• Imran Qureshi
    November 30, 2019 - February 9, 2020
    Market Place
    Cathedral Quarter
    Derby, UK

    Imran Qureshi is arguably one of the most celebrated artists to emerge from Pakistan in the last twenty years.  This new exhibition at QUAD will offer an insight into the world of contemporary miniature painting – core to Qureshi’s practice – from Pakistan. Rooted in the tradition of 16th Century Mughal art and culture, contemporary miniature painting has at its core the National College of Art (NCA) in Lahore, where this discipline has been taught since the early 1900s.

    The project in Derby will be divided into two main but inter-linked parts: a display of works by Imran Qureshi in QUAD Gallery One and the ‘Maktab’, an itinerant painting academy which will be set up in the QUAD Gallery Two.
    The new exhibition in QUAD Gallery One by Qureshi will feature an installation made from over 30,000 pieces of paper forming an immense ‘paper mountain’. This centrepiece of the exhibition references those ‘...who have been buried without their lives honoured or the circumstances of their deaths investigated’. The exhibition will also include his signature miniature works, recent larger-scale works on canvas, and the UK premier of new video works that focus on everyday life in Pakistan.

    The Maktab painting school in QUAD Gallery Two is a live durational event by seven emerging miniature painting artists from Lahore, Pakistan: Shah Abdullah, Fizza Hussain, Syed Hussain, Sajid Khan, Zarina Khan, Tahir Ali Sadiq and Eesha Suhail. The artists are recent graduates from Lahore NCA, who took part in the first Maktab in 2018 at Lahore Biennale. They will be present and working in the Gallery, which will be transformed into a Maktab painting studio from 28th November until 10th December. The artists will be making new works in the gallery space together with a group of artists from the UK, the paintings produced will then become part of the exhibition.

    The exhibition in QUAD Gallery Two will also showcase work by six young contemporary miniature painters currently studying under Qureshi at the National College of Art in Lahore: Aliya Kazim, Altamash, Hamida, Hamna Khalid, Hira Asim and Natalia Ashraf.  Imran Qureshi has taught at the NCA since graduation and has always considered teaching an integral part of his practice.

    More info here.

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  • Oliver Beer
    2019 Beyond - Abu Dhabi Art
    November 21, 2019 - February 29, 2020

    ‘A Thousand Faces’ is a site-specific commission by Abu Dhabi Art across two venues: Al Jahili fortress in the city of Al Ain and at Al Quasr in Abu Dhabi.The title of the exhibition references anthropologist Joseph Campbell’s text The Hero with a Thousand Faces, a comparative mythology that questions the shared narratives across different cultures. 

    Artist Oliver Beer’s project interrogates an idea evoked in the Louvre Abu Dhabi collection, that of universal creativity that “transcends individual cultures of civilisations, times or places”.[1 link] 

    At Al Ain, the labyrinthine rooms of Al Jahili fort will house a vibrant series of new video works, titled ‘Reanimation Paintings’. 1,000 children each contributed a drawing to this monumental communal animation project conceived by Beer, based on paintings from the Louvre Abu Dhabi collection. 

    Each child was asked to copy and reinterpret a painting, using their imagination. These new drawings were scanned and printed onto 16 millimetre film to create a single static animation loop of each artwork.

    The film is projected in the same format as the original works of art. Thanks to the differences of the children’s interpretations, the work becomes a vibrating canvas, its surface constantly changing and recreated. The films engage with the collection in a plural reimagining of each artwork. Alongside these films hangs one of Beer’s signature ‘Two-Dimensional Sculptures’, featuring a dissected and recomposed body of an oud – a musical instrument that has historically traversed borders. There are also ancient swords and daggers of diverse origins, covered in musical graffiti using the scores of a radical 12th century woman composer, Hildegard of Bingen, whose music has crossed centuries of cultural change. 

    At Al Qasr fort, a further chapter of Beer’s ‘Reanimation’ project uses fragments of animated films of Aladdin from three continents, remixed and reanimated. Beer isolates a famous sequence from the story, when the genie emerges from the magic lamp. The artist uses his reanimation technique, passing three historic versions through the hands and minds of children of diverse backgrounds in this region. The films that come together are Lotte Reiniger’s The Adventures of Prince Achmed (1926), a Japanese anime fantasy Aladdin and the Wonderful Lamp (1982) and Walt Disney’s Aladdin (1992).

