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SUMMARY:Damien Hirst | Relics and Fly Paintings
DESCRIPTION:“I always say [my work is] about life\, but I don’t know\, I suppose it does dwell on the dark side.”\n—Damien Hirst \nGagosian is pleased to present Relics and Fly Paintings by Damien Hirst\, the second phase of the artist’s yearlong takeover of the Britannia Street gallery\, following the inaugural exhibition of Fact Paintings and Fact Sculptures. \nFor this new iteration\, the artist has clad the interior of the gallery in black butterfly-patterned wallpaper that reproduces the kaleidoscopic surface of his painting Valley of Death (2010). With its uniquely immersive atmosphere\, the exhibition brings together a number of Hirst’s bodies of work\, prompting reflections on themes of darkness and death\, the past and the future. \nHirst’s Relics are memento mori: cast in bronze\, they depict corpses\, skeletons\, and mummies in meticulous detail. Juxtaposing morbid realism with fantastical sources of inspiration\, these bodies frozen in time emphasize the artist’s deft combinations of art\, science\, history\, and religion. A suite of metallic Meteorites of various sizes continues Hirst’s engagement with the concept of the simulacrum and plays into the long-standing human fascination with outer space. The monumental sculpture The Martyr – Saint Bartholomew (2019) follows the historical tradition of depicting its subject flayed alive as an écorché figure study\, balancing biblical devotion with a similar reverence for the human body. While Hirst’s sculpture is a nod to this centuries-old artistic practice\, the holy man’s solid stance and gleaming figure are also reminiscent of a robot or a modern anatomical model. \n\nHirst incorporated real insects into his Fly Paintings\, mining their myriad symbolic associations with cycles of life and the fear of death. Like much of his oeuvre\, these paintings revel in startling dichotomies while harking back to various formal precedents; subjecting organic matter to the strictures of geometry\, they evoke Kazimir Malevich’s Black Square (1915) and Richard Serra’s black paintstick drawings\, among many other references. The Fly Paintings offer a hauntingly detached perspective on human existence that is at once microscopic and macrocosmic in its purview. \n\nImage: Damien Hirst: Relics and Fly Paintings\, installation view\, 2021\n© Damien Hirst and Science Ltd. All rights reserved\, DACS 2021\nPhoto: Prudence Cuming Associates Ltd.\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/damien-hirst-relics-and-fly-paintings/
LOCATION:Gagosian Britannia Street\, London\, 4-24 Britannia St\, London\, Kings Cross\, WC1X 9JD\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200615
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SUMMARY:Piero Golia
DESCRIPTION:“People always think I’m joking. But I am a serious man.”\n—Piero Golia \nGagosian is pleased to present an exhibition by Piero Golia. \nGolia is a sculptor of situations. His works—at times architecturally scaled\, at others elusive or immaterial—are statements aimed at expanding the boundaries of art. His practice is heterogeneous and unpredictable\, employing diverse mediums and methods to spark chain reactions that\, even when they leave no objects or images behind\, have the capacity to alter our perception. \nIn 2003\, after his involvement in a car accident that threw him into debt\, Golia took the remains of his 1984 Saab\, melted them down\, and recast them into a glossy black unicorn. Five years later\, he responded to the standardized format of the art-fair booth by compressing a 10-meter-long passenger bus into the 6-meter width of the assigned space\, filling it completely. In 2010\, he installed a sculpture atop the roof of the Standard Hotel on Sunset Boulevard—a mysterious orb\, Luminous Sphere\, which lit up whenever he was in town. \nIn 2013\, Golia opened Chalet\, a speakeasy in the heart of Hollywood. The club rapidly became a local legend\, attracting an extraordinary crowd of artists\, curators\, designers\, poets\, and celebrities. Presented by the artist as an architectural tool for community building\, it operated for more than eighteen months in its original location before moving to the Nasher Sculpture Center in Dallas for six additional months. In 2016\, after a grand finale with marching bands and fireworks\, a curtain bearing the Looney Tunes sign-off—“That’s all Folks!”