International 01 Art Exhibitions 2017 International 07.01.2017 > 12.03.2017 Art Exhibitions 2017

Philippe Cognée Crowds

Galerie Daniel Galerie Templon Opposite page Foule sous le soleil 2014, Wax painting on canvas 200 x 200 cm Photo : B.Huet-Tutti 1 Crowd (fusion 1) 2016, Wax painting on canvas 150 x 150 cm 2 Solar Crowd 2016, Wax painting on canvas 150 x 150 cm 3 1 Tower of Babel 2 2016, Wax painting on canvas French artist Philippe Cognée returns 175 x 153 cm to Paris and Galerie Templon for the first 4 time in four years with an exhibition Cellular Tower 2 devoted to his new series of paintings of 2016, Wax painting on canvas crowds. With these works, he continues 150 x 125 cm

Paris to explore the individual and the collective, the visible and invisible, the place of the real and the place of art. Figures emerge then dissolve into compact, hazy throngs within composi- tions that at first sight appear abstract. 2

Faced with such extreme pictorial Philippe Cognée was born in 1957 and density, one can no longer distinguish studied at the Ecole des Beaux Arts in the image as figure from the material: Nantes, where he lives and works. One ‘That which is enclosed within this layer of the leading artists of his generation, of paint, within the crowd itself, is the a Villa Médicis prize winner in 1990 and individual.’ nominee for the 2004 Marcel Duchamp Prize, he taught at the Ecole Nationale Cognée’s blurred crowds are redolent of Supérieure des Beaux Arts in Paris until visions provided by new technologies 2015. and satellites, at once implacable yet imprecise. In the face of this prolifera- His work has been the subject of numer- tion of degraded images, he responds ous solo exhibitions and is featured in with the power of painting, unique in its many prominent collections, including ability to transcend the movement of at the Centre Pompidou and Fondation 4 swarming humanity within a landscape Cartier in Paris, and the Museum Ludwig 3 that is at times dreamlike. in Cologne.

www.danieltemplon.com International 11.01.2017 > 10.02.2017 Art Exhibitions 2017

Valerio Adami The Narrative Line RECENT PAINTINGS & SKETCHES

The Mayor Gallery 1 L’aquila e il coniglio 2014, Graphite on paper 47.5 x 36 cm 2 L’aquila e il coniglio 2014-16, Acrylic on canvas 116 x 89 cm 3 Gente che passa 2014, Graphite on paper 47.5 x 36 cm 4 Gente che passa 2014, Acrylic on canvas 130 x 97 cm 5 London Il cervo volante 135 7 2014, Graphite on paper 47.5 x 36 cm Valerio Adami is primarily a draughts- In this exhibition The Mayor Gallery 6 man and colourist. After realising as a presents a selection of recent paintings Il cervo volante young man he wanted to paint, he went and their accompanying preliminary 2014, Acrylic on canvas to the Accademia di Brera in Milan in sketches which fascinatingly reveal the 130 x 97 cm 1951 where he studied under Achille tedious process of working and 7 Funi. Then in 1955 he went to Paris, re-working on paper before the work’s Studio per il ponte where he met and was influenced by the final realisation on canvas. 2016, Acrylic on canvas artists Roberto Matta and Wifredo Lam. 65 x 147 cm The fruit tree adapts to the seasons 8 Adami developed a highly stylised and resists wind and frost. All of my Incontro manner of painting featuring regions of drawings stand between Drawing 2014-16, Acrylic on canvas flat colour bordered with bold black and my Life like road signs; a draw- 116 x 89 cm lines. The bright, flat finish links Adami ing today, a new one tomorrow… to the world of Pop-Art, however, unlike Valerio Adami the superficial nature of much of the genre, Adami’s works are much more Drawing is a literary business. complex. Addressing difficult and often I don’t leave the drawing until I can dark subjects such as Politics, Mortality write the word ‘end’… I would like it 246 8 and Mythology, his narrative paintings if in painting one could use the are filled with symbolism and the terms prose and poetry as well, so Valerio Adami was born in 1935 in subjects themselves are often portray- that I could define my work as Bologna in Italy. Currently, he lives ed in an uncomfortable manner, forcing painting in prose. The narrative between Paris, Monaco and Meina in the viewer to question the narrative in impulse is essential… Italy. the work. Valerio Adami

www.mayorgallery.com International 12.01.2017 > 25.02.2017 Art Exhibitions 2017

In Labyrinthine Gardens

1 The Work of Gregor Hildebrandt

Almine Rech Gallery Almine Rech Gallery The expression tous les coups sont Opposite page permis (no holds barred) is as true of Möchte ich dich berühren Gregor Hildebrandt’s Berlin studio as 2016, VHS tape and acrylic that other old adage about everything on canvas in love and war. The ancient war game 97 x 92 cm of chess neatly makes the point that Photo: Roman März there are always rules demarcating a 1 field of endless possibilities, rules that Installation view provide the necessary basis for all Photo: Rebecca Fanuele subsequent progress and development. 2 Just as it does in life, the next step in a Dora Diamant (detail) game of chess will always follow on 2016, Cut vinyl records, canvas from its precursor. And until the game on wood ends, its outcome remains uncertain. 130.5 x 98 cm Photo: Roman März 3 Dort wo die Linien sich verwirren

