In Conversation: Elizabeth Peyton
    December 13, 2019 - December 13, 2019
    National Portrait Gallery

    13 December 2019, 19:00

    Ondaatje Wing Theatre, National Portrait Gallery

    Tickets: £10 (£8 concessions and Gallery Supporters)

    Elizabeth Peyton talks to curator Lucy Dahlsen about her current exhibition Aire and Angels.

    Elizabeth Joy Peyton (b.1965) is one of the preeminent artists working today. She paints still lifes and landscapes, but above all, portraits: of friends, lovers, heroes, admirations, inspirations and fascinations. Her subjects include artists, activists, actors, athletes, dancers, musicians, queens, princes, politicians and poets. Captured from life, memory, literature and imagination, through found images and photographs, amongst many things her art explores love, individuality, beauty and the passing of time.

    Lucy Dahlsen is the curator of the exhibition Elizabeth Peyton: Aire and Angels and former Associate Curator, 20th Century and Contemporary at the National Portrait Gallery. Whilst at the Gallery, Lucy Dahlsen curated solo displays of work by contemporary artists including Njideka Akunyili Crosby, Samuel Fosso, Luc Tuymans and Thomas Price. She also co-curated the Gallery's exhibition Michael Jackson: On the Wall and was assistant curator on exhibitions including Howard Hodgkin: Absent Friends and Giacometti: Pure Presence.

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  • Emilio Vedova Foundation
    Film screening Emilio Vedova. Dalla parte del na...
    January 25, 2020 - January 25, 2020
    Paris Pantin

    To celebrate the last day of the exhibition Georg BaselitzTime, join us for the French premiere of Emilio Vedova. Dalla parte del naufragio (2019), a documentary film which highlights the great friendship that united Georg Baselitz and Venitian painter Emilio Vedova.

    The documentary on the life and work of Emilio Vedova is directed by Tomaso Pessina with the participation of award-winning Italian actor Toni Servillio reading Vedova’s diaries. The film also features interviews with leading figures from the art world, such as Georg Baselitz, Renzo Piano, Carla Schulz-Hoffmann, Germano Celant, Karole Vail, and contains some powerful and unpublished archive material from the Fondazione Vedova.
    Screening will start at 4pm. Film in original version with English subtitles.

    Duration: 68 min. 

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  • Georg Baselitz
    Gallery Talk: A Conversation on Georg Baselitz
    November 30, 2019 - November 30, 2019
    Paris Pantin

    Saturday 30 November, 4pm

    The conversation between Philippe Dagen, historian and art critic, and Frédérique Goerig-Hergott, Chief Curator at the Unterlinden Museum in Colmar, will take place in Georg Baselitz's exhibition Time at our Pantin gallery. In these new paintings and drawings, he pays artistic tribute to Elke, his wife of nearly sixty years and a constant source of inspiration in the evolution of his artistic practice. 

    Dagen and Goerig-Hergott (curator of Corpus Baselitz at the Unterlinden Museum in 2018) will discuss Baselitz's recent work as an intimate meditation on old age, in relation to the meaning of love and the function of portraiture. They will broaden the scope of the conversation by situating the importance of Baselitz's work both today and within the context of 20th and 21st century art history. As Goerig-Hergott describes, ‘Ever since the Avignon series which was exhibited at the Venice Biennale in 2015, the paintings of this new cycle, based on the observation of his own body and that of his wife Elke, refer to his old paintings, his memories and the great masters of art history. Through the repetition of the motifs created with the highest sense of urgency, Georg Baselitz reminds us that it is not a question of continuing his life, but of constantly starting it over.’

    In Heinz Peter Schwerfel's documentary film Baselitz 2017, which will be screened before the discussion, Baselitz explores the importance of his recent work, which is increasingly focused on his personal universe, and the artist is presented with certain statements he made earlier in his career to describe what has changed, and what will never change.

    Free access upon availability. The conversation will take place in French.

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  • 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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  • Adrian Ghenie
    'I have turned my only face…'
    November 21, 2019 - February 2, 2020
    The State Hermitage Museum, Saint Petersburg, Russia

    As a boy Adrian Ghenie came across a catalogue of Dutch paintings from The State Hermitage Museum, St Petersburg, which had a profound effect on him, forming the basis for his encyclopaedic knowledge of art history.  In his solo exhibition in the White Hall at the Hermitage Museum, “I have turned my only face…” Paintings by Adrian Ghenie, the artist’s new works make reference to the work of the Old Masters in an artistic homage to the museum’s collection.

    I remember there was a window open and a curtain blowing in the wind; this detail and the memory of it gave me a lot of peace. To me the museum felt like a home for art, not like a temple to art.
    Adrian Ghenie recalling his first visit to the museum in 2017

    Taking its title from 'On horseback at dawn' by Romanian poet Nichita Stănescu (1933–1983), the exhibition is curated by Dmitry Ozerkov, Head of the Hermitage's Department of Contemporary Art, and Anastasia Veyalko, Junior Researcher and supported by Galerie Thaddaeus Ropac. In these new works the artist has deconstructed the image more than ever before, inviting the viewer to decipher the shifting forms in his sensuously painted canvases. As he describes, ‘the eyes don’t recognise the figure but the brain knows it is there’. These works continue Ghenie’s sustained engagement with the history of painting, recontextualising the aesthetic strategies of his predecessors, including Henri Rousseau, Vincent van Gogh and Théodore Géricault. 

