Kusama 2 1 Zero Gutai Kusama

Total Page:16

File Type:pdf, Size:1020Kb

Kusama 2 1 Zero Gutai Kusama ZERO GUTAI KUSAMA 2 1 ZERO GUTAI KUSAMA VIEWING Bonhams 101 New Bond Street London, W1S 1SR Sunday 11 October 11.00 - 17.00 Monday 12 October 9.00 - 18.00 Tuesday 13 October 9.00 - 18.00 Wednesday 14 October 9.00 - 18.00 Thursday 15 October 9.00 - 18.00 Friday 16 October 9.00 - 18.00 Monday 19 October 9.00 - 17.00 Tuesday 20 October 9.00 - 17.00 EXHIBITION CATALOGUE £25.00 ENQUIRIES Ralph Taylor +44 (0) 20 7447 7403 [email protected] Giacomo Balsamo +44 (0) 20 7468 5837 [email protected] PRESS ENQUIRIES +44 (0) 20 7468 5871 [email protected] 2 1 INTRODUCTION The history of art in the 20th Century is punctuated by moments of pure inspiration, moments where the traditions of artistic practice shifted on their foundations for ever. The 1960s were rife with such moments and as such it is with pleasure that we are able to showcase the collision of three such bodies of energy in one setting for the first time since their inception anywhere in the world with ‘ZERO Gutai Kusama’. The ZERO and Gutai Groups have undergone a radical reappraisal over the past six years largely as a result of recent exhibitions at the New York Guggenheim Museum, Berlin Martin Gropius Bau and Amsterdam Stedelijk Museum amongst others. This escalation of interest is entirely understandable coming at a time where experts and collectors alike look to the influences behind the rapacious creativity we are seeing in the Contemporary Art World right now and in light of a consistently strong appetite for seminal works. Yayoi Kusama bestrides the Japanese Art World like a Colossus and her influence is felt in all manner of forms of artistic practice. Her impact opened doors particularly for female artists around the world and yet the fearlessness and vigour that she has become synonymous with all began in the 1960s and particularly with her debut European show in 1965 at International Gallery Orez in The Hague which included three works that feature in this exhibition. INTRODUCTION This private collection has not been seen in public since the 1960s and represents the passion of a collector who anticipated the zeitgeist through a total commitment to acquiring the best works from ZERO, Gutai, Nul and Yayoi Kusama at a time when they were blazing a trail in 1960s Holland. This selection is marked by the inclusion of some bona fide masterpieces: Kazuo Shiraga’s imposing fan, a very rare example of early Gutai sculpture; a suite of four early and delicate works by Jan Schoonhoven that charter the artist’s journey through Minimalism; three works from Yayoi Kusama’s first solo European show in 1965, which now serve as archetypes of her practice; and a sensational Günther Uecker from 1967, with all the dynamism and energy you would expect from such a piece. To have the opportunity to host a museum quality collection at Bonhams is a rare and wonderful privilege. This is exactly where Bonhams is at its best; demonstrating connoisseurship and using the profile of an auction house to rediscover forgotten masterpieces and to champion the very best in Post-War & Contemporary art through all the definitions of quality beyond simply value. Bonhams has been at the forefront of the drive to present these artists at the centre of the cultural and commercial conversation over recent years and through this exhibition we renew our commitment to these efforts. Ralph Taylor Head of Post-War & Contemporary Art, Europe ZERO AND NUL ZERO: Let Us Explore the Stars is the title of the current Piene concentrated on a severe formal and expressive exhibition in Amsterdam’s Stedelijk Museum. It derives reduction of artistic means in monochrome paintings (or from John F. Kennedy’s 1961 inaugural speech: ‘Together three-dimensional monochrome works such as the white let us explore the stars, conquer the deserts, (...), tap the nail piece by Günther Uecker in this exhibition) that were ocean depths and encourage the arts and commerce.’ The a reaction to the fashionable Abstract Expressionism self-confident optimism that emanated from this speech movement of the 1950s. In 1961, the ZERO-artists grandly sounds truly enviable, in 2015. declared the four elements, the world oceans, the Sahara desert, even the universe to be the material of their art. Around 1961 this credo had long been embraced by the German ZERO group, consisting, by this time, of Heinz By this time, artists such as Adolf Luther, Christian Megert Mack, Otto Piene and Günther Uecker. The movement and many others had adopted the ZERO credo. Adolf had come into being during evening exhibitions in the Luther’s concave mirror object from 1970 that is in the Düsseldorf studios of Mack and Piene, in 1958. During current exhibition, perfectly conveys the focus of the later the first phase of their