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PREVIEW BOOTH 3D03 ART BASEL HONG KONG
P R E V I E W
B O O T H 3 D 0 3
ART BASELHONG KONG
Artists
Jose Dávila, MX 1974 Yann Gerstberger, FR 1983Candida Höfer, GER 1944Artur Lescher, BR 1962Jorge Méndez Blake, MX 1974Gabriel Rico, MX 1980Daniel Silver, UK 1972Troika, UK 2003James Turrell, USA 1943
The work of Jose Dávila reflects upon the legacy of major movements in art and architecture in the twentieth century. Informed by his training as an architect, Dávila approaches the crucial contradictions between form and function. Located between homage, imitation, and critique, the artist references modern architecture, urbanism, and milestones in mid-century and contemporary art, pointing to both their forecasts and failures.
The imagery in Jose Dávila’s new series of screenprint collages Orden Discontinuo originates from the symbolic visual languages that function within art history and Western visual culture. These pictorial, graphic and sculptural languages are reconfigured as contradictory and contrasting relations, taking the correspondence between form and content to its limit.
Drawing on his training as an architect, Dávila reflects on the failure of utopian, modernist architectural principles in his assemblages and mixed-media works, including this new series of collages composed of pieces of cardboard screen-printed with a variety of motifs and colors.
In the work, The Most Famous Problem in the History of Mathematics is That of Squaring the Circle IV (2019), Dávila positions 11 separate canvases of varying sizes into the shape of a rectangle, which when viewed together display the image of a circle in a humourously inventive attempt at solving “the most famous problem in the history of Mathematics - squaring the circle. It is a challenge proposed by ancient geometers to construct a square with the same area as a given circle.
Selected Exhibitions: Sueño autosuficiente, Museo Universitario del Chopo, Mexio City (2019); A Simple Rule to Remember, Franz Josefs Kai 3, Vienna (2018); Somewhere Behind the Eyes, Sammlung Philara, Düsseldorf (2018); Non tutti quelli che vagano sono persi, Museo del Novecento, Florence (2018); Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); Mecánica de lo inestable, Galería OMR, Mexico City (2018); Sense of Place, LAND (Los Angeles Nomadic Division) as part of Pacific Standard Time: LA/LA, Los Angeles (2017/18); Die Feder und der Elefant, Kunsthalle Hamburg, Hamburg, Germany (2017); BALTIC Artists’ Award 2017, Baltic Centre for Contemporary Art, UK (2017).
Selected Collections: Centre Georges Pompidou, Paris; Museo Nacional de Arte Reina Sofía, Madrid; Stiftung für due Hamburger Kunstsammlungen, Hamburg; Allbright Knox Museum, New York; Marciano Art Foundation, Los Angeles; Museum Frieder Burda, Baden-Baden; Colección Jumex, Mexico City; Museo Amparo, Puebla; MUAC: Museo Universitario de Arte Contemporáneo, Mexico City; Fundación La Caixa, Madrid; Zabludowicz Collection, London; Pérez Art Museum Miami.
1. Roncone, Natalie Marie. (2016). "The Theatre of Humanity".
JOSE DÁVILAGuadalajara, Mexico, 1974Lives and works in Guadalajara, Mexico
Jose DávilaOrden Discontinuo XXXVII, 2018Silkscreen print on cardboard53.2 x 45.2 x 4.5 cm(JDA 0547)
Jose DávilaOrden Discontinuo LII, 2019
Silkscreen print on cardboard94.5 x 81.5 x 7 cm
(JDA 0546)
Jose Dávila’s new series Orden Discontinuo originates from the symbolic visual languages that function within art history and Western visual culture. These pictorial, graphic and sculptural languages are reconfigured as contradictory and contrasting relations, taking the correspondence between form and content to its limit.
