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SUMMARY:Anselm Kiefer: Field of the Cloth of Gold
DESCRIPTION:“What interests me is the transformation\, not the monument. I don’t construct ruins\, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again. \nThe pictures become interesting when the subject matter is no more than an excuse\, when the artist remembers the struggle\, when he sets forth his own world in conflict with the self-secluding earth.”\n—Anselm Kiefer \n\nGagosian is pleased to present Field of the Cloth of Gold\, an exhibition of four monumental new paintings by Anselm Kiefer. \nThe tension between beauty and terror\, alongside the inextricable relationship between history and place\, has animated Kiefer’s work since the 1970s. Drawing on the literature of cultural memory—including poetry\, the Old and New Testaments\, and the Kabbalah—Kiefer gives material presence to myths and metaphors. He infuses the medium of paint with startling and unconventional gestures and objects\, juxtaposing it with organic and abject materials such as straw\, sand\, charcoal\, ash\, and mud. Kiefer asserts himself as an iconoclast; his paintings undergo various processes—such as being cut\, burned\, buried\, exposed to natural elements\, splashed with acid\, or poured over with lead—so as to be made anew. These strategies\, along with the use of materials such as lead\, concrete\, glass\, fabric\, tree roots\, or burned books\, create a symbolic resonance\, making palpable both the movement and destruction of human life and the persistence of the lyrical and the divine. \n\nThe exhibition’s title refers to the historic peace summit between King Henry VIII and King Francis I that took place five hundred years ago in a field in what is now Pas-de-Calais\, France. The conference\, centered around a strategic alliance between England and France\, had the goal of outlawing war between Christian nations. The alliance was considered a key event in shaping Europe’s geopolitics—until it dissolved and war broke out\, a year later. While Kiefer did not begin making these works with this event or title in mind\, the connection became apparent and synchronous after their completion. As he stated in a recent interview\, “the title is often not the explanation of the picture\,” but is rather “an allusion.” History is one of the materials he uses and synthesizes in his work\, “like clay for the sculptor or color for the painter.” \nCompleted over the last two years\, these works predate the COVID-19 pandemic\, the ripple-effect crisis it created\, and the international and cross-cultural relationships it has reconfigured. While history has been fractured and unpredictable since the Field of the Cloth of Gold conference\, our cultural memory holds the violent unpredictability of human relations on a continuum. The layered and visceral character of these paintings\, whose scale almost matches the landscapes they depict\, evokes the surging capriciousness of European history and the effects and aftermaths of war. As in The Morgenthau Plan series of 2012\, Kiefer affixes other elements to the surfaces of these paintings\, from plant matter to industrial material\, building a third dimension onto the painted canvas. Here the field of history is transfigured into a field of gold under a dark sky. \nAs is customary in Kiefer’s work\, each painting’s title and symbols contain a rich literary and historical set of references. Sichelschnitt (Sickle Cut) (2019) refers to the Manstein Plan (Sichelschnittplan)\, a war plan devised by the German Army during the Battle of France in 1940\, while Beilzeit—Wolfszeit (Axe-Age—Wolf-Age) (2019) nods to “Völuspá (Prophecy of the Seeress)\,” the first poem of the Poetic Edda of Old Norse mythology. Verse 45 of this poem is translated as “Axe-time\, sword-time\, | shields are sundered\, / Wind-time\, wolf-time\, | ere the world falls.” Ein Wort von Sensen gesprochen (One Word Spoken by Scythes) (2019–20) evokes the poem “From Hearts and Brains” by Paul Celan\, whose poetry has been a point of reference for Kiefer for decades. Celan’s verse reads\, “and a word\, spoken by scythes / bends them into life.” \n\nImage:\nAnselm Kiefer\nField of the Cloth of Gold\nFebruary 7 – June 19\, 2021\nGagosian\, Le Bourget \nInstallation views:\nArtwork © Anselm Kiefer\nPhoto: Thomas Lannes\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/anselm-kiefer-field-of-the-cloth-of-gold/