—dropped to seal the establishment’s door forever. \nFor this exhibition\, Golia has engineered a surreal “sculptural happening” by choreographing a set of objects and incidents to create a singular experience that seems to unfold outside of time. A ball spiraling around a roulette wheel signals the start of an adventure in which the only stable reference is the presence of a certain human element in the gallery’s lobby. Viewers witness\, in rhythmic sequence\, a biological occurrence\, an instance of extreme weather\, and an object coming to a catastrophic end—events that together form a living tableau in constant motion. Golia’s exhibition regenerates itself from moment to moment\, suggesting that repetition and renewal might give rise to heightened sculptural presence. \n\nImage: \nPIERO GOLIA\nUntitled (lightning)\, 2020 (still)\n35mm film (color\, silent\, 1 min. 57 sec.) and projector\noverall dimensions variable\n\n© Piero Golia\nPhoto: Martin Lisius
URL:https://artinamericaguide.com/event/piero-golia/
LOCATION:Gagosian Britannia Street\, London\, 4-24 Britannia St\, London\, Kings Cross\, WC1X 9JD\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200123
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SUMMARY:American Pastoral
DESCRIPTION:AMERICAN PASTORAL\nJanuary 23–March 14\, 2020 \nGagosian is pleased to present American Pastoral. \nFrom nineteenth-century industrialization to contemporary patterns of immigration\, the pursuit of the American Dream has long been a rich topic of inquiry for artists in the United States. For many\, this notion is encapsulated by the imagined tranquility and comfort of rural life—an aspiration arising from the Western tradition of landscape painting\, with its picturesque\, arcadian lands and idyllic communities. \nTitled after Philip Roth’s 1997 novel about the social discord that undermines the life of an outwardly untroubled New Jersey family\, American Pastoral is a group exhibition that seeks to challenge this idealized vision by delving into the cultural\, political\, and economic tensions that lie beneath its surface. In this exhibition\, modern and contemporary works are juxtaposed with historical American landscapes\, ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene\, Gloucester Harbor (1926). \nHelen Frankenthaler’s 1982 painting Tumbleweed offers a third perspective on landscape that recasts the composition and figures of these earlier works in the vigorous gestures of Abstract Expressionism. Tumbleweed features a velvety wash of grass green interrupted by splotches and tracks of contrasting color—as if mapping an archetypal pastoral scene onto a distinctly modern topography. \nPhotography features prominently and diversely throughout American Pastoral\, as much for its ability to suggest documentary candor as for its potential to manipulate reality through cropping and framing. Diane Arbus’s photograph\, A family on their lawn one Sunday in Westchester\, N.Y. (1968)\, depicts a stereotypical prosperous suburban household\, yet a haunting unease pervades in the tensed bodies of husband\, wife\, and son. In Jeff Wall’s Mask maker (2015)\, a young man on an LA street exudes a subtle strain of discomfort\, suspended between life and theater. \nIn other works\, recognizable cultural symbols are rearranged to reveal latent\, sinister meanings: Banks Violette’s inverted American flag\, from 2019\, employs a stark gesture of negation to challenge the power and authority of a ubiquitous image\, while Jeff Koons’s bronze Toy Cannon (2006–12)\, in which the titular weapon sprouts flowers from its barrel\, combines visual signs with opposing associations\, playing on our expectations of consistent meaning while evoking war and its discontents. \nHydraulic Empire (2019)\, a new painting by Ed Ruscha\, refers to the term for a civilization whose governing body maintains power through exclusive control over water access. Ruscha inscribes the title across the center of his canvas in an assertive serif font\, isolating the phrase and its historical meaning. An indistinct pall hangs above Ruscha’s words\, making visible a sense of oppression. Theaster Gates’s American Tapestry (2019)\, made from strips of decommissioned Chicago fire hoses\, is a sobering\, politically charged reminder of the struggles of Black Americans during the 1960s civil rights movement. The seemingly anodyne form of the hose belies its historical misuse at events such as the infamous 1963 student march in Birmingham\, Alabama\, which police broke up with high-pressure hoses\, injuring many children in the process. \nIn American Pastoral\, the American Dream to