Jose DávilaOrden Discontinuo LV, 2019Silkscreen print on cardboard72.1 x 53.2 x 4.5 cm(JDA 0548)
Jose DávilaUntitled, 2018
Concrete volumes, boulder and epoxy paint135.5 x 65.5 x 62.5 cm
(JDA 0560)
The vertical stone effigies appear to be precariously stabilized, operating under a constant threat of annihilation. The structures display a physicality that Dávila describes as “the play between the universal struggles of humanity against gravity."1
Jose DávilaThe Most Famous Problem in the History of Mathematics is That of Squaring the Circle IV, 2019Silkscreen print and acrylic paint on loomstate linen260 x 300 x 6 cm(JDA 0566)
YANN GERSTBERGERCagnes sur Mer, France, 1983Lives and works in Mexico City
Through sculpture and textile work, Gerstberger’s practice uses craftsmanship as an image-making technique. A French artist living in Mexico City since 2012, the artist has been producing a series of tapestries developing narratives inspired by patterns found in Mexican and African culture, art history, and nature. With his immersion into the Mexican culture, the Gerstberger finds himself at a point of rupture, aligning his visual vocabulary with the artistic history of post-colonial Mexico, while finding inspiration from its architecture, imagery and motifs, and daily-life.
Gerstberger’s compositions, including Y-6 (2019), are produced using an original technique conceived by the artist, in which he glues bers of cotton (mops, originally) on repurposed vinyl to create naïve patterns and compositions that he then mixes with industrial utility fabrics found in markets around the city. The cotton bers are dyed by hand, using a mixture of natural Mexican dyes such as cochineal, and industrial ones like Citocol.
Through these tapestry works, the artist builds a vernacular vocabulary by referencing the Fábulas Pánicas of Chilean-French artist Jodorowsky, the fantasy of the tropical as experienced from a purely European perspective, post-graffiti, and the history of abstraction and its repertoire of ambiguous and mystical shapes.
Yann Gerstberger is currently presenting, ICE NEWS & FREEWAY FETISHES, his first solo exhibition in OMR. The occasion was accompanied by the launch of the artist's first monograph, Baby Comet Face.
Selected Projects & Exhibitions: ICE NEWS & FREEWAY FETISHES, Galería OMR, Mexico City (2019); Museo de Arte Contemporáneo Querétaro (MACQ), Mexico (2018); L’Almanach 2018, Le Consortium, Dijon (2018); Attaraya, Sorry We’re Closed, Brussels, BE (2018); Dwelling Poetically: Mexico City, a Case Study, Australian Centre for Contemporary Art, Southbank (2018); Black Palms, Salon Acme, Mexico City (2018); TT52, with Trudy Benson, Lyles and King, New York City (2017); Travis, Michael Jon Gallery, Miami, (2017); Gravillons, with Julien Goniche, Tonus, Paris, (2015); GUERRE DU FEU STYLE, Sorry We Are Closed, Brussels, BE (2014).
Selected Collections: Fond National d’Art Contemporain, Paris; Collection Mario Testino, Peru; Fundación Calosa, Mexico; Alumnos 47, Mexico; PAMM (Pérez Art Museum), Miami; Kamel Lazaar Foundation; National Gallery of Victoria, Australia.
Yann GerstbergerY-6, 2019Textile tapestry280 x 250 cm(YG 0035)
Installation View: ICE NEWS & FREEWAY FETISHES, Galería OMR, February 2019.
Since the 1970’s, the recurrent approach of Candida Höfer is to visualizethe architectonic space as a frame of human relations. Her work consists of identifying and perceiving compositions that existed before she was aware of them and that she leaves unabridged. In photographs of indoor spaces, of public and semi-public buildings, the order and disorder that derive from their communitarian function are revealed.
Known for her meticulously composed, large-scale color images, Höfer’s oeuvre explores the structure, presentation, and influence of space. Interested in the psychological impact of design and the contrast between a room’s intended and actual use, Höfer has focused her lens on cultural and institutional buildings such as libraries, hotels, museums, concert halls, and palaces. Whilst devoid of people, the images allow us to consider the role of their missing inhabitants. The large-scale nature of the work invites the viewer to linger over the architectural details and contemplate the subtle shifts in light that make up the character of the space.
