FIAC 2016

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FIAC
FOIRE INTERNATIONALE D’ART CONTEMPORAIN
FIAC 2016 | 20. October – 23. October
Grand Palais
Preview 19 October 2016
Opening:
Grand Palais, Petit Palais & Hors les Murs.
20. October – 23. October 2016
Avenue Winston Churchill
75008 Paris France


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GRAND PALAIS
OPENING HOURS
Thursday 20. October 2016
Sunday, 23. October 2016
noon to 8pm.
Late night opening:
Friday, 21. October 2016 | noon to 9pm.
Entrance
Avenue Winston Churchill, 75008 Paris
Transportation
Métro: lignes 1 et 13 Champs-Élysées Clemenceau
Bus: lignes 28, 32, 42, 72, 73, 80, 83, 93
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ON SITE – PETIT PALAIS
OPENING HOURS
Wednesday, 19. October 2016
Sunday, 23. October 2016
10am- 6pm.
Late night opening:
Wednesday, 19. October 2016 | 10am- 9pm
Friday, 21. October 2016 | 10am- 9pm
Entrance
Avenue Winston Churchill 75008 Paris
Transportation
Underground: lignes 1 et 13 Champs
Élysées Clemenceau
Bus: lignes 28, 32, 42, 72, 73, 80, 83, 93
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HORS LES MURS
JARDIN DES TUILERIES
Until November 2016
Everyday from 7.30am – 7.30pm
Entrances
Place de la Concorde
Rue de Rivoli
Quai des Tuileries
Avenue du général Lemonnier
Passerelle Solferino
Transportation
Underground: lignes 1, 7, 8, 12 et 14
Bus: lignes 21, 24, 27, 39, 42, 48,
68, 69, 72, 73, 81, 84, 94, 95
FREE ACCESS
PLACE VENDÔME
Until November 2016
Everyday
Transportation
Underground: ligne 1, Tuileries – ligne
1, 8, 12 Concorde
Bus: 21, 27, 68, 72
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SHUTTLES
Batobus – PARTNER OF FIAC
River shuttles operated by Batobus
link FIAC at the Grand Palais, Hors les
Murs and several cultural institutions.
River shuttles are available from
October 20th to October 23rd, 2016
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Stations served:
– Tour Eiffel
– FIAC : Champs-Elysées (Pont Alexandre III)
– Musée d’Orsay
– Saint-Germain-des-Prés
– Notre-Dame
– Jardin des Plantes
– Hôtel de Ville
– Louvre – Jardin des Tuileries
– Beaugrenelle
FIAC
FOIRE INTERNATIONALE D’ART CONTEMPORAIN
FIAC 2017 | 19. October – 22. October
FIAC 2018 | 18. October – 21. October
Grand Palais, Petit Palais & Hors les Murs.
Grand Palais
Avenue Winston Churchill
75008 Paris France
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Josep Grau-Garriga

GalerieNathalieObadia 1

Galerie Nathalie Obadia
Cloître Saint-Merri, Paris
Josep Grau-Garriga
Tapisseries: 1970 – 2011
Opening:
Saturday 10. September 2016 | 6 – 8pm
11. September – 29. October 2016
3 rue du Cloître Saint-Merri
75004 – Paris – France

http://www.nathalieobadia.com

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Colors coneguts (Couleurs connues) 1980
Wool, cotton, jute and synthetic fibres
190 x 205 cm (74 3/4 x 80 3/4 in.)

La Galerie Nathalie Obadia est heureuse de consacrer son exposition de rentrée au grand artiste catalan Josep Grau-Garriga, disparu en 2011. Son œuvre, dont l’importance et la singularité ont été rappelées lors de l’exposition collective « Decorum » au Musée d’Art Moderne de la Ville de Paris en 2013, n’avait pas été présentée en France à l’occasion d’une exposition personnelle depuis 2010.
 
À visée rétrospective, cette première exposition de Josep Grau-Garriga à la Galerie du Cloître Saint-Merri, propose un ensemble remarquable de dix-huit tapisseries retraçant, de 1970 à 2011, l’évolution de ce pionnier de la Tapisserie contemporaine, des œuvres les plus tourmentées et politiques des années 1970 aux tapisseries sereines et atemporelles des années 2000.
 
« La tapisserie est le complément logique de l’architecture » indique Josep Grau-Garriga dès les années 1970, décennie décisive au cours de laquelle l’artiste pousse le genre dans ses retranchements. « Je ne me satisfais pas du seul langage des formes et des couleurs. Je désire la suggestive sensualité des reliefs tissés dans la trame irrégulière, ou au contraire exaltés par les rythmes rigoureux des fils de chaînes »1.
 
