Gabriel Orozco Nairy Baghramian Haegue Yang Jimmie Durham Damián Ortega Abraham Cruzvillegas Carlos Amorales Roberto Gil De Montes Wilfredo Prieto Miguel Calderón
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gabriel orozco nairy baghramian haegue yang jimmie durham damián ortega abraham cruzvillegas carlos amorales roberto gil de montes wilfredo prieto miguel calderón art basel miami beach online viewing room november, 2020 Gabriel Orozco (1962) Samurai Tree (Invariant 1F) , 2006 Tempera, burnished gold leaf and calcium sulphate (plaster) and animal glue on cedar wood 62 x 62 x 8 cm. (24.41 x 24.41 x 3.15 in.) 66 USD 600,000 69 70 72 74 75 Gabriel Orozco (1962) Untitled, 2019-2020 Tempera and gold leaf on canvas 200 x 200 cm. (78.74 x 78.74 in.) USD 950,000 76 78 79 80 82 Gabriel Orozco’s tempera paintings were created in 2020. Each canvas began as spontaneous, quick, and fluid line drawings on paper in Orozco’s notebooks. As a nomadic artist, Orozco’s notebook plays a key role in his practice, often replacing the studio as a daily site of experimentation and new ideas. Small, loose sketches are selected to be increased in scale on canvas, carrying with them the authen- ticity of line from their original form. The process of color placement is more methodical and becomes an almost sculptural operation of carving in chosen lines from the original drawing to create shapes with weight and form. The resulting images resemble flowers, leaves, tree branches, or other elements of nature—a motif that runs through much of Orozco’s work. In this series, he incorporates a selective palette comprised of colors he began to use with more frequency after his move to Asia in 2015. For Orozco, the pigments are a continued exploration initially inspired by Japanese painters and their influence on the work of Henri Matisse. 86 Nairy Baghramian Dwindler (NYT), 2018 2 parts, glass, zinc coated metal, colored epoxy resin Installed: 163 x 46 x 65 cm. (64.17 x 18.11 x 27.17 in.) Top element: 93 x 46 x 65 cm. (36.61 x 18.11 x 25.59 in.) Bottom element: 68 x 46 x 65 cm. (26.77 x 18.11 x 25.59 in.) EUR 100,000 276 280 284 322 Installation view: Nairy Baghramian, Breathing Spell, Palacio de Cristal, Museo Reina Sofía, Madrid, 2018. 328 Installation view: Nairy Baghramian, 45th Venice Biennial (2011). 332 Nairy Baghramian (1971) Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 72 x 76 x 18 cm. (28.35 x 29.92 x 7.09 in.) EUR 32,000 88 Beliebte Stellen, installed last year at the Temporary Stedelijk 2 in Amsterdam, highlights modes of reception and presentation. In this work, Baghramian more specifically probes the lingering prominence of site-specific strategies that — in addition to having historically been privileged at the Stedelijk — have been forma- tive for her own development. In this installation, metal rods that look like large, opened rings are attached to the walls and the floor. These forms are covered with several layers of color, applied so that drips of paint are visible as the result of the process, without, however, being necessarily recognizable as the traces of bodily activity. These bent rods are usually supported at only one or two points, in a way that keeps them at a slight distance from the walls, resulting in a tension between the lightness of the objects, as suggested by their form, color, and mounting, and their actual materiality. The status of these radically reduced sculptures remains sus- pended between the poles of genuine work and simple demarcation. Once again, they operate as placeholders. On the one hand, some objects are at eye level and others are sited on the floor, slightly displaced in relation to the entrance and exit of the gallery, marking the privileged points of a museum or gallery space tradi- tionally used for the presentation of artworks. On the other hand, their non-geometric arrangement could be seen as a critical interaction with the conventions of display. Baghramian explicitly includes herself in this reflection on site-specific methodologies, particularly given her repeated emphasis on insular spaces such as passageways or the margins of an exhibition parcours. Yet in this case, the association with decoration, ornament, and even jewelry, already clearly invoked, is amplified by the mint green, dark blue, navy, pink, and beige chosen for the paint--colors that seem to be taken from the spec- trum of midcentury modern design. Raising the question of the added critical val- ue that supposedly accompanies the accentuation of the specific places within a gallery where paintings or sculpture are usually displayed, Baghramian’s installation also answered it.” – Andre Rottmann 92 90 94 Nairy Baghramian (1971) Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 46 x 41 x 21 cm. (18.11 x 16.14 x 8.27 in.) EUR 24,000 98 102 100 104 Nairy Baghramian (1971) Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 75 x 101 x 15 cm. (29.53 x 39.76 x 5.91 in.) EUR 42,000 