International 03 Art Exhibitions 2020 International 23.07.2020 > 08.11.2020 Art Exhibitions 2020

1 Nicolas Composition 1949, Oil on canvas de Staël 162.5 x 114 cm

Centre Pompidou A unique retrospective of the work of Nicolas de Staël, a major artist of the French art scene from 1945 onwards. The exhibition aims, through several of his masterpieces, to present the excep- tional career of this artist who placed the dialectic between abstraction and figuration at the heart of his extra- ordinary and all-too-brief oeuvre. Born in Saint Petersburg in Russia in 1914, Nicolas de Staël studied in before moving to France in 1938 where he first became known through an exhibition at the Galerie Jeanne Bucher in in 1944. Living and working in a period in which abstraction was trium-

Málaga phant, the artist returned to figuration in 1952 with cut-back and powerfully constructed forms. After moving to the South of France in 1953, his work was cut short in 1955, when the artist took his own life in his studio in Antibes. 3

The exhibition includes a total of twenty- The first chapter (1946-1948) reveals the 2 five works, including 9 paintings and artist’s painted and drawn production, Les Musiciens, sixteen works on paper, some of which based on an austere abstraction (La Vie Souvenir de Sidney Bechet are large-format. The Dure, 1946). The following section 1953, Oil on canvas holds a reference collection of works by (1949-1951) shows the artist’s evolution 161.9 x 114.2 cm Nicolas de Staël. This entire collection towards cutting the space of the Donation is part of the exhibition presented in painting into thick areas of paint (Les 3 Málaga, offering a journey in four Toits, 1951-1952).The third section L’Orchestre 1 2 sequences. (1952-1953), where the artist’s return to 1953, Oil on canvas figuration manifests itself, allows us to 200 x 350 cm Works 1 | 2 | 3 | 5 take stock of the shock that the Gift of Sophie & Jérôme Seydoux Collection Centre Pompidou, Paris, discovery of the Mediterranean light 4 Musée national d’art moderne, constituted for the artist (Le Lavandou, Les Toits Centre de création industrielle 1952). Its landscapes and nudes with 1952, Oil on Isorel © Adagp, Paris abbreviated and powerfully masonry 200 x 150 cm Work 4 forms are distinguished by significantly 5 © Adagp, Paris more vivid colours. It was also the time Le Lavandou when music played an important role 1952, Oil on canvas, mounted in the work of Nicolas de Staël (Les on wood Musiciens. Souvenir de Sidney Bechet 195 x 97 cm 45 and the monumental Orchestre, 1953). Gift of Mr & Mrs Jacques Dubourg

www.centrepompidou-malaga.eu International 25.07.2020 > 08.11.2020 Art Exhibitions 2020 Fantastic Women Surreal Worlds from Meret

3 Oppenheim to 3 Louisiana Museum of Modern Art Louisiana Museum of Modern Art At the Appointed Time 1942, Oil on canvas Newark Museum of Art, Bequest of Kay Sage Tanguy 4 Bridget Tichenor The Surrealists/ The Specialists 1956, Oil on Mazonite 40 x 30.2 cm Private Collection Mexico © Bridget Tichenor 5 4 5 The School of Vanity 1967, Oil & on A major exhibition of female Surrealists models, but soon they broke out of the cardboard with more than 260 works by 34 artists traditional roles and manifested them- 62 x 98 cm from the USA, Mexico and Europe. selves with their own works. Rosine Ortmans, It features works by the following © Jane Graverol artists: , Lola Álvarez Bravo, The exhibition shows how they worked 6 , Louise Bourgeois, Claude within themes, which in many cases Louise Bourgeois Cahun, , Ithell were already associated with , Torso, Self-Portrait Colquhoun, Maya Deren, Germaine but also how they differ from the male 1963-64, Bronze, painted Dulac, Nusch Éluard, , Jane artists. The aspect that most clearly white, wall piece Graverol, , Frida Kahlo, differentiates the female Surrealists 62.9 x 40.6 x 20 cm Rita Kernn-Larsen, Greta Knutson, from their male colleagues is the Collection the Easton Foundation , Sheila Legge, inversion of perspective. © The Easton Foundation , Emila Medková, , 7

Humelbæk Suzanne Muzard, Meret Oppenheim, The female artists sought a (new) Meret Oppenheim 6 , , Edith female identity model. This often Venus Primitive Rimmington, Kay Sage, Jeannette involved an investigation of their own 1962 (1933), Painted terracotta, 1 2 Tanguy, , Elsa reflections and playing with various glaced straw Leonora Carrington Frida Kahlo Thoresen, Bridget Tichenor, , roles. In a wealth of self-portraits and 64 x 26.5 x 20 cm Portrait of the Late Self-Portrait with Thorn , Unica Zürn. depictions of female figures, they show © Kunstmuseum Solothurn Mrs Partridge Necklace and Hummingbird a playful, self-aware approach to the 1947, Oil on wood 1940, Oil on canvas mounted Goddess, she-devil, doll, fetish, child- image of the female body and female 100.3 x 69.9 cm onto board woman or wonderful dream-creation – sexuality. In addition, they incorporated Private Collection Collection of Harry Ransom Center, the woman or the idea of the feminine the political events and literature of the © Leonora Carrington The University of Texas at Austin was the central element in the male time as well as myths from other Surrealists’ imaginations. At first the cultures in their works and extended female artists became part of the the visual language of Surrealism in 7 inner circle of Surrealism primarily as many respects. www.louisiana.dk International 25.07.2020 > 31.08.2020 Art Exhibitions 2020

