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Giuseppe Penone

Intersecting Gaze / Sguardo incrociato

October 9–November 24, 2012
Davies Street, London

Installation view Photo by Mike Bruce

Installation view Photo by Mike Bruce

Installation view, photo by Mike Bruce

Installation view, photo by Mike Bruce

Installation view Photo by Mike Bruce

Installation view Photo by Mike Bruce

Installation view Photo by Mike Bruce

Installation view Photo by Mike Bruce

Works Exhibited

Giuseppe Penone, Contatto—occhio destro di R..., 2009 Tempera on canvas, silk, Acacia thorns, 9 panels: 118 ⅛ × 141 11/16 × 3 ½ inches overall (300 × 360 cm)

Giuseppe Penone, Contatto—occhio destro di R..., 2009

Tempera on canvas, silk, Acacia thorns, 9 panels: 118 ⅛ × 141 11/16 × 3 ½ inches overall (300 × 360 cm)

Giuseppe Penone, Contatto—occhio sinistro di R..., 2009 Tempera on canvas, silk, Acacia thorns, 9 panels: 118 ⅛ × 141 11/16 × 3 ½ inches overall (300 × 360 cm)Photo by Mike Bruce

Giuseppe Penone, Contatto—occhio sinistro di R..., 2009

Tempera on canvas, silk, Acacia thorns, 9 panels: 118 ⅛ × 141 11/16 × 3 ½ inches overall (300 × 360 cm)
Photo by Mike Bruce

About

The stretching of a branch through space in search of light has the same structure as a glance.
—Giuseppe Penone

Gagosian Gallery is pleased to present “Intersecting Gaze /Sguardo Incrociato,” an exhibition of works by Giuseppe Penone. This is his first exhibition with the gallery.

In sculptures, drawings, photographs and installations Penone makes manifest the subtle dynamics between man and nature. A key member of the Arte Povera movement, he began to develop his praxis in the forests near his hometown of Garessio, Italy in the late 1960s. By recognizing, altering, recreating and interacting with the natural cycles of the forest, he blurred the distinction between his physical self and the trees that surrounded him. In his work, respiration, growth, aging and other such involuntary processes of life create a congruence between human and tree, solidifying their shared status as living sculpture. The lines that contour his compositions, inform his drawings, and shape his sculpture are sourced from naturally occurring patterns, such as wood grain or fingerprints. A distinct and poetic augmentation of Arte Povera’s radical break with the inherited conventions of art making, Penone’s artful expressions entail a serene and meditative return to an innate state of being.

For this exhibition, Penone has engaged with the vitrine-like architecture of the Davies Street gallery to develop an installation about the act of looking. In Contatto—occhio destro di R... (2009) and Contatto—occhio sinistro di R... (2009), thorns delineate the shape of enlarged human eyes; the thorns underlining the points of contact between the skin of the eyes and the canvas surface like nerve terminals. By relating the Acacia tree thorns to the human eye, he brings out the subtle yet intrinsic similarities between subject and material: the eye captures images with light, while the tree exists because of the light; an element vital to its survival. Pelle di foglie—sguardo incrociato (2005) is a large-scale standing sculpture comprised of delicately arranged tree branches and leaves defined in bronze. On each side of the sculpture, the branches and leaves are positioned to conceal a human face. Two long branches jut outwards in the place of eyes in a projective act of looking. These works recall Penone's long held fascination with the process of seeing, evident in such iconic works as Reverse One’s Eyes (1970)—in which the artist photographed himself wearing mirrored contact lenses—and the subsequent Eyelid (1989–91), comprised of eighteen calligraphic sheets showing the magnified terrain of the artist’s eyelid. (An accompanying plaster cast of the artist’s face, with a smudged fingerprint on the eye, re-embodied the earlier gesture of Reverse One’s Eyes). Penone continues to explore nuances in scale and medium, and core themes of optical perception and universal patterns, such as the dendritic forms linking botany and human anatomy.

Giuseppe Penone was born in 1947 in Garessio, Italy. He lives and works in Paris and Turin. His work is included in many important public and private collections worldwide, including the Tate Museum, London and the Museum of Modern Art, New York. Recent exhibitions include the 2007 Venice Biennale; “Penone,” Toyota Municipal Museum of Art, Tokyo, Japan (2008), “Giuseppe Penone,” Ikon Gallery, Birmingham (2009) and “Giuseppe Penone,” Musée des Arts Contemporains, Grand-Hornu, Belgium (2011). Penone’s work Ideas of Stone (2004–10) was inaugurated at Documenta 13, which opened in Kassel, Germany in June 2012. Penone has been selected for the 2012 annual Bloomberg Commission, which will opens September 5 at the Whitechapel Gallery, London, and in 2013 his work will be the subject of major solo exhibitions at the Château de Versailles and the Kunstmuseum Winterthur.

Still from the video Giuseppe Penone at Fort Mason showing the artist's 2004 sculpture Idee di pietra (Ideas of Stone) installed at Fort Mason in San Francisco.

Giuseppe Penone at Fort Mason

A yearlong outdoor installation by Giuseppe Penone in San Francisco’s historic Fort Mason features two life-size bronze sculptures cast from fallen trees. The project continues the artist’s long investigation of the perpetual give-and-take between humans and nature. In this video, Penone discusses what drew him to this landscape and the concepts behind the installation.

Installation view of Giuseppe Penone’s exhibition at Gagosian, San Francisco. A bronze sculpture and a wall-mounted sculpture including leaves.

Giuseppe Penone: Foglie di bronzo / Leaves of Bronze

Gagosian director Pepi Marchetti Franchi speaks about Giuseppe Penone’s recent exhibition in San Francisco, detailing the various works and their relationships to the artist’s long-standing sculptural practice.

Giuseppe Penone, Leaves of Light – Tree, 2016, installed at the Louvre Abu Dhabi.

Rain of Light

One year after the opening of the Louvre Abu Dhabi, Jean Nouvel and Giuseppe Penone sat down with Alain Fleischer, Pepi Marchetti Franchi, and Hala Wardé to reflect on how the museum and Penone’s commissioned artworks for the space came to be.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Giuseppe Penone and Carlos Basualdo

Gagosian Quarterly Talks
Giuseppe Penone and Carlos Basualdo

Giuseppe Penone discusses his new monograph, The Inner Life of Forms, with the book’s editor Carlos Basualdo, senior curator of contemporary art at the Philadelphia Museum of Art, at the Greene Space, New York. Hosted by art critic Deborah Solomon.

Gagosian Quarterly Winter 2018

Gagosian Quarterly Winter 2018

The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.