which Roth’s text alludes is revealed again as a secular icon—at once lastingly attractive and freighted with numerous and increasingly complex dangers. \nAmerican Pastoral will feature works by Diane Arbus\, Richard Artschwager\, Albert Bierstadt\, Joe Bradley\, Chris Burden\, John Chamberlain\, Thomas Cole\, Roe Ethridge\, Helen Frankenthaler\, Theaster Gates\, Jack Goldstein\, Piero Golia\, Duane Hanson\, Marsden Hartley\, Winslow Homer\, Edward Hopper\, Neil Jenney\, John Frederick Kensett\, Jeff Koons\, Roy Lichtenstein\, Sally Mann\, Adam McEwen\, Thomas Moran\, Cady Noland\, Richard Prince\, Sterling Ruby\, Ed Ruscha\, Cindy Sherman\, Taryn Simon\, Mark Tansey\, Banks Violette\, and Jeff Wall\, among others. \n\nCaption:\nSALLY MANN\nDeep South\, Untitled (Little House)\, 1998\nTea-toned gelatin silver print\n40 x 50 in\n101.6 x 127 cm\nEdition of 10\n© Sally Mann\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/american-pastoral/
LOCATION:Gagosian Britannia Street\, London\, 4-24 Britannia St\, London\, Kings Cross\, WC1X 9JD\, United Kingdom
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20191214T180000
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SUMMARY:Sterling Ruby | ACTS + TABLE
DESCRIPTION:STERLING RUBY\nACTS + TABLE \nOctober 2–December 14\, 2019 \n“I use many different media as a kind of schizophrenic labor strategy. It seems very easy now to say it\, but it has taken me years to convey that this scattered routine belongs within a coherent trajectory. . . . There is a lineage that links everything that I do together.“
\n—Sterling Ruby \nGagosian is pleased to present sculptures by Sterling Ruby at Britannia Street. This is his first solo exhibition with the gallery in London. On view will be works from two series\, ACTS (2006–18) and TABLES (2015–19). \nIn an oeuvre spanning sculpture\, ceramics\, painting\, drawing\, collage\, video\, and garments\, Ruby continually returns to themes of societal and art historical friction\, generating feelings of anxiety and agitation by contrasting clean lines and recognizable objects with coarse and uncanny forms. ACTS + TABLE lays out Ruby’s critique of the authoritarian\, exclusionary ideological underpinnings of Minimalism. He begins with familiar shapes valued by the Minimalists—simple tables and rectilinear blocks—but subverts them by defacing their smooth surfaces and exposing their physical means of production. \nIn ACTS—short for “Absolute Contempt for Total Serenity”—Ruby captures liquid dye inside clear urethane and balances these pure prisms atop scuffed\, inscribed\, and spray-painted Formica bases. These works expand upon his earlier Formica sculptures such as Big Grid/DB Deth (2008)\, a scratched-up monolith that exudes a cold\, prisonlike institutional menace. In ACTS\, the juxtaposition of unfeeling laminate slabs against vibrantly pigmented urethane is a potent one; it transforms the urethane from a passive\, glassy vitrine into an active agent of incarceration that suffocates the blossoming furls of dye. \nThe exhibition also includes TABLE (DOUBLE LAST SUPPER) (2019)\, the culminating work of Ruby’s TABLES\, a series that explores the concept of personal and cultural archaeology. In 2015\, Ruby moved into a gargantuan studio outside of downtown Los Angeles and salvaged the welding tables left there from the building’s erstwhile function as a manufacturing warehouse. By affixing jutting metal pipes\, faucets\, and frying pans to the tables and covering them with tumorous masses of solder\, Ruby stratifies and memorializes every act of labor that once took place on their surfaces\, whether by the hands of workers from the building’s previous life\, or of the artist and his studio. The table—whose name and adornments reflect Ruby’s own rural upbringing in a faith-dominant area of Pennsylvania—becomes a hulking\, organic archaeological remnant from some unnamed human history. \nThis exhibition will also include a fully illustrated catalogue with essays by curator and critic Jenelle Porter. \n\nImage caption:\n4 STERLING RUBY\nACTS/ROBITUSSIN (detail)\, 2016\nClear urethane block\, dye\, wood and formica\n66 1/2 x 176 x 35 in\n168.9 x 447 x 88.9 cm\nPrint & publications credit: Photo by Robert Wedemeyer. Courtesy Sterling Ruby Studio\nSocial media & online credit: © Sterling Ruby
URL:https://artinamericaguide.com/event/sterling-ruby-acts-table/
LOCATION:Gagosian Britannia Street\, London\, 4-24 Britannia St\, London\, Kings Cross\, WC1X 9JD\, United Kingdom
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