Né en 1929 à Sant Cugat del Vallès, près de Barcelone, Josep Grau-Garriga passe son enfance dans le milieu paysan. Petit-fils d’un coiffeur anarchiste, fils d’un paysan républicain, il assiste adolescent à la déroute des troupes républicaines et à la mise en place de la dictature franquiste – événements traumatiques qui marqueront l’œuvre à venir. Commençant alors le dessin, il étudie à l’Ecole des Beaux-Arts de San Jordi avant de peindre ses premières fresques à l’Ermitage de Sant Crist de Llaceres dans la tradition de l’art mural médiéval catalan.
 

 

 
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Sans titre circa 2000
Wool, cotton, 175 x 160 cm (68 7/8 x 63 in.)
 
En 1957, à l’occasion d’un séjour à Paris, il fait la rencontre du maître licier Jean Lurcat auprès duquel il réalise ses premières tapisseries. À l’occasion de ce voyage, il découvre les principaux représentants de l’Art Informel : Fautrier, Dubuffet, Burri. Leur influence se retrouvera dans ses œuvres textiles dont le caractère organique ne manquera pas de s’affirmer lors des décennies suivantes au travers de surfaces accidentées, présentant des protubérances volumineuses, tentacules ou racines. Ce sera le cas notamment de l’œuvre de 1974 « …I la mort també (…. Et la mort aussi) » visible dans l’exposition.
 
Marqué par ce premier voyage en France – qui sera à partir de 1992 sa seconde patrie – Grau-Garriga reste un artiste à l’identité résolument catalane. À l’instar de ses compatriotes Gaudi, Miró, Tapiès, les tapisseries de Grau-Garriga reflètent son appartenance à la culture rurale, la matière, souvent «pauvre», y occupant une place essentielle aux côtés de références politiques rendues sensibles par la présence de détails symboliques, témoins des engagements citoyens de l’artiste : ainsi des œuvres « Aixecats com simbol (Soulevés comme symbole, 1974) » et « Record de soldat (souvenir de soldat, 1977) » également présentées dans l’exposition. Travaillant sans carton, Josep Grau-Garriga abandonne rapidement la technique traditionnelle et revendique « une tapisserie de notre temps, rude et qui parle de notre histoire ».
 
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Drap I mès 2011 Wool, cotton
165 x 125 cm (65 x 49 1/4 in.)
 
Au fil des années, ayant acquis une maitrise virtuose dans l’art de la tapisserie, Grau-Garriga décide de renoncer définitivement à tout procédé de haute-lice et accomplit une véritable révolution du genre : « En lui s’est confirmé un projet dont il poursuivait peu à peu la réalisation, et qui consistait à démythifier la haute valeur traditionnellement accordée à l’art du tissage afin de faire de celui-ci un acte, non plus de soumission à des principes et des règles établis mais un acte de liberté créatrice et expressive »2 écrit Arnau Puig dans son ouvrage de référence sur l’artiste. Plutôt que de tisser, il manie les fibres comme un sculpteur. De plus en plus personnelles et complexes, ses tapisseries deviennent l’incarnation presque baroque d’états affectifs intimes devant lesquelles le spectateur ne peut rester insensible, telle la majestueuse et poignante, « Ferides I (Blessures I, 1970) », qui ouvre chronologiquement l’exposition.
 
Attiré par l’art brut mais aussi par le pop art, Grau-Garriga exploite ficelle, chanvre, jute, sisal, vieux sac, chutes de laines. À partir de 1972, l’artiste utilise même des vêtements, faisant entrer le monde réel dans la trame de ses tapisseries. Inclassables, celles-ci échappent, par la pratique jubilatoire du collage, aux paradigmes de la figuration et de l’abstraction. Elles déroutent le grand public par leur « expressionnisme bizarre » et séduisent les artistes et les intellectuels : Miró et Picasso se rendent à son atelier de Sant Cugat pour réaliser leurs œuvres tissées.
 
Dans les années 1970 et 1980, devenues de véritables sculptures textiles, les tapisseries de Grau-Garriga attirent l’attention de Philippe de Montebello, jeune conservateur américain et futur grand directeur du Metropolitan Museum de New York, qui lui offre sa première grande rétrospective au Houston Fine Arts Museum (Texas) en 1970. Cette collaboration signe le début d’une carrière internationale qui mène l’artiste à réaliser de nombreux projets aux Etats-Unis, au Canada et en Amérique du Sud avec des expositions personnelles dans des institutions telles que le LACMA (Los Angeles) en 1974 et le Museo Rufino Tamayo de Mexico en 1987.
 
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Sense títol (Sans titre) circa 2000
Cotton, silk and synthetic fibers
51 x 46 cm (20 1/8 x 18 1/8 in.)

En 1992, suite à une commande de la ville d’Angers pour la commémoration du bicentenaire de la révolution française, Josep Grau-Garriga s’installe définitivement à Saint-Mathurin-sur-Loire inaugurant une décennie de création sensuelle et douce. Ces années sont celles d’un bonheur fécond : l’artiste y relit l’histoire de la peinture française, marquée, de Clouet à Bonnard et de Fragonard à Corot, par l’hommage rendu à une certaine qualité de lumière qu’il contemple sur les berges de la Loire.
 
