Spring Installation

The Palazzo Grassi – Pinault Collection in Venice opened Tatiana Trouvé: The Strange Life of Things this past April. Conceived in close collaboration with the artist, the exhibition’s venue served as a key starting point for the creation of new sculptures, large-scale drawings, and site-specific installations, all presented in dialogue with bodies of work from the past decade. A catalogue was published alongside the exhibition, and here we share Neville Wakefield’s essay on Trouvé’s radical forms of cartography.

Last fall, Taryn Simon debuted an interactive sculpture entitled Kleroterion (2024). Based on a device from the beginnings of democracy in Athens, the work was installed at Storm King Art Center, New Windsor, New York. As part of that presentation, Simon participated in a panel discussion with Nora Lawrence, Tomás González Olavarría, and Philip Lindsay about democracy, sortition, and art’s place in politics.

Curator Michael Auping reflects on his time spent with John Chamberlain in Sarasota, Florida.

Philosopher Federico Campagna and artist Carsten Höller came together, on the heels of Höller’s exhibition Clocks in Paris, to consider the measurement of time, the problem with fun, and the fine line between mysticism and nihilism.

This fall, artists and friends Edmund de Waal and Sally Mann will exhibit new works together in New York. Inspired by their shared love of poetry, fragments, and metamorphosis, the works included will form a dialogue between their respective practices. Here they meet to speak about the origins and developments of the project.

Ester Coen meditates on the dynamism of Sterling Ruby’s recent projects, tracing parallels between these works and the histories of Futurism, Constructivism, and the avant-garde.

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).

The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.

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.