    Together, the works of ‘A Thousand Faces’ – each layered with subtle historical and aesthetic references – interrogate the idea of universal creativity and how individual actions and gestures contribute to the culture of which they are a part. Beer says of the exhibition: “The images we make, the stories we tell and the songs we sing are in a constant state of flux and exchange; but certain ideas and tropes seem to recur across civilizations, and are constantly borrowed, transformed and subverted. Our cultures are rapidly shifting … The thousands of individuals who have contributed to the ‘Reanimation Paintings’ are each essential to the work. Their individual efforts become subconsciously perceptible within the whole, absorbed into a flickering communal creative work.” 


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  • Adrian Ghenie
    'I have turned my only face…'
    November 21, 2019 - February 2, 2020
    The State Hermitage Museum, Saint Petersburg, Russia
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  • James Rosenquist Estate
    November 5, 2019 - November 5, 2019
    London ELY HOUSE

    Doors: 6.30pm

    Screening & Discussion: 7pm

    Limited capacity, please RSVP to reserve a seat. Seats will be allocated on a first come, first served basis.

    The event will be live-streamed on our Instagram channel. 


    Galerie Thaddaeus Ropac is delighted to present an unseen film documenting Hans Ulrich Obrist's (Artistic Director, Serpentine Galleries) interview with James Rosenquist, which forms part of Obrist's ongoing 'Interview Project', an expansive series spanning over three decades of conversations with artists, architects, curators and cultural commentators of our time. 

    This is the first screening of the discussion that took place between Rosenquist and Obrist in Miami in 2005. Their broad-ranging conversation touches on topics as diverse as Frank Gehry, Marcel Duchamp, Hollywood movies and Eastern literature. The film gives unique insight into Rosenquist's influences and the rich ideas informing his work, while highlighting Obrist's enormous skill as an interviewer, offering viewers a sense of the pioneering artist in all his complexity. 

    The film will be introduced by a short discussion between Hans Ulrich Obrist and Julia Peyton-Jones (Senior Global Director: Special Projects) looking at the 'Interview Project', in general terms, and Obrist's observations about Rosenquist, in particular, as well as some of the many artists and architects Obrist has spoken with over the course of the series.  


    [Left: James Rosenquist in his Aripeka Florida Studio, 1988 © Russ Blaise. Right: Hans Ulrich Obrist © Wolfgang Tillmans.]

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    Expanded Arts
    October 23, 2019 - January 12, 2020
    Pavillon populaire
    Esplanade Charles-de-Gaulle
    Montpellier, France

    The exhibition VALIE EXPORT: Expanded Arts, presented by the Pavillon Populaire de Montpellier, pays tribute to the photographic work as well as the films created by the artist since the 1960s/70s. They are the central theme of this exhibition, explored through her rarely shown conceptual photography works and her famous experimental installations gathered here under the name "Expanded Cinema".

    More info here

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  • Antony Gormley
    October 18, 2019 - April 19, 2020
    Busan Museum of Art
    58 APEC-RO
    BUSAN, Korea

    This exhibition represents the inaugural event in a new series called “Lee Ufan and His Friends” at Space Lee Ufan. The first solo exhibition in Korea of new works by Gormley will include sculptures FALL II, DOUSE, STREAM, and REACH III from his ’Rooter’ series, together with 16 drawings.

    While Antony Gormley and Lee Ufan belong to different generations, their works have much in common in terms of artistic context. When Lee spoke with Gormley for this exhibition, he said, “Although I do not represent my body in my work, I feel a deep sense of familiarity with you regarding the fact that my body mediates my work.” In turn, Gormley remarked, “The body is our spaceship, the vehicle or vessel through which all our impressions of the world come and through which all expressions of vitality are communicated. I have no interest in telling stories, but I do want to engage with life - that is art’s only purpose.” The two artists share more than that. In their work, both actively invoke the contextual meaning of the space in which a work is installed, and they go beyond the conventional aesthetics of representation or reproduction to explore relationships with the world and with society. Having the two artists’ works mounted within the same space makes this exhibition particularly significant, in that it will allow viewers to compare the two artists’ approaches to their work and to the world. Such comparisons promise an intriguing experience, as both have moved beyond the minimalist or conceptual trends found in American art to subvert the conventions of art. In viewing works by two artists whose interpretation is never confined to the criteria of conventional “beauty,” viewers may find this a pivotal moment for absorbing renewed artistic meaning.

    More info here.