106 108 109 110 106 Installation view: Nairy Baghramian’s Beliebte Stellen/Privileged Points (2017) at Vue d’installation, Mudam Luxembourg, 2019. Haegue Yang (1971) Knotty Spell in Windy Red Fruits on Gradation, 2020 Clothing rack, powder-coated steel, casters, powder-coated turbine vents, jute twine, nylon cord, knitting yarn, brass and black plated bells, metal rings, Moroc- can vintage jewelry, screw eyes, jacaranda brasiliana capsule, palm ring, delonix regia pod, Colombian pompons, Mardi Gras beads 195 x 110 x 106 cm. (76.77 x 43.31 x 41.73 in.) EUR 70,000 114 Haegue Yang uses Knotty Spell in Windy Fruits and Gradation (2020) to engage with the theatricality of sculpture and its performative potential. Constructed of ba- sic components, this luminous sculpture merges together a subtle combination of industrially produced objects with traditional textile works produced by hand. A commercial metal display stand is repurposed, to which bells, metal rings, wool- en dreamcatchers, iridescent light bulbs and tangles of electric cords are added. Yang dissociates such materials from their original cultural contexts, rearranging them into abstract compositions that build upon a unique and personal visual vo- cabulary. Knotty Spell in Windy Fall Foliage (2016) functions through the collection and association of these connoted elements, between phantoms of contemporary trends and impossible collages of more intuitive, formal referents, creating other worlds or even monsters. Socioculturally, Knotty Spell in Windy Fruits and Gradation can be seen as a mi- crocosm comprised of crisscrossing routes of trade and migration from far off points of the world. The sculpture is saturated in the connective possibilities of exchange available in a modern global world. The title retraces this interpretation, in particular her employment of the word ‘dual,’ meaning to consist of two parts, elements or aspects. Reinforcing this idea, the mobility of this piece is an import- ant feature to note. As historian and curator, Steinar Sekkingstad, explains: “Mobility is associated here, not only in purely physical or formal terms (with mechanical devices and kinetic constructions), but also in political and historical terms. Mobility and motion correspond to major concerns to which Yang con- stantly returns: migration, postcolonial diasporas, enforced exile, social mobility or what one could perhaps call lifetime mobility.” Ironically, even as movement is actualized with the introduction of wheels, it re- mains serenely immobile. As a further act of ambiguity, like Yang’s cultural blurring, she fuses and confuses formalist concerns. Although heavily abstract Knotty Spell in Windy Fruits and Gradation is also figurative in form, teetering onto the anthro- pomorphic. 118 122 Haegue Yang (1971) Sonic Rotating Identical Circular Twins – Copper and Silver #3, 2020 Powder-coated stainless steel frame, powder-coated mesh, ball bearings, copper and nickel plated bells, metal rings Installed: 100 x 171 x 14 cm. (39.37 x 67.32 x 5.51 in.) 128 EUR 74,000 https://vimeo.com/483347534/4a45de923e 129 120 122 123 Haegue Yang’s work is well known for its eloquent language of visual abstraction that combine direct sensory manipulation. Her work is defined by industrial- ly manufactured items that unfold in unconventional arrangements that express Yang’s investigations into specific historical figures and their concrete domestic environments. Recently, bells have been introduced as sonic and performative ele- ments, which illuminate one of her current interests in the notion of movements, in physical, social as well as metaphorical sense. Sonic Rotating Geometries (since 2013) are sonic sculptures consisting of geomet- ric shapes covered with patterns of brass, nickel or copper plated bells. Mounted on the wall the works can be rotated by hand to produce the rattling sound of bells. Once the sculpture is set in motion, the geometric shapes begin to blur, disinte- grating the rigorous physical angular geometry into an illusory geometry of circles at high speed. The act of spinning also triggers the tinkling of the bells, filling the surrounding space with a rhythmic sound corresponding to the speed of rotation. The phenomenological interaction generated by the physical movement of the work, its momentary shape, the sound of the bells tinkling, the optical illusion and the blending of colors lead the viewers to imagine a heightened possibility where ordinary objects tremble and individual entities reverberate. 125 126 127 Jimmie Durham (1940) Holey Iron, 2016 Iron, acrylic paint 15 x 77 x 48 cm. (5.91 x 30.31 x 18.9 in.) EUR 60,000 128 130 131 “I found this piece of iron close to my Berlin studio in the Gleisdreieck (translates to track triangle) Park, which was an old railroad sites. This piece of iron was al- ready folded and bent in a way that has nothing to do with anything but especially not with iron, if at all more with paper.