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"text": "<p data-block-key=\"l6w4m\">Piero Golia’s installation <i>Still Life (Rotating device)</i> (2024) suspends the euphoric moment when anything and everything is possible. Exhibited for the first time in the Unlimited sector of Art Basel 2025, the work centers on a decommissioned casino roulette wheel that has been modified so that it spins ceaselessly, never allowing its ball to fall upon a winning number. Through Golia’s singular vision, the anticipatory moment—before our hopes and dreams are realized (or abandoned) by fate—remains in continuous deferral.</p><p data-block-key=\"72al8\">Rather than exhibiting a single painting or sculpture at the prestigious presentation of monumental works at Art Basel Unlimited, the artist instead conceived of his immersive installation as a proposition: to create a conceptual “piece” of reality. Upon entering the space through crimson velour curtains and then experiencing the plush scarlet-hued rug and matching walls, the viewer is transported to an alternate world where time seems not to unfold linearly but to turn onto itself in an eternal loop.</p><p data-block-key=\"en5q3\">Since moving to the United States from Italy, Golia began playing roulette regularly. He started in the casinos of Atlantic City, traveling from Chinatown in lower Manhattan, and later made frequent sojourns to Las Vegas from his Los Angeles home. Golia was drawn to both the meticulous construction of the game’s pieces, as well as its logic and strategy. The sumptuously lacquered roulette wheel is divided into numbered compartments which are further allocated into red and black color ways—all components that can be gambled upon to place a winning bet.</p>",
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"text": "<p data-block-key=\"0q5jn\">Gambling is, in the artist’s mind, about discipline rather than pure luck; the patterns of the game can be rationalized, learned, and understood. This notion of making sense of repetitions likely stems from the artist’s early training in chemical engineering, a field of study that transforms raw materials into usable products. By engineering the roulette wheel so the ball remains in perpetual rotation, Golia subverts the principles of the game so that there are no winners or losers. As intended by the artist, this gesture grips the audience in a state of absolute potentiality.</p><p data-block-key=\"cd12h\">For Golia, gambling—like art—explores the relationship between faith and chance, a theme that he has touched upon repeatedly throughout his career. He has made sculptures and paintings based on the material remains from actual car accidents, and has incorporated participatory or improvisational elements in works as varied as <i>Luminous Sphere</i> (2010), a light situated on the roof of the Standard Hotel in Los Angeles that turns on only when the artist is in town, and <i>The Painter</i> (2016), a robotic apparatus rigged to make painterly marks on a canvas based on the presence of a viewer moving through an exhibition space.</p>",
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"text": "<p data-block-key=\"0q5jn\">In a 2008 interview, Golia referenced the French Enlightenment–era philosopher Blaise Pascal, who famously described the notion of faith as a gamble. While Pascal discusses risk in terms of religious belief, Golia links the concept to his art making; he often creates situations in which a live element can open up the work to unplanned outcomes. Speaking about his practice, Golia has noted, “it is only about chance. It’s the life of a gambler. If I make it, I make it big.” In staging an everlasting moment of anticipation in <i>Still Life (Rotating device)</i>, the artist creates a perspective-altering impact for the viewer—monumental in its ability to transform our perception of the world around us. “Monumentality has something to do with time and eternity. Art <i>should</i> be monumental,” he has slyly asserted.</p>",
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"caption": "<p data-block-key=\"y5t1b\">Jean Tinguely, <i>Méta-matic No. 9</i>, 1958, round rubber belt, steel rods, painted sheet metal, wire and wood pulleys, clothes pins, and electric motor, 35 ½ × 56 ⅝ × 14 ¼ inches (90.2 × 143.8 × 36.2 cm), Museum of Fine Arts, Houston © 2025 Artists Rights Society (ARS), New York/ADAGP, Paris</p>",