Les tapisseries des années 1990 et 2000 reflètent cet apaisement angevin : déchargées de la dimension militante et subversive de l’époque catalane, ces œuvres évoquent paysages naturels, étreintes voluptueuses et plaisirs ludiques.
 
D’une grande économie de moyen, « Amarra » (2006) est ainsi un ample monochrome dont le bleu profond est percé par un cordage épais restituant visuellement la sensation de bercement du bateau amarré. Également présentée dans l’exposition, « Sense títol » (années 2000), d’une composition plus sophistiquée, offre à la contemplation un autre type de monochrome à la blancheur nacrée, tout en superpositions de matières, tentative pour fixer le scintillement de la lumière dans le maillage chatoyant du tissu. D’une grande subtilité, ces œuvres de la maturité conjuguent les valeurs visuelles et tactiles, laissent émerger un lyrisme discret mais confiant, contrepoint lumineux aux tapisseries saisissantes et pleine de drames des années espagnoles.
 
 
 
1André Kuenzi, La Nouvelle Tapisserie, Éditions de Bonvent, Genève, 1974, p. 100
2Grau-Garriga, Arnau Puig, Éditions Cercle d’art, monographie de 1986, p. 208

http://www.nathalieobadia.com/show.php…

Rodrigo Matheus

GalerieNathalieObadia 1

Galerie Nathalie Obadia
Bruxelles
Rodrigo Matheus
Ornament and crime
Opening:
Wednesday, 7. September 2016 | 6 – 8pm
7. September  – 22. October  2016
8 rue Charles Decoster
1050 – Ixelles-Brussels – Belgium
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Lost and Found 2016, Assorted objects 93 x 55 cm (36 5/8 x 21 5/8 in.)

 

Rodrigo Matheus

Born in 1974 in São Paulo, Brazil.

Lives and works between São Paulo and Paris.
 
2010-2011
Royal College of Art, London, United Kingdom
1996-2001
Multimedia and Intermedia, University of Sao Paulo, Brazil

 

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Ornament and Crime 2016, Mixed media 100 x 80 cm (39 3/8 x 31 1/2 in.)
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Entre Tempos 2016, Envelops, prints, photographs and postcards, 27 x 38 cm (10 5/8 x 15 in.)
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Brise Soleil 2016 Envelops , 75 x 100 cm (29 1/2 x 39 3/8 in.)

VALÉRIE BELIN

GalerieNathalieObadia 1

Galerie Nathalie Obadia Paris
Bourg-Tibourg

VALÉRIE BELIN
ALL STAR
Opening:
Saturday 10th September 2016 | 6 – 8pm
September 10 – October 29, 2016
18, rue du Bourg-Tibourg, 75004 Paris
 
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Valérie Belin, Power Girl (série All Star), 2016, pigment print, 177 x 134 cm.
 
Galerie Nathalie Obadia is delighted to present All Star, the first exhibition by Valérie Belin in our Paris gallery, following on from her Still Life show at our Brussels gallery in 2014.
 
Valérie Belin presents All Star, a new portrait gallery of superheroines photographed in a style reminiscent of comic books. The series comprises a collection of eleven colour photographs titled, respectively, Miss Marvel, The Stranger, Carol, The Avenger, All Star, After Thor, Super Girl, Confessions of the Lovelorn, Golden Girl, Power Girl and Black Canary.
 
In this series, the artist uses the world of comics as a graphic, expressive material for setting up an “encounter” with figures that she has herself created. The encounter occurs through the medium of a sophisticated composition in which movement, line, motifs and relations of scale help created visual jolts (for example, we see drawn characters the size of a mouth or a neck, or oversize titles badged across particular parts of the heroine, such as the forehead or throat). The ensemble is peppered with vectorial decorative motifs found on the Internet, as in the previous series, Super Models (2015).
 
As the digital background to these photos, comics offer a narrative ground that is optimistic, high-spirited, naïve, fantastical and rather exuberant. Theirs is an expressive universe in which relations between individuals, actions and their goals are unambiguous. It is the world of the present moment, lived with all the dramatic intensity and sense of suspense that are its ingredients.

This smooth-running and easy-to-understand microcosm interlocks with characters who seem absolutely alien to all its eddying, spontaneous and childlike energy.
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Saffron 2015 Pigment print
177,5 x 134,5 cm (69 7/8 x 53 in.) Edition of 6 + 2 AP
 
These characters are women with a contemporary form of beauty. Their hair and make-up are natural and they wear elegant blouses in fresh, summery patterns chosen by the artist, and yet in contrast the style of their pose is depressive and the light is the raw light of a Parisian studio. Denatured by the addition of black and an almost metallic iridescence, the colours deliberately diverge from the naturalist palette and show us these characters’ mental or psychic reality more than their physical one.
Bursting in from the background, the world of comics interweaves with the texture of the portraits, traversing and penetrating and merging with them. This particular form of inlay presents an aesthetic and emotional contrast with the characters depicted, thereby highlighting their gloomy, anxious and tormented character.
 
