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DTSTART;VALUE=DATE:20210518
DTEND;VALUE=DATE:20210808
DTSTAMP:20260610T061042
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SUMMARY:Mark Grotjahn | Horizontals
DESCRIPTION:  \n“I like less looking\, more doing.”\n—Mark Grotjahn \nGagosian is pleased to present Horizontals\, an exhibition of new and recent paintings by Mark Grotjahn from the Capri series (2016–). \nIn his paintings\, drawings\, and sculptures\, Grotjahn interweaves various modes of abstraction\, employing an expansive vocabulary of motifs and techniques that evolves between series\, while infusing existing paradigms with new energy. Exploring color\, perspective\, seriality\, and the sublime\, he has drawn inspiration from a diverse history of nonrepresentational painting\, from prehistoric to Op art. By incorporating complex and ever-changing modes of expression into an instantly recognizable aesthetic\, he continues to develop an authorial gesture that is at once mercurial and entirely his own. \nStemming from a body of work that he produced in 2016 for Casa Malaparte on the isle of Capri\, Italy\, the new paintings extend Grotjahn’s shift away from the representational qualities of the Face paintings (2003–) toward the realm of full abstraction. Inspired by the landmark modernist house of writer Curzio Malaparte (1898–1957)—isolated on a rocky outcrop on the uninhabited side of the island and immortalized in Jean-Luc Godard’s Le Mépris (Contempt\, 1963)—Grotjahn inaugurated the series with a group of works titled New Capri. Painted on cardboard and presented behind glass\, these dynamic compositions echo the rugged natural environment of the house’s setting. Untitled (New Capri XXXVI 47.47) (2016) typifies his initial approach in that it is structured around almondlike shapes derived in part from the stylized\, watchful eyes in the Face paintings. \n\nIn the later Capri paintings\, Grotjahn moves beyond this motif\, conjuring multicolored linear vertices with stylistic echoes of German Expressionism and Italian Futurism\, Wassily Kandinsky and Paul Klee. These works are also marked by the influence of American Abstract Expressionism—specifically Clyfford Still’s use of the palette knife. Although allusions to landscape are present in these paintings\, most meaningfully they embody in abstract terms the formal and expressive possibilities of paint and process. \nSome of the most recent works\, which adopt the landscape format primarily\, also feature rolls of excess paint that Grotjahn “harvests” with a palette knife and arranges in loose grids across the surface of the canvas. Tapering these material elements at either end to enhance their organic quality\, he joins them to the support so that they rest atop clusters of vertical and horizontal strokes\, providing visual and textural disruptions to the overall compositions. \n\nImage:\nInstallation view\, Mark Grotjahn: Horizontals at Gagosian Hong Kong\, May 18 – August 7\, 2021.\nArtworks © Mark Grotjahn. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/mark-grotjahn-horizontals/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210128
DTEND;VALUE=DATE:20210501
DTSTAMP:20260610T061042
CREATED:20210203T161326Z
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SUMMARY:Hong Kong Exchange
DESCRIPTION:HONG KONG EXCHANGE\nJanuary 28–April 30\, 2021 \nGagosian is pleased to present Hong Kong Exchange\, an exhibition of works by some of the gallery’s most esteemed artists\, most of whom have shown at the Hong Kong location\, and some of whom will be exhibiting in the space for the first time. \nNew and recent works will be featured\, including Ed Ruscha’s painting on paper TOWN TONE (2020) and Andreas Gursky’s large-scale photograph Hong Kong Shanghai Bank I (2020)\, a revisitation of his 1994 depiction of the same skyscraper. These compositions will be shown alongside key works of historical significance\, such as Cy Twombly’s enigmatic oil painting Untitled (1957) and Nam June Paik’s iconic sculpture Bakelite Robot (2002). \nAdditional works in various media by Georg Baselitz\, John Currin\, Roe Ethridge\, Urs Fischer\, Katharina Grosse\, Andreas Gursky\, Damien Hirst\, Tetsuya Ishida\, Alex Israel\, Jeff Koons\, Takashi Murakami\, Nam June Paik\, Richard Prince\, Sterling Ruby\, Ed Ruscha\, Jenny Saville\, Rudolf Stingel\, Sarah Sze\, Cy Twombly\, Mary Weatherford\, Jonas Wood\, and Zeng Fanzhi will be on view. \n\nImage:\nNAM JUNE PAIK\nBakelite Robot\, 2002\nOne-channel video installation with four 5.6″ LCD monitors\, two 4″ LCD color monitors\, colored electric lights\n72 3/4 x 56 5/8 x 12 inches\n184.8 x 143.8 x 30.5 cm\n© Nam June Paik Estate.\nCourtesy Gagosian.
URL:https://artinamericaguide.com/event/hong-kong-exchange/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20191126
DTEND;VALUE=DATE:20200301
DTSTAMP:20260610T061042
CREATED:20191115T163437Z
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SUMMARY:John Currin
DESCRIPTION:JOHN CURRIN \nNovember 26\, 2019–February 29\, 2020\nOpening reception: Tuesday\, November 26\, 6–8pm \n“There’s a kind of a distortion that happens with adoration.”
