Gladstone Gallery presents LAND OF DREAMS, a new body of work by Shirin Neshat.
Comprised of more than 100 photographs and a two-channel film installation, LAND OFDREAMS marks a significant visual and conceptual shift for the artist, who has turned her lens to the landscape and people of the American West. For this exhibition, Neshat will present the entire collection of photographs from this series as well as both films, which will be complemented by an online viewing room and virtual screenings throughout the show’s run.*
I love nature, surrealist beauty and naked emotions. I think I’m curious and caustic by turns… I try to bring into the canvas something that exists already as a whirlpool of complex emotions. I work with memory, intuition and desires, so each painting is like a laboratory experiment where the result depends on how the materials—pigments, mediums, brushes—reacted to that specific nervous impulse. — Jill Mulleady
DECLINE & GLORY—a show of new work by Mulleady—is on view in Brussels. The artist is also a participant in the still-suspended exhibition Made in L.A. 2020: a version at the HammerMuseum in Los Angeles.
For viewing room information about the Brussels show, see link below.
This month, participants include Connie Butler—curator of the exhibition MarisaMerz: The Sky Is a Great Space—Lara Conte, TeresaKittler, and MAXXI curator Luigia Lonardelli. See links below for details.
Finding myself in an empty studio for the last three months, I resorted to an intimate work: drawing poems and brushing sunsets and moonrise paintings. This is a good time for me to work in silence—cocooning myself into my own time, these two pastimes I love most and tire of least.
The Mattituck paintings show the view from my studio window across the Long Island Sound. My first summer in Mattituck was a revelation, forcing me to examine my surroundings with the freshness of a friendly alien. Every day, just when the twilight started, John [Giorno] and I would set our chairs in position and experience a new sunset, a magical illumination of the ordinary—lucid and lyrical. Looking at the sunset makes one feel that the physical and the spiritual are not separate. Like a diarist, I record the living universe: this season, this day, this hour, this sound in the grass, this crashing wave, this sunset, this end of the day, this silence.
In the middle of the AIDS crisis in 1989, I turned away from grief and found in nature a spiritual road map for solace, regeneration, and inspiration. In nature, you enter a space where the sacred and profane, the mystical and the mundane, vibrate against one another.
There is not much to say about this new group of paintings. They exist to be looked at—to let go of words and look at what is in front of our eyes. An artist is, before anything else, a person who is passionately in love with the visual. — Ugo Rondinone, May 2020