From a fictional viewpoint, these young women, who seem to live in a closed world, find light only through the imaginary, drawn glow of comics: the brightness of a gaze, various reflections, the effect of an Ultra Brite smile, the angelic whiteness of characters or winged animals, the glint of a dagger, the smoke from explosives. The spiralling composition of the comics objectively translates the circular, obsessive character of the mental world in which these young women exist.
 
It thus seems as if contact with these “superheroines” possessed by their inner life is transmuting the world of comics and its joyous dynamic into a mental substance. Thus, the profusion of drawn elements (freefalling heroes, punches being landed, bubbles, block capitals, etc.) is condensed into a disorder or even a chaos that saturates the mental space of the characters.
By their dark, almost apocalyptic tone, these portraits are close to the spirit of dark fantasy, a sub-genre of fantasy literature in which distinctions between good and evil disappear, giving way to moral ambiguity and egotistical actions. In this regard, these heroines can be considered as Hitchcockian victims whose vengeance will soon make itself felt. Each reveals the invisible mechanisms at work at both the individual and collective levels.
 
This new series explores a set of themes that run through all this artist’s work. It is the expression of a chaos already explored in the series Still Life (2014), which showed the disorder of consumer society. In this latest series, All Star, Valérie Belin explores the toxicity of a mental world that is chaotic, agitated, saturated and obsessive.
 
 
In support of All Star, Éditions Damiani will dedicate the second large monograph on Valérie Belin, featuring her work from 2007 to 2016. The first was published by Éditions Steidl and focused on her work between 1993 and 2006. This new publication will present essays by Quentin Bajac, Dork Zabunyan and Étienne Hatt.
Born in Boulogne-Billancourt (France) in 1964, Valérie Belin lives and works in Paris (France).
She graduated from the École Nationale des Beaux Arts de Bourges (1983–88) and gained a DEA (the equivalent of a Master of Advanced Studies) in Philosophy of Art at the Université Panthéon-Sorbonne in Paris (1989). Today she is one of the best-known artists on the French contemporary art scene and has a high international profile.
 
Valérie Belin’s work has been given a number of important solo exhibitions, in particular Les Images intranquilles at the Centre Pompidou in Paris (France, 2015), Surface Tension at the DHC/ART in Montréal (Canada, 2014), Illusions of Life at the Multimedia Art Museum in Moscow (Russia, 2014), O ser e o aparecer at the Casa Franca-Brasil in Rio de Janeiro (Brazil, 2011), Hungry Eyes at the FotoMuseum Provincie in Antwerp (Belgium, 2011), Valérie Belin: Made-up at the Peabody Essex Museum in Essex (USA, 2009), and Correspondances at the Musée d’Orsay in Paris (France, 2008), the Musée de l’Élysée in Lausanne (Switzerland, 2008), the Maison Européenne de Photographie in Paris (France, 2008), and the Huis Marseille – Museeum voor fotografie in Amsterdam (Netherlands, 2007).
 
She has also taken part in many major group shows, notably at the Musée des Arts Décoratifs (France, 2016), the Musée d’Art Moderne de la Ville de Paris (France, 2016), the Huis Marseille – Museeum voor fotografie (Netherlands, 2015), the Maison Particulière (Belgium, 2015), the MOMA – Museum of Modern Art (USA, 2014), the Centre de la Photographie de Genève (Switzerland, 2013), the Maison Européenne de Photographie (France, 2013), the Seattle Art Museum (USA, 2012), the Mori Art Museum (Japan, 2011), the National Museum of Contemporary Art Korea (South Korea, 2011), the Musée Nicéphore Niépce (France, 2010), the Centre Pompidou (France, 2009), and the International Center of Photography (USA, 2009).
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Exhibition view of “Unquiet Images”, Centre Pompidou, Paris, 2015
 
Works by Valérie Belin can be seen in leading private and public collections, such as those of the Centre Pompidou – Musée National d’Art Moderne (France), the MOMA – Museum of Modern Art (USA), the Fondation Cartier pour l’Art Contemporain (France), the Los Angeles County Museum of Art (USA), the Kunsthaus Zurich (Switzerland), the Maison Européenne de la Photographie (France), the San Francisco Museum of Modern Art (USA), the National Museum of Contemporary Art Korea (South Korea), the Musée de l’Élysée (Switzerland), the Musée d’Art Moderne de la Ville de Paris (France), the MUDAM – Musée d’art moderne Grand-Duc Jean (Luxembourg), the MAC/VAL (France), the International Center for Photography (USA), the Fond National d’Art Contemporain (France), the JP Morgan Chase Art Program (USA), Groupe Lhoist (Belgium), CCF (HSBC) Fondation pour la photographie (France), and the UBS Art Collection (Luxembourg).
 
