#frieze art 2024 | Explore Tumblr posts and blogs

longlistshort · 3 months ago

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VSF gallery is currently showing The Harrisons’ Survival Piece #1: Air, Earth, Water, Interface: Annual Hog Pasture Mix, 1970-1971, part of The Getty’s Pacific Standard Time: Art & Science Collide.

On Thursday, 10/17, a local pig will enter the grow box to turn over the pasture in an iteration of the 2012 performance that took place at The Geffen Contemporary at MoCA.

From the gallery-

The first in their visionary series of Survival Pieces, “Hog Pasture,” as it is known by Harrison’s fans, emerged from a direct dialog with the most visionary and boundary pushing artists of the late 1960’s and early 1970’s. The impact of the Earth Day movement and the nascent cultural awareness that human beings were rapidly depleting the planet’s natural resources ignited a deep and sincere conversation within the art world about the stakes of art-making in the post-war, post-1968 world.

While later survival pieces highlighted a culminating harvest feast, Survival Piece #1 is focused on growth. The rectangular form of the raised planter bed and the grid of grow lights above echo sculptural innovations by artists like Dan Flavin, Donald Judd, and Richard Morris; however, Newton Harrison had by this time decided that a sculpture or a painting was not enough. His artwork needed to not only have a moral purpose, it needed to strive to restore the earth and protect the abundant future of humans on our planet.

In 1971, shortly after their first foray into ecological art, Making Earth (which VSF exhibited earlier this year at Frieze LA and is now in the collection of the Los Angeles County Museum of Art) Newton and Helen heard from David Antin that Virginia Gunter at the MFA Boston was curating a show titled Earth, Air, Fire, and Water: Elements of Art and wanted to include their work alongside contemporaries including Robert Smithson, Michael Heizer, Hans Haacke, and others. Exploring ideas of growth and change, Gunter’s vision for the exhibition was meant to challenge conservative, formalist, Greenbergian ideas about art as well as expectations of the museum as an institution that primarily collected unchanging pictures and objects that somehow articulated the best ideas and techniques of the time in which they were made.

Interested in building on his use of artificial lights, Newton decided that he should actually grow something. He commissioned one of his painting students to look through seed catalogs to find a mixture that was “totally singular,” eventually landing on R.H. Shumway Seedsman’s Annual Hog Pasture Mix. In Boston, a large raised planter bed was built in a basement gallery of the museum, agricultural grow lights were installed in a parallel grid from the ceiling, a potent mix of manure, compost, worm castings, and other rich grow media were added to the planter bed, the seed mix was added, and a small pasture grew there with alarming speed. While Gunter wouldn’t allow a hog to come and graze the original hog pasture, subsequent exhibitions of the work, including Ends of the Earth: Land Art to 1974 curated by Miwon Kwon and Phillip Kaiser at MoCA in 2012, have brought the work to its natural conclusion and invited a pig in to enjoy the rich, velvety mix of legumes and grasses. Similarly, VSF has invited a hog to harvest the indoor meadow during the exhibition’s closing ceremony on October 17, 2024. The remaining pasture, earthworms, and soil mix will be gifted to visitors. We hope that you will join us while our porcine guest enjoys the first survival piece feast envisioned by Helen and Newton Harrison.

#The Harrisons #The Harrison Studio #VSF #VSF Los Angeles #Art #Art Shows #Environmental Activism #Environmental Art #Helen Harrison #Newton Harrison #Hog Pasture #Los Angeles Art Shows #Pacific Standard Time #Pacific Standard Time 2024 #Pacific Standard Time Art and Science Collide #PST #The Getty #Various Small Fires #VSF Gallery

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taeminsp · 5 months ago

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04.09.2024 | 240904

El dia de ayer Taemin asistió a la apertura de la Feria de Arte 'FRIEZE SEOUL 2024'.

Esta información la tenemos gracias al usuario @ seyoung.lim, que compartió de manera pública en su cuenta de Instagram, estos datos del evento y el fragmento de la actuación de Taemin.

