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Piero Golia

Suddenly, in the middle of the summer

July 19–August 24, 2018
Beverly Hills

Installation video

Installation video

Installation view Artwork © Piero Golia. Photo: Joshua White

Installation view

Artwork © Piero Golia. Photo: Joshua White

Installation view Artwork © Piero Golia. Photo: Joshua White

Installation view

Artwork © Piero Golia. Photo: Joshua White

Works Exhibited

Piero Golia, Ferragosto Painting #1, 2018 Elastic cotton fabric, 16 × 12 inches (40.6 × 30.5 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Ferragosto Painting #1, 2018

Elastic cotton fabric, 16 × 12 inches (40.6 × 30.5 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Ferragosto Painting #2, 2018 Elastic cotton fabric, 16 × 12 inches (40.6 × 30.5 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Ferragosto Painting #2, 2018

Elastic cotton fabric, 16 × 12 inches (40.6 × 30.5 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Onice Rosso NAE Fruit Bowl, 2018 Onice Rosso marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Onice Rosso NAE Fruit Bowl, 2018

Onice Rosso marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Rosso Francia NAE Fruit Bowl, 2018 Rosso Francia marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Rosso Francia NAE Fruit Bowl, 2018

Rosso Francia marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Verde Alpi NAE Fruit Bowl, 2018 Verde Alpi marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Verde Alpi NAE Fruit Bowl, 2018

Verde Alpi marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Azul Cielo NAE Fruit Bowl, 2018 Azul Cielo marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Azul Cielo NAE Fruit Bowl, 2018

Azul Cielo marble, 5 × 10 ⅝ × 11 inches (12.5 × 27 × 28 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Intermission Lamp Prototype #6, 2015–18 EPS foam, hard coat, pigment, brass, light bulb, electrical wire, and socket, 15 ¼ × 6 ½ × 12 ¾ inches (38.7 × 16.5 × 32.4 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Intermission Lamp Prototype #6, 2015–18

EPS foam, hard coat, pigment, brass, light bulb, electrical wire, and socket, 15 ¼ × 6 ½ × 12 ¾ inches (38.7 × 16.5 × 32.4 cm)
© Piero Golia. Photo: Joshua White

Piero Golia, Intermission Lamp Prototype #7, 2015–18 EPS foam, hard coat, pigment, brass, light bulb, electrical wire, and socket, 12 ¾ × 6 ½ × 9 inches (32.4 × 16.5 × 22.9 cm)© Piero Golia. Photo: Joshua White

Piero Golia, Intermission Lamp Prototype #7, 2015–18

EPS foam, hard coat, pigment, brass, light bulb, electrical wire, and socket, 12 ¾ × 6 ½ × 9 inches (32.4 × 16.5 × 22.9 cm)
© Piero Golia. Photo: Joshua White

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018 © Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018

© Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018 © Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018

© Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018 © Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018

© Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018 © Piero Golia

Piero Golia’s NAE Fruit Bowls (2018) at the foundry, Italy, 2018

© Piero Golia

About

Very often artists are responding to a request, living and working to fulfill expectations, but artists should establish alternatives instead of following expectations.
—Piero Golia

Gagosian is pleased to present Suddenly, in the middle of the summer, an exhibition of new works by Piero Golia.

Though vastly different in medium and process, Golia’s artworks feature a simple, usually deceptive, arithmetic: one event has led to another, and then another, initiating a chain reaction at the end of which an artwork is left as evidence. Often, the manufacturing becomes the work itself, coming together in situ—as with The Painter (2016), a robot programmed to create abstract paintings whenever it detects movement in the room; or the Chalets in Hollywood and Dallas, communal settings activated by visitors, events, artists, and objects.

However, in Suddenly, in the middle of the summer, works seem just to have materialized in the gallery. Engaging in slow and meticulous technical processes, Golia pursued artistic craft in direct counterpoint to mass production. Like precious artifacts in a museum, these works provoke questions about their individual histories, together with admiration for their detailed, mysterious beauty. Instead of appearing and disappearing like so many of Golia’s other works, they have completed a full cycle of production.

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