As the opening day of Billie Zangewa’s show drew to a close, few would have anticipated the circumstances that would soon engulf it, nor the new resonances her work would find in light of them.
The Palais de Tokyo’s collaboration with the Qatari museum Mathaf, “Our World is Burning” offers an ambitious survey of contemporary art from the Middle East and North Africa.
In his seminal 1980 work “Camera Lucida,” the philosopher Roland Barthes wrote that “every photograph is a certificate of presence.” The French artist Christian Boltanski has spent the last 60 years probing the limits of such an idea.
While her belief in the triumphant power of art anchors Hepworth in an ideology that, for some, fell out of fashion or became untenable after the atrocities of World War II, Hepworth maintained a lifelong optimism about what sculpture could do.
An interview with the Mexican artist on the eve of his new show “ECHO” at Galerie Perrotin.
“Bacon always said that what he wanted to do with his work was to celebrate life. When you love life, you integrate all parts of it — even death, even cruelty, it’s all part of life.”
Full article in Art+Auction magazine (September 2019).
Full article in Modern Painters magazine (September 2019) and on Blouin Artinfo.
This question of space — of how something takes up space, deconstructs it or contains it — preoccupied both artists throughout their careers.
In contrast to a long history of erotic representations of female nudes, Pearlstein’s models are not sexualized. Their bodies are not offered up to the viewer’s gaze, but are positioned with a strange sort of nonchalant agency.