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atsushifukui · 5 months ago

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Frieze Seoul

COEX, Seoul

2024 Sep, 4-7

Booth 8 : Tomio Koyama Gallery

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mrb33 · 6 months ago

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Mayfair ART MOOCH

Continuum

Minoru Nomata at White Cube gallery

From The Press release: His art is characterised by a lack of human presence, his works depict imaginary architectural structures and enigmatic landscapes that transcend time and place. Conjuring an unfamiliar world that is nonetheless tethered to reality, his visionary paintings evoke a disquieting sense of alienation. “Lack, deficiency, insecurity, isolation and the unknown – those so-called negative feelings can also be a creative trigger for me to create something”, the artist has said.

I, ROBOT

Sorayama at Almine Rech gallery

From The Press release: Sorayama’s ongoing Sexy Robots series ponders the alluring, intimidating imaginary of a cyborg human, merging woman and droid, fleshy anatomy and flashy armor, in a cheeky and unsettling continuum from the Hollywood pin-up to the fantastical future. Sorayama channels aesthetic visions from Bert Stern to Mel Ramos, Brancusi to Rolls Royce, Egypt to the Oscars.

Chronicles

Ahmed Mater - Christie's from 17 July to 22 August.

Tbilisi Independent

Frieze - Cork Street.

Highlighting five young, female-run galleries from the Georgian capital:

Niniko Morbedadze - We love animals (series) 2024

Assemblage pieces by Temple Pharmacy

Layers of Time

Giorgio Morandi and Alexis Ralaivao at Nahmad Projects

Morandi Natura Morta 1946 - Ralaivao - Nature morte aux trois citrons 2024

From The Press release:

Morandi’s oeuvre, characterised by its restrained palette and masterful use of light and shadow, invites viewers into a world of quiet contemplation. Through his timeless still lifes, Morandi transforms mundane objects into symbols of deeper human experience, prompting reflection on the nature of existence itself. In contrast, Ralaivao’s paintings burst with energy and sensuality, capturing fleeting moments of intimacy and anticipation. His bold use of colour and dynamic compositions draw viewers into a world where every brushstroke pulses with life, inviting them to explore the boundaries between reality and imagination.

Although the artists may seem like an unlikely pairing at first glance, their works share a profound reverence for the subtleties of everyday objects and a commitment to exploring the essence of perception itself. Both artists engage viewers by highlighting the compositional aspect of their artwork alongside material surfaces. While Morandi’s compositions resemble studio photography, evoking a sense of familial assembly akin to a wedding portrait, Ralaivao’s works reflect the influence of contemporary mobile phone photography, where the camera becomes an active participant in capturing moments and sparking immediate reflection and dialogue.

Together, Morandi and Ralaivao weave a narrative that transcends the constraints of a single frame, inviting viewers to immerse themselves in the timeless beauty of still life compositions. Born nearly a century apart, this exhibition reveals the shared differences between two artists, across generations, finding themselves in the same city, and united by a common bond: their unwavering dedication to the art of painting.

“Both Ralaivao and Morandi are reductive artists, their language is quiet, the tone of their paintings cool, and it feels quite fitting that this exhibition should be a closely selected one. It offers a tantalising starter, and leaves me wanting more.” – Paul Coldwell

Morandi - Natura Morta 1950 - Ralaivao Citrons et saladier jaune 2024

Alexis Ralaivao - Art Nouveau Shadow 2024

“I believe that nothing can be more abstract, more unreal, than what we actually see. We know that all we can see of the objective world, as human beings, never really exists as we see and understand it. Matter exists, of course, but has no intrinsic meaning of its own, such as the meaning we attach to it.” – Giorgio Morandi

Mayor gallery

Waldemar Cordeiro

From The Press Release: The first solo exhibition in Europe of visionary Brazilian artist, Waldemar Cordeiro (b. 1925 Rome, Italy – d. 1973 São Paulo, Brazil). Fifteen works, many of which have never been shown outside Brazil, form the basis of this exhibition in which different phases of Cordeiro’s intensive production from the late 1940s to his early death in 1973 are brought into new curatorial focus. Regarded as the greatest of Brazil’s exponents of concrete art in the 1950s, Cordeiro was an original and visionary practitioner and theorist, who brought both these domains together in an astonishingly productive oeuvre.

