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SUMMARY:Rudolf Polanszky
DESCRIPTION:  \n“Freedom is a chimera in a sense\, but this illusion is realized as far as is possible in art. I can do something\, and you can say\, “No\, don’t do that\, that’s wrong\,” but I’ll do it anyway.”\n—Rudolf Polanszky \nGagosian is pleased to present new and recent paintings and sculptures by Rudolf Polanszky. This is the first exhibition of the artist’s work at Gagosian in Paris. \nA key figure in the Vienna art scene\, Polanszky creates cerebral yet tactile works that embrace chance occurrence. From the early 1990s\, he began experimenting in mixed-media painting with the series Reconstructions (1991–). To make these subtle compositions\, he uses salvaged industrial materials such as acrylic glass\, aluminum\, mirrored foil\, resin\, silicone\, and wire\, decontextualizing them from their original uses and recombining them into aesthetic forms. Polanszky’s process of “ad hoc synthesis” produces works that oscillate between material constructions and symbols of subjective perception. \nIn this exhibition\, the Reconstructions newly incorporate copper foil. Interspersed between fields of white corrugated cardboard and silvery aluminum\, these gleaming\, gently creased metal sheets add an entirely new tonal and textural dimension to the surface of each painting. In some compositions\, Polanszky combines copper with silver or deep purplish mirrored foil\, recalling the rippling\, reflective surfaces of the Bright Mirrors and Dark Mirrors—two paired subseries of the Reconstructions first seen in his exhibition at Gagosian New York last year. \nAlso on view are two recent sculptures in which Polanszky makes use of the rough-hewn edges of the same repurposed objects\, manipulating strips of metal and acrylic glass into curved forms and dynamic abstractions. Polanszky’s handling of material is intuitive and improvisational; he often leaves the individual components of his works outdoors\, letting the natural elements help determine his constructions’ final surfaces and forms. Yet these works also reveal his acute consideration of the properties and possibilities of materials. In Polanszky’s hands\, industrial fragments are transformed into shimmering arrangements that transcend their mundane origins. \n\nImage:\nRUDOLF POLANSZKY\nReconstructions / Choros / Ecliptics\, 2020\nCopper foil\, aluminium\, copper wire\, resin\, silicone\, acrylic glass\, mirror foil\, acrylic mounted on wood\, in artist frame\n59 1/2 x 59 1/2 inches\n151.2 x 151.2 cm\n© Rudolf Polanszky\nPhoto: Jorit Aust\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/rudolf-polanszky-2/
LOCATION:Gagosian Paris\, 4 Rue de Ponthieu\, 75008 Paris\, Paris\, 75008\, France
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200523
DTEND;VALUE=DATE:20200719
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SUMMARY:Sara Sze
DESCRIPTION:“Sculpture spills from its edge into the world in this very complex way that isn’t bound by the frame. In painting\, the world spills into the frame\, and sometimes we confuse that frame with the world.”\n—Sarah Sze \nGagosian is pleased to present new works by Sarah Sze. This is her first solo exhibition in Paris since her presentation at the Fondation Cartier pour l’art contemporain more than two decades ago. \nA peerless bricoleur\, Sze gleans objects and images from worlds both physical and digital\, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. In recent years she has returned to painting—the medium in which she first trained—producing works that translate her processes of sculptural accumulation into the making of collaged paintings that are detailed\, dynamic\, and highly textural. \nJust as the postwar affichistes elevated the accumulated visual grit of everyday urban life to the status of a painting\, Sze’s large-scale panel paintings collapse multiple forms of picture making into an intricate but unified visual language. In some\, photographic scraps are torn and visibly taped to the surfaces\, resulting in abstracted tableaux that conjure pixelation while retaining the aura of the analog and the handmade. Sze layers paint over and under these jagged paper geometries\, weaving them into each composition in sweeping arcs\, thrumming lines\, and shimmering gradients. In others\, the textures are pure trompe l’oeil\, achieved solely through photographic collage. \nIn a series of four small paintings partly inspired by Piet Mondrian’s phasing of a tree motif into total abstraction\, Sze begins with a seed image: a manipulated digital photograph of one of her previous paintings or sculptures\, which then becomes the foundation for a new work. In this generative and recursive process\, decisions made in one composition resonate in connected visual constellations