On her decision to exclude people from her photographs, Höfer has said:
“…it became apparent to me that what people do in these spaces – and what these spaces do to them – is clearer when no one is present, just as an absent guest is often the subject of a conversation.”
Selected Exhibitions: Candida Höfer en Mexico, Sean Kelly, New York, NY, USA (2019); The Fabric of Felicity, Garage Museum of Contemporary Art, Moscow (2019); Paris revisited, VNH Gallery, Paris (2018); Spaces of Enlightenment, Kukje Gallery, Seoul (2018); Candida Höfer en México, North Carolina Museum of Art, Raleigh (2018); Candida Höfer en México, Antiguo Colegio de San Ildefonso, Mexico City (2017); Candida Höfer en México, Museo Amparo, Puebla (2017); Candida Höfer en México, Centro de las Artes del Parque Fundidora, Monterrey (2017); Candida Höfer, Pinacoteca do Estado de Sao Paulo, Brasil (2017); Candida Höfer. In Mexiko: Primer Acto, OMR, Mexico City (2016); Nach Berlin, Neuer Berliner Kunstverein (n.b.k.), Berlin (2016); Candida Höfer. Memory: Selected works from the State Hermitage Museum (2015).
Selected Collections: Centre Pompidou, Centro de Arte Reina Sofia, DG Bank Collection, The J. Paul Getty Museum, Museum of Modern Art (MOMA), Kunsthalle Basel, San Francisco Museum of Modern Art, Staatliches Museum für Kunst und Design, St. Louis Art Museum, St. Louis, ZKM Karlsruhe.
CANDIDA HÖFEREberswalde, Germany, 1944Lives and works in Cologne, Germany
Candida HöferDia: Beacon New York II, 2005 (detail)C-print120 x 151 cmEdition #3/6(CHO 0230)
Candida HöferDia: Beacon New York II, 2005 (installation render)C-print120 x 151 cmEdition #3/6(CHO 0230)
ARTUR LESCHERSão Paulo, Brazil, 1962Lives and works in São Paulo, Brazil.
Artur Lescher’s works attest to his constant experimentation with materials, their physical qualities and objectual characteristics. Through his works, the artist makes constant reference to natural elements, which when reproduced impeccably by means of industrial processes, reveal and deny these real allusions.
The artist explores pure geometrical figures that are isolated or combined – a point, a line, a circle, an ellipse, a cone, a cylinder, a pyramid, etc. – in the same way in which he would invent and research materials: iron, aluminum, zinc, stainless steel, wood, copper, porcelain, plastic, olive oil and salt, which have been used until now in their liquid and disaggregated states. Lescher makes an effort in reflecting on what happens with geometry at the moment in which it abandons the ideal plan, in order to embody and give form to materials that, for as much as they appear to have been appeased by the annihilating treatment of industrial processes, are corruptible, are subject to the action of time, are sensible to the action that things, including the atmosphere and its erosive power, perpetually exert over each other.
Lescher’s pendulum Sem título #3 (2013) emerges subtly as a poetic gesture in space, transmitting force and instability, balance and movement, tension and silence. Neutralized in the space, the functionality of the object ceases to exist and the possibilities of interpretation and meaning multiply. Without an imposed sense of direction or purpose, the presence of the spectator alters the narrative course of the object on a physical and philosophical level.
Selected Exhibitions: Asterismos, Galería OMR, Mexico City, Mexico (2018), Galería Nara Roesler, Sao Paulo (2018), Almine Rech, Paris (2019); Alignments, IK LAB, Tulum, Mexico (2018); Porticus, Palais d’léna as part of FIAC 2017, Paris (2017); Inner Landscape, Piero Atchugarry Gallery, Punta Del Este, Uruguay (2016); Provisório Permanente-Lux, Galeria Nara Roesler, São Paulo (2016); Universo, curated by Fábio Faisal, Carbono Gallery, São Paulo (2015); The Nostalgia of the Engineer, Galería OMR, Mexico City (2014).