Paris 2016, Magnetic VHS tape coating, adhesive tape and acrylic on canvas 229 x 192 cm Photo: Roman März 4 Schwarze Kassettenschall- platte mit gelbem Rädchen 2016, Cassette tape, cassette reel on wood, plexi cover Diameter 92 cm Photo: Roman März 2 3 5 Mäandern ins Blaue Hildebrandt’s paintings, sculptures and 2016, Start and end of audio installations draw on music, cinema and cassettes and acrylic on canvas underground cultures, arranging and 49 x 49 x 3 cm combining visual elements of sound Photo: Roman März recordings and various recording media such as magnetic tapes, vinyl records or All works compact disks. Throughout his poetic © Gregor Hildebrandt work, infused with both sound and Courtesy of the Artist and silence, Hildebrandt creates a wide Almine Rech Gallery range of subtly reflective compositions that invite the viewer to evolve in space 4 and grasp the beauty of things past. 5

www.alminerech.com International 13.01.2017 > 18.02.2017 Art Exhibitions 2017

Roy Colmer

Lisson Gallery Lisson Gallery The exhibition will feature fifteen of the Opposite page artist’s early spray-gun paintings, most Untitled #118 of which have never been exhibited, 1968, Acrylic on canvas and a selection of late photo-collages. 127 x 127 cm Known primarily for his conceptual 1 photography and film projects, Roy Untitled #133 Colmer began creating his experimen- 1971, Acrylic on canvas tal, colour-intensive paintings in the 127 x 127 cm mid-1960s, upon moving to New York 3 after graduation from the Hochschule Untitled #57 für Bildende Künste in Hamburg, 1970, Acrylic on canvas Germany. Inspired by the shifting 177.8 x 127 cm artistic landscape created by the 3

New York introduction of electronic media, Canal Street Station, Colmer challenged the boundaries New York City between painting and film to develop 1993, Photo collage on foam core a new kind of perception. 38 x 97 cm 4 Colmer was able to connect the Jan 89, No 6 surfaces of his paintings to video by 1989, Photo collage on foam core using this spray technique and a careful 105 x 105 cm selection of colour, to suggest filmic effects such as movement, flicker, All works distortion, and as Colmer described, Courtesy Lisson Gallery ‘feedback’. 1 © The Estate of Roy Colmer

He was interested in the immediacy and versatility of the spray gesture, and the ability to manipulate space and depth through colour and form, notions influenced by his Concretist mentors while studying in Hamburg. By the early 1970s, Colmer began to incorporate telegenic feedback directly into his practice, increasingly working in video and film. His exploration and manipu- 3 lation of electronic signals was aligned with a group of artists working in the A selection of photographic works same area, among them Nam June Paik from the 1980s, arranged in a grid, are and Bruce Nauman. Colmer stopped also included in the exhibition. Placed experimen- ting with paint entirely a together, the early paintings and late few years later and focused his atten- photo collages create striking contrasts tion on conceptual photography and and articulate his lifelong experiment 2 documentary projects. with colour, form, and technique. 4

www.lissongallery.com International 14.01.2017 > 09.04.2017 Art Exhibitions 2017

Two Centuries of American Opposite page John Frederick Peto Still-Life Painting The Writer’s Table – A Precarious Moment 1 THE FRANK & MICHELLE HEVRDEJS COLLECTION 1892, Oil on canvas

Museum of Fine Arts The exhibition traces the history of 1 American still-life painting in the United Raphaelle Peale States from the early 19th century to the Orange and Book present day. The majority of the works c1817, Oil on canvas on view, which come from this private 2 Houston-based collection, have never Donald Sultan before been seen by the public. The Rouge Poppies exhibition brings together sixty of the 2012, Conté crayon on paper most influential American luminaries of 3 the genre, including William Merritt Andrew Wyeth Chase, Georgia O’Keeffe, James Peale, Christina’s Teapot John F Peto, Wayne Thiebaud, Max 1968, Watercolour and pencil Weber, and Andrew Wyeth. on paper 4 The extraordinary range of artistic Georgia O’Keeffe styles and subject matter illustrates the From Pink Shell rise and development of the still-life 1931, Oil on canvas genre in post-revolutionary America, 5 from European-influenced realism and Wayne Thiebaud Houston trompe l’oeil to Impression- ism, Jelly Rolls (for Morton) 2 Modernism, Pop Art, and beyond. 2008, Oil on canvas

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6 Richard Edward Miller The Scarlet Necklace 1914, Oil on canvas

