Gallery News

for exhibition openings and closings, events and auctions,
sign-up for the essential GalleriesNow weekly Newsletter here

Galerie Lelong & Co. presents #THEARTISTSPEAKS

April 22, 2020

For this new series, the gallery invites artists from its roster to focus on one of their artworks, revealing the process and ideas behind it. Follow the gallery on Instagram to find out more.

Roberts Projects presents RPLA, a new series featuring online exhibitions, studio visits, profiles, interviews, publications and videos

Issue No. 2 of the new digital platform launches with the opening of Lenz Geerk: Wuthering Heights, which focuses on the artist’s metaphorical depiction of the body facing an interior impasse. Also on view, Projections Part IV: A Festival of Rare and Hard to See Films organized by artist, filmmaker and writer Aaron Rose.

The new video room of special artist films and interviews includes Kehinde Wiley's latest film The Yellow Wallpaper (2020), an interview with Evan Trine about his practice and upcoming exhibition at Roberts Projects and Jeffrey Gibson's film I Was Here (2018).

Acute Art launches free AR app with KAWS

April 20, 2020

Acute Art has teamed up with the artist KAWS to create a new way of discovering, experiencing, and collecting augmented reality (AR) sculptures and interactive drawings by the world-renowned artist. Download the app here.

Galleria Continua presents the first edition of XXL Online, featuring Antony Gormley’s LOST HORIZON II (2017)

XXL Online is a new initiative that celebrates Galleria Continua artists' largest works and installations that have been conceived for big spaces or special events.

For this first edition of XXL Online, Antony Gormley presents 'LOST HORIZON II” (2017), an installation that was the principle feature of the exhibition “CO-ORDINATE” at Galleria Continua / San Gimignano, Italy in 2017.

Galerie Thaddaeus Ropac presents Tea with Julia

April 18, 2020

The new series of weekly conversations launched on Saturday 18 April at 11am BST on Instagram Live, and featured Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, London.

Join Julia Peyton-Jones, Senior Global Director: Special Projects at Galerie Thaddaeus Ropac, every Saturday morning at 11am on the gallery's Instagram account, where Peyton-Jones will host a conversation via Instagram Live catching up with her friends and colleagues in the art world. Broadcast live from their homes, these discussions will touch on their quarantine experiences, as well as what they are currently working on, and the books, poetry or music they are drawn to.

Lévy Gorvy announces the launch of ĹGTV, a series of online broadcasts

April 17, 2020

A forum to offer insights and discussion on topics of concern to collectors and the global arts community at large, the first session of ĹGTV, "On the Market", took place on Wednesday 8 April, in the form of a conversation between Brett Gorvy, co-founder of Lévy Gorvy, and Danqing Li, Senior Director of Lévy Gorvy Hong Kong.

ĹGTV’s broadcasts will be available via Zoom and YouTube Live. Follow the gallery on social media to find out about the next webinar.

Whitechapel Gallery launches the first-ever online edition of First Thursdays

April 16, 2020

While the physical side of First Thursdays, in which over 150 galleries in east London come together and run free events, exhibitions, talks and private views, has been postponed until further notice, Whitechapel Gallery has partnered with Velorose Gallery, PEER and Yamamoto Keiko Rochaix to present an assembly of video content, digital openings and virtual tours this April. Find out more on the gallery's blog.

Capitain Petzel launches RHIZOME, a series of 7 online exhibitions

April 15, 2020

Inspired by the concept of Rhizome, originally a botanical term appropriated by the French philosophers Gilles Deleuze and Félix Guattari, each week the gallery will present 7 works by 7 artists. The online shows will be launched via Mailchimp & Instagram, and are available to view on the gallery's website.

Almine Rech presents #7questions with…

Starting with Polish painter Ewa Juszkiewicz, who the gallery has been representing since late 2019, #7questions with... is a new weekly series of Instagram stories in which an artist shares personal inspirations (books, films, exhibitions...) and studio images.

Laure Genillard Gallery’s videos From The Archive

April 14, 2020

This week's selection is a look back at the Langham Research Centre performing "I am sitting in a room" (1969) by Alvin Lucier, as part of Forms of Address, an exhibition presented by the gallery in 2019.

Massimo De Carlo launches Virtual Space with The John Armleder and Rob Pruitt Show

Opening online on 14 April 2020 at 5pm CET (Milan) / 4pm GMT (London) / 11pm HKT (Hong Kong) / 8am PST (Los Angeles) / 11am EST (New York), VSpace is a new walkable and flexible immersive experience for the art world you can enjoy from home.

Sean Kelly Gallery Announces Digital Programming

April 12, 2020

Each day’s program in this ongoing weekly series will focus on one of the gallery's artists, their art and practice, collective histories, and plans for the future. Follow the gallery on Instagram to explore.

Tuesday is #InTheStudio, Wednesday - #InDetail, Thursday takes us #InTheArchive, Friday’s are #FilmFridays and Saturday is #StaffPicksSaturday.