Madeleine

1 Pfull 4

Salon Nino Mier CologneSalon Madeleine Pfull’s paintings focus on a Opposite page complex world that is deeply rooted in Pink Lady the everyday. An aesthetic that ‘refuses 2020, Oil on linen to see the ordinary and everyday as 121.9 x 101.6 meaningless’. Her works transform 1 banality into something intriguing and Navy Lady 1 highlights it as a multi-facetted micro- 2020, Oil on linen cosm. Pfull celebrates the moderate 110 x 150 cm behavior and average looks of the 2 women in her paintings whilst also Bathtub echoing their hidden emotional as well 2020, Oil on linen as social ambivalence, emphasized 152.4 x 106.7 cm further by their ordinary surroundings. 3 In situations in which a moment can be Book Lady endless, and time passing reveals itself 2020, Oil on linen as an almost symbolic parameter, these 182 x 122 cm usually invisible characters expose their 4 inner selves. 2 Installation view

They scrunch up their face while having a smoke on the sofa, deeply relax in an armchair, spill milk on the floor and immerse into a hidden space of their own. An emotional inner room that Madeleine Pfull subtly captures in stages of solitude, of tedium, of anxiety: in moments where they feel safe. Pfull’s women, to some extent, emulate our own emotional states. This is achieved by exaggerating their facial expressions through an almost hyper- real and historically charged style of painting. By looking at their faces we feel their doubts and their strengths. We begin to empathize with them by imagining their fictitious life stories whilst also questioning: What was their 3 past? What have they been through? 5 And what had happened to them that Pfull’s new paintings take up this notion Seen from the outside, they can be initiated their introspection? Instead of 5 of time passing and transfer the viewer perceived as the ‘invisible women’ – the answering these questions or engaging Spilt Milk 1 into a private and quieter atmosphere: ones we all know. The ones that usually into an emotional dialogue with the 2020, Oil on linen an environment into which her now hide away their emotions. Failure only viewer, Pfull’s characters constantly 182.9 x 111.2 cm singular characters retreat. happens in moments of total privacy. withdraw themselves in front of us.

www.miergallery.com International 30.07.2020 > 29.08.2020 Art Exhibitions 2020

Terry O’Neill 1 David Bowie with Every Picture tells a Story Elizabeth Taylor Beverly Hills, 1975 3 A Retrospective 185 x 125 cm

Maddox Gstaad Gallery This retrospective showcases a series of captivating works including images of Elton John, Brigitte Bardot and David Bowie in the distinctive snapshot aesthetic that O’Neill is famous for. Amongst these pieces will be some of O’Neill’s rarer work, some of which was only released last year, including a recently colourised image of Frank Sinatra on the Miami Boardwalk.

Terry O’Neill’s candid images have given us a rare, up close and personal view of some of the world’s most iconic figures. Spanning over 60 years, no other photo- grapher has embraced the span of fame, capturing the icons of our age. 4 7

2 Michael Caine 1970 79 x 60 cm 3 Audrey Hepburn South of France, 1966 125 x 185 cm 4 David Bowie 1975 70 x 73 cm 5 Faye Dunaway 1 2 6 Morning after winning the Oscar, 1976 From the faces of film to fashion, movie 93 x 93 cm stars to musicians and presidents to pop 6 stars, Terry has become one of the Brigitte Bardot world’s most collected photographers. Spain, 1971 His work now hangs in national art 158 x 105 cm galleries and private collections around 7 the world. In the first retrospective since Roger Moore his death, the show includes a portfolio as James Bond, 1970 of witty and strikingly original images 69 x 55cm 5 from the famous photographer. www.maddoxgallery.com International 01.08.2020 > 03.09.2020 Art Exhibitions 2020

1 The Arrangement 2020, Acrylic fluorescent acrylic Peter Halley and Roll-a-Tex on canvas 175.26 x 134.62 cm 5 New Works 2 Lost Illusions Maruani Mercier Peter Halley was born in New York City 2020, Acrylic fluorescent acrylic in 1953. He received his BA from Yale and Roll-a-Tex on canvas University and his MFA from the 186.69 x 179.07 cm University of New Orleans in 1978. 3 Moving to New York City had big When Today Ends influence on Halley’s painting style. 2020, Acrylic fluorescent acrylic Its three-dimensional urban grid led to and Roll-a-Tex on canvas geometric paintings that engage in a 198.12 x 139.7 cm play of relationships between so-called 4 ‘prisons’ and ‘cells’ – icons that reflect Out of Shadows the increasing geometricization of social 2020, Acrylic fluorescent acrylic space in the world. 7 and Roll-a-Tex on canvas 200.66 x 175.26 cm Halley is part of the generation of Neo- 5 Conceptualist artists that first exhibited A Perfect Plan

Knokke in New York’s East Village, including Jeff 2020, Acrylic fluorescent acrylic Koons, Haim Steinbach, Mayier Vaisman and Roll-a-Tex on canvas and Ashley Bickerton. These artists 187.96 x 275.59 cm became identified with the labels Neo- 6 Geo and Neo-Conceptualism, an art Peter Halley practice deriving from the conceptual 7 1 | 2 art movement of the 1960s and 1970s. Red Prison 2005, Acrylic metallic acrylic Peter Halley began to use colours and and Roll-a-Tex on canvas materials with specific connotations, 76 x 76 x 10 cm such as fluorescent Day-Glo paint, 8 mimicking the eerie glow artificial Force of Nature lighting and reflective clothing and signs, 2020, Acrylic fluorescent acrylic as well as Roll-a-Tex, a texture additive and Roll-a-Tex on canvas used as surfacing in suburban buildings. 6 204 x 188 x 10 cm

I just don’t think the power of They are represented in such museums abstraction is going away. and art institutions as the CAPC Musee All works Our whole cultural universe is d’Art Contemporain, Bordeaux; the © Jake Attree and courtesy built on abstraction. Museo Nacional Centro de Arte Reina the artist and Messum Fine Art Peter Halley Sofia, Madrid; the Stedelijk Museum, Limited, London & Marlow Amsterdam; the Des Moines Art Center; Focussing on the commodification of art The Modern, London; the Dallas and its relation to gender, race, and class, Museum of Art; the Museum of Modern neo-conceptualists question art and art Art, New York; the Kitakyushu Municipal institutions with irony and pastiche. Museum of Art; the Museum Folkwang, Peter Halley’s works were included in Essen and the Butler Institute of the Sao Paolo Biennale, the Whitney American Art. Halley lives and works in 3 | 4 7 Biennale and the 54th Venice Biennale. New York City. 8 www.maruanimercier.com International 27.08.2020 > 02.01.2021 Art Exhibitions 2020