artistic development, and under ZERO artists through the combination of art and technology the influence of Yves Klein and Lucio Fontana, Mack and with the viewer finding himself the subject of this work. Heinz Mack, Diagram, 1970 4 5 Jan Schoonhoven in International Gallery Orez (circa 1965) During the sixties various ZERO related movements came from 1963 until 1970, included in this exhibition. The artist into being all over Europe. This concerned for instance became famous for the use of monochrome white which he Gruppo T and Azimuth in Italy, Nouveau Réalisme in France applied on exquisite handmade papier-mâché reliefs with and the Dutch Nul Group. The latter featured artists like Jan different motifs, creating works of a timeless beauty. Henk Schoonhoven and Henk Peeters, who are represented in this Peeters also made serial works, like the early example in Bonhams exhibition. In connection with the first phase of cotton wool from 1962-1964 which is also exhibited, as ZERO, Nul concentrated on isolating pieces of reality, often well as experimenting with other materials and techniques in serial form. Schoonhoven was the movement’s purist, such as smoke, water and fire. and this is evident from looking at the four rare examples 4 5 THE GUTAI GROUP Gutai was founded in 1954 by the charismatic Jirō Yoshihara and was active until 1972, the year of Yoshihara’s death. The name Gutai can be interpreted to mean ‘concrete’ and stood for the desire to produce art that would relate to the post-war Japanese world in a concrete fashion. Here we must remember that during the Second World War, Japanese artists were forced by their government to put their art in the service of the national war machine. Those who did not, were considered decadent and risked imprisonment. The aim of this collective was to create ‘something that has never existed before’ as per Jirō Yoshihara’s exhortation. The first generation of Gutai artists including Kazuo Shiraga, Shozo Shimamoto, and Saburo Murakami experimented with performance art well before this happened in the West. Between 1955 and 1958 Yoshihara organized four exhibitions in space (open air), and two in time (on stage). The use of the human body as a brush, the elements, weather, smoke, and spontaneous actions of spectators - all were welcome in this new approach of the visual arts. Kazuo Shiraga’s giant Red Fan is one of the few sculptures that this first-generation of Gutai artists produced. An unequivocal masterpiece, the rhythmic folding of the screen coupled with the intense scarlet lacquer makes this a truly mesmerising work to engage with in the flesh. It is a playful, yet powerful comment on an object that has so much history in Japanese culture and art. 7 7 Above: The Gutai Collective with Michel Tapié, 1965 Right: Original instruction label from Minoru Onoda’s Work 66-14 8 9 The early years were devoted to exploring the boundaries Sadahoru Horio, Minoru Onoda and Satoshi Tai show the of the traditional concepts of art in general, but gradually Gutai group’s more poetic side. Horio’s technicoloured the members began to focus more on new developments protrusions in contrast to the stark monochrome canvas in the post-war world such as the visualisation of energy, or draw the traditions of painting into a new realm echoing the the use of industrially produced materials such as plastic, shaped canvases of his Italian counterparts Castellani and foil, reflective metal and Perspex. This was partly due to the Bonalumi. Onoda’s eye wateringly complex dot marking on rapid industrialisation of Japan in the 1960s. The content the gentle rippling of the shaped wood surface articulate of these works coincided with the latest developments in notions of infinity. Tai’s pulsating use of colour executed in the international arts such as Kinetic, Op and Pop art. It household paint explores the possibilities of movement in was the prerogative of the third-generation of Gutai artists. harmony with line and form. As Ming Tiampo has it: ‘Gutai had entered the space age’. The first time ZERO and Gutai art were shown together In this exhibition the works by Kumiko Imanaka, Jōji was at the 1965 Stedelijk Museum’s Nul exhibition – Bien Kikunami and Minoru Yoshida testify to that effect, and étonnés de se trouver ensemble. In 2006, this Nul 1965 all three eschew the traditions of two-dimensional picture show was reconstructed in the ZERO exhibition at Museum making. Imanaka’s nuanced and gently undulating strips Kunst Palast in Düsseldorf. This was the beginning of the of machine-finished steel creates an artwork which is revival in both ZERO and Gutai we have witnessed today. static, yet exudes energy and movement. Kikunami’s crisp abstraction references the visual complexity of Op art, with his new age use of reflective plastic to create images of infinite complexity.
