Tag Archives: Louise Bourgeois

URSULA HAUSER

Origin stories are essential to Ursula Hauser. Growing up in St. Gallen, Switzerland, she co-founded and directed her family’s appliance business in the city. Although she initially felt a stronger connection to modern architecture than contemporary art, she started buying works by Swiss artists in the 1960s.

“They came and went in our house. And it’s still that way with our artists. We would meet on weekends or were invited to birthdays. To me, support means acquiring something an artist has made. In the mid-1980s, I set up my own showrooms in the abandoned Rohner Textile factory in Flawil: Galerie Arte Nuova. Actually it wasn’t a gallery; I just wanted to give local artists a platform.” — Ursula Hauser*

Hauser—who co-founded Hauser & Wirth in 1992 in Zürich with her future son-in-law Iwan Wirth and daughter Manuela—has remained personal friends with many of the artists whose work she collects, always availing herself of the opportunity to spend time with them in their studios, talking through their process. The new publication THE INNER MIRROR: CONVERSATIONS WITH URSULA HAUSER, ART COLLECTOR—a beautifully illustrated book-length interview between Hauser, Laura Bechter, and Michaela Unterdörfer—is the story of this exchange.

“In the big American studios… you make contact, introduce yourself, or maybe you’ve bought a work, so there’s already a connection. And then you take a very tentative approach, proceed step-by-step, depending on whether the chemistry is there. As a rule, you’ve already met at an exhibition, in a gallery, or in a museum. And finally you peer into all the corners.”*

Whether discovering SoHo in the 1990s with Iwan Wirth, celebrating Parkett’s tenth anniversary with Bice Curiger and Jacqueline Burckhardt, trading cars with Jason Rhoades in Los Angeles, or discovering drawings by Ida Applebroog in the artist’s cabinet drawers, THE INNER MIRROR is a private view into the life and work of this key art world figure. For Hauser, the book’s title refers to something women were seldom afforded the luxury of revealing, something Hauser found through art.

“Women who support a family and have to survive—it doesn’t occur to anyone that they might have personal feelings. You simply have to fight, it’s a struggle, and you have no choice but to make something good, something better out of it… Louise Bourgeois’ work is like a mirror of humanity. For people of my generation, it was impossible to let on that you were vulnerable. You would never reveal the reflections on your inner mirror. That was a sign of weakness and then you would have been lost. And that’s exactly what Louise’s work shows. Her art creates a space where that can be expressed.”*

The works in the Ursula Hauser Collection stay with her—she’s held on to drawings and models by Paul McCarthy for years—and Hauser collaborates with the Kunstmuseum St. Gallen on exhibitions of the collection. This summer in southwest England, the show UNCONSCIOUS LANDSCAPE—WORKS FROM THE URSULA HAUSER COLLECTION—curated by Manuela Wirth and Laura Bechter—brings together sixty-five works by the women who have drawn Hauser’s eye over the last four decades.

*THE INNER MIRROR—CONVERSATIONS WITH URSULA HAUSER, ART COLLECTOR, edited by Laura Bechter and Michaela Unterdörfer (Zürich: Hauser & Wirth, 2019).

UNCONSCIOUS LANDSCAPE—WORKS FROM THE URSULA HAUSER COLLECTION

Through September 8.

Hauser & Wirth Somerset

Durslade Farm, Dropping Lane, Bruton, Somerset.

From top: Loredana Sperini, Untitled, 2012, wax, cement, and pigment, photograph by Sebastian Stadler; Maria Lassnig, Die rasende Grossmutter (The Racing Grandmother), 1963, © Maria Lassnig Foundation; Berlinde De Bruyckere, Piëta, 2008, wax, epoxy, metal, and wood; Carol Rama, Ostentazione, 2002, mixed media and oil on paper on canvas, courtesy Achivio Carol Rama, Turin, photograph by Thomas Bruns Fotograf; Alina Szapocznikow, Stela (Stéle), 1968, polyester resin and polyurethane foam, photograph by Stefan Altenburger Photography Zürich, © ADAGP, Paris and DACS, London, 2019; Roni Horn, Untitled, No. 2, 1999, two Iris-printed photographs on Somerset paper; Phyllida Barlow, untitled: awnings 4 (yellow), 2013, acrylic on watercolor paper; Eva Hesse, H + H, 1965, varnish, ink, gouache, enamel, cord, metal found object (wood), paper-caché, unknown modeling compound, particle board, wood, © Estate of Eva Hesse; Meret Oppenheim, Pelzhandschuhe (Fur Gloves with Wooden Fingers), 1936, fur gloves, wooden fingers, and nail polish; Louise Bourgeois, The Good Mother (Topiary) , 1999, steel, ceramic beads, wood, wire, and cloth; Sylvia Sleigh, Working at Home, 1969, oil on canvas, photograph by Stefan Altenburger Photography Zürich; Sheila Hicks, Pigment Sticks, 2015, bamboo sticks with pigmented synthetic fibers for bas-relief, photograph by Andrea Rossetti; Heidi Bucher, Die Quelle (The Source), 1987, vase, metal, textile, glue, and color, installation view at Parasol Unit Foundation for Contemporary Art, London, 2018, © Estate of Heidi Bucher. Images courtesy and © the artists and the Ursula Hauser Collection Archive.