1 Kees Van Dongen Modjesko, Soprano Singer Félix Fénéon 1908, Oil on canvas The Anarchist & the Avant-Garde 100 x 81.3 cm The Museum of Modern Art, FROM SIGNAC TO MATISSE AND BEYOND New York

The Museum of Modern Art An exhibition highlighting Fénéon’s role Bringing together a selection of major in the development of modern art. works that Fénéon admired, cham- The exhibition brings together some pioned, and collected, alongside 150 works that the forward-looking art contemporary letters, documents, and critic, dealer, and collector championed, photographs, the exhibition under- admired and collected. Though largely scores the tremendous impact he had unknown today and always discreetly on the development of modernism in behind the scenes in his own era, the late 19th and early 20th centuries. Fénéon played a key role in the careers The centerpiece of the exhibition is Paul of leading artists from Georges Seurat Signac’s ‘Opus 217 | Against the Enamel and Paul Signac to Pierre Bonnard and of a Background Rhythmic with Beats Henri Matisse, each of whom is featured and Angles, Tones and Tints | Portrait of prominently in the exhibition which M Félix Fénéon in 1890’ – an icon of Neo- traces Fénéon’s career through approxi- Impressionism and a masterpiece in mately 150 works that highlight his MoMA's collection. In this dramatic initiatives to help artists via his reviews, portrait, Signac pays homage to Félix exhibitions, and acquisitions; his literary Fénéon’s distinctive profile and goatee, engagements; and his contributions to dandyish attire, and generous but 1 the recognition of non-Western art. enigmatic personality. 4

2 Henri Matisse Interior with a Young Girl 1905-06,Oil on canvas 72.7 x 59.7 cm New York The Museum of Modern Art, New York 3 Georges-Pierre Seurat Study for A Sunday on La Grande Jatte 1884, Oil on canvas 70.5 × 104.1 cm The Metropolitan Museum of Art, New York 4 Georges-Pierre Seurat) 2 3 Seated Woman with a Parasol. Study for a Sunday Paul Signac The spiral patterns in the background applying tiny dabs of colour that mix in pioneered by artists Seurat and Signac. on La Grande Jatte Opus 217 | Portrait of M Félix Fénéon set into motion the scientific colour the eye of the viewer. It was a young Over the next five decades, Félix Fénéon 1884–85, Conté crayon on paper 1890, Oil on canvas theories that Signac and the Neo- who had coined the term ‘Neo- would be their most ardent, lifelong 47.7 x 31.5 cm 73.5 x 92.5 cm Impressionists used to develop the Impressionism’ a few years earlier, in champion as well as continuing his The Art Institute of Chicago The Museum of Modern Art, New York technique of Pointillism, which involved 1886, to recognize the new style commitment to anarchism. www.moma.org International 01.09.2020 > 26.09.2020 Art Exhibitions 2020

Opposite page Coup de Théâtre 2018-19, Oil on canvas 1 Allen Jones 183 x 152.5 cm

Almine Rech Allen Jones is part of an extraordinary generation of artists from North America and across Western Europe born in the 1930s who, children during the horrors of World War II, were art students in the shift from the austerity of the recovering fifties into a decade of the prosperous swinging sixties with its celebration of a new found sense of consumerism and sexual liberation.

There had not been a comparable London decade in Europe since the twenties. In the world of painting, artists who typified this generation included, in 5 the States, James Rosenquist and Tom Wesselmann, Martial Raysse in France, 1 Michelangelo Pistoletto in Italy, and Allen Jones Konrad Klapheck in Western Germany. Photo by Patrick McMullan In Britain amongst the most prominent © The Talks figures of his particular generation was 2 Allen Jones. And like many others went No Show on to have distinguished and inventive 2019-20, Oil on canvas careers over several decades until the 152.4 x 152.4 cm present. 2 3 Action Painting 2015, Painted fibreglass figure on stainless steel base 205 x 51 x 61 cm 4 Practice Makes Perfect 2020, Diptych 152.5 x 305 cm 5 Now or Never 2019, Oil on canvas 183 x 152.5 cm plus shelf

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Allen Jones was born in Southampton He was elected a Royal Academician All images: Courtesy of the in 1937. He was awarded the Prix des in 1986 and was awarded an Honorary Artist and Almine Rech Jeunes Artistes at the 1963 Paris Doctorate of Arts at Southampton Photography: 3 Biennale. Solent University in 2007. Melissa Castro Duarte. www.alminerech.com International 01.09.2020 > 01.01.2021 Art Exhibitions 2020

Opposite page Jaap Weyand The Damlander Mill Painters of Light 1909, Oil on canvas 35 x 30 cm 1 From the Singer Laren Collection Donation Renée Smithuis 2014

Singer Laren Laren Featuring works from Singer Laren, with its strong focus on impressionism and modernism, the exhibition shines a spotlight on the painters of light. During the course of the 19th century light became an important subject for artists once again, as it had been in the 17th century. Painters swapped their studios for outdoor locations, and those in the artists’ colony of Laren were no excep- tion. Thus began a period of several decades in which the focus of art was on light, which we explore here on the 5 basis of six themes. Claude Monet and Max Liebermann painted impressions of 1 natural light, Jan Toorop and Ferdinand Ferdinand Hart Nibbrig Hart Nibbrig used the pointillist tech- View of Zoutelande nique to create vibrating light effects, c1910-15, Oil on canvas and Jan Sluijters experimented with 104 x 119 cm colour to convey the sensation of light. Gift of F E Hart Nibbrig 1967 Leo Gestel captured the ‘inner light’ in 2 portraits, while Kees Maks used artificial Jo Koster light when staging his painted scenes . Girl with Sun Hat Finally, we see southern light, in the 1911, Oil on canvas work of artists like Kees van Dongen. 2 40 x 40 cm Donation Collection Nardinc 3 Jan Sluijters Night Café – Olympia Paris 1906 Donation Collection Nardinc 4 Jan Toorop Before the Strike (Dark Clouds) c1888-89, Oil on canvas 66.5 x 78.5 cm Donation Collection Nardinc 5 Jan Sluijters Dancer c1907, Oil on canvas 40 x 35 cm 3 4 Loan from private collection www.singerlaren.nl International 03.09.2020 > 03.10.2020 Art Exhibitions 2020

Opposite page 4055205 2019, Oil on Canvas Slow 55 x 40 cm 1 1 1 Katinka Lampe Installation view

Galerie Ron Mandos Galerie Katinka Lampe was born in 1963 in Tilburg in the Netherlands. She now lives and works in Rotterdam.