All works Frank & Michelle Hevrdejs 45 Collection

www.mfah.org International 18.01.2017 > 23.02.2017 Art Exhibitions 2017

Opposite page Installation view Photo: Matt Kroening 1 Installation view 1 John M Armleder Photo: Matt Kroening 2 Almine Rech Gallery New YorkAlmine Rech Gallery This is first exhibition in the gallery’s Cast iron New York space by renowned multi- 2016, Diptych: 215 x 300 x 5 cm disciplinary artist John M Armleder. Left: Acrylic on canvas Organized in conjunction with Nicolas 215 x 150 x 4 cm Trembley, Armleder presents a historic Right: Varnish on canvas ensemble of drawings produced in the 215 x 150 x 5 cm 1960s as well as his first conceptual Photo: Annik Wetter wall paintings, a selection of Furniture 3 Sculpture works from the 1980s, and Installation view a series of new paintings created in Photo: Matt Kroening Brooklyn specifically for this exhibition. 4 Inspired by the Fluxus movement, he Installation view co-founded the Ecart Group in Geneva Photo: Matt Kroening 1969. In the 1980s, Armleder exhibited 5 in New York and established a dialogue While between the artists associated with the 2016, Mixed media on canvas local ‘Neo-Geo’ scene, including Haim 215 x 150 x 6 cm Steinbach and Peter Halley. 2 Photo: Annik Wetter 6 Using simple brush strokes, applied New diptychs blend the artist’s modern- Tablespoon without visible effort, some works draw ist distinctive stripe and polka-dot 2016, Mixed media on canvas on several of Armleder’s influences: paintings, with a fluorescent, pop 215 x 150 x 5 cm Zen Buddhism, John Cage and Marcel influenced aesthetic. These works are Photo: Annik Wetter Duchamp. Other drawings use geo- also associated with those created by metric shapes in primary colours, cele- randomly pouring paint on a vertical All works brating the motifs of Constructism or canvas or a canvas placed on the floor Courtesy of the Artist Suprematism – movements that remain and gesturally mixing in a diverse range and Almine Rech Gallery 3 essential to the artist’s practice. of materials such as glitter or lacquer. © John M Armleder

1 4 5 6 www.alminerech.com International 18.01.2017 > 24.02.2017 Art Exhibitions 2017

1 Bacon Lucian Freud Head and Shoulders and Freud of a Girl 1990, Etching, edition of 50 Graphic Works 78 x 63.5 cm © The Lucian Freud Archive

Marlborough Graphics and Bridgeman Images 2 Lucian Freud Blond Girl 1985, Etching 89 x 72 cm © The Lucian Freud Archive and Bridgeman Images 3 Francis Bacon Studies for Self-Portrait 1991, Lithograph © The Estate of Francis Bacon All rights reserved / DACS 2016 4 1 2 5 Francis Bacon After Three Studies Marlborough Graphics is pleased to for a Self-Portrait present an exhibition of prints by 1981, a set of three lithographs Francis Bacon and Lucian Freud. printed on one sheet, AP IV/XXV aside from the London The selected works provide an over- edition of 150 view of the artists’ graphic output and 47 x 103.5 cm demonstrate the different approaches © The Estate of Francis Bacon each took to printmaking. Friends who All rights reserved / DACS 2016 rose to prominence in London in the 5 1950s, Bacon and Freud are widely Francis Bacon regarded as the leading figurative Study for a Portrait artists of the 20th century. 6 of Pope Innocent X 1989, Lithograph Francis Bacon (1909-92) look as close to his paintings as possible process were a natural progression 115.6 x 76.8 cm based his prints on a selection of thirty- – his attantion to detail and desire for from his work as a draughtsman. In his © The Estate of Francis Bacon five of his paintings dating from 1955-91. perfection are evident in these works. paintings and prints, the influence of All rights reserved / DACS 2016 Following a European tradition of artists Prints were produced under his super- one medium on the other can be seen. 6 collaborating with master printers vision and he personally made changes His subjects were those close and Lucian Freud which dates back to the Renaissance, to proofs when necessary, always familiar to him, though often anony- The Painter’s Mother Bacon worked with skilled French, ensuring the right colour balance was mous to the viewer. Working in a purist 1982, Etching, edition of 25 Italian and Spanish printers on a achieved. manner, all of Freud’s etchings were 27.3 x 21 cm relatively small body of lithographs devoid of colour (bar two editions) and © The Lucian Freud Archive and a few etchings (totalling only Lucian Freud (1922-2011) featured minimal backgrounds. and Bridgeman Images about forty editions). Marlborough created his first etching in Paris in 1946, Unsettling and unyielding, the works started working with Bacon in 1958 and but the height of his graphic output was contain a remarkable honesty and an has carried his graphic works since they in the 1990s. The marks and techniques awkwardness that adds to the nervous 3 4 were made. Bacon wanted his prints to he employed during the etching nature of the images.

www.marlboroughlondon.com International 19.01.2017 > 11.03.2017 Art Exhibitions 2017

3 Katharina Grosse Installation view © Katharina Grosse und VG Katharina Bild-Kunst, Bonn 2017 Photo by Rob McKeever 3 Grosse Courtesy Gagosian

Gagosian Gallery Gallery Gagosian A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking. Katharina Grosse

Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she disconnects the artistic act from the hand, stylizing gesture as a propulsive mark. The result- ing pictures are distinct, but never pre- determined. Tensions rise through shifts New York in chromatic temperature. Embracing the events and incidents that arise as 6 she paints, Grosse opens up surfaces and spaces to the countless perceptual 4 possibilities of the medium. Untitled 2016 Acrylic on canvas 300 x 230 cm 5 Untitled 2016 Acrylic on canvas 290 x 193 cm 6 Untitled 2016 Acrylic on canvas 300 x 200 cm

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1 2 While she is widely known for her her paintings to emerge from action, In this exhibition, selected works All works Untitled Untitled temporary and permanent in situ work, further multiplying this potential with from several interconnected suites of © Katharina Grosse und VG 2016 2016 which she paints directly onto interiors, stencils cut from cardboard and thick untitled paintings produced during the Bild-Kunst, Bonn 2017 Acrylic on canvas Acrylic on canvas architecture, interiors, and landscapes, foam rubber – tools with which to last twelve months demonstrate this Photos by Jens Ziehe 290 x 193 cm 290 x 193 cm her approach begins in the studio. She develop further cuts, layers, and constant interaction of process and Courtesy Gagosian allows new patterns and procedures in perspectival depths. material.

