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SUMMARY:Giorgio Griffa: The 1990s
DESCRIPTION:Casey Kaplan is pleased to announce Giorgio Griffa: The 1990s\, the artist’s fourth solo show with the gallery\, from a series of exhibitions focusing on the artist’s practice by decade.\nWhile Casey Kaplan Gallery is temporarily closed to the public and open by appointment only\, you can see more from Giorgio Griffa on our exhibition page.  \n\n“I myself am but one instrument among others.” [1]\n– Giorgio Griffa \nImage: Installation view\, Giorgio Griffa: The 1990s\, Casey Kaplan\, New York\, May 5 – August 21\, 2020. \n\nFor over fifty years\, Giorgio Griffa (b. 1936 Turin\, Italy) has developed a painting practice that records “the memory of material\,” a process the artist believes is “constant\, and never finished\,” allowing brush\, paint\, and canvas to dictate the outcome of his work. By eliminating perspective and narrative\, Griffa transcribes the process of painting into simple repeated marks and gestures. Starting with unprimed\, unstretched raw canvas laid out like sheets on the studio floor\, Griffa works slowly across them\, crouching and kneeling on the material in a way that aligns him with his tools as the canvas becomes the ground for water-based acrylic paints\, mixed thinly\, to seep and bleed upon application. The rawness of the resulting color fields\, along with large areas of unpainted canvas\, gives Griffa’s paintings a provisional feel\, emphasizing his convictions about the independent life of materials. The paintings are then displayed unframed\, pinned to the wall with small nails along their top edge\, and when not exhibited\, are folded and stacked by year\, creating an underlying grid for his compositions. \nDriven by notions of time\, rhythm\, and memory\, Griffa reflects on the faculty of the anonymous\, restrained gesture and its capacity to be both distinctive and integral. Beginning in the 1990s\, Griffa introduced the use of numbers as a new formal element within his compositions\, as a method to sequence his canvases both inside an individual work and within an infinite series. Numbers determine an internal logic within the paintings\, designating the order in which each line\, marking\, or sign is painted. Griffa describes this process as a “dynamic dimension in which time coexists\, similar to what happens when we occupy space by walking.”[2] \nPlanning for this project began in earnest in November 2019 with a visit to Griffa’s studio in Turin where canvases stored in his archive\, unseen for nearly thirty years\, were unfolded again. Flat on the floor for review\, echoing the artist’s daily painting practice\, a selection of nearly twenty artworks was made. This curation was then followed by the paintings being folded once more\, stacked neatly into a pile (a modest stack\, no higher than one foot)\, ready for transport and the entirety of our forthcoming exhibition. \n\nGiorgio Griffa lives and works in Turin\, Italy. In 2015 and 2016\, Giorgio Griffa was the focus of a retrospective that toured institutions including Fundação de Serralves\, curated by Andrea Bellini and Suzanne Cotter\, Porto\, Portugal (2016); Fondazione Giuliani\, curated by Andrea Bellini\, Rome\, Italy (2016); Bergen Kunsthall\, curated by Andrea Bellini and Martin Clark\, Bergen\, Norway (2015); and Centre d’Art Contemporain Genève\, curated by Andrea Bellini\, Genève\, Switzerland (2015). A monograph titled GIORGIO GRIFFA: WORKS 1965 – 2015 was published by Mousse Publishing on occasion of the exhibition. Additional recent solo exhibitions include: Camden Arts Centre\, London\, UK (2020); Centre d’Art Contemporain Genève\, Switzerland (2020); Tate Modern\, London\, UK (2019); Musée des Beaux-Arts de Nancy\, Nancy\, France (2019); Camden Arts Centre\, London\, UK (2018) (solo); Viva Arte Viva\, 57th International Art Exhibition\, Arsenale\, Venice\, Italy (2017); Castello di Rivoli\, Turin\, Italy (2017); Fondazione Carriero\, Milan\, Italy (2015); Fondazione Palazzo Albizzini Collezione Burri\, Perugia\, Italy (2015); a group show curated by Ugo Rondinone at