Annka Kultys Gallery presents [The art happens here]

April 10, 2020

[The art happens here] is an online platform dedicated to the showcasing of digital art.  The creation of [The art happens here] provides a natural extension to the gallery’s offline programme which has as one of its strengths the presentation of “digital natives” or artists making art that engages with technology and the internet.

Serpentine Launches Online Exhibitions, New Podcast Series & Live Broadcasts

April 5, 2020

While the Gallery buildings are closed and live programmes suspended, the Serpentine’s work continues. Audiences can join the programme online through digital commissions, special broadcasts, podcasts and more.

Simon Lee Gallery launches new Online Viewing Room

April 3, 2020

Simon Lee Gallery presents Puzzled Daydreams, a solo exhibition by Hong Kong-based artist Chris Huen Sin Kan. Bringing together new paintings and works on paper, this exhibition launches Simon Lee Gallery’s new Online Viewing Room, and is available to view exclusively online from Friday 3 April.

Di Donna Galleries, in collaboration with Jeanne Bucher Jaeger, Paris and Waddington Custot, London, launches Maria Helena Vieira da Silva online viewing room

April 2, 2020

While the physical exhibition at Di Donna in New York has been postponed due to the current health crisis, the gallery's inaugural online viewing room celebrates the dynamic range of the Portuguese-born modernist painter's body of work.

Hauser & Wirth presents DRAWINGS FOR DISTANCED FIGURES, an online exhibition by George Condo

April 1, 2020

The exhibition features a new group of drawings by George Condo which are related to his most recent painting series ‘Distanced Figures.’ Made during the last three weeks, in the artist’s home studio in New York state, these portrait drawings are evocative of the experience of isolation during this unsettling period of social distance.

Hauser & Wirth will donate 10 percent of profits from online exhibitions, including 'George Condo. Drawings for Distanced Figures', to the COVID-19 Solidarity Response Fund for WHO. This is part of a new philanthropic initiative #artforbetter, through which Hauser & Wirth will provide charitable support to both global and local causes.

Lisson Gallery launches Spotlight Screenings, a programme of film and video works

March 30, 2020

Starting on Monday 30 March, Lisson Gallery will be showing exclusive and full-length single-channel films including video, documentary, digital and archival works. For each of these six-week, rolling programmes – themed and curated individually – one work will be streamed online weekly, available to view on the gallery's website.

Tabish Khan for the Londonist

March 27, 2020


 
 Tabish Khan’s article “How To See London's Top Exhibitions From Your Sofa” for The Londonist as London’s galleries shut down due to coronavirus, says of GalleriesNow:
 

“Every armchair art enthusiast should be checking out the GalleriesNow website, as it has a vast repository of virtual reality (VR) viewings of exhibitions. My pick of the London ones is this rather lovely fishy show at Mayfair gallery and photography specialists Hamiltons. Standing in among these dazzling Siamese fighting fish really does create the feeling of being in a fishbowl. Don't worry if you don't have a VR headset, it's very easy to view the show on your phone, tablet or desktop as well.”

 
view the exhibition here

and browse all the VR tours here

Gianfranco Zappettini – Luigi Mazzoleni – Jose Graci

March 4, 2020

courtesy Mazzoleni, London-Torino

Mazzoleni gallery directors Luigi Mazzoleni and Jose Graci talk to Gianfranco Zappettini about his exhibition “The Golden Age”, curated by Martin Holman and currently on show at Mazzoleni, London - take a virtual tour here

7 February to 11 April 2020

Zappettini in his studio, photo: Massimo V. Ronchi

Luigi Mazzoleni: When I saw the installation project for your exhibition, I thought: “Who knows what impact these new works will have on the London public?” When I saw the works installed, I realized that they would be a very strong attraction for Mayfair visitors. Can you tell us about your process for this exhibition?

Gianfranco Zappettini: I thought about this installation carefully by observing the beautiful space of your gallery. The dark grey colour seemed perfect as a background (almost the same colour as your logo!) for the works of the “Con-Centro” series, while for other works it was more appropriate to keep the walls white. I thought of the exhibition as a unique work, composed of many works, to be judged as a whole.

Jose Graci: This exhibition must surely be seen in person. Also, because the overview makes the symbolic meaning of the title more explicit: “The Golden Age”.

“I thought of the exhibition as a unique work,
composed of many works,
to be judged as a whole”

GZ: The Golden Age of the title is not the hope for an era of material well-being. It is the reference to a future age in which the human being will again be in harmony with himself and with the world around him. I don't say it, the great Eastern sacred texts say it. Gold is a symbol of this harmony, of this perfection.

JG: An era in which man will find his inner centre?

GZ: That's right, that “golden mean” is necessary for one's own evolution. In medio stat virtus, the Romans said. The works of the “Con-Centro” series allude to this.

