Brutalisten: An Interview with Carsten Höller
This spring, Carsten Höller launched Brutalisten, a new restaurant concept in Stockholm and the latest embodiment of his long-term culinary and artistic project called the Brutalist Kitchen. The twenty-eight-seat restaurant features a menu overseen by chef Stefan Eriksson that adheres to three classifications: “semi-brutalist” dishes (using oil or minimal ingredients), “brutalist” dishes (using salt and water), and “orthodox-brutalist” dishes (no additional ingredients). For the Quarterly, Höller speaks with Gagosian directors Serena Cattaneo Adorno and Mark Francis about this terminology, the importance of experimentation, and the fortuitous side effects of brutalist cuisine.
Gagosian Quarterly Summer 2022
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
La Ribaute: Transitive, It Transforms
Camille Morineau writes of the triumph of the feminine at Anselm Kiefer’s former studio-estate in Barjac, France, describing the site and its installations as a demonstration of women’s power, a meditation on inversion and permeability, and a reversal of the long invisibility of women in history and myth.
Anselm Kiefer: Architect of Landscape and Cosmology
Jérôme Sans visits La Ribaute in Barjac, France, the vast studio-estate transformed by Anselm Kiefer over the course of decades. The labyrinthine site, now open to the public, stands as a total work of art, reflecting through its grounds, pavilions, and passageways major themes in Kiefer’s oeuvre: regeneration, mythology, memory, and more.
Hans Ulrich Obrist’s Questionnaire: Theaster Gates
In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents are invited to make a selection from the larger questionnaire and to reply in as many or as few words as they desire. For this installment, we are honored to present the artist Theaster Gates, whose Serpentine Pavilion 2022 Black Chapel opened in London on June 10.
Toyo Ito, Marc Newson, and Koji Yanai
The Tokyo Toilet project has added twelve new public restrooms by renowned architects and designers to the city’s map since 2020, with five more scheduled to open in 2022. To learn more about the initiative, the Quarterly spoke with founder Koji Yanai and two of the participating designers, Toyo Ito and Marc Newson.
Story of the Editor
Fiona Alison Duncan profiles six literary editors who are changing the standards of publishing.
Memoirs of a Poltergeist: Part 1
The first installment of a short story by Venita Blackburn.
At the Edge
Chris Burden: Prelude to a Lost Performance
Michael Auping tells the Quarterly’s Alison McDonald about the preparations for a performance by Chris Burden at the Newport Harbor Art Museum in Southern California in 1974—and the event’s abrupt cancellation—providing a glimpse into the mindset of a young, aggressive, and ambitious artist in the early stages of his career.
Jeff Wall: An Exhibition Tour
Join Jeff Wall as he leads a tour through his latest exhibition in Beverly Hills. The artist speaks about the genesis and creation of each photograph, addressing the aesthetic decisions involved.
American Artist, Yayoi Shionoiri, and Sydney Stutterheim on Poetic Practical: The Unrealized Work of Chris Burden
Join Gagosian to celebrate the publication of Poetic Practical: The Unrealized Work of Chris Burden with a conversation between American Artist, Yayoi Shionoiri, and Sydney Stutterheim presented at the Kitchen, New York. Considering the book’s sustained examination of sixty-seven projects that remained incomplete at the time of Burden’s death in 2015, the trio discuss the various ways that an artist’s work and legacy live on beyond their lifetime.
A Perfect Storm: Jim Shaw and Conspiratorial Film
In the fall of 2021, in partnership with New York’s Metrograph cinema and Gagosian, artist Jim Shaw organized a series of six conspiracy-minded films revolving around thorny questions of truth, guilt, fantasy, and innocence, and leading Shaw to revelations about the fringe notion of “frazzledrip.” Here, Natasha Stagg reflects on the movies he chose and on the wider implications of what it means to go down the rabbit hole.
July 5–September 10, 2022
Gagosian Shop, London
Marc Newson is taking over the Gagosian Shop in London’s historic Burlington Arcade. Newson will showcase large-scale cloisonné furniture alongside pieces in various forms of glass that push the boundaries of the medium. Included are his Magnolia chair (2019) and cloisonné lounge, which adapt the ancient craft of Chinese enamel, aluminum surfboards, a cast glass chair, and a table from the Murrina series. The presentation coincides with the launch of a recently published catalogue that documents Newson’s intensive manufacturing process.
Also available are personalized iPhone cases from the artist’s collaboration with cult brand Chaos. The Marc Newson × Chaos collection is inspired by Newson’s enameling techniques and features motifs such as his signature amoebic “orgone” pattern.
At the same time, Gagosian Shop will present dresses by Alaïa—the fashion house founded by designer Azzedine Alaïa (1935–2017)—inspired by Picasso’s Tanagra ceramics. Alaïa was a longtime friend and collaborator of Newson’s.
Wall of Oil Barrels—The Iron Curtain
Sixty-Year Anniversary Celebration
Monday, June 27, 2022, 9pm
rue Visconti, Paris
On the evening of June 27, 1962, Christo and Jeanne-Claude installed Wall of Oil Barrels—The Iron Curtain, closing the historic rue Visconti with eighty-nine barrels. The 4.2-meter-high barricade blocked one of narrowest streets in Paris for eight hours, obstructing most of the traffic through the Left Bank. To celebrate the sixty-year anniversary of the work, the city of Paris is closing the street and visitors on-site will be able to activate an augmented-reality animation of the barrels. The event is free and open to the public.