Installation shot

Transposição Cromática Estudo da Cor, 1958

Untitled 1960

Liberdade 1964

EXORCISM: INSIDE OUT

Penny Slinger at Richard Saltoun Gallery

#mayfair

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marcusod · 1 month ago

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At 27, Li Hei Di is the latest rising star to join Pace Gallery, who represent her alongside Michael Kohn Gallery and Pippy Houldsworth Gallery. The latter bring her luminous large-scale painting, Oblivion blest (2024), to Frieze.

Rory, who visited Li in her studio last year, was smitten by both her art and her personality. 'She is heavily influenced by Chinese literature and film, as well as her sexual identity. She's definitely one of the most exciting young painters working today,' he said.

'The erotic ambiguity of my paintings feels like I'm capturing a ghost of something not quite abstract, but not quite figurative either,' Li told Ocula in 2023. 'This ephemeral style permeates my work and grants me space to navigate stories of repressed desires and provocation,' she added.

Art to Fawn over at Frieze

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hydeordie · 1 month ago

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#Frieze #Art #ARt in review

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bushybook · 1 month ago

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nso-csi · 5 months ago

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240904 2024 FRIEZE SEOUL Art Fair's (Leeum Museum of Art) opening party

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blaze-times · 2 months ago

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A retrospective of Dr Esther Mahlangu’s iconic life’s work at Wits Art Museum

Event: Art Exhibition

Title: Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective

Dates: 20 November 2024 – 17 April 2025

Dr Esther Mahlangu’s acclaimed retrospective exhibition, ‘Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective,’ is set to captivate Johannesburg audiences at the Wits Art Museum (WAM). Following its successful run at the Iziko South African National Gallery in Cape Town, this landmark exhibition, supported by BMW Group South Africa, WAM, and the National Arts Council, will open its doors to the public on 20 November 2024.

Curated by Nontobeko Ntombela, the retrospective offers a profound exploration of the life and artistic practice of Dr Mahlangu, a national treasure and global icon. It chronicles her remarkable journey, from her humble beginnings in a small village in Mpumalanga to her international recognition as one of the most influential artists of her time. In a comprehensive collection of archival materials spanning five decades, the exhibition celebrates Dr Mahlangu’s significant contributions to and lasting impact on contemporary art.

“Dr Mahlangu is a living symbol of triumph over adversity. As one of the first South African and female African artists to achieve global recognition, her warm personality and ability to inspire creativity have established her as a matriarch and mentor in contemporary art,” says exhibition curator Nontobeko Ntombela. “Her artistic approach continues to inspire younger generations and emphasises Africa’s rightful place at the centre of the art world.”

Craig Mark, Director of The Melrose Gallery, shared Ntombela’s sentiments, noting, “Few South African artists have had the chance to present a retrospective of this scale. We hope this exhibition can pave the way for a global tour, creating opportunities for other South African artists to access these long-restricted museum spaces.”

Dr Mahlangu’s BMW 525i Art Car, a milestone in the history of both art and automotive design, is a highlight of the retrospective exhibition. Created in 1991, this iconic vehicle marked a historic moment as her work became the first by a woman and an African artist to be included in the prestigious BMW Art

Car Collection. Its return to Gauteng after over three decades allows local audiences a unique opportunity to experience this world-renowned masterpiece.

“Dr Mahlangu’s extraordinary legacy is a testament to her pioneering spirit. Our longstanding relationship with her, culminating in the return of the BMW 525i Art Car, is a celebration of her artistic brilliance and our joint effort to push the boundaries of creativity,” says Thilosh Moodally, Director of Government Affairs and Communications at BMW Group South Africa. “I am proud to say that we have a long and rich history of supporting the arts and culture and remain committed to using our platform to promote innovation.”