—John Currin \nGagosian is pleased to present new portraits by John Currin. This is his first solo exhibition in Hong Kong and his first exhibition in Asia. \nConflating inspirative sources of high and low culture\, from old masters to soft-porn pinups\, Currin channels his prodigious painterly skills into idealized yet perverse images that both charm and challenge. \nAs a graduate student at Yale University in the 1980s\, Currin recognized a “forced masculinity” in the Abstract Expressionist mode of painting that he had been practicing; consequently\, he began exploring themes of innocence\, humor\, and eroticism\, creating highly mannerist images of horses and girls with feathered hair\, large-headed caricatures\, and portraits of individuals and couples made in a painterly language entirely his own. Currin’s detailed renderings of human flesh in sensuous\, glowing brushwork has frequently prompted comparison to the Dutch masters\, including the celebrated Golden Age painter Cornelis van Haarlem\, alongside whose paintings Currin’s were exhibited at the Frans Hals Museum in the Netherlands in 2011. \nCurrin’s current exhibition at Dallas Contemporary in the United States focuses on his depictions of men and masculinity throughout the course of his career. Titled My Life as a Man\, after Philip Roth’s sardonic confessional novel about unrequited male angst\, this exhibition presents a parade of awkward\, self-conscious characters and fantastical artistic emanations that draw beauty and the grotesque in equal measure into the dance of id and ego. \nIn a series of new portraits\, Currin returns to his most beloved subject: women. These latest paintings demonstrate some persistent themes in Currin’s oeuvre\, as well as a deep exploration of the genre of female portraiture. Characteristically\, these women often appear as half-real\, half-imagined\, as though only part of the artist’s subject were held up to a distorting mirror\, with the rest left intact. \nIn one painting\, a woman in classical drapery is posed against a blank\, gray background\, one delicate hand placed protectively over her exposed breast\, her attitude at odds with the delirious expression on her face. In another\, a woman wearing a silk head wrap is set against a yellow background. Her expression\, with its inert smile\, is vacant; her matronly bosom\, covered in a floral-printed blouse\, slopes downward\, ending comically and abruptly at the limits of the painting. The resulting affect is one of both nostalgic sweetness and total disengagement. \nIn another painting\, a woman bearing a passing resemblance to Currin’s wife—the artist Rachel Feinstein\, who is an inexhaustible subject and model for her husband—inclines her head as if in a classical portrait\, her hair tumbling romantically around her bare shoulders. Her expression of pure\, loving bliss seems to be directed generally outward rather than at the painter himself\, conveying an impression of beneficence more than passion. Despite being tinged with irony\, Currin’s deep affection and affinity for his subjects are evident\, his eloquent brushstrokes conveying satire and sincerity in equal measure. \n\nImage caption: \n  John Currin\, Untitled\, 2019\n  oil on canvas\n  22 x 16 in\, 55.9 x 40.6 cm \n  © John Currin\, Photo: Rob McKeever\, Courtesy Gagosian
URL:https://artinamericaguide.com/event/john-currin/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190812
DTEND;VALUE=DATE:20191027
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SUMMARY:Albert Oehlen | New Paintings
DESCRIPTION:ALBERT OEHLEN\nNew Paintings \nSeptember 12–October 26\, 2019\nOpening reception: Thursday\, September 12\, 6–8pm \n“These paintings are made in such a way that they accept order only very reluctantly. Eventually there is some form of order\, but they strive against it.”\n
—Albert Oehlen \nGagosian is pleased to present a series of new paintings in watercolor on canvas by Albert Oehlen\, his first exhibition in Asia. \nOehlen approaches painting as a perceptual challenge\, a puzzle set within the unpredictable arena of the picture plane. He often imposes specific rules or limitations on his work—keeping to a certain palette or beginning with a straight line—as a way to interrogate the infinite possibilities that the act of painting presents. By continuously flipping between chaos and control\, he opens up new relationships between pictorial space\, color\, and gesture. \nIn these new paintings\, Oehlen emphasizes the importance of spontaneity within his artistic method. Diverging from his recent works created with oil or lacquer on aluminum or the aluminum composite Dibond\, Oehlen’s decision to use watercolor in this series marks a stylistic return to his hazy\, blended\, almost impressionistic oil paintings dating from 2016 and earlier. \nOehlen begins with a chalky white ground\, across which he flicks and stains splashes of fluid color. Hues dart between canvases: the same intense shade of magenta—a color he previously referred to as “hysterical” in the context of his Tree Paintings (2013–16)—meanders snakelike from painting to painting\, puncturing through the murky veil of watercolors in a vivid streak before resurfacing elsewhere as a series of dots peppered down the canvas. Oehlen revels in the dynamism of his lines\, allowing them to come to life and dictate each twist of his ever-shifting compositions. \nNevertheless\, Oehlen’s frenzied brushstrokes are tempered by moments of painterly control. Interspersed between splotches and swipes of color are lines\, curves\, and gradients\, all delineated with satisfying uniformity. While his paintings initially appear to lack geometric regularity\, they are in fact filled with clean-cut right angles—including a recurring L-shaped motif\, which recalls the artist’s yellow-and-black paintings from his 2018 exhibition SEXE\, RELIGION\, POLITIQUE. These forceful right angles—along with rectangular window-like apertures and eerie humanoid forms—are enshrouded deep within the canvas\, their watery facture only adding to their frustrating\, tantalizing ephemerality. Swallowed up by the slashes of pigment surrounding them\, these loose strands of figuration ultimately dissipate within a churning whirlwind of colors. \nThe exhibition will be accompanied by a fully illustrated catalogue with a text by art historian Christian Malycha. \n\nImage credit: \nALBERT OEHLEN\nUntitled\, 2019\nWatercolour on canvas\n84 1/4 x 72 1/4 x 1 1/8 inches\n214 x 183.5 x 2.9 cm\n© Albert Oehlen.\nCourtesy Gagosian.\nPhotographer: Jeff McLane.
URL:https://artinamericaguide.com/event/albert-oehlen-new-paintings/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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