www.gagosian.com International 20.01.2017 > 04.03.2017 Art Exhibitions 2017

Opposite page Untitled (Faulagh) Liam Everett 2016, Oil, acrylic, salt, alcohol on gessoed vinyl 1 Panem & Circen 249 x 198 cm

Kamel Mennour At first, US artist Liam Everett’s Screen Paintings evoke strange maps, chaotic landscapes overrun with luminous spasms. It is impossible to establish a precise correlation between the Irish topology evoked in the captions accompanying each of the paintings and the paintings themselves. But each of the villages named here (Annadorn, Ardgroom, Cloghanmore etc) is home to an important Neolithic site (dolmens, megalithic alignments, tombs). This is an important piece of information for approaching Everett’s painting, as –

Paris constructing and deconstructing, erecting and excavating – it pertains at 5 once to the spheres of architecture and 1 the archaeological dig. The paintings Installation view are built up with many layers – they are Photo: Julie Joubert the result of a long process. He works 2 with the canvas on the floor, or on the Untitled (Aghanaglack) wall, without an easel. In this way, 2016, Oil, acrylic, salt, alcohol Everett works ‘on’ and ‘before’ it. This on gessoed vinyl double positioning sets in motion a 193 x 198 cm decision made not only in the visual 3 field but also in that of the physical. 2 Untitled (Cloghanmore) 2016, Oil, acrylic, salt, alcohol on gessoed vinyl 198 x 284.5 cm 4 Untitled (Eightercua) 2016, Oil, acrylic, salt, alcohol on gessoed vinyl 200,7 x 139,7 cm 5 Untitled (Kilmashogue) 2016, Oil, acrylic, salt, alcohol on gessoed vinyl 124.5 x 91.5 cm

All works © Liam Everett Photos of works: J Jones Courtesy the artist and Kamel 3 4 Mennour, Paris/London

www.kamelmennour.com International 22.01.2017 > 28.05.2017 Art Exhibitions 2017

1 Claude Monet

Fondation Beyeler To mark its 20th anniversary, we are Opposite page presenting one of the most important Water-Lilies and best-loved artists: Claude Monet. 1916-1919, Oil on canvas The exhibition will be a celebration of 200 x 180 cm light and colour, illustrating the artistic Beyeler Collection, Fondation development of the great French Beyeler, Riehen, Basel painter from Impressionism to his Photo: Robert Bayer famous late work. 1 The Custom House It will feature his Mediterranean land- 1882, Oil on canvas scapes, wild Atlantic coastal scenes, 61 x 75 cm different stretches of the Seine, Harvard Art Museums/Fogg meadows with wild flowers, haystacks, Museum, Bequest of Annie waterlilies, cathedrals, and bridges Swan Coburn, 1934 shrouded in fog. In his paintings, he Photo: Imaging Department experimented with changing light and © President and Fellows of colour effects in the course of a day and Harvard College Basel in different seasons. Monet succeeded 2 in evoking magical moods through In the Norvegienne reflections and shadows. 2 1887, Oil on canvas 97.5 x 130.5 cm Monet was a pioneer, who found the The show will bring together sixty-three Japan, the Metropolitan Museum in Musée d'Orsay, Paris, key to the secret garden of modern of Claude Monet’s best works from New York, the Art Institute in Chicago Legacy of Princesse Edmond painting, and opened everyone's eyes renowned museums such as the Musée and from numerous international de Polignac, 1947 to a new way of seeing the world. d'Orsay in Paris, the Pola Museum in private collections. Photo: © RMN-Grand Palais (Musée d'Orsay) 3 Jean-Pierre Hoschedé and 3 Michel Monet on the Banks of the Epte 1887-90, Oil on canvas 76 x 96.5 cm National Gallery of Canada, Ottawa, Gift of the Saidye Bronfman Foundation, 1995 Photo: © National Gallery of Canada 4 Poplars on the Banks of the Epte 1891, Oil on canvas 92.4 x 73.7 cm Tate, Presented by the Art Fund 354 Photo: © Tate, London 2016 www.fondationbeyeler.ch International 25.01.2017 > 25.02.2017 Art Exhibitions 2017

All images 1 Winter Show © Plus One Gallery

Plus One Gallery Plus One Gallery Plus One Gallery is pleased to announce Opposite page the annual group exhibition, ‘Winter Peter Demetz Show’. Expect to see new works from The Right Way many Gallery artists as well as several 2017 new artists works featuring in this year’s 1 exhibition. Antonis Titakis Wave in the Light Examine an intriguing collaboration of the Moon (Diptych) of sculptural works by Peter Demetz, 2016 Caroline d’Andlau Hombourg and 2 Rogerio Timoteo; signature seascape Javier Banegas paintings by Antonis Titakis; Javier Paint Box Banegas’ continued exploration into 2016 colour and composition; Paul Beliveau’s 3 fascination with book spines; and Pedro Pedro Campos

London Campos’ monumental works on canvas, Macaroon Sensations as well as many more captivating 2016 examples of hyper-realistic artwork. 4 Francesco Stile L’integrazione 2016 5 Craig Wylie VK Broken Chair 2 3 2013-14

