); and the Venice Biennale's Golden Lion Prize (1986). His works are in the collections of Walker Art Center, Minneapolis; The Museum of Modern Art, New York; Tate, London; and the J. Paul Getty Museum, Los Angeles. His estate is represented by David Zwirner, New York.

Sherry Paik | Ocula | 2017
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Featured Artworks

Untitled by Sigmar Polke contemporary artwork
Sigmar PolkeUntitled, 1987 Graphite, silver oxide in alcohol varnish on canvas
40 x 50 cm
AYE Gallery
Untitled by Sigmar Polke contemporary artwork
Sigmar PolkeUntitled, 1986 Mixed media on canvas
70 x 50 cm
AYE Gallery
Untitled (Baum 9) by Sigmar Polke contemporary artwork
Sigmar PolkeUntitled (Baum 9), 2002 Acrylic and dispersion on fabric
145 x 110 cm
Ben Brown Fine Arts

Current & Recent Exhibitions

Contemporary art exhibition, Group Exhibition, Drawing the Line at Bruce Silverstein, New York
Open Now
11 July–30 August 2019 Group Exhibition Drawing the Line Bruce Silverstein, New York
Contemporary art exhibition, Group exhibition, Angelus Novus at AYE Gallery, Beijing
Closed
26–31 March 2019 Group exhibition Angelus Novus AYE Gallery, Beijing
Contemporary art exhibition, Sigmar Polke, Eine Winterreise at David Zwirner, New York
Closed
7 May–22 July 2016 Sigmar Polke Eine Winterreise David Zwirner, 20th Street, New York

Represented By

In Ocula Magazine

Total Abstraction: A Report From Art Basel Miami Beach Ocula Report Total Abstraction: A Report From Art Basel Miami Beach 11 Dec 2013 : Stephanie Bailey for Ocula

General consensus? This years edition of Art Basel in Miami Beach was better than the last. Everything was “more” – more vibrancy, daring choices, and a more buoyant market. The Public program at Collin’s Park was a complete success, featuring performance pieces by artists including Ryan McNamara, Mungo Thomson and David...

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In Related Press

The Spirit of Painting in an Altered World Related Press The Spirit of Painting in an Altered World Hyperallergic : 12 May 2018

'A faint, beautiful memory' is how curator Norman Rosenthal described A New Spirit Then, A New Spirit Now, 1981-2018, the current show at Almine Rech Gallery on the Upper East Side. What he’s remembering, as spelled out in the exhibition’s title, is the seminal survey, A New Spirit in Painting, which opened, barely, at the Royal Academy of Arts in...

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A Mega-Gallery Marks a Quarter Century Related Press A Mega-Gallery Marks a Quarter Century Hyperallergic : 3 February 2018

With five New York spaces, outposts in London and Hong Kong, 165 employees, more than a half-billion dollars in sales last year alone, and a Renzo Piano-designed flagship slated to open on 20th Street in 2020, it's no wonder that David Zwirner Gallery is routinely, and sometimes derisively, called a mega-gallery, and Zwirner himself a mega-dealer...

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Art Basel Week 2017: What to See Related Press Art Basel Week 2017: What to See Whitewall : 16 June 2017

Outside of the fairs this week, don't miss the exhibitions on view at Basel's tops museums and institutions, including Wolfgang Tillmans, Wim Delvoye, Jérôme Zonder, Yan Xing and Richard Serra, amongst others.

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