Valérie Belin won the Prix Pictet in 2015 for her project Disorder. The travelling exhibition of which it is a part is being presented between 2015 and 2017 at Somerset House (UK), the MAXXI in Rome (Italy), the CAB Art Center in Brussels (Belgium), the International Red Cross and Red Crescent Museum in Geneva (Switzerland) and the Westbau in Zurich (Switzerland). Valérie Belin is currently participating in Barbie at the Musée des Arts Décoratifs and her work will also be shown in Golems. Avatars Contemporains at the Musée d’Art et d’Histoire du Judaïsme (France) in spring 2017.
 
Valérie Belin is represented by Galerie Nathalie Obadia since 2013.

MARIA LASSNIG

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Tate Modern

STARR CINEMA

Film

MARIA LASSNIG: PICTURES OF PEOPLE CLEAR
10. SEPTEMBER 2016
Join us for a special screening of Maria Lassnig’s 16mm films.
Level 1, Boiler House
Bankside, London, SE1 9TG
http://www.tate.org.uk/
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This one-day retrospective of the films of Maria Lassnig is presented during the closing weeks of the Austrian artist’s exhibition at Tate Liverpool. Known for her radical experiments in self-portraiture, Lassnig pioneered a new expression of subjective bodily experience through an approach she defined as ‘body awareness’. Her 16mm films are a direct extension of this approach, exploring themes of female representation, perception and the body’s relationship to machines.

Lassnig’s films were produced between 1971 and 1976 during her time in New York. Her first works were created in the context of her studies at the School of Visual Arts (1970–2) where she was enrolled in an animation course. She later joined the artist collective Women/Artist/Filmmakers, Inc., an all-women film production workshop which included Carolee Schneemann, Martha Edelheit and Rosalind Schneider among its members. Lassnig’s animated film works were created on makeshift stands she built herself and employed various combinations of felt-tip pen drawings, cut-and-paste collage and sprayed stencil drawings. Several works also integrated live action footage, as seen in Iris 1971 and Baroque States1970–4. Together, this body of work can be seen to retain the sharp feminist and subjective quality of her autobiographical paintings from this period while expanding on her explorations of optics, prosthetics and representation through the lens and through time.

Programme

Selfportrait, United States / Austria 1971, 16mm, colour, sound, 5 min

Chairs, United States / Austria 1971, 16mm, colour, sound, 4 min

Iris, United States / Austria 1971, 16mm, colour, sound, 10 min

Shapes, United States / Austria 1971, 16mm, colour, sound, 10 min

Couples, United States / Austria 1972, 16mm, colour, sound, 10 min

Palmistry, United States / Austria 1973, 16mm, colour, sound, 10 min

Baroque States, United States / Austria 1970–4, 16mm, colour, sound, 16 min

Art Education, United States / Austria 1976, 16mm, colour, sound, 16 min

Programme duration: 81 min

 

Biography

Maria Lassnig (1919–2014, Austria) is an artist and filmmaker known for her work in self-portraiture. In the 1950s, Lassnig worked closely with Arnulf Rainer and the Viennese artist group Hundsgruppe (‘Dog Pack’), which had been heavily influenced by abstract expressionism. She relocated to Paris in the 1960s and New York later in the decade, and during this time moved away from abstraction to focus solely on the body. In 1980, she returned to Austria to become a professor at the Vienna University of Applied Arts and represented her country at the Venice Biennale together with Valie Export the same year. In 1982, Lassnig established the only Austrian teaching studio for animated film, and participated in documenta 7. In 2013, Lassnig was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.

This programme is supported by the Austrian Cultural Forum London.

Tate Film is supported by LUMA Foundation.

 

 

Tate Liverpool

MARIA LASSNIG EXHIBITION TOUR WITH HANS WERNER POSCHAUKO

marialassniginstudioonheiliggeistplatzklagenfurt1948

 

18 May – 18 September 2016
Albert Dock
Liverpool Waterfront
Liverpool L3 4BB

http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/maria-lassnig

Wifredo Lam

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TATE MODERN

THE EY EXHIBITION: WIFREDO LAM

Press View: 13 September 2016
Curated by Matthew Gale, Head of Displays, Tate Modern and
Catherine David, General Curator, Centre Pompidou /
Musée national d’art moderne, Paris with Katy Wan,
Assistant Curator, Tate Modern.