Selected Collections: Pinacoteca do Estado de São Paulo, São Paulo; Instituto Nacional de Belas Artes, Rio de Janeiro; Museu de Arte Moderna de São Paulo, São Paulo; Museu de Arte Contemporânea, São Paulo; Museum of Fine Arts, Houston; Philadelphia Museum of Art; The Patricia Phelps de Cisneros Collection.
Artur LescherSem título #3, 2013Cabreuva wood, brass and steel cable213 x 11 cmEdition #2/5, +2 AP(ALE 0108)
Artur LescherPivô I, 2014
Brass228 x 9 x 9 cm
Edition #5/5, +1AP(ALE 0039)
“The pendulums recuperate knowledge and ancestral practices; make us think about the relationship between our destiny and the impulse to escape to gravity. It is like giving in to the call of the stars and clarifying our relative position in the universe. They are bodies in space. Just like as us...” -Artur Lescher
Installation View: Artur Lescher: The Nostalgia of the Engineer, Galería OMR, 2014.
From the beginning of his career, Jorge Méndez Blake has explored the connections between literature and fine arts, developing a large and varied body of work that alludes to the great masters of universal literature. In his work, Méndez Blake develops a visual language to engage classical literature through installations, drawings and interventions based on a multifaceted concept of the “library.”
In his work, literature becomes a tool that articulates situations, places and objects where each piece is full of theoretical meanings related to one another. The visual results from a dialogue with literature, and create complex works that provide a specific form that occurs only in the realm of imagination and desire.
The artist relates classic literature with contemporary architecture and visual arts to perform installations, drawings and interventions based on the notion of “library,” understood not only as a receptor that accumulates knowledge, but as an object with infinite formal possibilities; an institution whose purpose is the preservation of books and the dissemination of knowledge. The artist sees libraries not as isolated buildings, but as constructions that hold inexhaustible sources of information, and are thus able to create microsystems that address specific issues such as landscape or love.
Selected Exhibitions: Borders, James Cohen, New York (2019); Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); The Unwritten Library. The Last Reader, Annex M, Athens (2018); De la línea al movimiento, Blueproject Foundation, Barcelona (2018); A Message From the Emperor, Marfa Contemporary, Marfa, Texas (2017); Apollinaire’s Misspell and Other Calligrams, Meessen De Clercq, Brussels (2017); Derniers usage de la littérature, Frac Franche-Comté, France (2017); Du verbe à la communication, Carré d’art, Nîmes, (2017); NGV Triennal, National Gallery of Victoria, Australia (2017); The Queen Falls, Galería OMR, Mexico City (2017); Ventana Poniente, Galería OMR, Mexico City (2016).
Selected Collections: Jumex Collection, Mexico City; Colección Televisa, Mexico City; Colección Coppel, Mexico City; Colección Suro, Guadalajara; National Gallery of Victoria, Australia; Museo Amparo, Puebla; 21C Museum, Louisville; Fundación Calosa, Irapuato; MUAC (Museo Universitario de Arte Contemporáneo), Mexico City; Queensland Art Gallery, Australia; Deutsche Bank Collection. Sayago & Pardon Collection.
JORGE MÉNDEZ BLAKEGuadalajara, Mexico, 1974Lives and works in Guadalajara, Mexico
Jorge Méndez BlakeDesmantelando a Gorostiza (Poema Frustado) III, 2018Acrylic on linen152.3 x 122 cm(JMB 0464)
Jorge Méndez BlakeSi se conoce una ciudad de Utopía se conocen todas (Utopía,
Texas) IV, 2019Acrylic on linen152.3 x 122 cm
(JMB 0463)
Jorge Méndez BlakeSi se conoce una ciudad de Utopía se conocen todas (Utopía, Texas) III, 2019Acrylic on linen152.3 x 122 cm(JMB 0465)
GABRIEL RICOLagos de Moreno, Mexico, 1980Lives and works in Guadalajara, Mexico
Gabriel Rico’s work is developed in a zone in which one object crisscrosses with another in the inter-objective configuration space. Starting from his fascination with philosophical analogies and scientific disciplines, Rico creates pieces that fragment the composition of the contemporary human and evidence the geometric imperfection in nature utilizing the Gedanken-Experiment techinque. Rico’s sculptural works reflect on the nature of the materials used to produce them and their arrangement in the final composition.