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www.plusonegallery.co.uk International 25.01.2017 > 02.03.2017 Art Exhibitions 2017

3 Installation view All images are courtesy of the Artist James Welling James Welling ‘Chronology’ and Marian Goodman Gallery at Marian Goodman Gallery, Photos are by Rebecca Fanuele 3 Chronology Paris, 2017

Marian Goodman Gallery Gallery Marian Goodman I loved the notion of ventriloquism. The idea that the vocabulary of photography could exist indepen- dent of the subject, that I could throw my voice into a photograph, or that the photograph was creating its own voice, all that was very important. James Welling in conversation with Hal Foster Paris

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1 2 The exhibition showcases new works The exhibition illustrates the full range 4 #8 #9 and a selection of both recent and of the artist’s work, highlighting formal IG09 2016, Digital c-print on 2016, Digital pigment print important photographs from the 1970s. and conceptual continuity. 2005, Photogram on Kodak Endura Metallic paper Image: 119.4 x 96.5 cm During his early years, James Welling chromogenic paper Image: 119.4 x 96.5 cm experimented with painting, dance, Welling’s works enrich the collections Image: 101.6 x 76.2 cm video, sculpture, and performance, of the Centre Georges Pompidou in 5 before eventually focusing on photo- Paris; the Hammer Museum and the Los 7690 graphy in the mid- 1970s. Self-taught, Angeles County Museum of Art in Los 2015, Inkjet on Museo he began exploring the medium’s Angeles; the Museum of Modern Art, Silver Rag paper possibilities by experimenting with the Solomon R Guggenheim Museum, Image:106.7 x 160 cm various techniques. James Welling was, and the Whitney Museum of American 6 above all, Interested in the unpredict- Art, in New York; the Tokyo Metropolitan IG14 able character of photography and Museum of Photography; the Kunst- 2005, Photogram on deliberately explored a variety of museum in Wolfsburg; the Vancouver chromogenic paper themes, engaging with materiality, Art Gallery; and the Wadsworth Image: 101.6 x 76.2 cm abstraction, colour, and spatiality. 6 Atheneum Museum of Art in Hartford.

www.mariangoodman.com International 26.01.2017 > 25.03.2017 Art Exhibitions 2017

Opposite page 1 William N Copley Persephone 1960, Oil and lace on canvas Women 99.4 x 80.3 cm

Paul Kasmin Gallery William N Copley, (1919-96), known by his signature name CPLY, (pronounced 'see-ply'), was a painter, writer, gallerist, publisher, art patron and entrepreneur. The exhibition unites a over 20 paintings that highlight the late artist’s preoccupa- tion with the opposite sex, which he employed as an endless source for inven- tive figurative and narrative paintings that explored eroticism, sexual politics and the pursuit of pleasure. Originally defying painterly trends of the 1950s by making personal and narrative works, Copley developed a radical fusion of European Surrealist vernacular and a rogue, humorous American sensibility. 234 1 Sex, eroticism and cultural critique Battle of the Sexes No 2 New York were mainstays in Copley’s oeuvre of 1974, Acrylic on cotton paintings that embraced idiosyncratic 159.1 x 286.1 cm figuration, candy-coloured palettes and 2 Matisse-like decorative patterning. Happy New Year A single recurring subject – women – 1970, Acrylic on canvas becomes the torch that illuminates 146.4 x 114 cm Copley’s modus operandi as an artist 3 and his stylistic permutations as a Jane painter. Copley discovered Surrealism, 1966, Acrylic on linen and found it to be a liberating platform 116.8 x 88.9 cm that celebrated sexual candor and 4 cultural resistance. Though his work The Happy Hooker matured, this inebriation with the free- 1974, Acrylic on linen dom promised by Surrealism never left 116.8 x 88.9 cm him and is evident throughout the show. 56 5 Mother Figure Copley sought to ‘break through the Other key works in the exhibition draw 1966, Oil on canvas barrier of pornography into the area of from Copley’s perennial exploration of 128.9 x 96.8 cm joy’. This was to radiate through later the ‘battle of the sexes’, a favorite theme, 6 paintings that incorporated assemblage and of the ‘Unknown Whore’, a concept Jules and Jim of fetish elements such as lingerie, the artist used to venerate the ambassa- 1973, Acrylic on linen garter-belt buckles, high-heeled shoes dors of sex instead of war. Copley is now 149.9 x 114.3 cm and underwear. These paintings seen as a singular personage of post- 7 signaled his recognition of painting as war painting and important linkage Dark Victory both fetish object and potential vessel between European Surrealism and 1973, Acrylic on linen 7 for humorous, erotic talismans. American Pop Art. 101.63 x 81.33 cm

www.paulkasmingallery.com International 26.01.2017 > 17.04.2017 Art Exhibitions 2017

Opposite page Ihr Schön 2016, Oil on canvas Jonas Burgert 400 x 690 cm Collection of the Artist 1 Lotsucht 1 Exhibition view

Musei d’Arte Moderna di Bologna 2 Stückfrass 2013, Oil on canvas 240 x 300 cm Collection of the Artist 3 Tarnt 2016, Oil on canvas 90 x 80 cm Private collection, Switzerland 4 Haltstand 2012, Oil on canvas 300 x 200cm Olbricht Collection

Photos of works © Lepkowski Studios Photo of exhibition view 2 Matteo Monti

A master of imaginative figurative painting, with each brush stroke Burgert creates carefully constructed scenes filled with complexity. His works depict his vision of the theatre that is human existence, examining the instinc- tive need for humans to give sense, direction and purpose to their lives.