LM: There is a room in the exhibition which I never fail to step in at least once a day. It is the one dedicated to the “la Luce Prima” series. There are no lights aimed at the works, nor even lights that come from the works, but these Wood lamps inserted in the paintings. They do not illuminate directly, but by reflection: they cause objects in the room to be illuminated with reflected light. But the source of that light remains elusive, doesn’t it?

Con-Centro no 28, 2019
courtesy Mazzoleni, London-Torino

GZ: You hit the spot perfectly. For this series I use Wood's lamp to symbolize the First Light, the Primordial Light, the one that generates the whole manifestation without being perceivable with human senses. It is the creative power that remains invisible, but that we can admire in its visible reflections.

JG: I understand what Luigi means, because I too often come into that room, to have a moment of peace. I find the sound you can hear also very soothing.

GZ: It is the vibration emitted by our planet in its perennial movement in the universe. It is another primordial element that I wanted to include in the installation. If you pay attention, the works look like a Buddhist or Sufi mantra. And it’s just like that: the Earth emits its mantra, and the Buddhist or Sufi mantra is the attempt to harmonize with the cosmos.

“the “Code of the Gods” alludes to a superhuman language, lost by men, bearer of very high knowledge”

Con-Centro no 103, 2018
courtesy Mazzoleni, London-Torino

Il codice degli dei no 35,
courtesy Mazzoleni, London-Torino

JG: The other series on display all have very profound symbolic meanings, yet the public is attracted by the works, almost as if this density of meaning acted like a magnet. And then, the aesthetic value of the works is also part of its force of attraction.

GZ: Yes, gold among its properties also has the attractive power of its beauty and shine. But aesthetics is not the ultimate goal I aim for when I work. I aim for the rightness of a work, its intrinsic balance. If a work is right, then it is also beautiful, and its aesthetic potential comes accordingly.

LM: Returning to the main theme of the exhibition, the Golden Age, I was intrigued by the series of the “Code of the Gods”. In front of me I found these square plates, more or less large, on which lines of a text are written which is incomprehensible to the common spectator. I wondered if the row fragments painted in gold have a meaning to decipher?

GZ: I can't answer you and I'll tell you why. The “Code of the Gods” alludes to a superhuman language, lost by men, bearer of very high knowledge. Let us not forget that in all traditions mankind is able to speak with its Creator: it is able through the prophets - who have a direct dialogue with the superhuman - and it is in the primordial age that follows the Creation, that of the so-called “earthly paradise”, which is precisely that Golden Age you are talking about. The artist has always played the role of the “vate”, poet or prophet, one who opens doors, who sees where mankind still cannot see. He therefore knows higher languages, incomprehensible to the viewer. So, I can't tell you if these works reproduce an underlying text or symbolize a mysterious and ancestral language: it would be like candidly admitting to have superior knowledge, I prefer to leave the viewer with the question pending.

courtesy Mazzoleni, London-Torino

JG: I believe that the volume published by Skira on the occasion of this exhibition also contributes to giving further value to all this. The texts by the curator Martin Holman, the professor of contemporary art Paola Valenti and Klaus Honnef give an appreciable contribution to the understanding of your work. What do you think?

GZ: I am convinced too. Martin understood perfectly the sense of the Golden Age, of my recent works. And for her text Paola Valenti found unpublished documents that I didn't even know, with patience like a real Carthusian.

LM: Then with Klaus Honnef a particular story joins it. Could you explain why?

GZ: It is the history of Analytical Painting. In the seventies Klaus set the theoretical cornerstones of that movement, which linked the research of artists scattered across the continent. The goal was to re-found the language of painting, because after the advent of Arte Povera and Conceptual Art in the 1960s, many still wondered the reason for the existence of painting, a discipline that seemed anachronistic. To Honnef, myself and to a handful of colleagues in Europe, it seemed evident that in reality painting only needed a deep analysis of its basic grammatical elements: what is colour really, what is the support, what is the process ... There were important group exhibitions on this theme, between Italy, Germany, Holland and France, to which Claude Viallat, Gotthard Graubner, Gerhard Richter with his grey monochromes were also invited. It was a underestimated but useful work, because the conditions were created for the great return of figuration to Europe in the late seventies to be accepted without scepticism. Painting cannot die, precisely because it is intrinsic to humankind as is the word. That's why in the last sixty years of my life I have done nothing but paint. Paint and look for myself, and I found that the two coincide. Then we remained friends with Klaus even if at a distance: we didn't see each other in Kassel's “documenta 6” in 1977: he was the curator of the painting section, I was one of the invited artists. This exhibition in London was an opportunity for us to meet again 43 years on – that’s news, isn't it?

Zappettini at work in his studio in 1975
courtesy Mazzoleni, London-Torino

 

Gianfranco Zappettini: The Golden Age is at Mazzoleni, London until 11 April 2020 - and you can take a virtual tour of the exhibition here

By using GalleriesNow.net you agree to our use of cookies to enhance your experience. Close