Arcomadrid 2019

ARCOmadrid 2019 PREVIEW 27 FEBRUARY– 3 MARCH 2019 STAND E05 - PAVILION 7 Miquel Barceló Manifesto Haptique, 2015 Mixed media on canvas 190 x 240 x 5 cm (74,8 x 94,49 x 1,97 in) MIB 1014 For Manifesto Haptique (2015) Spanish artist’s Miquel Barceló found inspiration in the submarine wildlife of his native Mallorca. In the soft blue and white surface, black imprints, heightened hues and relief-like shapes reveal the form of an octopus. Thanks to Barceló’s pastose treatment of paint, the motif is defined by volume and colour rather than line. Paradoxically, Barceló renders the liquidity of a submarine world on a highly-textured, dry surface, a permanent fixture of his artistic production and his inspirations in Joan Miró, Paul Klee, and the movements of Tachisme and Art Informel. This painting is an example of Barceló’s wide range of interests in the natural world and the paleolithic, reminiscent of his large-scale permanent installation on the walls of the Cathedral of Palma de Mallorca (2007). Georg Baselitz Rayski Kopf, 2016 Oil on canvas 240 x 150 cm (94,49 x 59,06 in) GB 2266 German artist Georg Baselitz’s large-scale oil painting Rayski Kopf (2016) is part of an ongoing series of works portraying the 19th century painter Ferdinand von Rayski, known notably for his court portraits and hunting scenes. Standing within the long tradition of German art, the painter has been a recurring figure for Baselitz, who made von Rayski the subject of his earliest paintings, shown publicly for the first time in 1957. Baselitz redefines portraiture in this striking composition: vigorous brushstrokes of contrasting hues of yellow, green, blue and red are overlaid in a thick impasto. The outline of a head emerges, at once both abstract and figurative, leaving the rest of the canvas laid bare. Following recent solo exhibitions at the Guggenheim Bilbao (2017), Bilbao; the Beyeler Foundation (2018), Basel; and the Hirschhorn Museum (2018), Washington; the Centre Pompidou in Paris will open a major retrospective of George Bazelitz’s work, due to open in 2020. Emilio Vedova Ciclo ‘81 - Compresenze - 7, 1981 Acrylic paint, pastel colour, charcoal and nitro laquer on canvas 272 x 272 cm (107,09 x 107,09 in) EMV 1013 The vivid colours, monumental size and expressive brushwork of Emilio Vedova’s Ciclo 81 – Compresenze – 7 from 1981 is typical of the works he produced in the 1980s, a period which has been widely recognized as the acme of his career. In 1980, Vedova travelled to Mexico, and the colours of its immense landscapes left a lasting impression on him. Following the first historical survey exhibition of Vedova’s work in France at our Paris Marais gallery, we take the opportunity to announce his two forthcoming exhibitions: in April 2019 at the Fondazione Vedova in Venice, curated by Georg Baselitz, and in November 2019 at the Palazzo Reale in Milan, curated by Germano Celant. Daniel Richter ZUR LAGE, 2017 Oil on canvas Image 240,4 x 180,2 cm (94,6 x 70,9 in) Frame 244 x 184 x 4,5 cm (96,06 x 72,44 x 1,77 in) DAR 1095 In Daniel Richter’s ZUR LAGE (2017) transient figures flicker in and out of view, coalescing in an implied erotic act before dissolving into the surrounding chromatic gradients. As Richter explains, ‘My concern is with the surface, this flat, tangled, never-changing scheme of figure constellations, in and out’. For Art Historian Eva Meyer-Hermann, the artist reflects on the commodification of desire in our current over- stimulated environments: ‘The human figures and their interpersonal relationship possibilities are dissolved. Their new forms of presence as painting transforms them in the sense of post-Internet art into a commentary on disappearing privacy and individuality, which has been lost in an inflationary consumer choice with promises of the universal satisfaction of desire.’ (in Daniel Richter exh. cat. Schirn Kunsthalle Frankfurt, 2015). Tony Cragg Gate, 2017 Stainless steel, ca. 360 kg 100 x 105 x 95 cm (39,37 x 41,34 x 37,4 in) TC 1235 Tony Cragg’s distinguishing feature is his primary concern to find new, unprecedented forms that amaze the viewer by their unusual biomorphic and technoid references. His stainless steel sculpture Gate (2017) is the result of an intensive examination of a polydynamic language, which unites different partial views depending on the perspective of the viewer. In recent years, heads and faces have been appearing in the circular movement shapes of the rhythm of the sculptures. Overlapping, layering and convolution give rise to body landscapes forming positives and negatives, asserting a form and at the same time mapping out their vacant spaces. Following his five monumental sculptures along Park Avenue in New York in 2018, new sculptures will be installed in the Boboli Gardens of the Uffizi in Florence in May 2019, exploring the relationship between industrial materials and natural elements. Antony Gormley SET III, 2017 10 mm square section mild steel bar, 44.5 Kg 193,5 x 48,8 x 34 cm (76,18 x 19,21 x 13,39 in) Ed. 4 of 5 + 1AP AG 1630 SET III (2017) forms part of Antony Gormley’s recent series of steel ‘Grid Works’. Here, the body is reduced to a lattice of pure Cartesian coordinates expressed in three dimensions, and then subjected to further reduction. Following an impressive installation of Gormley’s monumental sculptures on the front stairs of the Philadelphia Museum of Art, the artist will be exhibited in a forthcoming major retrospective at the Royal Academy, London, in September 2019. Rosemarie Castoro Corner Cut, 1972 Masonite, wood, marble dust, gesso, and graphite 88 × 34 × 1 1/2 inches (223.52 × 86.36 × 3.81 cm) RC 1086 Born in Brooklyn, Rosemarie Castoro (1939-2015) lived and worked in New York her entire life, becoming a central figure in the city’s Minimalist and Conceptualist Art scene. Corner Cut (1972) is a major work from the ‘Brushstrokes’ series, which is indicative of Castoro’s multidisciplinary approach, bridging through sculpture, painting and dance in this monumental rendering of the most prototypical artistic gesture: the brushstroke. Renowned Art Historian Lucy Lippard writes about this specific series: ‘These were paintings taken off the wall and transformed into their own enclosures – “screens”, “corners” a “revolving door”, and a curving “tunnel entranceway”. Graphite rubbed over a dense impasto surface of gesso and modelling paste provided a muscular abstraction of their creation. The vigorous swashes resisted and eventually rebelled against rectangular confinement, and during 1972 the “brushstrokes” broke away and became separate entities’ (Lucy Lippard, ARTFORUM, 1975). A year after her long awaited retrospective at Museu d’Art Contemporani de Barcelona in Barcelona, we are currently presenting a survey of her works in our Paris Marais gallery. GALERIE THADDAEUS ROPAC LONDON 37 DOVER STREET, LONDON W1S 4NJ +44 (0)20 3813 8400 GALERIE THADDAEUS ROPAC PARIS MARAIS 7 RUE DEBELLEYME, 75003 PARIS +33 (0)1 42 72 99 00 GALERIE THADDAEUS ROPAC PARIS PANTIN 69 AVENUE DU GÉNÉRAL LECLERC, 93500 PANTIN +33 (0)1 55 89 01 10 GALERIE THADDAEUS ROPAC SALZBURG MIRABELLPLATZ 2, A-5020 SALZBURG +43 (0)662 881 3930 @ThaddaeusRopac @ThaddaeusRopac @ThaddaeusRopac @GalerieRopac ROPAC.NET.

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