Reflecting on her latest show ‘Slow’, Lampe argues for more self-reflection, for taking a step back, to listen, and to stop judging one another without discretion. Her newest paintings function as mirrors, showing us our reflection rather than the model’s identity, their feelings and beliefs. ‘Slow’ is also about the gentle and rigorous procedure that assures the impeccable finish of each painting. Her works often require up to ten layers of oil paint, each taking a week to dry. They are the result of highly stylized and

Amsterdam choreographed compositions – photo- graphed first, then drawn on paper and consequently cut out. The intricate stencils she uses to build up her layered works have become a trademark for Katinka Lampe. Her distinctive aesthetic seduces us to take time to slowly peel off the different layers and to contem- plate the beauty of the paint on canvas. 2

2 4055206 2019, Oil on canvas 55 x 40 cm 3 1216196 2019, Oil on canvas 160 x 120 cm 4 8013191 2019, Oil on canvas 80 x 130 cm

© The Artist Courtesy Galerie Ron Mandos 3 4 Amsterdam

www.ronmandos.nl International 03.09.2020 > 31.10.2020 Art Exhibitions 2020

2 1 Pieter Shifted Sims #17 Shifted Sims #14 (Influencer Career) (Luxury Party Stuff) Schoolwerth 2020, Oil, acrylic, inkjet on canvas 2020, Oil, acrylic, inkjet on canvas 243.8 x 332.7 cm 203.2 x 284.5 cm Shifted Sims 3 Shifted Sims #15 (Tiny Living) Petzel Gallery The hidden cost of 21st-century 2020, Oil, acrylic, inkjet on canvas convenience is that you are stalked by a 215.9 x 304.8 cm muzzy dread, a feeling that everything 4 you do inflicts some distant unseen Shifted Sims #23 harm. The extraordinary events of 2020 (Basemental Drug Mod) sharpen focus on the disastrous and 2020, Oil, acrylic, inkjet on canvas racialized consequences of this estrange- 170.2 x 254 cm ment. In ‘Shifted Sims’, his first solo show 5 at Petzel Gallery, Schoolwerth gives Shifted Sims #9 (Eco Lifestyle) form to the condition of being ‘remote’ 2020, Oil, acrylic, inkjet on canvas and retreating into masks, from the N95 182.9 x 280.7 cm to the quarantine selfie. What’s more, 6 he pressures painting to catch up to the Shifted Sims #16 (Ultimate New York surge of online profiles, identities with- Alexa Mod: Pyromaniac Trait) out bodies, that teem at the surface of 2020, Oil, acrylic, inkjet on canvas 1 | 2 this ‘once-removed’ existence. 5 215.9 x 292.1 cm

Schoolwerth’s psychoactive tableaus 7 depict CGI avatars let loose in the digital froth: a Baywatch-y beach, a fashion- brand showroom, a furry orgy. He pulls these scenes from screenshots of Sims 4, the strategic life-simulation computer game where anything goes – or does it? Trailing every avatar is an estranged silhouetted double, snapped into existence by the ‘shift’ of Shifted Sims. Each composition has been super- imposed, askew, over the photo of a handmade relief sculpture of the image. What appears is a shadow realm of vesti- gial matter, yanked into view on inkjet- 3 | 4 printed canvases and parceled in paint.

Schoolwerth was born in St Louis in 1970. He lives and works in New York. Since 6 graduating from the California Institute in 1994, he has exhibited internationally 4 with notable solo shows at Thread Genesis Waxing Space, Greene Naftali, American 2006, four-part, sheet 3, colour Fine Arts Co and MiguelAbreu Gallery, woodcut, digitally overprinted New York; Gallery SKE, New Delhi, What 75.5 x 105 cm Pipeline, Detroit and Capitain Petzel and Museum Morsbroich, Leverkusen; Kraupa-Tuskany Zeidler, Berlin. 6 www.petzel.com International 04.09.2020 > 14.02.2021 Art Exhibitions 2020

Opposite page The promise of change Michael Armitage 2018, Oil on Lubugo bark cloth 220 x 240 cm 1 1 Paradise Edict Photo Ollie Hammick

Haus der Kunst Michael Armitage was born in Nairobi, Kenya in 1984. He has quickly b ecome one of the most exciting voices in contemporary painting. In his large- format, nuanced oil paintings he combines European and East African motifs and painting traditions. He draws inspiration from political events, pop culture, f olklore and personal memories, weaving these into mythically charged and dreamlike images. With ‘Paradise Edict’ Michael Armitage, who will be awarded the renowned Ruth Baumgarte Art Award in the fall, celebrates his f irst Munich major presentation in a museum setting and his first show in Germany . 5