that either persist or decay with the passage of time. \nAlongside these new paintings\, Sze presents a new multimedia installation entitled Plein Air (2020) that demonstrates her continued fascination with the production and translation of images. Like many of her three-dimensional projects\, the work combines intricate assemblage and video projection; it functions as a kind of tool or portal\, pulling images from the world and presenting them in the gallery space in a transformed state. Thus\, moving and static images are enmeshed with sculpture and architecture in a loop that conflates input and output\, production and consumption. \nAlso on view is Double Wishbone (2020)\, a barely-there sculpture comprised of delicate steel chains linked with “pure paint\,” Sze’s term for a ribbon of dried paint that is the autonomous trace of her process. Suspended in the stairwell of the Paris gallery\, with other iterations dispersed around the space casting their faint shadows\, Double Wishbone invokes Marcel Duchamp’s Hat Rack (1917/1964) as well as his concept of inframince\, the ineffable liminality evoked by seeing a pane of painted glass from the unpainted side\, or the smell of cigarette smoke mingling with that of the mouth exhaling it. \nThis year\, the Public Art Fund has commissioned Sze to create a permanent large-scale work at LaGuardia Airport\, New York. \nIn October 2020\, the Solomon R. Guggenheim Museum\, New York\, will present a solo exhibition of Sze’s work\, and in December 2020 the Fondation Cartier pour l’art contemporain in Paris will present its second solo exhibition of her work. In May 2021 Storm King Art Center in New Windsor\, New York\, will unveil Fallen Sky\, a new large-scale permanent commission. \n\nSARAH SZE\, Picture Perfect (Times Zero)\, 2020\, Oil paint\, acrylic paint\, acrylic polymers\, ink\, aluminum\, archival paper\, graphite\, diabond and wood\, 215.9 x 327.7 cm\, © Sarah Sze\, Photo: Rob McKeever\, Courtesy Gagosian
URL:https://artinamericaguide.com/event/sara-sze/
LOCATION:Gagosian Paris\, 4 Rue de Ponthieu\, 75008 Paris\, Paris\, 75008\, France
CATEGORIES:Exhibition
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SUMMARY:Sarah Sze
DESCRIPTION:Gagosian is pleased to present new works by Sarah Sze. This is her first solo exhibition in Paris since her presentation at the Fondation Cartier pour l’art contemporain more than two decades ago. \n“Sculpture spills from its edge into the world in this very complex way that isn’t bound by the frame. In painting\, the world spills into the frame\, and sometimes we confuse that frame with the world.”\n—Sarah Sze \nA peerless bricoleur\, Sze gleans objects and images from worlds both physical and digital\, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. In recent years she has returned to painting—the medium in which she first trained—producing works that translate her processes of sculptural accumulation into the making of collaged paintings that are detailed\, dynamic\, and highly textural. \nJust as the postwar affichistes elevated the accumulated visual grit of everyday urban life to the status of a painting\, Sze’s large-scale panel paintings collapse multiple forms of picture making into an intricate but unified visual language. In some\, photographic scraps are torn and visibly taped to the surfaces\, resulting in abstracted tableaux that conjure pixelation while retaining the aura of the analog and the handmade. Sze layers paint over and under these jagged paper geometries\, weaving them into each composition in sweeping arcs\, thrumming lines\, and shimmering gradients. In others\, the textures are pure trompe l’oeil\, achieved solely through photographic collage. \nIn a series of four small paintings partly inspired by Piet Mondrian’s phasing of a tree motif into total abstraction\, Sze begins with a seed image: a manipulated digital photograph of one of her previous paintings or sculptures\, which then becomes the foundation for a new work. In this generative and recursive process\, decisions made in one composition resonate in connected visual constellations that either persist or decay with the passage of time. \nAlongside these new paintings\, Sze presents a new multimedia installation entitled Plein Air (2020) that demonstrates her continued fascination with the production and translation of images. Like many of her three-dimensional projects\, the work combines intricate assemblage and video projection; it functions as a kind of tool or portal\, pulling images from the world and presenting them in the gallery space in a transformed state. Thus\, moving and static images are enmeshed with sculpture and architecture in a loop that conflates input and output\, production and consumption. \nAlso on view is Double Wishbone (2020)\, a barely-there