Recommended publications
  • AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013
    AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013 ROBILANT + VOENA 38 Dover Street, London W1S 4NL First Solo Exhibition in the UK in over 50 years. Organized in cooperation with the Archivio Bonalumi. Exhibition curated and monograph edited by Francesca Pola under the supervision of the artist. Including over 20 works by Agostino Bonalumi alongside works by Fontana, Manzoni, Dadamaino and Castellani. Featuring loans from public and private collections, as well as works for sale. To include Blu Abitabile, 1967 – an installation not exhibited since 1970. Artist may be available for interview by special advance agreement. ROBILANT + VOENA are pleased to announce an exhibition of the Italian artist Agostino Bonalumi, opening in October at their London gallery. This long-overdue project will be the first solo presentation of this significant artist in the UK since 1960. Organized in cooperation with the artist and the Archivio Bonalumi, the exhibition will examine the work of Bonalumi during the 1960s and 1970s in relationship with the other artists of the Azimut group. The exhibition will bring together pivotal examples of Bonalumi´s shaped canvas with early experimental works by his friends and collaborators in the Azimut project: Enrico Castellani, Piero Manzoni, Dadamaino, and their guide Lucio Fontana. A selection of Bonalumi’s paintings from the beginning of the 60s to the late 70s, including some unpublished and never before exhibited canvases from Italian private collections, will form the core of the exhibition and will reaffirm the important role played by this internationally lesser known artist in the development of Modern Art in Italy.
    [Show full text]
  • For Immediate Release Dominique Lévy Presents the First London Solo Exhibition by Enrico Castellani with the Collaboration of T
    FOR IMMEDIATE RELEASE DOMINIQUE LÉVY PRESENTS THE FIRST LONDON SOLO EXHIBITION BY ENRICO CASTELLANI WITH THE COLLABORATION OF THE ARTIST AND THE FONDAZIONE ENRICO CASTELLANI Enrico Castellani 9 February – 26 March 2016 Dominique Lévy 22 Old Bond Street, London London...Dominique Lévy is pleased to announce the first solo exhibition in London by Enrico Castellani, with whom the gallery has worked since its inception in 2012. Opening in February 2016 at the gallery’s Old Bond Street location, the exhibition explores the ways in which painting can occupy three- dimensional space by showcasing recent as well as historical works by the artist, most of which are on view in London for the first time. A selection of Castellani’s large-scale shaped relief canvases Superfici bianche (White Surfaces) are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners. These white and metallic works are placed in dialogue with one another, highlighting the ambient light and shadow effects that occur as the works activate the architectural space in which they are situated. These three- dimensional paintings are complemented by the recent sculpture Spartito, in which Castellani references a seminal work made in 1969 by bolting hundreds of sheets of paper together, creating a biomorphic minimalist form. The exhibition is accompanied by a comprehensive book featuring a newly commissioned essay by Angela Vettese, former President of the International Jury of the Venice Biennale and director of the graduate programme at the Università Iuav di Venezia.