14 SEPTEMBER 2016 – 8 JANUARY 2017
Level 3 West Bankside
London SE1 9TG

http://www.tate.org.uk/

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Open daily 10.00 – 18.00 and
until 22.00 on Friday and Saturday

In September 2016, Tate Modern will present a retrospective of the Cuban modernist painter, Wifredo Lam (1902–1982), the first museum exhibition in London since 1952. Including over 200 paintings, drawings, photographs and prints, the exhibition will trace his sixty-year career from the 1920s to the1970s, confirming his place at the centre of a cosmopolitan modernism. His work defined new ways of painting for a post-colonial world and was greeted with both consternation and acclaim during his lifetime. As a Latin American artist of Chinese, Spanish and African heritage, Lam lies between East and West, combining traditional practices, surrealist ideas and complete originality. In an increasingly connected world, Lam’s work brings a historical perspective to contemporary  issues.

Ibaye 1950 by Wifredo Lam 1902-1982

Ibaye 1950 Wifredo Lam 1902-1982 Purchased 1952 http://www.tate.org.uk/art/work/N06073

Wifredo Lam travelled extensively, living on both sides of the Atlantic during periods of great political change. The exhibition will begin with works produced during Lam’s early years as an artist in Spain following his training in Havana and Madrid. From classically inspired studies such as Self-Portrait 1926, Lam moved towards works engaging with the European avant-garde movements such as cubism and surrealism, evident in works such asComposition I 1930. Following the tragic death of his wife and son from tuberculosis, Lam enlisted into the Republican cause during the Spanish Civil War. Forced to leave in 1938, Lam departed for Paris where he met Pablo Picasso and continued to experiment with avant-garde techniques, particularly inspired by ancient Greek and African art such as in Figure 1939 and Young Woman on a Light Green Background 1938. Forced to flee again to Marseille following Paris’s occupation in 1940, Lam joined André Breton and other surrealists, participating in collaborative artistic projects such as Collective Drawing 1940, designs for a surrealist pack of Tarot cards, and his own sketch series Carnets de Marseille 1941.

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Wifredo Lam, Horse-headed Woman 1950, oil paint on canvas,
The Rudman Trust © SDO Estate of Wifredo Lam

The exhibition will reappraise Lam’s major works within the cultural and political context after he returned to Cuba in 1941. After 18 years abroad and two forced exiles, Lam was disappointed to find corruption, racism and poverty in his homeland and responded by seeking out ‘Cubanness’, influenced by his friendships with contemporary thinkers and academics. He created works that combined animal, plant and human forms, using symbols borrowed from Cuban Occultism and Afro-Cuban beliefs, exemplified by The Eternal Present (An Homage to Alejandro García Caturla) 1944, The Wedding 1947, and The Threshold 1950.

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In 1952, Lam left Cuba once more for Europe where he exhibited frequently alongside the CoBrA artists. He was particularly close to Asger Jorn, who introduced Lam to Albissola, a town on the Italian coast where he would create works until the end of his life. During the 1960s, he worked beside Lucio Fontana and the Situationists, experimenting with new materials such as terracotta. Lam created almost 300 ceramics in 1975 alone, using symbols derived from his painting and drawing. During this final period, he made prints to illustrate many works by poets and writers, such as René Char, Gherasim Luca and Jean-Dominique Rey.

The EY Exhibition: Wifredo Lam is curated by Matthew Gale, Head of Displays, Tate Modern and Catherine David, General Curator, Centre Pompidou / Musée national d’art moderne, Paris with Katy Wan, Assistant Curator, Tate Modern. The exhibition is organised by the Centre Pompidou, Musée National d’Art Moderne, Paris, in collaboration with the Tate Modern and the Museo Nacional Centro de Arte Reina Sofía, Madrid.

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Lam

Artist biography

Wifredo Lam born 1902 [- 1982]Surrealist painter born in Sagua la Grande, Cuba, of a Chinese father and a mother of mixed African, Indian and European origin. Studied at the Academy of San Alejandro in Havana 1920-3, then went in 1924 to Madrid where he worked in the studio of Fernando Alvarez de Sotomayor, the Director of the Prado, and also in the evenings at the Free Academy. Left Spain in 1938 after taking part in the defence of Madrid, and moved to Paris. First one-man exhibition in Paris at the Galerie Pierre Loeb 1939. Friendship with Picasso, who enthusiastically encouraged him, and with Breton and the Surrealists. Became interested in African sculpture. Fled in 1941 to Martinique with Breton, Masson and Lévi-Strauss, then returned to Cuba where his work was influenced by savage rituals and the tropical jungle. Visited Haiti in 1945 and 1946 and discovered the Voodoo cult; later in 1946 met Gorky and Duchamp in New York and returned to Paris. 1947-52 in Cuba, New York and Paris; left Cuba in 1952 to live in Paris. Since 1960 has also worked regularly at Albisola Marina, Italy. Awarded the Guggenheim and Marzotto Prizes 1964-5. Lives in Paris and Albisola Marina.