sculpture comprised of delicate steel chains linked with “pure paint\,” Sze’s term for a ribbon of dried paint that is the autonomous trace of her process. Suspended in the stairwell of the Paris gallery\, with other iterations dispersed around the space casting their faint shadows\, Double Wishbone invokes Marcel Duchamp’s Hat Rack (1917/1964) as well as his concept of inframince\, the ineffable liminality evoked by seeing a pane of painted glass from the unpainted side\, or the smell of cigarette smoke mingling with that of the mouth exhaling it. \nThis year\, the Public Art Fund has commissioned Sze to create a permanent large-scale work at LaGuardia Airport\, New York. \nIn October 2020\, the Solomon R. Guggenheim Museum\, New York\, will present a solo exhibition of Sze’s work\, and in December 2020 the Fondation Cartier pour l’art contemporain in Paris will present its second solo exhibition of her work. In May 2021 Storm King Art Center in New Windsor\, New York\, will unveil Fallen Sky\, a new large-scale permanent commission. \n\nImage:\nSARAH SZE\, Ripple (Times Zero)\, 2020\, Oil paint\, acrylic paint\, acrylic polymers\, ink\, aluminum\, archival paper\, oil stick\, pencil\, graphite\, string\, push pin\, diabond and wood\, 289.6 x 362 cm\, © Sarah Sze\, Photo: Rob McKeever\, Courtesy Gagosian
URL:https://artinamericaguide.com/event/sarah-sze/
LOCATION:Gagosian Paris\, 4 Rue de Ponthieu\, 75008 Paris\, Paris\, 75008\, France
CATEGORIES:Exhibition
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SUMMARY:BLANC SUR BLANC
DESCRIPTION:Image caption: \nRACHEL WHITEREAD\nLEAN\, 2005\nPlaster\n79 1/8 x 97 5/8 x 26 inches\n201 x 248 x 66 cm\n© Rachel Whiteread\nPhoto: Mike Bruce\nCourtesy Gagosian \n\nBLANC SUR BLANC \nJanuary 16–March 7\, 2020\nOpening reception: Thursday\, January 16\, 6–8pm \nGagosian is pleased to present Blanc sur Blanc\, a group exhibition. \nA century ago\, Kazimir Malevich’s Suprematist paintings heralded a revolutionary new interpretation of white\, in which total abstraction suggests the utopian and the infinite. Since then\, artists have deployed the achromatism of whiteness in an endless range of formal and symbolic ways\, evoking states of emptiness and effacement\, and summoning the raw potential of the blank page. Working in different contexts and with different ends in mind\, the artists in Blanc sur Blanc find unexpected power and substance in what appears at first to be an absence or lack. \nIn 1946\, Lucio Fontana and his students drafted the Manifesto Blanco\, a vision for a fundamentally new method of artistic production that demanded that artists engage with the real-world physicality of their materials instead of treating the canvas as an illusory\, self-contained space. It was out of this impulse that Fontana produced Concetto Spaziale\, Attese (Spatial Concept\, Waiting\, 1966)\, one of his first slashed canvases. For Fontana\, the painting’s allover coat of white formed a blank screen and acted as a vehicle for heightened drama\, with any connotations of purity or tranquility disrupted by his forceful incisions. \nDuring the last decade of his life\, Andy Warhol broke with the visual and conceptual language of Pop art to produce idiosyncratic takes on abstract and gestural painting. Abstract Painting (1982) is one such work. Measuring forty inches square—the same dimensions that Warhol used previously for his notorious Society Portraits—the canvas is veiled in a white wash that permits only tantalizing glimpses of multicolored swirls beneath. \nLEAN (2005) exemplifies Rachel Whiteread’s practice of concretizing negative space in order to memorialize it. Here she has cast the interiors of various cardboard boxes in plaster of paris as a somewhat wistful tribute to the banal\, quotidian container. The resulting geometric accumulation of minimalist white slabs is propped up casually against the gallery wall\, ghostlike yet palpable. \nAlso on view are three recent pieces by Paris-based artist Sheila Hicks\, whose textile works incorporate yarn-based techniques from diverse cultures. While Hicks’s oeuvre is characterized by intense color\, she also works with natural undyed fibers. Here she has fashioned spheres\, woven rectangular canvases\, and tumbling cascades of linen in neutral shades that exude a tactile yet meditative calm. \nBlanc sur Blanc includes works by Jean (Hans) Arp\, Agostino Bonalumi\, Enrico Castellani\, Edmund de Waal\, Lucio Fontana\, Theaster Gates\, Diego Giacometti\, Wade Guyton\, Simon Hantaï\, Sheila Hicks\, Thomas Houseago\, Y.Z. Kami\, Imi Knoebel\, Bertrand Lavier\, Sol LeWitt\, Sally Mann\, John Mason\, Olivier Mosset\, Giuseppe Penone\, Seth Price\, Paolo Scheggi\, Setsuko\, Rudolf Stingel\, Cy Twombly\, Andy Warhol\, Franz West\, and Rachel Whiteread\, among others.