LOUISE BOURGEOIS — PAPILLONS NOIRS

The black fabric heads Louise Bourgeois created in her final decade are now on view at Hauser & Wirth’s new exhibition space in Switzerland.

LOUISE BOURGEOIS—PAPILLONS NOIRS

Through February 10.

Hauser & Wirth St. Moritz

Via Serlas 22, St. Moritz.

Top: Louise Bourgeois in New York City in 1998. Photograph by Mathias Johansson.

Above: Louise Bourgeois, Untitled, 2003. Fabric and stainless steel.

Below: Louise Bourgeois, Cell XXIV (Portrait), 2001. Steel, stainless steel, glass, wood, and fabric.

THE WORLDS OF STEPHEN SPENDER

The poet, journalist, novelist, and editor Stephen Spender is the subject of an exhibition at Frieze London, presented by Hauser & Wirth and Moretti Fine Art.

The project explores Spender’s progressive ideas and artistic friendships, and features work by artists he personally knew and/or collected, including Michael Andrews, Frank Auerbach, David HockneyLucian Freud, Leon Kossoff, Henry Moore, Giorgio Morandi, Pablo PicassoSerge Poliakoff, and Yannis Tsarouchis.

A beautiful exhibition catalogue—edited by Ben Eastham and formatted in the style of Horizon, the journal Spender, Cyril Connolly, and Peter Watson founded in 1939—includes artwork reproductions, poems by Spender, and essays on his deep affinities with art, literature, and political activism in the 1930s. “On Censorship” by Caroline Moorehead addresses Spender’s connection with its subject through the journal he co-founded, Index on Censorship.

(In the early 1990s, Spender himself prevailed on the court system to prevent the publication of While England Sleeps, David Leavitt’s novel that appropriated stories from Spender’s autobiography World within World and added scenes of gay erotica, which he dismissed as “pornography.” Spender married twice—Natasha Spender was his widow and he was the father of Matthew and Elizabeth—but, as disclosed in his New Selected Journals and letters to Christopher Isherwood and others, Spender’s emotional and sexual life was marked by numerous same-sex relationships.)

THE WORLDS OF STEPHEN SPENDER

Thursday, October 4 through Sunday, October 7.

Frieze London—Hauser & Wirth, Booth D01, Regents Park, London.

The Worlds of Stephen Spender catalogue.

From top: Henry Moore, Portrait of Stephen Spender, 1934. © Henry Moore Foundation. Image credit: Hauser & Wirth.

Exhibition catalogue image credit: Hauser & Wirth. Book design by Fraser Muggeridge studio.

A 1929 photograph of Spender’s German friend Franz Büchner on the cover of the novel The Temple, written in the late 1920s and finally published in 1988. Image credit: Faber and Faber.

Below: W.H. Auden (left), Stephen Spender, and Christopher Isherwood in 1931.

PORTABLE ART AT HAUSER & WIRTH

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Organized by Celia Forner, Hauser & Wirth presents the Portable Art Project in Los Angeles, an exhibition of wearable objects commissioned from a range of artists, including Louise Bourgeois, John Baldessari, Phyllida Barlow, Stefan Brüggemann, Subodh Gupta, Mary Heilmann, Andy Hope 1930, Cristina Iglesias, Matthew Day Jackson, Bharti Kher, Nate Lowman, Paul McCarthy, Caro Niederer, Michele Oka Doner, Pipilotti Rist.

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PORTABLE ART, through August 12.

HAUSER & WIRTH LOS ANGELES, 901 East 3rd Street, downtown Los Angeles.

hauserwirth.com/portable-art-project-celia-forner

From top, work by Phyllida Barlow, Mary Heilmann, John Baldessari (2), and Stefan Brüggemann.

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THE SPIDER, THE MISTRESS, AND THE TANGERINE

LOUISE BOURGEOIS—THE SPIDER, THE MISTRESS, AND THE TANGERINE, a film by Marion Cajori and Amei Wallach, will screen on Monday at Hauser & Wirth in the Arts District.

“Featuring a series of interviews with the artist from 1993 to 2007, the critically acclaimed film offers an intimate look into Bourgeois’s life and imagination, shaping a powerful portrait of one of the most influential artists of the late 20th and early 21st centuries.”*

 

LOUISE BOURGEOIS—THE SPIDER, THE MISTRESS, AND THE TANGERINE, Monday, March 19, at 7:30 pm.

LOUISE BOURGEOIS—THE RED SKY, through May 20.

HAUSER & WIRTH LOS ANGELES, 901 East Third Street, Los Angeles.

hauserwirthlosangeles.com/louise-bourgeois-the-spider-the-mistress-and-the-tangerine

hauserwirthlosangeles.com/louise-bourgeois-the-red-sky

Louise Bourgeois with Spider IV in 1996. Photograph © Peter Bellamy. Art: © The Easton Foundation/VAGA, NY.

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