Tag Archives: Hauser and Wirth

RASHID JOHNSON — THE HIKERS IN PERFORMANCE

As part of THE HIKERSRashid Johnson’s new show and film at Hauser & Wirth New York—Martha Graham Dance Company members Leslie Andrea Williams and Lloyd Knight will perform a dance/movement iteration of the work.

THE HIKERS IN PERFORMANCE

Saturday, January 11, at 2 pm and 4 pm.

Hauser & Wirth

548 West 22nd Street, New York City.

Rashid Johnson, The Hikers, from top: Leslie Andrea Williams and Lloyd Knight in performance (2); Williams, choreographed by Claudia Schrier, photographs by Tony Prikryl, Aspen Art Museum, 2019. Rashid Johnson, Untitled Broken Men; The Hikers, film still. Images courtesy and © the artist, the Aspen Art Museum, and Hauser & Wirth.

PHILIP GUSTON — RESILIENCE

RESILIENCE—PHILIP GUSTON IN 1971 is the first local solo exhibition of the artist’s paintings and drawings in over half a century. The show—at Hauser & Wirth Los Angeles, and curated by his daughter Musa Mayer—is on view for one more week.

The paintings in the exhibition were made in Rome during an extended Italian trip in 1971. Guston had recently weathered a storm of negative reaction to his 1970 show of work at the Marlborough Gallery in New York City.

I’ve found no better word than “resilience” to describe that particular year in my father’s work and life, and indeed to characterize his entire life, especially his early life, when he discovered the great art and artists of the past and quite literally drew and painted a new identity for himself. — Musa Mayer

RESILIENCE—PHILIP GUSTON IN 1971

Through January 5.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

Resilience—Philip Guston in 1971, Hauser & Wirth, Los Angeles, September 14, 2019––January 5, 2020, paintings, from top: Untitled, 1971, oil on paper; Hand and Stick, 1971, oil on canvas; Untitled, 1971, oil on paper mounted on panel; Untitled (Roma), 1971, oil on paper; Untitled (Roma) , 1971, oil on paper mounted on panel. The Nixon Drawings and the Poor Richard series (all 1971) are pen and India ink on paper. The film still of Guston in his Woodstock, New York, studio, summer 1971, is from footage shot by Michael Blackwood. Images courtesy and © the Estate of Philip Guston, Musa Meyer, Michael Blackwood Productions, and Hauser & Wirth.

ALINA SZAPOCZNIKOW — TO EXALT THE EPHEMERAL

My work has its roots in sculpture. For years I threw myself into studying problems of balance, volume, space, shadow, and light…

I took stock of the awareness of our time. I used my knowledge of the craft, my intuition, and my intelligence to note with increased clarity the poverty of my methods in comparison to modern techniques. I have been conquered by the hero-miracle of our age, the machine. To it belong beauty, revelations, testimonies, the recording of history. To it belong, in the end, truthful dreams and public demand…

Despite everything, I persist in trying to fix in resin the traces of our body: I am convinced that of all the manifestations of the ephemeral, the human body is the most vulnerable, the only source of all joy, all suffering, and all truth, because of its essential nudity, is as inevitable as it is inadmissible on any conscious level.Alina Szapocznikow, March 1972, Malakoff*

TO EXALT THE EPHEMERAL—ALINA SZAPOCZNIKOW, 1962–1972, a comprehensive exhibition of work by this essential artist, is on view in Manhattan for one more week.

TO EXALT THE EPHEMERAL—ALINA SZAPOCZNIKOW, 1962–1972

Through December 21.

Hauser & Wirth New York

32 East 69th Street, New York City.

February 7 through May 7, 2020.

Hauser & Wirth London

23 Savile Row, London.

*Alina Szapocznikow“Mon œuvre puise ses racines…,” March 1972, (courtesy Alina Szapocznikow Archive, Piotr Stanisławski, National Museum in Kraków), in To Exalt the Ephemeral: Alina Szapocznikow, 1962–1972, exhibition catalog (Zürich: Hauser & Wirth, 2019).

See Griselda Pollock, “Traumatic Encryption: The Sculptural Dissolutions of Alina Szapocznikow,” in After-affects / After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (Manchester: Manchester University Press, 2013).