    The dialogue Ghenie establishes with the Dutch Old Masters is conveyed with particular intensity as they hang in the same museum space. The fact that the viewer is able to repeat the artist’s journey and walk through the galleries that house these masterpieces is a unique situation. The locus of the Hermitage galleries forms a particular world of references and symbols in which Ghenie’s paintings exist.
    – Anastasia Veyalko

    Ghenie's The Hunter (2019) relates to Hunter with Dog in a Landscape (1625) by the Flemish painter Jan Wildens (1586–1653), which has formed the basis for several paintings and a related drawing also on view. The original is a typical genre scene in which a huntsman, flanked by his three dogs, stands in a confidently contrapposto pose, holding the rabbit he has caught. In Ghenie’s version the hunter is virtually subsumed by a maelstrom of textures, barely recognisable through the diagonals of his staff and leg, and the two abstracted dogs at his feet. Taking its title and subject from the 1649 painting Farm by Paulus Potter (1625–1654), which the artist has known since childhood, Ghenie’s riff on the theme conveys the impression of a writhing animal mass against a backdrop of corrugated iron and sunset sky, identifiable as cattle from the repeating horn shapes. Sharing the Old Masters’ fundamental concerns with both composition and colour, the works that Ghenie has selected are characteristic of genre and landscape painting of the period, and therefore their representative function is more important to him than their individual status. 

    Ghenie’s work does not break with tradition but is linked to it through the introduction of a whole system of readable allusions: recognisable subjects, details, colour tones. He establishes particular interrelationships with the art of the past, entering into dialogue with it, as if constantly looking back to his own childhood memories. In searching for a creative tension between abstraction and figuration, Ghenie makes paintings that are similar to traditional oil paintings but the techniques he uses to apply the paints are by no means traditional. – Anastasia Veyalko

    Throughout his oeuvre, Ghenie interweaves his situation with his state of mind, oscillating between the personal and the collective to create works that are simultaneously sensitive and provocative, embracing uncomfortable themes with a boldness that harks back to the innovatiions of his predecessors. Henri Rousseau (1844–1910) has long been a figure of fascination for Ghenie, who he regards as ‘the first abstract painter’ due to Rousseau’s detached treatment of surface composed of flat, overlapping planes and grids that foreshadowed many aspects of Modernism. Ghenie’s recent exhibition Jungles in Paris at Galerie Thaddaeus Ropac Paris is testament to his sustained engagement with the French artist and his second rendition of Antelope Attacked Near Gas Pipe further explores this violent yet seductive subject. A similar scene is depicted in Ghenie’s Untitled (after Rousseau) (2019), based on Kunstmuseum Basel’s Jungle with Setting Sun (1910), in which a dark figure wrestles with a wild jaguar against the tumultuous sky. In The Raft 2 (2019), Ghenie also reprises his contemporary analogue to The Raft of the Medusa (c. 1818–19) by Théodore Géricault (1791–1824), a previous version of which was recently exhibited at Palazzo Cini during the Venice Biennale. Ghenie depicts a mass of vulnerable limbs against the turbulent blue sea and sky, reminiscent of the harrowing images on the news, showing the perilous journeys that refugees are forced to make to flee conflicts.

    Continuing his six-year series of ‘hybrid self-portraits’, Ghenie’s small but intense canvas Lidless Eye (2019) is inspired by Vincent van Gogh’s late Self-Portrait from 1889. When he visited Paris as a student in 1988, Ghenie’s first encounter with this famous painting in the Musée d’Orsay had a profound psychological impact on him. One of the most distinctive examples of portraiture, Ghenie painted Self-Portrait as Vincent van Gogh in 2012, before expanding and elaborating upon this theme in a number of works created between 2015 and 2017. As the artist has explained, ‘What intrigued me about van Gogh is this difference between the reality of his actual existence, which was a complete nightmare from top to bottom, and van Gogh the cliché, which is a beautiful fantasy.’ In this work, van Gogh’s distinctive features are combined with Ghenie’s own, visually representing the processes of inspiration and influence. The title reflects Ghenie’s belief that artists perceive the world differently – their eyes are lidless because the creative mind never sleeps, but is always watching and looking.

    Ghenie’s artistic method can be seen as a search for ideas in the real world that then undergo various transformations. By bringing these subjects, inspired by the world around him, into the new context of artistic space, he reveals them in an entirely different way: the original motif he encountered becomes subordinate to his own vision, to a new interpretation, to a mixture of other motifs; to a process of simplification or, on the contrary of complexifying through the addition of details. Ghenie’s childhood exemplars of  Old-Master paintings are now replaced by his own memories and spontaneous feelings, which he transforms within the pictorial space. – Anastasia Veyalko

    The exhibition is accompanied by an illustrated catalogue that includes an interview with Adrian Ghenie and essays by the curators.

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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 Qasr al Hosn 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 Qasr al Hosn 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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  • 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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    Aire and Angels
    October 3, 2019 - January 5, 2020
    National Portrait Gallery
    St Martin’s Place
    London, UK

    Created in close collaboration with the artist, the exhibition is accompanied by a series of displays within the Collection, positioning Peyton’s art within the context of historic portraiture. Having occupied a central place within visual art since coming to prominence in New York in the early 1990s, her work demonstrates an intensely personal and increasingly expansive understanding of the genre.

    Elizabeth Joy Peyton (b.1965) is one of the preeminent artists working today. She paints still lifes and landscapes, but above all, portraits: of friends, lovers, heroes, admirations, inspirations and fascinations. Her subjects include artists, activists, actors, athletes, dancers, musicians, queens, princes, politicians and poets. Captured from life, memory, literature and imagination, through found images and photographs, amongst many things her art explores love, individuality, beauty and the passing of time

    More info here.

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