Search results for ""Author Caroline Bourgeois""

Accrochage brings together about seventy works from the Pinault Collection produced by thirty artists since the 1970s. The works-never shown before in the Venetian venues of the collection-are the outcome of minimal gestures and artistic research focused on the theme of the void. Fabio Mauri, Pier Paolo Calzolari, Sol LeWitt, Charles Ray, Roman Opalka, Bernd Lohaus, Thomas Schutte, Goshka Macuga, and Niele Toroni are only some of the artists taking part in a show that becomes a place of meeting, rela- tions, questions, and comparison between different ways of practicing art.

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Artists play a fundamental role as mirror of society and can, in particular, give expression to specific corners of the world in our global economy. A new stop of the François Pinault collection “journey” around the world. A monumental exhibition at the famous Garage: a 1927 bus garage in Moscow designed by the Constructivist architect Konstantin Melnikov and transformed into a gallery for contemporary art and culture by Daria “Dasha” Zhukova, whose partner is the Russian billionaire Roman Abramovich.

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Albert Oehlen has established himself as one of the leading figures in contemporary painting thanks to a continually evolving practice that focuses more on overcoming formal limitations and on experimentation than on the subject of the work. Music has played a central part in the artist s output, serving as a metaphor for his method of working in which fusion and rhythm, improvisation and repetition, and density and harmony of sounds are turned into pictorial gestures. This monograph maps out a route through the whole of Albert Oehlen s production, from his best-known works to less familiar ones and from the 1980s to the present day, with reproductions of paintings in the Pinault Collection and other major private collections and international museums

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Art is a universal language. This could be the motto of Martial Raysse, the French master of Pop Art and Nouveau Realism for whom the term pop is as apt as it is for Andy Warhol and Roy Lichtenstein in the US, Sigmar Polke in Germany and David Hockney in Britain. Over 350 works, covering all the fields explored by this visionary artist (painting, sculpture, video, photography and drawing), allow us to follow and appreciate the singular and independent course taken by Raysse, always on the margins of the main artistic trends of the last fifty years.

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Luc Tuymans: La Pelle documents the most ambitious monographic exhibition of the work of Luc Tuymans (born 1958). The Pinault Collection at Palazzo Grassi has in the past mounted exhibitions of the work of Sigmar Polke, Damien Hirst and Urs Fischer in its elegant interiors along the Grand Canal in Venice. It was thus the appropriate venue for this survey of Luc Tuymans' work. Quiet, restrained and at times unsettling, his works engage with questions of history and its representation and with everyday subject matter in an unfamiliar and eerie light. Painted from preexisting imagery, they often appear slightly out-of-focus and sparsely colored, like third-degree abstractions from reality. Whereas earlier works were based on magazine pictures, drawings, television footage and Polaroids, recent source images include material accessed online and the artist’s own iPhone photos, printed out and sometimes rephotographed several times.

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A grand curatorial vision of sensory association, gathering works from the Pinault Collection This catalog accompanies an exhibition at Punta della Dogana curated by Thomas Houseago, Muna El Fituri and Caroline Bourgeois, arranged around a reconstruction of Houseago's studio and gathering more than 60 artists, including Deana Lawson, Marlene Dumas, Paul McCarthy, Barbara Kruger and Arthur Jafa.

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Between Minimalism and craft: a comprehensive appraisal of Los Angeles sculptor Charles Ray This catalog accompanies the 2022 double exhibition of Charles Ray’s work at the Centre Pompidou and the Bourse de Commerce (Pinault Foundation). With approximately 30 pieces that depict humans, plants and vehicles in his favored materials of wood and metal, this publication explores the artist’s critical relationship with Minimalism and the uncompromising perfectionism apparent in his work. Whether recreating fallen trees down to every nook and cranny or conjuring a certain vulnerability in his life-size steel figures, Ray’s pieces are characterized by a formal intricacy that lends an almost uncanny realism to his sculptures in spite of their sometimes unusual scale. In his meticulous attention to detail, Ray invites viewers to examine his sculptures with similar intensity. Ray’s work, which clearly draws from a minimalist-formalist focus on material as it explores the possibilities of three-dimensional representation, resists classification and must be experienced on an individual level. Based in Los Angeles, American artist Charles Ray (born 1953) has worked for decades across mediums and materials to create photography series, performance pieces and sculptures. Ray has been the subject of solo exhibitions around the world, and his work has been featured in Venice Biennales in 1993, 2003 and 2014, and in five Whitney Biennials. He is currently represented by Matthew Marks Gallery in New York.

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The witty American conceptualist offers a fresh twist on his classic 1960s walking piece “Contrapposto” refers to a pose in which the human subject is turned slightly so that the bust is positioned off-axis from the lower body. American artist Bruce Nauman (born 1941) explores this ancient artistic concept with his most recent project, in which he revisits his 1968 video piece Walk with Contrapposto that depicts the artist’s attempt to hold the classic pose as he walks down a narrow corridor. Nauman uses today’s digital manipulation technologies to build upon this early work in an entirely new context, questioning the representation of human movement and human stillness throughout history. This volume, designed by London-based graphics studio Zak Group, presents documentation of Nauman’s Contrapposto series from 2015 to 2019 as well as the original video, with new essays that extrapolate upon Nauman’s use of space and performance throughout his career.

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