To Exalt the Ephemeral—Alina Szapocznikow, 1962–1972, Hauser & Wirth, New York, October 29–December 21, 2019, from top: Cendrier de célibataire I (The Bachelor’s Ashtray I), 1972, colored polyester resin and cigarette butts; Noga (Leg), 1962, plaster; Pamiątka I (Souvenir I), 1971, polyester resin, fiberglass, and photographs; Iluminowana (Illuminated Woman), 1966–1967, plaster, colored polyester resin, electrical wiring, and metal; Forma II, 1964–1965, unfired pink clay; Tumeur (Tumor), 1970, colored polyester resin and gauze; Szapocznikow in 1968, photograph by Roger Gain; Lampe-bouche (Illuminated Lips), 1966, colored polyester resin, electrical wiring, and metal; Sculpture-lampe, colored polyester resin, electrical wiring, and metal; Autoportrait, 1971, polyester resin and gauze; Man with an Instrument, 1965, cement, car part, and black patina; To Exalt the Ephemeral installation view, 2019; Szapocznikow with Envahissement de tumeurs (Invasion of Tumors) at her Malakoff studio, 1970; Sans titre (No Title), 1964–1965, original plaster; Ventre-coussin (Belly Cushion) , 1968, polyurethane foam, and Ventre, 1968, plaster, installation view, Alina Szapocznikow Malakoff studio, Paris, 1968. Artwork photographs by Fabrice Gousset, except To Exalt the Ephemeral installation view by Genevieve Hanson, Noga (Leg) by Thomas Barratt, and Forma II by Filip Vanzieleghem. All artwork by Alina Szapocznikow; images courtesy and © 2019, ProLitteris, Zürich, ADAGP, Paris, the Estate of Alina Szapocnikow, Piotr Stanislawski, Galerie Loevenbruck, Paris, and Hauser & Wirth.

MARIA LASSNIG — NEW YORK FILMS 1970–1980

MARIA LASSNIG—NEW YORK FILMS 1970–1980—restored by the Maria Lassnig Foundation and the Austrian Film Museum—comprise live-action and documentary footage, and “enrich and complicate our understandings of Lassnig’s approach to figuration and self-portraiture, as well as other key themes that she investigated throughout her career, including the social roles assigned to women, the tension between public engagement and private seclusion, and questions of technological advancement, especially of imaging technologies and shifts in the way images circulate.” (New York Diary)

These films were largely never finished, nor shown in the artist’s lifetime, which perhaps accounts for their frankness, a type of elucidate meditation on the artistic process, life in the studio, and the psychologies, lives, and bodies of Lassnig’s friends and colleagues. As such, the films of this period become essential to understanding the shift within Lassnig’s practice, which occurred around 1970 following the artist’s move to New York from Vienna in 1968, to be “in the country of strong women.”* Shifting her focus from the personal to that of the body and its relations, her reaction to the sensory overload of Manhattan was not so much an abandonment of an earlier practice of “body sensation” drawings and the subsequent “body awareness” paintings, but rather a redefinition of a transposed body within a cultural and civic environment.**Mary L. Coyne

MARIA LASSNIG—NEW YORK FILMS 1970–1980

Friday, December 6, at 12:15 pm.

Arthouse Piccadilly

Mühlebachstrasse 2, Zürich.

*Maria LassnigThe Pen is the Sister of the Brush: Diaries 1943-1997, edited by Hans Ulrich Obrist (Göttingen: Steidl; Zürich: Hauser and Wirth, 2009).

**Wolfgang Dreschler, “About the intimate link between the pained and the painter,” in Maria Lassnig (Vienna: Museum moderner Kunst, Ludwig Foundation, 1999).

Maria Lassnig, from top: Kopf (circa 1976); Stonelifting: A Self Portrait in Progress (1971–1974) (2); Moonlanding / Janus Head (1971–1972). Images courtesy and © the Maria Lassnig Foundation.

PETER MARK’S HA-M-LET

HA-M-LET—created and performed by Los Angeles-based theater artist Peter Mark—is a “multi-lingual, multimedia performance housed within a projection cube. Sourcing material from Shakespeare’s play, pop internet culture, home videos, and 3D animation, the projected image becomes landscape, body, narrative, and biography—shifting at a rate which pays homage to Hamlet’s own velocity of thought.”*

Presented by CalArts Center for New Performance and Hauser & Wirth, Mark will perform HA-M-LET this week at the gallery’s Arts District location.

HA-M-LET*

Friday, November 8, at 7:30 pm and 9 pm.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

Peter Mark, HA-M-LET, 2019. Images courtesy and © the artist.