1 Portrait of Michael Armitage Photo George Darrell 2 Nyayo 2017, Oil on Lubugo bark cloth 220 x 170 cm Photo George Darrell 3 Mkokoteni 2019, Oil on Lubugo bark cloth 220 x 170 cm Photo Theo Christelis 4 2 3 The Chicken Thief 2019, Oil on Lubugo bark cloth Those trained in Western art history will Art and the Royal Academy of Arts in 200 x 150 cm find Michael Armitage’s paintings London, skillfully addresses the Euro- Photo Theo Christelis attractive and surprisingly familiar, pean view and the associated exoticism 5 experiencing a kind of deja vu. The when looking at the ‘other’. Peace Coma iconography of Titian, Francisco de Goya, 2014, Oil on Lubugo bark cloth Edouard Manet, Paul Gauguin, Vincent Michael Armitage’s palette and symbol- 110 x 75 cm Van Gogh and Egon Schiele can be ism are inspired by East African artists. Photo Prudence Cuming found in the works’ compositional He paints on lubugo, a cloth-like Associates Limited elements, motifs and colour combina- material traditionally extracted from the tions. Michael Armitage, who grew up in bark of t he Natal fig tree by the Baganda All works © Michael Armitage 4 Kenya and trained at the Slade School of people in Southern Uganda. All photos © White Cube www.hausderkunst.de International 05.09.2020 > 03.10.2020 Art Exhibitions 2020

Farah Atassi

5 Paintings

Almine Rech Paris 1 Circus 2 2020, Oil and glycero on canvas 180 x 220 cm 2 The Ballet 2020, Oil on canvas 114 x 146 cm 3 The Stage 2020, Oil on canvas 160 x 200 cm 4 Still Life with Checkers 2020, Oil on canvas 130 x 162 cm 5 1 2 6 Installation view 6 In her latest series of vivid geometric Cabaret paintings, Farah Atassi intermingles 2020, Oil and glycero on canvas references to modernist painting, 162 x 130 cm decorative arts, textile motifs and folk 7 art. Having long used colourful triangles, Model in Studio 6 rectangles and circles to construct 2020, Oil and glycero on canvas fanciful unpopulated interior scenes, 180 x 145 cm Atassi has only recently begun to 8 assemble these shapes into stylized still The Beach lifes and human forms. The suite of 2020, Oil and glycero on canvas twelve new paintings (all 2020) 180 x 250 cm presented for the first time at Almine Rech features Cubist-style female 7 figures, musical instruments, domestic objects and circus props depicted in Unsurprisingly, Atassi’s foray into still the same status within the composition. All images: rooms whose colourfully patterened life and portraiture is not without Like Mondrian and Malevich, two © Farah Atassi, Courtesy of décors variously recall Mondrian complication. Flouting the traditional important touchstones for the artist, the Artist and Almine Rech 3 4 Scottish tartans and Pucci textiles. pictorial hierarchies of these two genres, Atassi relies on a grid to organize her Photography: Matt Bohli the artist rejects the notion that certain carefully devised compositions of compositional elements should have colours and shapes. However, she also greater importance than others. uses the grid to help plot out the ortho- On the contrary, every aspect of Atassi’s gonal lines that help her to represent canvases – whether it be a figure, an three-dimensional space. Farah Atassi object, or the environment – receives anchors her paintings firmly between 8 the same painterly treatment and holds abstraction and representation. www.alminerech.com International 05.09.2020 > 01.02.2021 Art Exhibitions 2020 Anneke Wilbrink

1 Lofoten

Museum de Fundatie Anneke Wilbrink was born in Zwolle Opposite page in 1973. Her colourful paintings depict Untitled a transformed world that balances 2020, Oil on canvas between science fiction and the here 140 x 170 cm and now. Metropolitan architecture 1 goes hand in hand with unspoilt natural Anneke Wilbrink beauty. In Anneke Wilbrink’s paintings 2 it seems as if the world is in a particle Untitled accelerator. Futuristic landscapes are 2020, Oil on canvas filled with skyscrapers, psychedelic 140 x 170 cm flowers and trees are depicted against 3 a back- ground of blue skies and Untitled rockfaces. 2020, Oil on canvas 120 x 180 cm Her worlds feature recognisable 4 elements, like Rotterdam’s Erasmus Untitled Bridge and the Nieuwe Toren in 2020, Oil on canvas Kampen (where she attended art 180 x 120 cm college), which then immediately Zwolle dissolve into the rest of the visual All works spectacle. 2 © Anneke Wilbrink

This is pure, intense painting disguised as science fiction. Her work inspires us to see how beautiful the world is and how important it is to keep it that way. Wilbrink herself refers to her work as ‘a protest song…but without preaching’. The dynamic landscapes are composed like : often full, overcrowded, just like daily life.

In 2006 Anneke Wilbrink won the Royal Dutch Award for Painting. Her first exhibition at Museum de Fundatie was at Nijenhuis Castle in 2010. ‘And now it’s high time we showed her recent work’, says Ralph Keuning, director of Museum 3 de Fundatie. 4

Anneke Wilbrink was unmistakably She is a thoroughbred painter who, The fascination in the work lies in all inspired by the Italian futurists: speed, in every canvas, strives for a balance the things happening in it. Stepping in- energy, strong linework and technology between material, composition and side her world, you are part of it, before all crowd together in her compositions. colour. realising that you are in a painting. www.museumdefundatie.nl International 10.09.2020 > 10.10.2020 Art Exhibitions 2020

Opposite page Bauhaus (Orange) 2019, Acrylic on dibond Daniel Rich 80 x 55 cm 1 1 Back to the Future Installation view 2 Miles McEnery Gallery Gallery Miles McEnery Daniel Rich’s reticulated cityscapes and Robert C Weaver Building, slick façades appear at first glance to be Washington DC quite literally superficial. Whether it is a 2019, Acrylic on dibond geometric exterior pressed close to the 125 x 80 cm picture plane or a cluster of multiple 3 structures glimpsed from a distance, we Hong Kong Stairwell experience architecture in his painting 2019, Acrylic on dibond as a wholly exteriorized phenomenon – 60 x 50 cm looming close up or made smaller 4 through a bird’s-eye view. 700 Louisiana, Houston 2019, Acrylic on dibond 184.5 x 140 cm New York