    [Show full text]
  • The Authenticity of Ambiguity: Dada and Existentialism
    THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study.
    [Show full text]
  • Labyrinthine Variations 12.09.11 → 05.03.12
    WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN .......................................................................................
    [Show full text]
  • Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
    Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene
    [Show full text]
  • Fondazione Musei Civici Di Venezia — Programma Programme 2015 —
    Fondazione Musei Civici di Venezia — Programma Programme 2015 — 1 La programmazione della Fondazione Musei Civici di Venezia per il 2015 The Fondazione Musei Civici di Venezia’s programme for 2015 places cultural dà assoluta centralità alla produzione culturale nel campo della ricerca e production in the areas of research and cataloguing right at the centre of its della catalogazione, del restauro delle opere mobili e del restyling di sedi attention, together with the restoration of artworks and the restyling of the museali. La riapertura del Museo del Vetro ampliato e completamente museum venues. The reopening of the enlarged and completely redesigned Museo ridisegnato e la realizzazione del progetto Sublime Canova al Museo Correr, del Vetro, and the realisation of the Sublime Canova project at the Museo Correr, con l’accorpamento e il restyling espositivo delle opere del grande scultore with the grouping of the works by the great sculptor in the museum and their di proprietà del Museo, costituiscono due momenti straordinariamente presentation in a new layout, constitute two extremely important moments for importanti per la Città e per la Fondazione, coerenti con la strategia generale the city and for the Fondazione, in line with the general strategy launched in recent avviata in questi ultimi anni. Da Ca’ Pesaro a Palazzo Mocenigo, dallo stesso years. From Ca’ Pesaro to Palazzo Mocenigo and from the Museo Correr – with Museo Correr – con i restauri di Palazzo Reale – agli interventi a Palazzo the restorations in the Palazzo Reale – to the interventions in the Doge’s Palace Ducale (climatizzazione, restauri ecc.) la Fondazione ha sempre ritenuto (air conditioning, restorations, etc.), the Fondazione has always maintained as its prioritario innovare i servizi, i percorsi museografici, per garantire un livello priority the introduction of innovation in services and layout of exhibits to attune internazionale delle sedi museali.
    [Show full text]
  • Jan Henderikse to Infinity
    press release JAN HENDERIKSE TO INFINITY Galerie Schoots + Van Duyse, Antwerp, and Kunstzolder.be, Lembeke Curator: Antoon Melissen JAN HENDERIKSE TO INFINITY Summary From 28 June to 27 September, Galerie Schoots + Van Duyse in 100 words and Kunstzolder.be are staging an exhibition in Antwerp by Dutch artist Jan Henderikse (Delft, 1937), curated by independent publicist-curator Antoon Melissen. Henderikse, co-founder of the Dutch Nul Group in 1961, already moved to Dusseldorf in 1959, at that time the cradle of the international ZERO movement. ‘Jan Henderikse - ZERO to Infinity’ features work both from the Nul period and from later, including the most recent work from 2015. Furthermore, several large assemblages made in 1965-1967 from the collection of the artist have never previously been exhibited. JAN HENDERIKSE TO INFINITY Consistent with the increasing interest and revaluation of the international ZERO movement, Galerie Schoots + Van Duyse and Kunstzolder.be are organizing a major presentation by Jan Henderikse in Antwerp. In 1961, Henderikse (together with Armando, Henk Peeters and Jan Schoonhoven), was co-founder of the Dutch Nul Group, the artists’ group that expressly sought contact with the international ZERO movement and its sympathizers. Since 2000, Henderikse has been working both in New York and in his studio in Antwerp and is thus, together with Paul van Hoeydonck, one of the last artists of the ‘ZERO generation’ still active in Belgium. Under the title ‘Jan Henderikse - ZERO to Infinity’, independent publicist-curator Antoon Melissen has compiled an exhibition that contrasts early work from the Nul era with new work. Several large assemblages made in 1965-1967 from the collection of the artist have never previously been shown and are premiered in the exhibition.