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  • Oliver Beer
    FIAC 2019: new performance
    October 16, 2019 - October 16, 2019
    Palais de la Découverte
    Avenue Franklin Delano Roosevelt
    75008 Paris

    Oliver Beer’s new performance for the FIAC and the Palais de la Découverte works with radio waves and Electronic Voice Phenomena (EVP). Also known as “stray voices”, EVP are unclear and unknown vocal sounds that occur in-between radio frequencies and permeate empty space. These vocal radio phenomena have been used by spiritualists – and even early scientists such as Thomas Edison – to try to contact voices from the afterlife.

    Building on his work with acoustic resonance, Beer turns to resonance in radio waves to transform the strings of an upturned grand piano and a 19th Century bronze sculpture of Giambologna’s famous Mercury, the messenger of the gods, into functioning radio antennae.  Like any metal object, the bronze limbs of Mercury and the copper piano strings can be used to pick up hidden radio waves; their form and dimensions determining the wave frequencies heard.

    Activated live in the Palais de la Découverte, these antennae reveal the ‘stray voices’ reverberating within the historic dome. Beer will collaborate with Lebanese electro-indie band Mashrou’ Leila alongside sopranos Michiko Takahashi and Marie Picault to weave together a composition working with these fugitive sounds. In the composition, these 'Stray Voices' evoke the scientists, artists and musicians across history who have been marginalised and obscured, their voices left unheard.

    Performance time: 7pm & 7:30pm

    More info here.
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  • Yan Pei-Ming
    Yan Pei-Ming/Courbet: Corps à Corps
    October 15, 2019 - January 26, 2020
    Petit Palais
    Avenue Winston Churchill
    75008 Paris

    On the occasion of Gustave Courbet's bicentenary (1819-1877), the Petit Palais presents Yan Pei-Ming / Courbet, Corps-à-corps, thus extending the exhibition organized at the Courbet Museum in Ornans earlier this year. Major works by Courbet, all from the Petit Palais collection, will be shown alongside some fifteen monumental paintings by Yan Pei-Ming, some of which were created in Courbet's studio in Ornans. They will be presented in a display deliberately inspired by the 19th century Salons, an unprecedented experience for the artist.

    More info here.

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  • Bjarne Melgaard
    Julia Stoschek collection
    October 11, 2019 - January 5, 2020
    10117 BERLIN

    JULIA STOSCHEK COLLECTION announces a collaboration with Acute Art, London to present a Virtual Reality exhibition programme, premiering with a new work by Norwegian artist Bjarne Melgaard and AR works by Koo Jeong A in October 2019.

    Bjarne Melgaard’s new virtual reality artwork, My Trip (2019) takes the viewer on a journey to the farthest reaches of the dark web. Melgaard compares the experience to taking Dimethyltryptamine (DMT), a naturally occurring drug, which is produced by a gland in the brain. DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth. Melgaard’s work is influenced by authors Stig Sæterbakken, David Benatar and Paul Ehrlich; The Sofa: A Moral Tale, a 1742 libertine novel by Claude Prosper Jolyot de Crébillon; and, Black Metal band, Darkthrone.

    Featuring characters that have recurred in the artist’s practice for over 25 years, including Lightbulb Man and Octo, in addition to new mutants and personalities created in collaboration with Acute Art, My Trip is a strikingly stimulating visualization of the illusions of a DMT experience.

    More info here

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  • Rosemarie Castoro Estate
    October 9, 2019 - February 2, 2020
    10 Rue des Vieux-Grenadiers
    Geneva, Switzerland

    Traversing the most recent modernist narratives—namely Minimal and Conceptual art—Rosemarie Castoro’s work tirelessly explores the things that elude the latters’ grasp: the context of enunciation, of course, but also the psychological and social implications of the body as a physical instrument. She explores the potential of abstract and monochrome painting, then expands their sphere and modes of operation, in formal terms, to incorporate the body, and even the exhibition space—a conceptual extension, both diagrammatic and linguistic. In so doing, Castoro applies a hitherto structuralist, reductionist language to poetry, and distorts elementary forms by her haptic, integrated, sexualized treatment. As an erstwhile participant in the reflections of the Art Workers’ Coalition, she approached the modernist heritage from a social and political perspective.  

    From 1965 to 2015, Rosemarie Castoro developed a body of work in which “contingency” may be seen as a connecting thread, signifying a determination to free herself from the rhetoric of the masculine values of permanence and the absolute. Organised into chapters, the exhibition offers a retrospective journey through the practice of an artist who favored transgression and metamorphosis over orthodoxy and linear progression.

    More info here.

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