Secession\, Vienna\, Austria (2015); Serralves Museum\, Porto\, Portugal (2014); Mies van der Rohe Haus\, Berlin\, Germany (2013) (solo); MACRO\, Museu d’Arte Contemporanea\, Rome\, Italy (2011) (solo); Museo d’arte contemporanea\, Lissone\, Italy (2010); and Peggy Guggenheim Collection\, Venice\, Italy (2009). Griffa’s work can be found in permanent collections including Tate Modern\, London\, UK; Castello di Rivoli Museum of Contemporary Art\, Rivoli\, Italy; Dallas Museum of Art\, Dallas\, Texas\, US; The Museum of Fine Arts\, Houston\, Texas\, US; Frac des Pays De La Loire\, Carquefou\, France; Fundação de Serralves\, Porto\, Portugal; Galleria d’Arte Moderna\, Rome\, Italy; Galleria di Arte Modernea e Contemporanea\, Turin\, Italy; Grand Duke Jean Museum of Modern Art\, Luxembourg; and Museo del Novecento\, Milan\, Italy. \n1. Laura Cherubini\, Giorgio Griffa\, Works: 1965-2015\, ed. Andrea Bellini (Mousse Publishing\, 2015)\, p67.\n2. Giorgio Griffa: Fragments 1968-2012\, (New York: Casey Kaplan\, 2013)\, p34.
URL:https://artinamericaguide.com/event/giorgio-griffa-the-1990s/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200303
DTEND;VALUE=DATE:20200426
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SUMMARY:Virtual Tour | Liam Gillick: Redaction
DESCRIPTION:Casey Kaplan is pleased to announce Liam Gillick: Redaction\, the artist’s ninth solo exhibition with the gallery over a two-decade collaboration. The show brings together a selection of key texts\, abstract structures and installations\, spanning the early 90s to the late 2000s\, and will coincide with the gallery’s 25th anniversary. \nView digital exhibition tour here.  \n\nSince the late 1980s\, Gillick has employed a variety of methodologies to explore the semiotics of the built world. Writing has maintained a crucial role in his practice\, culminating in an eclectic collection of fictional texts that resist linear narrative in favor of fragmented dialogue\, stream of consciousness\, and abrupt slips in time. In addition to these narrative devices\, Gillick often uses historical revisioning as an exercise through which to imagine alternative parallel futures. Continually referenced\, decontextualized\, and reworked\, the texts remain in a permanent state of development and transformation in order to examine shifting modes of production and the psychosocial implications of late capitalism. \nA selection of Gillick’s earliest writings provide a conceptual framework for this exhibition\, including: McNamara (1992-1995)\, Erasmus is Late (1995)\, Ibuka! (1995)\, and Discussion Island/Big Conference Centre (1997). Many of the artworks were produced in relation to specific ideas contained within the texts\, encompassing ergonomics\, conditions of production\, the influence of secondary characters\, the aesthetics of both secondary and tertiary sectors\, and the disillusionment of utopian projections of the future. Formal abstractions and instructional installations exist as potential props or mis-en-scenes\, in loose correlation to the narratives. Rejecting a cause-and-effect logic\, the works instead propose a variety of potential scenarios to reflect the nuanced contexts in which abstract ideas are realized. \nA series of Plexiglas and powder-coated aluminum structures resume the language of renovation and development utilized in the texts. The materials are specifically chosen for these connotations and often embody the formal qualities of secondary architecture. Canopies suspended from the ceiling incite the unconscious congregation of bodies; a free-standing screen provides access visually while blocking physical entry\, and ill-placed handrails create arbitrary divisions\, but deny stability. Within this non-functional “middle space\,” the artworks maintain an elusive and open-ended quality\, persistently asking “What If?” while refuting a definitive answer. Acutely self-aware\, but without irony or cynicism\, the work parodies the perpetual speculation of corporate culture and the desire to preserve an illusion of progress. In face of the increasingly rapid rate at which models of collectivity and resistance are