Gagosian Hong Kong is pleased to present recent paintings by Rudolf Stingel. This will be his first major exhibition in Asia.
Over the past twenty years, Stingel has examined the nature of memory while expanding the scope and definition of painting. Echoing Albrecht Dürer’s Painter’s Manual of the sixteenth century, he produced Instructions in 1989, a booklet illustrating how to create a Rudolf Stingel painting, which anticipated an ongoing investigation into the relationship between artist and artwork. Central to his oeuvre is his palpable rendering of the passage of time, together with his efforts to expand the vocabulary of painting: from the abstract silver tulle paintings of the 1990s to the floor and wall carpet installations, from the melancholic self-portraits to the vast golden canvases that bear the traces of time and action in the studio.
Stingel’s recent panel paintings are a new form of opulent abstraction born out of humble materials and banal gestures. The current works derive from his environmental installations at the Museum of Contemporary Art in Chicago and the Whitney Museum in New York in 2007. In each of these participatory works, he transformed the exhibition space by covering the walls in a layer of reflective aluminum-faced Celotex (among the first Celotex installations were those presented at the Museo di Arte Moderna e Contemporanea, Trento, Italy, in 2001 and the Venice Biennale in 2003). Viewers could scratch, write, and mark the pristine surface at will, their individual traces accumulating into a mass of anonymous marks. Casting and plating large sections of the graffiti-covered insulation panels, Stingel has produced sumptuous works that memorialize the effects of time. The works in the current exhibition are selected fragments of the inscribed walls cast in copper using a procedure that captures even the faintest surface detail. The cast base is then electroplated with gold, an alchemical transformation that imbues common graffiti with a new, anonymous, and eternal abstract beauty.
過去二十年，魯道夫‧斯丁格爾不斷探索記憶的本質，同時以規模驚人的作品，為繪畫寫下新的定義。他於1989年推出小冊子《Instructions》，解釋如何創作充滿其個人風格的作品，以不斷審視藝術家與作品之間的關係，呼應丟勒(Albrecht Dürer)於十六世紀創作的《Painter’s Manual》。斯丁格爾希望透過作品重現時間的推移，亦致力於為繪畫賦予新的涵義，因此於九十年代創作出銀色薄紗抽象畫，也有覆蓋地板及牆壁的掛毯藝術裝置、憂鬱的自畫像，以及展現創作時間與過程痕跡的巨型金色畫作。
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.
In July 2017, a special installation of paintings was shown at Casa Malaparte, Capri, the famous house built by the author, publisher, diplomat, and filmmaker Curzio Malaparte.
Extended through January 12, 2017
December 7, 2016–January 12, 2017
Park & 75, New York