    [Show full text]
  • Rome – Milan: Space and Colour, Rhythm and Matter 1 October
    Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene.
    [Show full text]
  • Yaacov Agam. Transformable - Transformables
    1 [AGAM]..YAACOV AGAM. New York, Marlborough-Gerson Gallery 1966. 22x21. 52 pp. including 4 pages on one folding leaf. More than 70 photos and reproductions including 10 in colour. Pictorial wrappers. 200 2 [AGAM]..YAACOV AGAM. TRANSFORMABLE - TRANSFORMABLES. New York, Galerie Denise René, 1971. 26x21. 52 pp. + 6 opaque leaves with drawings. 76 photos, 26 full-page including 2 in colour, plus 12 portrait photos etc. Pictorial wrappers. Exhibition publication with introduction by Jean-Jacques Lévèque. 300 4 3 Alechinsky, Pierre / Christian Dotremont. ABSTRATES. Printed in Denmark (Copenhagen) by Permild & Rosengreen 1963. Colour lithograph 64x87 with text rendered in "tapuscrit. No. 14 of 25 numbered copies, signed in pencil by Alechinsky. This copy also has a pencil inscription "Pour mon ami Rune J. / Christian Dotremont" (to the Swedish artist Rune Jansson). Very weak damp streak in lower left corner, otherwise fine. A collaboration of the two Cobra co-founders consisting of a vivid colour print made by Alechinsky around a text by Dotremont. 5000 4 Alechinsky, Pierre. L'AVENIR DE LA PROPRIETÉ. (Paris), Yves Rivière, 1972. 31x21. 64 pp. + a loosely inserted colour etching signed by Alechinsky. 35 facsimile reproductions including 15 full- or double-page. A beautiful copy in pictorial covers with protective glassine wrapper, kept in the original decorated slipcase. No. 159 of 999 copies, signed by Alechinsky and Rivière. From the total edition of 999, this is one of 151 copies numbered 100-250 and provided with an original colour etching printed on an 18th-century manuscript leaf. The etching is signed by Alechinsky and numbered 59 (of 151 plus 16 H.C.
    [Show full text]
  • Katalog 4 – Documented
    Antiquariat Querido – Frank Hermann Kunst und Fotografie Roßstraße 13 40476 Düsseldorf Tel. 00 49 211 15969601 Fax 00 49 211 15969602 Mi + Do 11.00 – 19.00 Uhr und nach Vereinbarung [email protected] www.antiquariat-querido.de Stadtsparkasse Düsseldorf > BLZ 30050110 > Konto 10183366 IBAN: DE 38 3005 0110 0010 1833 66 > SWIFT-BIC: DUSSDEDDXXX USt-ID-Nr. DE 171/397705 > StNr. 105/5108/1390 Die angebotenen Titel sind in guter bis sehr guter Erhaltung. Etwaige Mängel sind möglichst detailliert beschrieben. Alle Bücher können in unserem Ladengeschäft angesehen werden. Das Angebot ist freibleibend, Lieferzwang besteht nicht. Die Bestellungen werden in der Reihen- folge des Eingangs ausgeführt. Alle Preise verstehen sich in Euro. Der Versand erfolgt zu Lasten und Risiko des Bestellers, telefonisch erfolgte Bestellung bitten wir per Mail oder Fax zu bestäti- gen. Bei begründeter Beanstandung wird jede Lieferung innerhalb 14 Tagen zurückgenommen. Eigentumsvorbehalte nach § 455 BGB. Erfüllungsort und Gerichtsstand ist Düsseldorf. Rechnun- gen sind zahlbar innerhalb 14 Tagen ohne Abzüge. Der Verkauf aus diesem Katalog beginnt mit der Ausstellung documented, 05. März bis 05. April 2013 in unseren Räumen. Ein Teil der ausgestellten Bücher und Objekte kann erst mit Ende der Ausstellung ausgeliefert werden. Hierüber erhalten Sie eine Information. Zur Eröffnung unserer Ausstellung sind Sie und Ihre Begleiter herzlich eingeladen! Wir sind stets am Erwerb von Büchern unserer Fachgebiete interessiert und kaufen Einzelstücke wie auch ganze Bibliotheken. Wir freuen uns über Ihre Angebote. All items are in fine condition, unless otherwise stated. Please ask for specific description by e-mail [email protected] or telephone. All items are displayed in our bookshop.