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His process-oriented paintings offer 5 2 windows to different parts of the world – Tower, Houston some figuratively, others much more 2020, Acrylic on dibond literally. Architecture is designed and 200 x 150 cm implemented to house the human and 6 is itself the manifestation of our con- Midtown, NYC structed realities. When all signs of life 2020, Acrylic on dibond are missing from buildings and spaces, 200 x 140 cm as in Rich’s paintings, the result is an unsettling subversion that upends and questions what we have come to expect © Daniel Rich of both architectural spaces and the Courtesy the artist and 4 5 organized linearity of time. Miles McEnery Gallery, New York www.milesmcenery.com International 12.09.2020 > 29.11.2020 Art Exhibitions 2020

Opposite page Floater 17 Derrick Adams 2016, collage on paper 1 Buoyant Pizzuti Collection 1 Museum of Fine Arts ‘Derrick Adams: Buoyant’ reveals the Installation view carefree, joyful leisure scenes of Black life 2 that so often go unseen. Floater 80 2018, Acrylic paint on paper A Black man in a red, white, and blue Collection of the artist swimsuit drifts on a neon yellow pool 3 float. He stares off into the calm, azure Floater 19 water that surrounds him. He’s on his 2016, Acrylic paint and collage stomach, one leg fully submerged in the on paper water, the other halfway in. The pool is Pizzuti Collection his world in this moment. He’s content 4 and at peace, relaxing. Floater 36 2017, Acrylic paint and collage on paper Collection of Audrey & Jeffrey Spiegel 5 Floater 66

St Petersburg 2018, Acrylic paint and collage on paper Collection of D Rebecca Davies and Jeremy Kramer 6 Derrick Adams 2 3 Photo: Christopher Garcia Valle

Contemporary artist Derrick Adams has observed that in art and in reality, images of Black people at play, being joyful, and simply enjoying life are not the norm. To fill this void, Adams created a painting series titled Floaters between 2016-2019, where Black men, women and children lounged in or rested on novelty floaties in the pool. He wanted to share these images with the world, and for Blacks to see themselves through a lens of freedom, fun, and leisure. 45

In the exhibition, twelve of these colours and bold patterns on the surface, Americans, Derrick Adams uses his art to mixed- media works come together in but they also brim with an undercurrent reclaim and celebrate joy, pleasure, and a dynamic, vibrant presentation. of contextual depth. In the midst of head- respite for the Black image and spirit. The painting-and-collage works are lines and hashtags about the struggle for With Black pain, there is also space for grand in size, popping with bright racial justice and equality for Black Black joy. 6 www.mfastpete.org International 16.09.2020 > 11.10.2020 Art Exhibitions 2020

Opposite page Ascending Swimming Hole Andrew Huffman (diptych) 2020, Acrylic on canvas 1 Hued Vibrations 152.4 x 152.4 cm

David Richard Gallery David Gallery Richard The gallery is presenting Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The show includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 76.2 cm square up to 152.4 cm square and a couple measuring 76.2 x 152.4 cms in horizontal formats. This is a debut of not only diptych canvases, but also all new compositions that depart from his familiar woven lattice format. 7

2 Installation view 2020, Acrylic on wooden panel 2 Euclidean Razzle Dazzle Evades Virus Torpedo 2020, Acrylic on canvas New York 152.4 x 152.4 cm 3 Cadmium Caterpillars 2020, Acrylic on canvas 2 3 152.4 x 152.4 cm 4 Bohemian Biosphere 2020, Acrylic on canvas 76.2 x 76.2 cmvas 5 & 6 Frisbee with Luna (diptych) 2020, Acrylic on canvas 76.2 x 152.4 cm 7 Descending Datura 2020, Acrylic on canvas 4 5 | 6 152.4 x 152.4 cm

These new paintings are based on pen- Andrew Huffman has cleverly leveraged Ignoring the colour placement in each All works tagonal tessellations that are abstracted the asymmetry and combined this canvas and looking only at the arrange- © Andrew Huffman and assembled in rigorous grid-like feature within the diptych compositions. ment of the internal shapes in each Courtesy the artist and David repeating patterns as well as tessellated Therefore, each panel has an asymmetric diptych, the overall structures are Richard Gallery, New York. to generate asymmetric compositions. arrangement of shapes. symmetrical. pattern painting. All rights reserved www.davidrichardgallery.com International 17.09.2020 > 03.01.2021 Art Exhibitions 2020

Opposite page Hunt After Frans Snyders 2019, Oil on linen 1 Cecily Brown 154.94 x 180.34 cm

Blenheim Palace This is the first show in the Blenheim Art Foundation’s programme to be comprised entirely of new work created in response to the Palace, and the first devoted to contemporary painting. This exhibition marks a new area of investigation for Brown, one of the fore- most painters of her generation who is best known for her semi-abstract, sensuous depictions of the body.

Showcasing over thirty never-seen- before site-specific artworks, Brown offers both a sentimental celebration and a poignant critique of the romantic

Woodstock fantasies surrounding the stately home and British heritage in the popular imagination. Brown draws on traditional painting genres often found in country houses and responds directly to the Spencer-Churchill family’s own collection of artworks, textiles and artefacts. 2

She offers charged reinterpretations of 1 the powerful imagery and narratives Installation view featuring that still inform perceptions of England The Triumph of Death today. The exhibition includes a series 2019 dedicated to the hunt, Cecily Brown’s Photograph by Tom Lindboe distinctive strokes depicting animals in 2 tussle in the British woodlands, and a Hunt with Nature Morte number of battle paintings that evoke and Blenheim Spaniel Blenheim’s military history and call 2019, Oil on linen attention to the martial motifs through- 170.18 x 276.86 cm out the Palace interiors and architecture. 3 Inspired by the magnificent woven Dog Is Life Marlborough tapestries that line the 2019, Oil on linen State Rooms and the heraldic imagery 200.66 x 134.62 cm from the 1st Duke of Marlborough’s 4 4 armorial banner, the exhibition notably The Children All images of artworks by features Brown’s first ever textile work, Cecily Brown was born in London in 1969 of the Fourth Duke Genevieve Hanson a woven rug with a design originating and studied at the Slade School of Art 2019 Oil on UV-curable pigment Courtesy of the artist and from one of her new ‘Armorial Memento’ under Maggi Hambling before moving on linen Blenheim Art Foundation 3 paintings, also on display. to New York, where she now lives, in 1994. 137.16 x 129.23 cm