This exploration encompasses realms of reason, imagination and desire, generating monumental landscapes crowded with fantastic figures of 3 different proportions: monkeys and zebras, skeletons and harlequins, The works that are on display at MAMbo Amazons and children. These dynamic consist of both monumental canvases pictorial dramas generate a strong which provide space for sprawling sense of unease in the viewer: the narratives of compositional complexity 4 subjects depicted wear masks and and smaller paintings which focus on Jonas Burgert’s first solo show in Italy, costumes, walls and floors split open the study of individual subjects, por- MAMbo would like to thank with 38 mostly large-format paintings to reveal piles of bodies or liquids, traits that push the figures portrayed Blain | Southern for their kind created by the German artist over the while aninexplicable darkness looms into the foreground, as if under a cooperation and precious last decade. everywhere. microscope. support.

www.mambo-bologna.org International 03.02.2017 > 04.06.2017 Art Exhibitions 2017

3 Robert Motherwell Wall Painting No III Abstract 1953, Oil on canvas 137.1 x 184.5 cm 3 Expressionism Private collection Courtesy Hauser & Wirth Guggenheim Museum In the ‘age of anxiety’ surrounding the © Dedalus Foundation Inc, Second World War and the years of free VAGA, NY/VEGAP, Bilbao, 2016 jazz and Beat poetry, artists like Pollock, 4 Rothko, and de Kooning broke from Clyfford Stil accepted conventions to unleash a new PH-950 confidence in painting. Abstract Expres- 1950, Oil on canvas sionism was born from the common 233.7 x 177.8 cm experience of artists living in 1940s New Courtesy Clyfford Still Museum, York, although they were friends and Denver, Colorado colleagues, each of them had their own © City and County of Denver, unique style. Unlike what came before VEGAP, Bilbao, 2016 with Cubism and Surrealism, Abstract 5 Expressionism did not appear to follow David Smith a set formula. This diversity is a celebra- Star Cage tion of the individual artists’ freedom to 1950, Painted and brushed steel express themselves. Abstract Expres- 114 x 130.2 x 65.4 cm sionism meant a watershed moment in Frederick R Weisman Art Museum the evolution of 20th century art, yet, at the University of Minnesota, remarkably, there has been no major Minneapolis. survey in Europe of the movement since The John Rood Sculpture

Bilbao 1959. With over 130 paintings, sculptures, Collection and photographs from public and © The Estate of David Smith, private collections across the world, this VAGA, New York / VEGAP, Bilbao, ambitious exhibition encompasses 2016 masterpieces by the most acclaimed 6 American artists associated with the Jackson Pollock movement, among them, Willem de Mural Kooning, Arshile Gorky, Phillip Guston, 1943, Oil and casein on canvas Franz Kline, Jackson Pollock, Robert 243.2 x 603.2 cm Motherwell, Barnett Newman, Joan The University of Iowa Museum Mitchell, Mark Rothko, Aaron Siskind, of Art, Gift of Peggy Guggenheim David Smith, and Clyfford Still, as well as © The Pollock-Krasner Foundation, 1 | 2 lesser-known but no less vital artists. 4 VEGAP, Bilbao, 2016

1 2 The selection aims to re-evaluate Willem de Kooning Helen Frankenthaler Abstract Expressionism, recognizing 6 Untitled Europa that though the subject is seen as c1939, Oil on paper 1957, Oil on canvas unified, in reality it was a highly complex, mounted on canvas 177.8 x 138.4 cm fluid, and many-sided phenomenon. 95.8 x 73.7 cm Helen Frankenthaler Likewise, it revises the notion of Private collection Foundation, New York Abstract Expressionism as based solely © The Willem de Kooning © Helen Frankenthaler / in New York City by addressing such Foundation, New York / VEGAP, Bilbao, 2016 figures on the West Coast as Sam Francis, VEGAP, Bilbao, 2016 Photo: Robert McKeever 5 Mark Tobey and Minor White. 6

www.guggenheim-bilbao.eus International 04.02.2017 > 06.08.2017 Art Exhibitions 2017