 

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Published in:
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.404-5

The EY Exhibition
The EY Exhibition: Wifredo Lam is part of a six year arts partnership between EY and Tate. The arts partnership has already supported a catalogue of hugely successful and widely acclaimed exhibitions, all of which shed new light on major figures and moments in art history. These include: The EY Exhibition: Paul Klee – Making Visiblein 2013, The EY Exhibition: Late Turner – Painting Set Free in 2014, The EY Exhibition: Sonia Delaunay in 2015, and The EY Exhibition: The World Goes Pop also in 2015. This will continue with two further exhibitions at Tate Britain and Tate Modern in 2017 and 2018. The partnership makes EY one of the largest corporate supporters of Tate, but this support is also extended through corporate memberships at Tate Liverpool, Tate St Ives, and a number of the Plus Tate partners around the country.

Michel Driessen, Arts Sponsor Partner & TAS Markets Leader, UK & Ireland, EY, said:
“Wifredo Lam was an artist whose work was strongly inspired by the intersection of culture, politics and religion, most notably in Cuba – his country of birth. Lam, a close friend of Picasso, influenced and was influenced by, artistic movements and renowned 20th century painters around the world. He left a legacy that stimulates the mind and challenges existing perceptions about modern art. By supporting the arts, we offer institutions such as Tate scope for growth, innovation and delivery of their ambitious programmes to an ever-wider audience helping to make the art world work better.”

About EY
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Image: Wifredo Lam’s Umbral (Seuil) 1950. Photo: Georges Meguerditchian/Centre Pompidou, MNAM-CCI/Dist. RMN-GP ©Adagp, Paris

http://www.tate.org.uk/art/artists/wifredo-lam-1455

PAUL NASH

TATE_Britain_1_standard_use_b

TATE BRITAIN

PAUL NASH

Press View: 24 October 2016

 Curated by Emma Chambers, Curator, and Inga Fraser
Assistant Curator, Modern British Art

24 October 2016 – 5 March 2017
Supported by the Paul Nash Exhibition Supporters Group and Tate Patrons
Open daily 10.00 – 18.00 pm
Millbank
London SW1P 4RG
http://www.tate.org.uk/whats-on/tate-britain/exhibition/paul-nash

Equivalents for the Megaliths 1935 by Paul Nash 1889-1946

Equivalents for the Megaliths 1935 Paul Nash 1889-1946 Purchased 1970 http://www.tate.org.uk/art/work/T01251

Paul Nash – Equivalents for the Megaliths, 1935, Tate
Oil paint on canvas, 457 x 660 mm © Tate

This autumn Tate Britain will presentPaul Nash, the largest exhibition of the artist’s work for a generation. Paul Nash is one of the most distinctive and important British artists of the 20th century. Renowned as a war artist in both the First and Second World Wars, the exhibition will further reveal Nash’s work from his earliest drawings through to his final visionary landscapes. Nash was fascinated with Britain’s ancient past and spent time in southern England exploring the downs and coastal areas. The exhibition will look at how these landscapes influenced his work and provided a stage for his engagements with international modern art movements such as surrealism.

The most evocative landscape painter of his generation, the exhibition will cover all the significant developments of Nash’s career, opening with his early Symbolist watercolours exploring the mystic life-force of trees, and the powerful shattered landscapes of the First World War. Nash became an Official War Artist in 1917, expressing the waste of life through the violation of nature. He created some of the most iconic images of the First World War such as We Are Making a New World 1918.

Promenade II 1920 by Paul Nash 1889-1946

Promenade II 1920 Paul Nash 1889-1946 Presented by the Trustees of the Paul Nash Trust 1971 http://www.tate.org.uk/art/work/P01026

On his return, Nash’s landscape paintings focused on places of particular significance to him including Dymchurch where a series of works such as The Shore 1923 reflected on his war experience and evoked the bleak beauty of the Kent coast. In the 1930s Nash drew on surrealist ideas to interpret the British landscape in a way that made connections between modernism and tradition. He explored the idea of a life force in inanimate objects from monoliths and trees to stones and bones. These ideas were realised through the juxtaposition of found objects with landscape to create mysterious encounters, in paintings such asEvent on the Downs 1934 and Equivalents for the Megaliths 1935.

Photography became an important part of Nash’s working practice in the 1930s, combined with natural objects in assemblages such as Only Egg 1936-7. This way of working was similar to that of Eileen Agar with whom Nash worked closely during this period and the two artists’ work will be shown together in the exhibition. In the late 1930s Nash’s landscape paintings increasingly explored the boundary between dream and reality such as Landscape from a Dream 1936-8. At the end of his life the Wittenham Clumps in Oxfordshire stimulated a series of visionary landscapes inspired by the seasonal cycles of the equinox and the phases of the moon including Landscape of the Vernal Equinox 1943.