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"text": "<p data-block-key=\"03s1k\">Although Golia acknowledges the influence of Italian artist Gino De Dominicis—whose work engages with themes of eternity and immortality—the present installation contains several elements that can be contextualized among iconic art historical works by Jean Tinguely and Jasper Johns, for instance. The kinetic element of <i>Still Life (Rotating device)</i> puts the work in dialogue with similarly dynamic examples from art history. From Tinguely’s mechanical <i>Métamatics</i> to Alexander Calder’s mobiles, the introduction of movable elements into the typically stationary domain of art takes on a poetic resonance in Golia’s work, which never ceases its motion.</p><p data-block-key=\"b7rb\">The work’s subtitle of “Rotating device” might also invite comparisons with Johns’s motif-<i>cum</i>-strategy of the “device,” a key element of his acclaimed work from the 1960s. Just as Johns began taking a mechanical arm (like a ruler) as a device to autonomously manipulate paint in an arc-like or circular shape, Golia can be seen to set that concept into motion, creating the same blurred effect as in Johns’s painting but here kinetically charged in real time.</p>",
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"text": "<p data-block-key=\"g7a21\">Yet it is perhaps most intriguing that Marcel Duchamp—the Dada progenitor of concept-based art and one of Golia’s artistic heroes—had himself become quite interested in the game of roulette exactly a century earlier, creating an entire work on the subject. By 1924, Duchamp had famously cast off the art world and reinvented himself in the casinos of Monaco, where he claimed to have devised a winning strategy for gambling at the roulette tables. Long interested in notions of chance, Duchamp was so confident in the guaranteed outcome that he began creating and selling bonds related to his gambling. Part artwork and part speculation, the <i>Monte Carlo Bond</i> (1924; reissued 1938) featured an image of Duchamp himself, covered in soap suds, positioned in front of a roulette wheel.</p>",
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"text": "<p data-block-key=\"g7a21\">Putting a new spin on Duchamp’s <i>Monte Carlo Bond</i>, in the present work Golia removes the prospective nature of gambling to instead explore the experience of unrelenting thrills and sustained desire. Similar notions of chance and speculation appear in several of Golia’s earlier works, such as <i>Untitled (My Gold is Yours)</i> (2013), which was exhibited in the 2013 Biennale di Venezia (where he represented his native country of Italy). In this participatory sculpture, Golia encased nearly two kilograms of gold dust within a massive concrete block. The audience eventually realized that they could procure these valuable fragments by chiseling the sculpture, thereby becoming actively involved in the transformation of the work’s physical form through the act of mining.</p>",
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"text": "<p data-block-key=\"g7a21\">While in Venice, Golia allowed the public to shape the sculpture; for Art Basel Unlimited, however, he made a series of deliberate aesthetic decisions essential to constructing a specific environment. The entirely red room, accessed through a curtained entrance, evokes the portal-like “Red Room” from David Lynch’s iconic television series <i>Twin Peaks</i>. Within the show’s mythology, this crimson chamber functions as a liminal zone—a “waiting room” where good and evil intermingle and temporal logic breaks down. Whether this reference is intentional or merely coincidental, the atmospheric parallels between Golia’s scarlet installation and Lynch’s surreal, psychologically charged world are striking. Both conjure realms untethered from conventional space and time.</p>",
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"text": "<p data-block-key=\"g7a21\">Golia’s piece is deeply romantic and poetic, and yet, his reference to the still life genre in the title is characteristic of his signature wit and humor. At first glance, the perpetual motion of the spinning wheel appears wholly incompatible with the classical still life, that venerable genre devoted to bowls of fruit, wilting flowers, and other objects steadfastly committed to inertia. Yet, the roulette wheel—ever in motion—ironically conjures a conceptual still life of its own, one predicated not on physical stasis but on a suspension of time itself. In this version, the fruit doesn’t rot, it waits . . . endlessly.</p><p data-block-key=\"cri7g\">Though it holds us in time, Golia’s <i>Still Life (Rotating device)</i> does not tether us to any singular moment. Instead, it captures us in a unique temporal threshold—that charged pause of expectation—by embodying the emotional rapture of the game itself. Through this haunting installation, Golia masterfully stages the extravagant allure of imagined triumphs, the kind that flicker when one makes a gamble. Sensual and idealistic, <i>Still Life (Rotating device)</i> offers its audience a rare and otherwise impossible experience—one sculpted from the relentless passage of time itself, and held, if only for a moment, in exquisite suspension.</p>",
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"contents_intro": "<p><span>Alexander Wolf explores the economic, social, and methodological concerns of Piero Golia’s art practice, revealing the real-world implications of the artist’s experiments with form and process.</span></p>",