The artist has been influenced by the sciences that study form and space; he considers himself a believer in matter, an ontologist with a heuristic methodology - sometimes using technological tools and scientific models as metaphors for our collective memory. Deconstruction and recontextualization are methods by which he continues the development of his investigation in areas such as knowledge-materializations and the fragility of space.
The principle of I - Because Nothing is More Pleasant to the Eye than Green Grass Kept Finely Short (2019) is to achieve a syncopated rhythm from the elements that compose it, while considering the abstraction generated by a measurement of the separate elements that comprise them, as a principle for the uncertainty that is presented when the mind begins to visualize the different forms between them - and after a few moments observing it, the different materials of which they are made are evidenced.
It is a visual game between the image generated by first impression when seeing the artwork and the last image you saw - as if the process of observation itself was the one that discovered, little by little, the aesthetic benefits of the elements that are used in the sculptures.
Selected Exhibitions: [Forthcoming] San Francisco Art Institute (2019); [Forthcoming] May You Live in Interesting Times, 58th Venice Biennale (2019); The Discipline of the Cave, Aspen Art Museum (2019); Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); Mrs. Spring Fragrance, Coma Gallery Sydney (2018); Almost Solid Light: New Work From Mexico, Paul Kasmin, New York (2018); Le Sud BB, Hangar J! New Art Center, Marseille (2018); Rooftop Playground, Michael Fuchs Galerie, Berlin (2018); One Law for the Lion &The Ox is Oppression, Galerie Perrotin, New York (2017); PROXIMIDAD, The Power Station, Dallas (2017); DEAD, DEAD, LIVE, DEAD, ASU Art Museum, Tempe (2017); The Queen Falls, Galería OMR, Mexico City (2017).
Selected Collections: Korean Ceramic Foundation (KOCEF); Patricia Marshall Collection; ArtNexus Foundation, Colombia/USA; Associated Collection Centro de Arte Tomas & Valiente; Museo Reina Sofía; Frans Mesereel Centrum (FMC), Belgium; Private Collection Patrick Charpenel, Mexico.
Gabriel RicoI - Because Nothing is More Pleasant to the Eye Than Green Grass Kept Finely Short, 201932 different knives90 x 97 x 3 cm(GRI 0108)
DANIEL SILVERLondon, UK, 1972Lives and works in London, UK
The sculptural works of Daniel Silver mimic the action of time on materials. Often starting with broken or damaged contemporary copies of classical sculpture purchased in Carrara or, in any case, with existing artifacts, the artist cancels the original forms and features, bringing them with a leap in history closer to the works of Medrano Rosso or modernist works like those of Epstein, Moore, Epworth. His forms are evocative, elusive and indefinite, like a memory recalled, a phantom of the conscious.
Silver’s work is a historical excavation that explores the relationship between multiple perspectives - the archeological, the psychoanalytic and the artistic - a story seen from the eyes of the digger and finder, the interrogator, and the sculptor and creator of meaning. Questioning the precedence of culture today, the value given to objects produced by ancient civilizations and how these values affect our understanding of the present, we are confronted with works that reflect the artist’s own history and heritage as a merge of cultures.
Deeply influenced by the art of ancient Greece, Modernist sculpture, and Freudian psychoanalytic theory, Silver’s works use concrete, bronze, marble, stone, wood and clay, and often appear as monuments or totems, as if belonging to an archeological excavation. Like a contemporary Pygmalion, his figures seem to speak of the intimacy of touch and the memories inherited through material. Silver’s sculptures explore and manipulate the human figure, sometimes with brutality, at other times with the utmost sensitivity, as seen in Finding Myself in the Stone (2019). An analyst, an archeologist and an artist, he moves constantly between styles, examining the physical and emotional impact of the body and its representation.