Grotto in the Snow 1939 by Paul Nash 1889-1946

Grotto in the Snow 1939 Paul Nash 1889-1946 Purchased 1940 http://www.tate.org.uk/art/work/N05254

The exhibition will be the first to examine Nash’s position at the centre of developments in British modernism and his dialogues with international artists as one of the leading figures in British surrealism. It will show his contributions to major exhibitions of the 1930s, such as the International Surrealist Exhibition of 1936 and the Unit One exhibition which toured across the UK in 1934-5. Nash was a founder member of this British modernist group of painters, sculptors and architects which included John Armstrong, Barbara Hepworth, Tristram Hillier, Ben Nicholson, Henry Moore and Edward Wadsworth. The exhibition will show works by Nash alongside those of fellow Unit One members, exploring the debates about abstraction and surrealism in which Nash participated during this period. The exhibition will examine how Nash’s work was both an imaginative response to the natural world and at the centre of developments in modern art in Britain.

Paul Nash is curated by Emma Chambers, Curator, Modern British Art and Inga Fraser, Assistant Curator, Modern British Art. The exhibition will be accompanied by a fully illustrated catalogue and a special publication on Paul Nash’s photography from Tate Publishing.

Behind the Inn 1919-22 by Paul Nash 1889-1946

Behind the Inn 1919-22 Paul Nash 1889-1946 Presented by the Daily Express 1927 http://www.tate.org.uk/art/work/N04259

Uncover the surreal and mystical side of English landscapes through one of the
most distinctive British painters
 
Paul Nash was fascinated with Britain’s ancient past and spent time in southern England exploring the downs and coastal areas. Equally inspired by the equinox and the phases of the moon, he used all these influences in his work, interpreting his environment according to a unique, personal mythology, evolving throughout his career.
 
Featuring a lifetime’s work from his earliest drawings through to his iconic Second World War paintings, this exhibition reveals Nash’s importance to British modern art in the most significant show of his work for a generation.
 
Totes Meer (Dead Sea) 1940-1 by Paul Nash 1889-1946

Totes Meer (Dead Sea) 1940-1 Paul Nash 1889-1946 Presented by the War Artists Advisory Committee 1946 http://www.tate.org.uk/art/work/N05717

Artist biography
 
Paul NASH 1889–1946
Landscape painter in oils and watercolour, book illustrator, writer and designer for applied art. Born 11 May 1889 at Kensington, elder brother of John Nash. Lived at Iver Heath, Buckinghamshire, from 1901. Studied at the Chelsea Polytechnic 1906–7, at L.C.C. evening classes at Bolt Court, Fleet Street, 1908–10, and at the Slade School 1910–11. First one-man exhibition of drawings and watercolours at the Carfax Gallery 1912. Worked under Roger Fry at the Omega Workshops and on restoring the Mantegna Cartoons at Hampton Court 1914. Member of the Friday Club 1913, the London Group 1914, the N.E.A.C. 1919 and the Society of Wood Engravers 1922. Served with the Artists’ Rifles 1914–17; appointed Official War Artist as a result of his exhibition Ypres Salient at the Goupil Gallery 1917. Lived at Dymchurch, Kent, 1921–5. First visit to Paris 1922. Taught at Oxford 1920–3 and the R.C.A. 1924–5 and 1938–40. Illustrated several books 1918–32, including Genesis 1924 and Urne Buriall 1932. Lived in or near Rye 1925–33. Represented at the Venice Biennale 1926, 1932 and 1938. Founded Unit One 1933. In Dorset 1934–5; returned to London 1936. Exhibited at the International Surrealist Exhibitions in London 1936 and Paris 1938. Settled in Oxford 1939. Official War Artist to the Air Ministry 1940 and to the Ministry of Information 1941–5. Retrospective exhibitions at Temple Newsam, Leeds, 1943, and Cheltenham 1945. Died 11 July 1946 at Boscombe, Hampshire. Memorial exhibitions at the Tate Gallery 1948 and in Canada 1949–50; an exhibition of his photographs was held by the Arts Council 1951 and a book of his photographs, Fertile Image, was published the same year. A fragment of autobiography together with some letters and essays was published posthumously as Outline in 1949, his correspondence with Gordon Bottomley as Poet and Painter in 1955. A further exhibition was held at the Redfern Gallery 1961.
Landscape at Iden 1929 by Paul Nash 1889-1946

Landscape at Iden 1929 Paul Nash 1889-1946 Purchased 1939 http://www.tate.org.uk/art/work/N05047

 

Lit: Anthony Bertram, Paul Nash, 1923; Herbert Read, Paul Nash, 1944; Margot Eates, Paul Nash, Paintings, Drawings and Illustrations, 1948; Anthony Bertram, Paul Nash, the Portrait of an Artist, 1955; George Wingfield Digby, Meaning and Symbol in Three Modern Artists, 1955; Sir John Rothenstein, Paul Nash, 1961.
 
Published in:
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings,
Drawings and Sculpture, London 1964, II
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