Christo and Jeanne-Claude’s Wall of Oil Barrels—The Iron Curtain (1961–62) on rue Visconti, Paris, June 27, 1962. Artwork © Christo and Jeanne-Claude Foundation. Photo: Jean-Dominique Lajoux
Destroy Me Once, Destroy Me Twice
Katharina Grosse has been commissioned to create a 2,000-square-meter dance floor for the 2022 Roskilde Festival in Denmark, to celebrate the fiftieth anniversary of the festival, which runs from June 25 to July 2. Titled Destroy Me Once, Destroy Me Twice (2022), the expansive outdoor painting transforms the hilly landscape of the festival’s campsite and is intended to inspire a sense of community, presence, and togetherness in keeping with this year’s theme, “Solidarity–Time to Act!” Since 1971, Roskilde Festival, the largest of its kind in Northern Europe, has been a melting pot that merges music and art. To attend the festival, purchase tickets at www.roskilde-festival.dk.
Katharina Grosse, Destroy Me Once, Destroy Me Twice, 2022, installation view, Roskilde, Denmark. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany, 2022. Photo: Jens Ziehe
New Social Environment
CANDYLADYBLACK: Amanda Williams
Tuesday, June 28, 2022, 1pm EDT
As part of the Brooklyn Rail’s online series New Social Environment, Amanda Williams joins the journal’s contributor Zoë Hopkins and director of programs Chloe Stagaman for a conversation about the artist’s current exhibition, CANDYLADYBLACK, at Gagosian, Park & 75, New York, as well as her practice in general. In these daily lunchtime Zoom conversations, invited artists, writers, filmmakers, and poets discuss creative life in the context of our new social reality with Brooklyn Rail staff. The talk will conclude with a poetry reading by Nikki Wallschlaeger. To join the online event, register at brooklynrail.org.
Installation view, Amanda Williams: CANDYLADYBLACK, Gagosian, Park & 75, New York, June 10–July 8, 2022. Artwork © Amanda Williams. Photo: Tom Powel Imaging
Opening this Week
Stanley Whitney in
Sensory Poetics: Collecting Abstraction
July 8–October 17, 2022
Solomon R. Guggenheim Museum, New York
Sensory Poetics: Collecting Abstraction brings together highlights from the museum’s growing collection of contemporary art. Acquired over the past ten years, and shown at the museum for the first time, this selection of artworks reflects developments in painting, sculpture, and video from the 1960s to today that manifest in a turn toward gesture as a response to the constraint of Minimalism. Evident in the exhibited works is an appeal to the human hand, whether through the tactility of materials or the gestural marks that comprise the compositions. Work by Stanley Whitney is included.
Stanley Whitney, Untitled, 1997, Solomon R. Guggenheim Museum, New York © Stanley Whitney. Photo: Allison Chipak
Closing this Week
Through July 11, 2022
SCAD Museum of Art, Savannah, Georgia
Katharina Grosse: Chill Seeping is presented on the occasion of SCAD deFINE ART 2022. The exhibition features works on canvas created since 2006 alongside an expansive site-related textile installation. The exhibition highlights Grosse’s relentless exploration of color and its agency in space, inviting viewers into an immersive dialogue with the environment.
Installation view, Katharina Grosse: Chill Seeping, SCAD Museum of Art, Savannah, Georgia, February 28–July 11, 2022. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2022
“Figures of Speech”
Through January 29, 2023
Brooklyn Museum, New York
Virgil Abloh pioneered a practice that cuts across mediums and connects visual artists, musicians, graphic designers, fashion designers, and architects. This exhibition, which originated at the Museum of Contemporary Art Chicago, offers an in-depth look at defining highlights of Abloh’s career and includes a program of cross-disciplinary offerings that mirror the artist’s range of interests. The Brooklyn Museum presentation, which includes never-before-seen objects from Abloh’s archive and a social sculpture drawing on his background in architecture, is organized by Gagosian director Antwaun Sargent.
Takashi Murakami and Virgil Abloh, “TIMES: FLAMES”, 2018 ©︎ Virgil Abloh and ©︎ Takashi Murakami. Photo: Josh White
John Currin in
Pictus Porrectus: Reconsidering the Full Length Portrait
Through October 2, 2022
Isaac Bell House, Newport, Rhode Island
After more than a century of falling out of fashion, the full-length, life-size portrait—which originally served as an ostentatious display of power and wealth that reinforced aristocratic and ecclesiastical hierarchies—has undergone a radical paradigm shift in recent decades. Contemporary artists have breathed new life into this old-fashioned genre by reinvigorating it with new subjects outside of passé Anglo-European power structures. This exhibition of full-length portraiture, curated by Alison Gingeras and Dodie Kazanjian, is a collaboration between Art & Newport and the Preservation Society of Newport County. Work by John Currin is included.
John Currin, Sunflower, 2021 © John Currin