LOCATION:Gagosian Le Bourget\, Paris\, 26 Avenue de l'Europe\, Le Bourget\, 93350\, France
CATEGORIES:Exhibition
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SUMMARY:SIMON HANTAÏ | LES NOIRS DU BLANC\, LES BLANCS DU NOIR
DESCRIPTION:SIMON HANTAÏ\nLES NOIRS DU BLANC\, LES BLANCS DU NOIR \nOctober 13\, 2019–March 14\, 2020\nOpening reception: Sunday\, October 13\, 3–6pm \nGagosian is pleased to announce the representation of the Estate of Simon Hantaï (1922–2008). To inaugurate Hantaï’s representation\, LES NOIRS DU BLANC\, LES BLANCS DU NOIR\, an exhibition of black-and-white paintings and prints dating between 1969 and 1997\, will be presented at Gagosian Le Bourget. \nHantaï is best known for originating the technique of pliage (folding)\, in which a canvas is crumpled and knotted\, uniformly painted over\, and then spread out to reveal a matrix of abstract alternations between pigment and ground. \nBorn in Bia\, Hungary\, Hantaï studied at the Budapest School of Fine Arts from 1941 to 1946 before moving to Paris in 1948 to study and then—in the wake of the escalating Sovietization of his homeland—deciding to stay. In Paris\, he joined André Breton’s circle of Surrealists\, completing several fantastical biomorphic paintings before encountering the work of Jackson Pollock and breaking with Surrealist ideologies in 1955. Pollock’s action paintings directly inspired Hantaï’s own turn toward monumentally scaled abstraction. Hantaï began creating pliage paintings in 1960\, conceiving of the process as a marriage between Surrealist automatism and the allover gestures of Abstract Expressionism. The technique dominated the work he made during the rest of his career\, reemerging in diverse forms. \nAlthough many of Hantaï’s works of pliage feature jewellike hues\, he also created a number of these works featuring only black paint on bare canvas. LES NOIRS DU BLANC\, LES BLANCS DU NOIR explores this subset of the artist’s oeuvre: unmediated by color\, the monochromatic paintings and prints celebrate the aesthetic form of the crease and document Hantaï’s evolving relationship with the act of painting. \nOn view are four large-scale oil and acrylic paintings from Hantaï’s series of Études. Produced in the late 1960s at the height of his experimentation with the pliage method\, the series illustrates his efforts to eliminate the artist’s hand from the painting process. Featuring a network of crisp creases of unpainted canvas spanning the composition\, the Études conjure familiar images from nature—an undergrowth of leaves\, perhaps\, or a flock of birds in flight—but ultimately dissolve into pure abstraction. \nHantaï became a French citizen in 1966 and gained increasing recognition over the next two decades\, culminating in an invitation to represent France at the 1982 Venice Biennale. Months later\, however\, he withdrew from the public eye\, refusing to exhibit new works until 1998. Following this period of seclusion\, Hantaï began altering his existing pieces—namely\, one set of enormous pliage paintings exhibited in 1981 at CAPC Musée d’Art Contemporain\, Bordeaux. He photographed these 50-foot-long paintings from an angle and created black-and-white silkscreen prints from the distorted photographic images\, which he cropped vertically and printed amid stripes of white canvas. To Hantaï\, silkscreen printing and pliage were inherently linked; both involved repeating an established technique to produce subtle variations. \nFor his Laissées (Leftovers)\, Hantaï sliced the Bordeaux paintings into smaller sections and displayed each one as a new work in itself. Paradoxically\, by taking a craft knife to the large compositions\, he simultaneously inflicted an irreversible act of violence upon his own art and preserved the most fundamental visual components of his pliage paintings. Hantaï continued to work largely in isolation until his death in 2008\, leaving behind a corpus of fractal-like compositions whose surfaces dramatize the intersection of intentional and incidental mark making. \n\nImage caption: \nSimon Hantaï\nÉtude\, 1969\nOil on canvas\n116 ⅜ × 178 ⅜ inches (295.5 × 453 cm)\n© Archives Simon Hantaï/ADAGP\, Paris\nCourtesy of Gagosian.
URL:https://artinamericaguide.com/event/simon-hantai-les-noirs-du-blanc-les-blancs-du-noir/
LOCATION:Gagosian Le Bourget\, Paris\, 26 Avenue de l'Europe\, Le Bourget\, 93350\, France
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