The WAM retrospective invites audiences from Tshwane, Mpumalanga, and surrounding areas to immerse themselves in the iconic world of Dr Mahlangu. This special regional tribute honours her deep connections to both Gauteng and Mpumalanga. “Wits Art Museum is honoured to host this retrospective, showcasing the remarkable scope and vision in Dr Mahlangu’s work,” says Julia Charlton, WAM Senior Curator.

Bettina Korek, CEO, and Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries hailed Dr Mahlangu as “one of the most important artists of her time” at the unveiling of her large 9m x 5m mural as the opening event for the VIP Programme for Frieze London in October. The artwork is titled ‘Umuntu ngumuntu ngabuntu’ and translates from isiNdebele to ‘I am because you are’, emphasising human kindness, connection and community. This is her first public mural in the United Kingdom, painted over sixteen wooden panels.

‘Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective’ will be on exhibition at WAM from 20 November 2024 until 17 April 2025. The museum is open from Tuesday to Saturday, 10 a.m. to 4 p.m., and admission is free.

If you have any questions, please contact:

The Melrose Gallery (through Alkemi Collective)

Sindi Phenya

Client Service Manager – Alkemi Collective

Phone: +27 83 789 2553 Email: [email protected]

About Dr Esther Mahlangu

Dr Esther Nostokana Nagiyana Nikwambi Mahlangu is a celebrated South African contemporary artist known for her innovative work that pushes boundaries beyond the traditional mural. Widely recognised as one of the most influential artists across generations, Dr Mahlangu began her artistic journey at the age of ten under the guidance of her grandmother and mother, learning the traditional techniques of isiNdebele mural painting. Her contemporary works, which span a wide variety of non-traditional surfaces, found objects, and automobiles, build upon this rich tradition.

Dr Mahlangu’s participation in the exhibition Magiciens de la Terre (1989) in Paris shot her to fame, marking the launch of her transition from a communal practice into her own agency as a contemporary artist. Shortly thereafter, in 1991, she became the first woman artist and African to paint a BMW Art Car. Dr Mahlangu has exhibited in over 20 countries, sometimes with multiple solo shows in at least seventeen different cities.

She has painted murals across eight different countries and participated in residency programmes with institutions like Project Row Houses (2005), L’Associazione Culturale Colonos (2009), and Virginia Museum of Fine Arts (2014). Some of her more significant engagements include Documenta IX (1992), the 5th Biennale of Contemporary Art (2000), the 1st Malindi Biennale (2006), and the 3rd Moscow Biennale of Contemporary Art (2009). Dr Mahlangu's collaborations with the BMW Group span decades, including the 1991 BMW 525i Art Car, the Electric AI Canvas at Art Basel 2023 (which featured AI-generated animations based on her designs projected onto a BMW i5), and the 2024 BMW i5 Flow NOSTOKANA, a one-of-a-kind vehicle combining colour-change technology developed by BMW. Dr

Mahlangu has also worked on projects with fashion brands like Comme des Garçons (1991), and shoe companies Melissa (2009) and EYTYS (2015). In 2016, she created the Belvedere (RED) bottle design, which helped fund a campaign against HIV/AIDS. Dr Mahlangu's works are represented in over 27 public institutions’ collections, and her work is also held in private collections around the world. She continues her artistic career to this day. Dr Mahlangu is the recipient of numerous honorary doctorates for her contribution to art.

For more information, please visit Esther Mahlangu’s website, or connect with her on social media: Facebook: www.facebook.com/esthermahlanguart Instagram: www.instagram.com/esthermahlanguart

About Nontobeko Ntombela (the exhibition curator)