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"contents_intro": "<p>The Fall 2019 issue of <em>Gagosian Quarterly</em> is now available, featuring a detail from <em>Sinking </em>(2019) by Nathaniel Mary Quinn on its cover.</p>",
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"contents_intro": "<p>On the occasion of two exhibitions—one at Gagosian, London, and the other at Kistefos in Jevnaker, Norway—the <em>Quarterly </em>shares an essay included in the forthcoming book <em>Kathleen Ryan: 2014–24</em>. Here, Harry Thorne writes on Kathleen Ryan’s artistic process, methods of assemblage, and how her studio resembles an excavation site.</p>",
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"contents_intro": "<p>The Summer 2025 issue of <em>Gagosian Quarterly</em> is now available, featuring Pablo Picasso’s <em>Nu accoudé</em> (1961) on the cover.</p>",
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"contents_intro": "<p>At the center of Andreas Gursky’s new exhibition in Paris at Gagosian’s rue de Castiglione gallery is <em>Paris, Montparnasse II</em> (2025)<span>, a reengagement with his celebrated photograph from 1993 of the architect Jean Dubuisson’s iconic building in the capital city. In the new work, Gursky reexamines the subject, tracing the changes time has inscribed on the architecture and its occupants. Here, in conversation with the </span><em>Quarterly</em><span>’s Wyatt Allgeier and shown alongside behind-the-scenes images from the artwork’s making, the artist addresses his motivations and interests in this long-term project.</span></p>",
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"contents_intro": "<p><span>For Art Basel 2025, the fair has commissioned Katharina Grosse to create </span><em>CHOIR</em><span>, a large-scale, site-responsive painting for the Messeplatz Project. The curator for the project, Natalia Grabowska, met with Grosse in her studio in Berlin ahead of the work’s creation to talk through the process; Grosse’s approach to the specifics of the Messeplatz’s architecture; and the importance of unscripted encounters.</span></p>",
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"contents_intro": "<p><span>On April 18, the exhibition </span><em>Picasso: Tête-à-tête</em><span> opened at Gagosian, New York. Including works from 1896 to 1972, the full span of the artist’s career, the show is presented in partnership with Paloma Picasso, the artist’s daughter. Here, Michael Cary, one of the organizers of the exhibition, traces the historical precedents that informed the conversational nature of the curation. He also introduces a translation of a 1932 interview with Picasso by the publisher and critic E. Tériade, often quoted in English in part but not in full.</span></p>",
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"contents_intro": "<p>On the occasion of <em>Willem de Kooning: Endless Painting</em>, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the <em>Quarterly </em>revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.</p>",
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"contents_intro": "<p><span>Architect Carlo Ratti has long worked at the crossroads of technology, design, and urban planning to see how digital tools can help create smarter cities. On the occasion of </span><em>Intelligens. Natural. Artificial. Collective.</em><span>—the Venice Architecture Biennale he curated, on view until November 23, 2025—Bartolomeo Sala asks him about the ideas driving his curatorship, what he means by architecture of adaptation in the face of climate change, and how different types of intelligence—natural, artificial, and collective—will be shaping the cities of the future.</span></p>",
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"contents_intro": "<p><span>From her Judenplatz Holocaust Memorial in Vienna to her casting of George Orwell’s World War II office at the BBC, Rachel Whiteread has long engaged with the emotional and historical complexities of addressing deeply troubling moments in human history through art. This month, Whiteread will debut a new work for the inaugural exhibition at the Goodwood Art Foundation in Sussex, England.</span></p>",
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"contents_intro": "<p>Sydney Stutterheim traces the linkages and affinities between the work of Richard Prince and that of Bob Dylan. Using Prince’s <em>Untitled (Dylan)</em> as a starting point, she considers the artist’s enduring interest in questions of originality and authorship, as well as his sustained relationship with the worlds of American music and counterculture.</p>",
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"info": "<p data-block-key=\"e893l\">June 16–22, 2025<br/>Messe Basel<br/>Hall 1, U44<br/><a href=\"https://www.artbasel.com/basel/basel/basel/unlimited-overview\">www.artbasel.com</a></p>",
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