In A Place For Us, Iván Argote deploys a series of tactics — disappearance, eroticization, natural decay, and fiction — in order to theorize a new future for historical monuments. The centerpiece of this exhibition is Argote’s immersive installation, Wild Flowers, which includes planters made from disembodied fragments of Wall Street’s iconic George Washington monument. Scattered across the third floor of the gallery, Washington’s torso, hands, and feet are hollowed out and reimagined to contain regional plants and flowers, as modes of replenishment and regeneration.
In celebration of the 100th birthday of Georges Mathieu (1921-2012), Nahmad Contemporary and Perrotin, in collaboration with the artist’s estate, were pleased to mount the first extensive survey of Georges Mathieu’s practice in the United States. Spread across two New York venues, the presentation reevaluated Mathieu’s significant contributions to the development of post-war abstraction. As a key pioneer of Action Painting, the exhibition paid particular attention to the artist’s monumental paintings, which exemplify his commitment to the encounter between body and canvas.
“I want to leave the canvas”
With this exhibition, Denize brings together an unprecedented assortment of figures that blur the boundaries between sculpture and painting, costume and installation.
Entering the exhibition, one is invited into ob’s dream world, delineated in pastel colors, in which delicate figures seem to float against complexly structured backgrounds. The artist creates imaginary landscapes, sometimes reconstructed from actual ones, composed of mangastyle flora, silky clouds that melt into the sky, and seemingly flat horizons, which altogether support these large-eyed, questioning creatures. ob has often referred to her creations as different versions of herself and her friends, as young persons “wandering through adolescence full of uncertainty” who are still unable to fully express their thoughts and dreams. As ob herself has said, “as I get older and face various decisions, ... different things will be gained or lost.”
In 2021, Perrotin opened for the first time an exhibition of Danish filmmaker Lars von Trier.
The photographic works, titled ARTvonTRIER, which works incarnates the world premiere of the exhibition, are extracts from Lars von Trier’s award-winning filmography. Audiences will be able to recognize legendary and iconic scenes from Trier’s films. A new involvement and reflection await in the transformed works.
This exhibition has been curated by Anna Lena Vaney and Malou Lykke Solfjeld.
I am thinking a lot about painting's pictorial relationship to labor. For me, this means I've been looking at a lot of paintings that show women as either laboring peasants or as idle myths. Jean-François Millet's painting The Gleaners from 1857 is an example.