blenheimartfoundation.org.uk International 24.09.2020 > Art Exhibitions 2020

Opposite page Composition with Yellow and Blue Piet Mondrian 1932, Oil on canvas 55.5 x 55.5 cm 1 Conservation Project 2019-2021 1 The conservation team Fondation Beyeler Founded in 1997 by art collectors and at work gallery owners Ernst & Hildy Beyeler, 2 Fondation Beyeler is the most visited art Composition with Double museum in Switzerland. The collection Line and Blue includes over 400 Post-Impressionist, 1935, Oil on canvas Classical Modern, and contemporary 72.5 x 70.0 cm works. Situated in Riehen, Basel, it 3 shows three to four temporary shows Composition No 6 exhibitions a year that are devoted to (Composition 9, Blue pioneering artists or art movements, Façade) including , Paul Cézanne, 1914, Oil on canvas Claude Monet, Henri Matisse, Alberto 95.5 x 68.0 cm Giacometti, as well as Louise Bourgeois, 4 Jeff Koons, Marlene Dumas, Richard Eukalyptus Serra, Jean- Michel Basquiat and Andy 1912, Oil on canvas Warhol. 60.0 x 51.0 cm 5 Basel In 2019 the Beyeler decided to embark Tableau No 1 on a conservation project involving the 1921-25, Oil on canvas seven Mondrian paintings in the 75.5 x 65.5 cm collection. Having completed work on 6 three of the works during the course of Lozenge Composition 2020, they were offered the patronage with Eight Lines and Red of a famous Swiss cosmetic company in (Picture No 3) order to work on the remaining four 1938, Oil on canvas works. 2 100.5 x 100.5 cm

The intention is that members of the The culmination of the project will be a Den Haag, the latter of which owns Fondation Beyeler, Riehen, public are invited to observe the major exhibition of the completed more than three-hundred works by Basel, Beyeler Collection conservationists at work from the works plus contributions from the Mondrian. All being well this is planned © Mondrian / Holtzman Trust Autumn of 2020. Stedelijk Museum and Kunstmuseum for late 2021 or early 2022. Photos: Robert Bayer, Basel

3 456 www.fondation-beyeler.ch International 25.09.2020 > 24.01.2021 Art Exhibitions 2020

Opposite page Odysseus & Kalypso 1943, Oil on canvas Max Beckmann 150 x 115.5 cm Hamburger Kunsthalle 1 Feminine | Masculine 1 Messingstadt Hamburger Kunsthalle ‘Max Beckmann: Feminine | Masculine’ is 1944, Oil on canvas the first exhibition to examine in detail 115 x 150 cm the often contradictory roles played by Saarlandmuseum – Moderne women and men in the works of Max Galerie, Saarbrücken, Stiftung Beckmann (1884-1950), one of the great Saarländischer Kulturbesitz artists of modernism and a potent 2 interpreter of his times. Zwei Frauen (in Glastür) 1940, Oil on canvas With some 150 paintings, sculptures and 80 x 61 cm works on paper, the show demonstrates Museum Ludwig, Cologne the impressive breadth of this subject 3 area in the artist’s oeuvre while Bildnis Käthe von Porada enabling viewers to come to a deeper 1924, Oil on canvas under- standing of Beckmann’s multi- 120 x 43 cm faceted art. Städel Museum, Frankfurt Hamburg

2 4

Loans from public and private His incisive self-portraits, his double 4 collections in Germany and abroad – portraits with his wives, the stately Bildnis einer Rumänin including the Max Beckmann Estate, the likenesses of his sponsors and patrons (Bildnis Frau Dr Heidel) Saint Louis Art Museum, the Harvard Art as well as his mythological and biblical 1922, Oil on canvas Museums and the Stedelijk Museum – figure paintings compellingly evoke 100 x 65 cm supplement the museum’s extensive basic constants of human togetherness: Dauerleihgabe der Stiftung Beckmann holdings. The exhibition desire, devotion and conflict, power and Hamburger Kunstsammlungen explores both the historical significance powerlessness, the urge for freedom of Beckmann’s paintings as well as their and the longing to become one with All works 3 relevance in today’s world. another human being. © VG Bild-Kunst, Bonn 2020

www.hamburger-kunsthalle.de International 26.09.2020 > 03.01.2021 Art Exhibitions 2020

Opposite page Lyubov Popowa (earlier attribution) Russian Avant-Garde Still-life with Glass & Bottles 1914, Oil, collage, on canvas 1 Original & Fake 76 x 61 cm Museum Ludwig Cologne

2 4 1 After a long period in which it was taboo, Lyubov Popova an increasing number of museums are Picturesque Architecture becoming more transparent about how 1918, Oil on canvas they deal with inauthentic works and 45 x 53 cm exchanging knowledge. With a studio Thyssen-Bornemisza Collection exhibition on the Russian avant-garde, 2 the Museum Ludwig is presenting El Lissitzky (earlier attribution) research on the authenticity of works in Proun its collection. Thanks to Peter and Irene 1923, Tempera on paper Ludwig, in addition to Pop Art and 61 x 40 cm Picasso, the Russian avant-garde is a core 3 focus of the museum’s collection, with Lyubov Popova more than 600 works from the period Portrait of a Woman (Relief) between 1905 and 1930, including some 1915, Oil on paper, cardboard 100 paintings. 3 and wood 66.3 x 48.5 cm The exhibition presents the methods In addition to works from the Museum The show presents different perspectives 4 and findings. With twenty-seven works Ludwig’s own holdings, MOMus- on the question of the authenticity of an Kazimir Malevich by or formerly attributed to Liubov Museum of Modern Art-Costakis artwork involving researchers in restora- Supremus No 38 Popova, Kliment Redko, Nikolai Suetin, Collection in Thessaloniki as well as tion, art technology and art history. 1916, Oil on canvas Nina Kogan, El Lissitzky, and other artists, Museo Thyssen-Bornemisza in Madrid Techniques such as X-ray, infrared, fabric 102.5 x 67 cm it presents art-historical and technolo- kindly provided us with loans of original tests and material analyses. Certain gical methods for making artistic author- works that served as templates for our pigments, such as titanium white, serve All works ship and questionable attributions paintings that were deemed not to be as markers that allow the dating of a Museum Ludwig Cologne recognizable. authentic . painting to be verified. except where otherwise indicated www.museum-ludwig.de International 26.09.2020 > 10.01.2021 Art Exhibitions 2020