outmaneuvered\, co-opted and rebranded within neoliberal societies\, Gillick’s work has continued to encourage discourse and collective exchange over three decades of artistic production. \n\nLiam Gillick lives in New York. His work has been the subject of numerous solo exhibitions internationally\, at institutions such as: Madre Museum\, Naples; Kunsthalle Wien\, Vienna; Contemporary Art Centre\, Vilnius; Serralves Museum of Contemporary Art\, Porto; Le Magasin\, Grenoble; Hessel Museum of Art\, Bard College\, New York; Museum of Contemporary Art\, Chicago; the Guggenheim Museum\, New York and Bilbao; Museum of Modern Art\, New York; and Tate\, London\, among many others. Gillick has participated in documenta\, and the Venice\, Berlin and Istanbul Biennales – representing Germany in 2009 in Venice. A prolific writer and critic of contemporary art over the last twenty-five years\, Gillick has contributed to publications such as Artforum\, October\, Frieze and e-flux Journal. He is the author of a number of books\, including a volume of his selected critical writing and the recently-published Industry and Intelligence: Contemporary Art Since 1820 (Columbia University Press\, March 2016). Additionally\, Gillick has produced a number of short films since the late 2000s\, which address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. High-profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. His work can be found in institutional collections such as Centre Pompidou\, Paris; Solomon R. Guggenheim Museum\, New York and Bilbao; Museum of Modern Art\, New York; Tate\, London; and Serralves Museum of Contemporary Art\, Porto. \n\nImage:\nLiam Gillick\, Via Del Charro\, 2013\, detail. Image courtesy artist and Casey Kaplan\, New York.
URL:https://artinamericaguide.com/event/virtual-tour-liam-gillick-redaction/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Virtual Events + Viewing Rooms
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SUMMARY:Hannah Levy: Pendulous Picnic
DESCRIPTION:Hannah Levy\nPendulous Picnic\nJanuary 23 – February 29\, 2020 \n\n\n\n\nCasey Kaplan is pleased to announce Hannah Levy “Pendulous Picnic\,” the artist’s first solo exhibition with the gallery. \nLevy’s sculpture both incite and repel touch. By manipulating texturally incongruous materials such as silicone and steel\, Levy produces tactile structures that arouse an acute bodily awareness. Her references are broad: medical equipment\, hardware\, prosthetics\, vegetables\, and furniture are anthropomorphized through welded curves and cast appendages that relate to the human form. The scale of recognizable\, everyday objects is often distorted to the point of absurdity\, resulting in uncanny configurations \nthat have lost their original function. Expanding upon the visual language of artists such as Eva Hesse\, Louise Bourgeois and Meret Oppenheim\, Levy’s sculptures are defined by their materiality and bodily consciousness. \nFor this exhibition\, Levy presents a series of new works formally inspired by domestic décor and objects of recreation. Through these referents\, her sculptures engage the aspirations and insecurities embedded within our designed environments. All of the works contain competing dualities – erotic and sterile\, seductive and repulsive\, humorous and disconcerting – to subvert the concept of “tastemaking” perpetuated by interior and industrial design. \nIn the main entryway gallery\, three large-scale works hang from the ceiling on thick\, metal chains. The elaborate sculptures recall distorted chandeliers – once symbols of wealth and nobility\, that have since devolved into cheaply-produced and often gaudy commodities. In Levy’s adaptation\, the metal sculptures are shaped by exaggerated\, sensual curves and adorned with flesh-like silicone\, reflecting a perverse eroticism often hidden in modern design. Oversized and presented low to the ground\, the sculptures confront the viewer with their own physicality and elicit a corporeal discomfort through both tactile and formal means. One work is furnished with a series of alarmingly sharp hooks\, indulgently pierced with over a dozen silicone