Nontobeko Ntombela is a lecturer in the Department of Curatorial, Public, and Visual Cultures at the Wits School of Arts in Johannesburg. She holds a PhD in Art History from the University of Cape Town. Her research focuses on Modern and Contemporary South African art, with a particular interest in Black women artists. Ntombela began her career as a curator in 2002 and has worked at various institutions, including the BAT Centre, Durban University Art Gallery, and the Johannesburg Art Gallery, where she curated numerous exhibitions. After a decade of curatorial work, Ntombela took up an academic position at Wits, shifting her curatorial practice to centre more archival and research-driven historical projects. Some of her most recent notable curatorial projects include the ‘Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective’ (2024) exhibition at Iziko South African National Galleries in Cape Town and Wits Art Museum in Johannesburg, ‘When Rain Clouds Gather: South African Black Women Artists 1940–2000’ (2022-2023) at the Norval Foundation in Cape Town, and ‘The Burden of Memory’ (2019) at multiple venues in Yaoundé, Cameroon.

About The Melrose Gallery

The Melrose Gallery is a leading Pan African Contemporary gallery located in Johannesburg, South Africa. The gallery represents established and emerging artists whose voices speak to issues of significance to the continent of Africa on a global basis. They are passionate about ensuring that the elders who have made a valuable contribution to African Contemporary Art are recognised and continue to be heard. These inspiring stalwarts provide a stable foundation to an exciting young guard of artists who are swiftly emerging from the African Continent and Diaspora to establish themselves globally. The Melrose Gallery runs a curated programme of exhibitions, participates in respected art fairs, supports many artists in their participation at Biennales, and conceptualises and implements significant non-commercial exhibitions in association with leading museums.

For more information, please visit the Melrose Gallery website, or connect with them on social media: Instagram: www.instagram.com/themelrosegallerysa Facebook: www.facebook.com/themelrosegallery Or send an email to: [email protected]

About Wits Art Museum

Located in the heart of Braamfontein, Johannesburg, Wits Art Museum (WAM) is a university art museum that serves both academic and public audiences. With over 13,000 African artworks, WAM’s mission is to facilitate compelling encounters with African art for academics, students, and anyone who appreciates great art. The museum’s extensive collection includes historical and contemporary artworks, showcasing the rich diversity of Africa’s visual culture.

For more information, please visit WAM’s website, or connect with them on social media: Facebook: https://www.facebook.com/WitsArtMuseum Instagram: https://www.instagram.com/witsartmuseum_wam/ YouTube: https://www.youtube.com/channel/UCtgEIZOT88sGGrA-_-Ug1jQ/featured

About the BMW Group

With its four brands – BMW, MINI, Rolls-Royce, and BMW Motorrad – the BMW Group is the world’s leading premium manufacturer of automobiles and motorcycles and also provides premium financial and mobility services. The BMW Group production network comprises over 30 production sites worldwide; the company has a global sales network in more than 140 countries.

In 2023, the BMW Group sold over 2.55 million passenger vehicles and more than 209,000 motorcycles worldwide. The profit before tax in the financial year 2023 was €17.1 billion on revenues amounting to €155.5 billion. As of 31 December 2023, the BMW Group had a workforce of 154,950 employees.

The success of the BMW Group has always been based on long-term thinking and responsible action. The company set the course for the future at an early stage and consistently makes sustainability and efficient resource management central to its strategic direction, from the supply chain through production to the end of the use phase of all products.

For more information, please visit the BMW Group’s website, or connect with them on social media: LinkedIn: http://www.linkedin.com/company/bmw-group/ YouTube: https://www.youtube.com/bmwgroup Instagram: https://www.instagram.com/bmwgroup Facebook: https://www.facebook.com/bmwgroup X: https://www.x.com/bmwgroup

About BMW Group Cultural Engagement

Why culture? Why not! Culture is knowledge, a sanctuary of beauty and depth, of meaning and peace. An inspiring escape. Tranquil at best, even unsettling sometimes. As a corporate citizen, the BMW Group takes social responsibility seriously, a part of which it has been involved in hundreds of cultural initiatives worldwide for over half a century, in the fields of contemporary art, music, and film as well as in design. As a long-term partner, creative freedom is key – and as essential for groundbreaking works as it is for

Source: Alkemi PR

#EsterMahlangu #BMW #BmwArtCar #Art #NdebeleArt #south africa

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