Tag Archives: Hauser and Wirth

LUCHITA HURTADO —JUST DOWN THE STREET

If I have a voice at all, I’m going to use it… to complain [laughter]. Because it’s the only way that you get anything done. — Luchita Hurtado*

The exhibition LUCHITA HURTADO—JUST DOWN THE STREET is now open in Zürich. The show brings together the artist’s drawings and paintings on paper from the 1960s.

LUCHITA HURTADO—JUST DOWN THE STREET

Through July 31.

Hauser & Wirth

Limmatstrasse 270, Zürich.

*Hurtado and Hans Ulrich Obrist in conversation at LACMA, February 2020.

Luchita Hurtado, from top: Untitled, 1965, acrylic on paper; Just Down the Street, 1965, oil on paper; Portrait, 1965 / 1968, oil on paper; Luchita Hurtado—Just Down the Street, May 11, 2020–July 31, 2020, installation view; Untitled, circa 1957 / 1968, oil and conte on paper; Untitled, 1968, oil and graphite on paper. Artwork photographs by Jeff McLane. Images courtesy and © 2020 the artist and Hauser & Wirth.

AVERY SINGER AND ARAM MOSHAYEDI

In conjunction with Hauser & Wirth’s presentation of the work of Avery Singer at Frieze Los Angeles, the artist will join Hammer Museum curator Aram Moshayedi for a conversation “[exploring] Singer’s distinctive use of digital tools, including 3D modeling software, her deft engagement with established traditions of archival documentation, and her groundbreaking techniques that she uses to question the ways in which images and their distribution are increasingly informed by new media and technologies.”*

AVERY SINGER IN CONVERSATION WITH ARAM MOSHAYEDI*

Saturday, February 15, at 4 pm.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

Avery Singer. Artwork images and artist photograph courtesy and © the artist and Hauser & 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.