1 Duane Hanson Two Workers GOSH! 1993 © Estate of Duane Hanson 3 Is it Alive? Licensed by Copy-Dan Billedkunst Stiftung Haus der Geschichte der Arken Museum of Modern Art With technical perfection, disturbances Hyperrealism had its beginnings in the Bundesrepublik Deutschland, of scale, presence and humour the 1960s like Pop and Conceptual Art as a Bonn works raise highly topical issues about reaction to Abstract Expressionism. Photo: Axel Thünker. what it means to be human right now The idea was to give everyday life and 2 as robot technology and artificial intelli- reality – a kind of social realism – a place Sam Jinks gence gain ground in radical ways. as artistic expression. Since then several Untitled (Kneeling Woman) Hyperrealism is one of the really big artists have worked with sculptures 2015 tendencies in contemporary art at the which to a disconcerting degree look Courtesy the artist and 4 moment. like real people and which are made in Sullivan+Strumpf, Sydney materials that complete the illusion. 3 The exhibition shows works by thirty- In the encounter with the exhibition’s Ron Mueck one internationally recognized artists – human sculptures we get close to what A Girl namely Zharko Basheski, Frank Benson, seems to be another human being. 2006 Berlinde de Bruyckere, Maurizio It is both stimulating and frightening, © Ron Mueck Cattelan, Brian Booth Craig, John Davies, for the works deal to a great extent with Scottish National Gallery of John DeAndrea, Keith Edmier, Carole A the relationship between life and death, Modern Art. Feuerman, Daniel Firman, Robert Gober, reality and fantasy, human and machine. 4 Robert Graham, Duane Hanson, Uffe The exaggerated realism that typifies Patricia Piccinini Isolotto, Sam Jinks, Allen Jones, Peter hyperrealistic sculpture is related to Newborn 1 Land, Tony Matelli, Paul McCarthy, Ron mankind’s dream of self-recreation. 2010 Mueck, Juan Muñoz, Evan Penny, The dream (or nightmare) of immorta- Courtesy of the artist & Roslyn Patricia Piccinini, Mel Ramos, Jamie lity through the perfect copy can Oxley9 Gallery, Sydney Salmon, George Segal, Marc Sijan, Kurt perhaps soon be realized by way of 5 Trampedach, Anna Uddenberg, Xavier robot technology, genetic engineering, Anna Uddenberg 1 5 Veilhan and Erwin Wurm. cloning and artificial intelligence. Journey of Self Discovery 2016 9th Berlin Biennale for Arken Contemporary Art, installation view. Courtesy the artist and Kraupa-Tuskany Zeidler, Berlin. Photo: Timo Ohler 6 Sam Jinks Woman and Child 2010 Courtesy of the artist and Sullivan+Strumpf, Sydney 7 Frank Benson Juliana 2014-15 © The Artist Courtesy Sadie Coles HQ, London 2 67 Photo: The Artist

www.arken.dk International 08.02.2017 > 04.06.2017 Art Exhibitions 2017

Opposite page Virginia Woolf Oil on board Vanessa Bell © National Portrait Gallery, London (NPG 5933) 1879-1961 1 Self-Portrait Dulwich Picture Gallery Gallery Picture Dulwich c1915, Oil on canvas laid on panel 63.8 x 45.9 cm Yale Center for British Art 2 Street Corner Conversation c1913, Oil on board 69 x 52 cm Private Collection 3 Design for Omega Workshops 1913, Watercolour, gouache and graphite on fabric Sheet: 66.1 × 53.3 cm 123 Image: 53.3 × 40.7 cm Yale Center for British Art Widely acclaimed as a central figure of 4 the Bloomsbury Group, the modernist Nude with Poppies painter, Vanessa Bell was a pivotal figure 1916, Oil on canvas on board in 20th century British art, inventing a 23.4 x 42.24 cm Swindon Museum & Art Gallery

London new language of visual expression. Muse to fellow artists such as Roger Fry, 5 sister of Virginia Woolf, mastermind of The Other Room the idyllic Bloomsbury life at Charleston, late 1930s Bell’s reputation as an artist has long 161 x 174 cm been overshadowed by her family life Private Collection and romantic entanglements. A radical innovator in the use of abstraction, All works colour and form, this will be the first © The Estate of Vanessa Bell, major exhibition of her work. 4 Courtesy of Henrietta Garnett

Approximately 100 paintings, ceramics, Vanessa Bell was born in London, the intellectuals lead to the formation of fabrics and photographs arranged eldest of four children and sister to The Bloomsbury Group. In 1907, she thematically will reveal her pioneering renowned writer Virginia Woolf, she married fellow Bloomsbury member work in the genres of portraiture, still- was encouraged from a young age to Clive Bell, with whom she had two life and landscape and will explore her pursue her individual talents. In 1901 she children. In 1912, alongside such notable fluid movement between the fine and began studying at the Royal Academy names as Picasso and Matisse, Bell applied arts. Bell had her first solo show Schools, under the tutelage of John exhibited her work in the influential at the Omega Workshops in 1916, and Singer Sargent, amongst others. Second Post-Impressionist Exhibition another at London’s Independent Following the death of her parents, at the Grafton Galleries, London, a Gallery in 1922. She exhibited her work Vanessa and her siblings moved from landmark show organised by Roger Fry. internationally in exhibitions in Paris, their family home to Bloomsbury, where Alongside Fry, Bell and Duncan Grant Zurich and Venice. regular meetings with other artists and co-founded The Omega Workshop. 5

www.dulwichpicturegallery.org.uk International 09.02.2017 > 01.05.2017 Art Exhibitions 2017

Opposite page War 1981, Oil on canvas Gerhard Richter 200 x 320 cm Photo: Rheinisches 1 New Paintings Bildarchiv, Cologne

Museum Ludwig Gerhard Richter was born on 9 February 1 1932 in Dresden and based in Cologne Abstract Painting since 1983. For over fifty years, he has 2016, Oil on aluminum worked on a dazzling renewal of pain- 27 x 35.5 cm ting. The wide-ranging oeuvre presents 2 a fascinating tension between figura- Abstract Painting tion and abstraction, significance and 2016, Oil on wood banality. Since the late 1970s, abstract 40 x 50 cm pictures have dominated his work. On 3 the occasion of Gerhard Richter’s 85th Abstract Painting birthday, the Museum Ludwig is presen- 2016, Oil on canvas ting 26 abstract paintings for the first 70 x 60 cm time, all of which were created last year. 4 These new works, most of which were Abstract Painting painted on canvases of very different 2016, Oil on canvas