Selected Exhibitions: Daniel Silver, The New Art Gallery Walsall, Walsall, UK (2019); Daniel Silver, Frith Street Gallery, London (2018); Public commission, Acne Studios West Hollywood, Los Angeles (2018); ISelf Collection: Bumped Bodies, Whitechapel Gallery, London (2018); The Materiality of the Invisible, Van Eyck Academy, Maastricht (2017); Rock Formations, Frith Street Gallery, London (2015); Plaster: Casts & Copies, The Hepworth, Wakefield, UK (2015); Dig, Artangel, London (2013).
Selected Collections: Saatchi Collection, London; Rubell Family Collection, Miami; Zabludowicz Collection, London; Margulies Collection, Miami; Wendy Fisher Collection, London;Tel Aviv Museum, Tev Aviv.
Daniel SilverFinding Myself in the Stone, 2019Statuario marble from the quarry of Michelangelo164 x 37 x 36 cm(DSI 0085)
Troika is a London-based studio known for their experimental practice that employs a cross-disciplinary approach, intersecting between sculpture, architecture, and contemporary installation. With a particular interest in perception and spatial experience, many of Troika’s works employ technology and draw inspiration from fundamental scientific, optical and mechanical principles. Exploring the intersection of rational thought and observation, they consider the changing nature of reality and human experience.
Troika's dice pieces reference the historical use of dice as a means of determining fate, chance and luck. The roll of the dice relies on the laws of probability; their application to any external activity is a necessarily arbitrary connection, formulated by human action. In contrast, the fate of the modern man is increasingly determined by algorithms. A process or set of rules to be followed and implemented in problem-solving operations, the algorithm is autonomous, and can come to exist dependently from, and even influence everyday social activity.
Generated by a binary program, A New Kind of Fate (2016) depicts the resulting ‘grown’ image. The colour of each new cell is dictated by the 3 nearest neighbour cells in the line above. What emerges is a pattern that cannot be predicted, through a ‘shortcut’, by any mathematical formula.
Not unlike Vera Molnar’s abstract geometrical and systematically determined paintings, Troika arrive at these logically-derived compositions by setting initial conditions or frameworks and then introduce an unpredictable element, here an evolutionary algorithm, from which the unexpected emerges.
Selected Exhibitions and Projects: Borrowed Light, Barbican Centre, London (2018); Coder le Monde, Centre Pompidou, Paris (2018); Labyrith Konkret, Museum im Kulturspeicher Würburg, Würzburg (2018); Compression Loss, Galería OMR, Mexico City, (2017); Glitches, Galerie Ron Mandos, Amsterdam, (2017); Corridor III: Valdemar Daa, Viborg Kunsthal, Viborg, DK (2017); Art Light, Carpenters Workshop Gallery, London (2017); Everyday Abstract, Vejle Museum of Art, Vejle, DK (2017); The Hum, Caustic Coastal, Salford, UK (2017); Drawing Biennial 2017, Drawing Room, London (2017); ARTEFACT EXPO: The Act of Magic, STUK, Leuven, BE (2017); Everything Is and Isn’t at the Same Time, Galerie Huit, Hong Kong (2016); Limits of a Known Territory, NC Arte, Bogotá, CO (2017).
Selected Collections: Centre Pompidou; Israel Museum; The Art Institute of Chicago; MoMA; British Council Collection; Victoria & Albert Museum, London; M+, Hong Kong; Jumex Collection; Drake Collection, Wassenaar, NL; Collection of Rafael Nieto Loaiza, Bogotá, COL.