    [Show full text]
  • ZERO ERA Mack and His Artist Friends
    PRESS RELEASE: for immediate publication ZERO ERA Mack and his artist friends 5th September until 31st October 2014 left: Heinz Mack, Dynamische Struktur schwarz-weiß, resin on canvas, 1961, 130 x 110 cm right: Otto Piene, Es brennt, Öl, oil, fire and smoke on linen, 1966, 79,6 x 99,8 cm Beck & Eggeling presents at the start of the autumn season the exhibition „ZERO ERA. Mack and his artist friends“ - works from the Zero movement from 1957 until 1966. The opening will take place on Friday, 5th September 2014 at 6 pm at Bilker Strasse 5 and 4-6 in Duesseldorf, on the occasion of the gallery weekend 'DC Open 2014'. Heinz Mack will be present. After ten years of intense and successful cooperation between the gallery and Heinz Mack, culminating in the monumental installation project „The Sky Over Nine Columns“ in Venice, the artist now opens up his private archives exclusively for Beck & Eggeling. This presents the opportunity to delve into the ZERO period, with a focus on the oeuvre of Heinz Mack and his relationship with his artist friends of this movement. Important artworks as well as documents, photographs, designs for invitations and letters bear testimony to the radical and vanguard ideas of this period. To the circle of Heinz Mack's artist friends belong founding members Otto Piene and Günther Uecker, as well as the artists Bernard Aubertin, Hermann Bartels, Enrico Castellani, Piero BECK & EGGELING BILKER STRASSE 5 | D 40213 DÜSSELDORF | T +49 211 49 15 890 | [email protected] Dorazio, Lucio Fontana, Hermann Goepfert, Gotthard Graubner, Oskar Holweck, Yves Klein, Yayoi Kusama, Walter Leblanc, Piero Manzoni, Almir da Silva Mavignier, Christian Megert, George Rickey, Jan Schoonhoven, Jesús Rafael Soto, Jean Tinguely and Jef Verheyen, who will also be represented in this exhibition.
    [Show full text]
  • The First Gutai Exhibition I N Japan Marks the Dissemination Of
    1955a The first Gutai exhibition in Japan marks the dissemination of modernist art through the media and its reinterpretation by artists outside the United States and Europe, also exemplified by the rise of the Neoconcretist group in Brazil. n the fifth issue of the journal Gutai, published in October 1956, painter-his works then were competent yet rather provincial .l this brief statement appeared: 'The US artist jackson Pollock, versions of European postwar abstraction. It is not so much his whom we highly esteemed, has passed away all too early in a road own art as his independence of mind, his defianceof bureaucracy, accident, and we are deeply touched. B. H. Friedman who was close his willingness to seize the opportunity of a clean slate afforded by to him, and who sent us the news of this death, wrote: 'When the historical situation of postwar japan, and his encouragements recently I looked through Pollock's library, I discovered issues two to be as radical as possible that explain the attraction he exerted on and three of Gutai. I was told that Pollock was an enthusiastic artists who were a generation younger. His interest in perfor- disciple of the Gutai, fo r in it he had recognized a vision and a mance and in the theater-the only domain where he was as CD reali� close to his own.' " This last sentence is subject to doubt, to innovative as the other members of Gutai-also played a major U1 0 say the least (was Friedman excessively polite, was his letter tam­ role in defining the group's activity.
    [Show full text]