1 Nick Stathopoulos Archibald Prize 2020 Ngaiire Acrylic and oil on linen

Art Gallery of New South Gallery WalesArt The Archibald Prize, first awarded in 1921, 96.5 x 96.5 cm is Australia’s favourite art award, and 2 one of its most prestigious. Awarded to Tsering Hannaford the best portrait painting, it’s a who’s Self-Portrait after who of Australian culture – from ‘Allegory of Painting’ politicians to celebrities, sporting Oil on board heroes to artists. 91 x 74.5 cm 3 JF Archibald (1856-1919) was a journalist Melanie Gray and founder of the Bulletin magazine, Disquietude who also served as a trustee of the Art Oil on canvas Gallery of New South Wales. He is the 30.5 x 25.5 cm man behind one of Australia’s oldest 4 and best known art prizes for portrait- Meyne Wyatt ure. Yet Archibald had no desire to Packing Room Prize 2020 become famous and, during his lifetime, (Winner) shunned publicity and remained Meyne 1 2 3 evasive and enigmatic. 7 Acrylic on canvas 101.5 x 76 cm His passion for newspapers led him to 7 5 Melbourne, searching for work in ‘the William Mackinnon big smoke’. He lived a bohemian life, Sunshine & Lucky (life) frequenting Melbourne’s city boarding Acrylic and oil on linen houses, streets, theatres and cafes – a 220 x 160 cm life he imagined to be quite European, 6 which led him to change his name to Jennifer Scott Jules François. Realising the power of Dr Raymond Charles print, in 1880 he and a friend founded Rauscher

Sydney the Bulletin magazine, a radical journal Acrylic on canvas for its time, addressing issues of nation- 210 x 169 cm hood, culture and identity. This journal 7 was influential in shaping opinions and Angus McDonald 5 raising issues in the public’s conscious- (Archibald Prize People’s Choice ness. He also employed the best young 2020 (Winner) artists to be its illustrators. His interest in Behrouz Boochani art led him i to serve as a trustee for the Oil on canvas Art Gallery of NSW, keen to promote the 160 x 230 cm 4 5 6 8 work of younger artists and writers. 8 Vincent Namatjira A portrait of him, commissioned by the Archibald was born in Victoria and He left money in his will for an annual Archibald Prize 2020 (Winner) Art Gallery of NSW trustees, was made christened with the name John Feltham. portrait prize, which was first awarded Stand strong for who after his death and remains as one of When he was 15, he started his career in in 1921. His aim was to foster portraiture, you are the pictorial records of a man who journalism on a country newspaper in as well as support artists and perpetu- Acrylic on linen avoided having his photograph taken. Warrnambool, Victoria. ate the memory of great Australians. 152 x 198 cm

www.artgallery.nsw.gov.au International 26.09.2020 > 22.02.2021 Art Exhibitions 2020

Benny Andrews | Portraits A Real Person Before The Eyes

Michael Rosenfeld Gallery New YorkMichael Rosenfeld Gallery In his deeply humanizing portraits, Searching for a visual language to Opposite page Andrews employed his signature and capture the immediacy of everyday life Cherokee pioneering use of paint and collage to and the quotidian nature of his subject 1990, Oil on paper with build surface in order to create depic- matter, Andrews first developed his painted fabric collage tions composed of fleshy tactility, ‘rough collage’ technique, combining 76.8 x 57.5 x 0.6 cm extending his sitters into three-dimen- scraps of paper and cloth with oil paint 1 sional space as a way of reinforcing their on canvas, as a student. He honed this Time for Church human presence and defining their technique in a breakthrough period at 1998, Oil on canvas with distinct characteristics, since ‘collage the School of the Art Institute of Chicago, painted fabric collage provided him with a degree of depth when, in 1957, he was struck by the 152.4 x 66 x 2.5 cm and breadth not found in painterly school’s African American janitors and 2 realism.’ His discovery of collage and created the pivotal ‘Janitors at Rest’, Howardena texture was a way to construct surface in which first introduced collage into his 1978, Oil and graphite on order to affirm both the individual and painting. This critical component would canvas with painted fabric 1 shared experience of humanity. inform the rest of his artistic career. collage 76.2 x 61 x 1.9 cm This exhibition traces Benny Andrews 3 (1930-2006) commitment to portraiture, Here Comes the Wind beginning in 1957 with his seminal 1980, Oil, spray paint and ink collage painting ‘Janitors at Rest’, and on paper with painted fabric including portraits of fellow artists and paper collage , Ludvik Durchanek, 72.4 x 57.5 x 0.3 cm Norman Lewis, Ray Johnson, Alice Neel, 4 and Howardena Pindell, and also of his Portrait of Alice Neel father George C Andrews, and wife, 1985, Oil on canvas with Nene Humphrey. While Andrews created painted fabric collage portraits of people he knew, as well as 215.6 x 144.8 x 3.8 cm of himself, portraiture also served as a 5 vehicle through which he could meta- For Colored Girls phorically express the personification of 1977, Oil on canvas with ideas, thoughts, emotions and values. 2 3 painted fabric collage 116.8 x 101.6 x 1.9 cm 6 Malice 1978, Oil and graphite on canvas with painted fabric collage 127 x 106.7 x 5.1 cm

All works © Benny Andrews Estate; Courtesy of Michael Rosenfeld 4 5 6 Gallery LLC, New York, NY www.michaelrosenfeldart.com