URL:https://artinamericaguide.com/event/blanc-sur-blanc/
LOCATION:Gagosian Paris\, 4 Rue de Ponthieu\, 75008 Paris\, Paris\, 75008\, France
CATEGORIES:Event
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SUMMARY:Blanc sur Blanc
DESCRIPTION:BLANC SUR BLANC \nJanuary 16–March 7\, 2020 \nGagosian is pleased to present Blanc sur Blanc\, a group exhibition. \nA century ago\, Kazimir Malevich’s Suprematist paintings heralded a revolutionary new interpretation of white\, in which total abstraction suggests the utopian and the infinite. Since then\, artists have deployed the achromatism of whiteness in an endless range of formal and symbolic ways\, evoking states of emptiness and effacement\, and summoning the raw potential of the blank page. Working in different contexts and with different ends in mind\, the artists in Blanc sur Blanc find unexpected power and substance in what appears at first to be an absence or lack. \nIn 1946\, Lucio Fontana and his students drafted the Manifesto Blanco\, a vision for a fundamentally new method of artistic production that demanded that artists engage with the real-world physicality of their materials instead of treating the canvas as an illusory\, self-contained space. It was out of this impulse that Fontana produced Concetto Spaziale\, Attese (Spatial Concept\, Waiting\, 1966)\, one of his first slashed canvases. For Fontana\, the painting’s allover coat of white formed a blank screen and acted as a vehicle for heightened drama\, with any connotations of purity or tranquility disrupted by his forceful incisions. \nDuring the last decade of his life\, Andy Warhol broke with the visual and conceptual language of Pop art to produce idiosyncratic takes on abstract and gestural painting. Abstract Painting (1982) is one such work. Measuring forty inches square—the same dimensions that Warhol used previously for his notorious Society Portraits—the canvas is veiled in a white wash that permits only tantalizing glimpses of multicolored swirls beneath. \nLEAN (2005) exemplifies Rachel Whiteread’s practice of concretizing negative space in order to memorialize it. Here she has cast the interiors of various cardboard boxes in plaster of paris as a somewhat wistful tribute to the banal\, quotidian container. The resulting geometric accumulation of minimalist white slabs is propped up casually against the gallery wall\, ghostlike yet palpable. \nAlso on view are three recent pieces by Paris-based artist Sheila Hicks\, whose textile works incorporate yarn-based techniques from diverse cultures. While Hicks’s oeuvre is characterized by intense color\, she also works with natural undyed fibers. Here she has fashioned spheres\, woven rectangular canvases\, and tumbling cascades of linen in neutral shades that exude a tactile yet meditative calm. \nBlanc sur Blanc includes works by Jean (Hans) Arp\, Agostino Bonalumi\, Enrico Castellani\, Edmund de Waal\, Lucio Fontana\, Theaster Gates\, Diego Giacometti\, Wade Guyton\, Simon Hantaï\, Sheila Hicks\, Thomas Houseago\, Y.Z. Kami\, Imi Knoebel\, Bertrand Lavier\, Sol LeWitt\, Sally Mann\, John Mason\, Olivier Mosset\, Giuseppe Penone\, Seth Price\, Paolo Scheggi\, Setsuko\, Rudolf Stingel\, Cy Twombly\, Andy Warhol\, Franz West\, and Rachel Whiteread\, among others. \n\nRACHEL WHITEREAD\nLEAN\, 2005\nPlaster\n79 1/8 x 97 5/8 x 26 inches\n201 x 248 x 66 cm\n© Rachel Whiteread\nPhoto: Mike Bruce\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/blanc-sur-blanc-2/
LOCATION:Gagosian Paris\, 4 Rue de Ponthieu\, 75008 Paris\, Paris\, 75008\, France
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