cast gourds. Another holds a large\, silicone pool inflatable with distinguished air valves that take on suggestive connotations at this exaggerated scale. While amusing\, the works’ humor is bellied by a latent anxiety that permeates throughout the exhibition. \nIn contrast to the extravagance of the chandeliers\, a series of modestly-scaled fixtures\, recalling light sconces\, line the walls of the gallery. Each metal armature is welded into a curved point and holds a cast asparagus in lieu of a candle or lamp. The plump\, tactile silicone is pigmented in anemic shades of beige\, accentuating a homogeneous\, flesh-like quality. Enlarged several times over\, the asparagus rests languidly over the nickel plated steel – limp and phallic. On the floor lays a large\, free-standing sculpture\, embellished with menacing metal springs and taught\, stretched silicone. The structure appears familiar\, but the scale remains awkwardly undetermined – smaller than an outdoor trampoline\, but larger than indoor rehabilitation equipment. \nLevy transitions into a two-dimensional plane within the remaining gallery space\, engaging recurrent themes through different means. In this room\, a photograph portrays a manicured set of hands baiting a fishhook with a live worm. Recreational fishing is a pastime with both blue-collar and aristocratic affiliation. In contrast with this subject matter\, the sleek\, commercial aesthetic of the photograph suggests the very notion of gratuitous leisure might be illusory. The haptic focus of the image intensifies the tactility which binds all of the works in the exhibition and acknowledges the persistent desire to touch in an increasingly virtual world. \nAll of the works in the show conflate flesh and steel\, encapsulating the bodily integration of the once external machine. With a keen material sensibility\, Levy’s sculptures reflect the internalization of our built and bought environments. Each component exists with the potential to be consumed\, in a perverse metabolic cycle that questions the very nature of consumption – both biologic and cultural. \nLevy (b\, 1991\, New York) received her MFA from Städelschule\, Frankfurtin 2015. She has held recent solo exhibitions at Fondazione Coppola\, Vicenza\, Italy (2020); C L E A R I N G\, New York (2018)\, Mother’s Tankstation\, Dublin (2018); Fourteen30 Contemporary\, Portland (2017); White Flag Projects\, St. Louis (2016) and Galerie Parisa Kind\, Frankfurt (2015). Additionally\, her work has been exhibited at museums internationally\, including: G2 Kunsthalle\, Leipzig\, Germany; Yuz Museum\, Shanghai; Louisiana Museum of Modern Art\, Denmark; Museum of Modern Art\, Humlebæk; MoMA PS1\, New York; the Frankfurter Kunstverein\, Frankfurt; SCAD Museum of Art\, Savannah; Palais de Tokyo\, Paris; Lever House\, New York and Museum Für Moderne Kunst\, Frankfurt. In May of this year\, Levy will unveil a major new public work\, commissioned by High Line Art and Friends of the High Line\, New York and on view through March 2021.
URL:https://artinamericaguide.com/event/hannah-levy-pendulous-picnic/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
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DTSTART;VALUE=DATE:20190430
DTEND;VALUE=DATE:20190616
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SUMMARY:Matthew Ronay
DESCRIPTION:Casey Kaplan Gallery is pleased to present Matthew Ronay.
URL:https://artinamericaguide.com/event/matthew-ronay/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190221
DTEND;VALUE=DATE:20190421
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SUMMARY:Jonathan Gardner\, "Desert Wind"
DESCRIPTION:Jonathan Gardner presents fantastical\, layered tableaus of the quotidian for Desert Wind\, his second exhibition at Casey Kaplan. Oil paint is rendered in bizarre\, flattened compositions that are suspended between art historical motifs culled from a variety of sources\, and uncanny manifestations of the artist’s mind.
URL:https://artinamericaguide.com/event/jonathan-gardner-desert-wind/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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