TROIKATroika was founded in 2003Live and work in London, UK
TroikaA New Kind of Fate, 2016Black and white tetra dice, anodized aluminum frame148.6 x 171.6 x 5 cm(TROI 0207)
Troika’s A New Kind of Fate demonstrates their recent incorporation of tetrahedral dice into their work. Tetrahedral dice are the first dice ever used by man and date back to before 2600 BC when three were used in the Royal Game of Ur, the ancient board race game found in the Royal Tombs of Ur in Iraq in the 1920s.
TroikaReality is not always probable, 20197mm white dice62.4 x 45.1 x 3 cm(TROI 0294)
Not unlike Vera Molnar’s abstract geometrical and systematically determined paintings, Troika arrive at these logically-derived compositions by setting initial conditions or frameworks and then introduce an unpredictable element, here an evolutionary algorithm, from which the unexpected emerges.
TroikaLife and Death of an Algorithm, 20199,779 coloured dice57.4 x 88.9 x 3 cm(TROI 0236)
For more than half a century, James Turrell has worked directly with light and space to create artworks that engage the viewer with the limits of human perception. Informed by his training in perceptual psychology and a childhood fascination with light, Turrell began experimenting with it as a medium in the mid-1960’s.
Influenced by his studies in perceptual psychology, Turrell illuminates light’s natural and supernatural qualities. His work consists of light projections in interior spaces, architectural manipulations such as cutting a hole in a structure’s ceiling to allow natural light to seep into a room, or even a naked-eye observatory created out of an extinct volcano in the Arizona desert as in Roden Crater, begun 1977.
His first print portfolio, Deep Sky (1984) translates the experience of light into two dimensions, bringing a new level of tangibility to his work. The seven prints in Deep Sky seem to undulate between renderings of natural landscapes and abstractions of pure light and shadow. While the first print in the portfolio resembles the silhouette of a volcano below a vast night sky dotted with stars, each of the subsequent prints takes a sharp turn toward the abstract. Turrell gives us suspended shapes which evoke rays of light cutting through complete darkness, combined in ways which defy concrete understanding.
Perhaps these images are loosely related to the volcanic site of Roden Crater and its light-filled spaces which Turrell is still in the process of creating. What ultimately ties the images together is the subtle presence of tiny stars in each print. These images simultaneously resemble scientific renderings of such abstract visual phenomena in Turrell’s gallery pieces as well as evoke the awe-inspiring experience of observing the night sky in a vast, open landscape.
A rare complete portfolio, signed and numbered in pencil, this set is part of numerous museum collections including: The Dallas Art Museum, the Walker Art Center, the Brooklyn Museum, the National Gallery of Art Washington, the Menil Collection, the Lannan Foundation, the Israel Museum and the Stedelijke Museum.
Selected Exhibitions: LightScape: James Turrell at Houghton, Houghton Hall, Norfolk, UK (2015). James Turrell: A Retrospective, The Israel Museum, Jerusalem, IL (2014). James Turrell: A Retrospective, National Gallery of Australia, Canberra, AUS (2014). James Turrell, The Solomon R. Guggenheim Museum, New York, US (2013). James Turrell: The Light Inside, MFAH Houston, US (2013). James Turrell. A Retrospective, LACMA, Los Angeles, US (2013).
Selected Collections: Bank of America Collection. Brooklyn Museum of Art. Château de Ro-chechouart. Chicago Art Institute. Contemporary Art Museum, Los Angeles. Corporation Benness, Naoshima, Japan. Fondation Cartier pour l’Art Contemporain. Fondation Dia Art. Fondacion La Caixa. Fondation Skystone, Flagstaff, USA. Los Angeles County Museum of Art - LACMA. MoMA. Solomon R. Guggenheim Museum.
JAMES TURRELLLos Angeles, California, USA, 1943Lives and works in Flagstaff, Arizona, USA
James TurrellDeep Sky, 19847 Aquatint etchings on Rives BFK paperPrinted by Peter Kneubueler, Zurich Published by Peter Blum Edition, New York53.3 x 68.6 cm eachEdition 38/45, signed and numbered in pencil(JTU 0105)