Cologne sizes, feature bright colours and 175 x 250 cm detailed, multilayered compositions. 5 Ema (Nude on a Staircase) 1966, Oil on canvas 200 x 130 cm Museum Ludwig Cologne Photo: Gerhard Richter

All works © Gerhard Richter 2016 (221116)

2 3

The artist used a paintbrush, a palette These include icons such as Ema (Nude knife, a squeegee and a knife to shape on a Staircase) from 1966, 48 Portraits of these paintings built up in several layers German intellectual figures from 1971-72, of oil paint. Richter has often made use the abstract painting War from 1981, of chance in the creation of his works, and the glass work 11 Panes from 2003, resulting in detailed and extremely among others. This presentation, which complex compositions. His work is was also designed by Richter, also based on doubts about the representa- features many editions in which the bility of reality and the question of the painter further expands his means and 4 meaning of the painted picture. his questions about the picture and the Alongside the exhibition, pioneering likeness. Some of these editions have works by Gerhard Richter from Museum long been part of the Museum Ludwig Ludwig’s collection will be presented. collection. 5

www.museum-ludwig.de International 09.02.2017 > 29.05.2017 Art Exhibitions 2017

Opposite page Portrait of an Artist (Pool with Two Figures) David 1972, Acrylic paint on canvas 214 x 304.8 cm 1 Hockney Lewis Collection, Art Gallery NSW

Tate Britain Tate Britain presents the world’s most extensive retrospective of the work of David Hockney. Widely regarded as one of the most successful and recognisable artists of our time, this show celebrates Hockney’s achievement in painting, drawing, photography and video.

David Hockney was born in Bradford, Yorkshire in 1937. He is unique in British art for the extent of his popular appeal. London As he approaches his 80th birthday, this 4 exhibition offers an unprecedented overview of the artist’s work to date. 1 Presented as a chronological overview, Woldgate Woods, it traceshis development from the 6 & 9 November 2006 moment of his prodigious appearance 2006, Oil paint on 6 canvases on the public stage as a student in 1961, 91.4 x 121.9 cm through to his iconic works of the 1960s David Hockney Inc, and 1970s, and on to his recent success Los Angeles at the Royal Academy and beyond. The 2 exhibition will show how Hockney has Model with Unfinished questioned the nature of pictures and Self-Portrait picture-making and challenged their 1977, Oil paint on canvas conventions. 2 152.4 x 152.4 cm Private collection His art is one of the great landmarks c/o Eykyn Maclean of post-modernism, using parody and 3 self-reflection, and playing with repre- Christopher Isherwood sentation and artifice. This can be found and Don Bachardy from his very early works which subvert 1968, Acrylic paint on canvas the language of abstract expressionism 212 x 303.5 cm into homoerotic autobiography. Private collection The witty and brilliant invention of 4 Hockney’s classic works will be explored, Peter Getting Out of including his portraits of family, friends Nick’s Pool and himself, as well as his iconic images 1966, Acrylic paint on canvas of LA swimming pools. It will also 152 x 152 cm include his celebrated Yorkshire land- National Museums Liverpool, scapes of the 2000s and work made Walker Art Gallery, presented by since his return to California in 2013. Sir John Moores, 1968 Hockney is an artist who has frequently changed his style and ways of working, All works 3 embracing new technologies as he goes. © David Hockney

www.tate.org.uk International 10.02.2017 > 21.05.2017 Art Exhibitions 2017 A Dangerous Woman Subversion & Surrealism in 1 The Art of Honoré Sharrer

Columbus Museum of Art Honoré Sharrer (1920-2009) was a major art figure in the years surrounding World War II. She was a rebel, whose paintings marked covert but unflinching resist- ance to the oppressive political and social conventions of the Cold War era. Her gender, commitment to leftist ideals, and use of figurative surrealism put her at odds with the dominant political and artistic climate of the 1950s. Honoré Sharrer found that she was progressively marginalized by the suppression of political difference carried out by forces like Senator Joseph McCarthy and the House Un-American Activities Commit- tee. Simultaneously, Abstract Expression- ism, epitomized by artists such as Jackson Pollock and Willem de Kooning, dominated the American art world. Sharrer, like other female artists, struggled to find equal billing given the masculine aesthetics of this movement. 2

Ohio ‘A Dangerous Woman’ highlights the Opposite page visual strategy Sharrer constructed in Afternoon on the Beach response to these dynamics. Sharrer 1990, Oil on canvas drew from popular culture and mass 76.2 x 81.28 cm media to invent a complex visual 1 language equal parts wit, seduction, Mother Goose and bite, which she used to expose the 1960, Oil on canvas exclusionary culture and politics of Cold 67.31 x 95.25 cm War America. She embraced stylistic 2 elements that were viewed at the time Nursery Rhyme as feminine, and thus less serious. 1971, Oil on canvas Her candy colours, character ‘types’, 124.46 x 226.06 cm and playful re-appropriations from art 3 history and nursery rhymes have led her Reception work to be characterised as cheeky or 1958, Oil on canvas provocative. However, she used such 57.15 x 76.2 cm elements to draw the unsuspecting viewer in, while cleverly deploying the All works power of humour to transgress rigid Collection of Adam Zagorin social boundaries and reveal the ugly & the late Perez Zagorin 3 underbelly of power.

www.columbusmuseum.org