Menu

Extended through December 23, 2020

Katharina Grosse

Separatrix

October 31–December 23, 2020
Rome

Installation video Play Button

Installation video

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Leonardo Cestari

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Leonardo Cestari

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Installation view

Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Matteo D’Eletto, M3 Studio

Works Exhibited

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 152 ¾ × 94 ½ inches (388 × 240 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Acrylic on canvas, 149 ⅝ × 78 ¾ inches (380 × 200 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019 Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2019

Watercolor on paper, 46 ⅞ × 35 ⅛ inches (119 × 89 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2020. Photo: Jens Ziehe

About

The philosopher Leibniz had a theory of the so-called “separatrix,” the “between” two things that are contradictions. There’s always a line. On one side this is blue, and [on the other] this is red. In reality, red has embassies in the blue, and blue has embassies in the red. And Leibniz says fifty percent of this line, this structure “between,” is order, and fifty percent is anarchy.
—Alexander Kluge

Gagosian is pleased to present Separatrix, an exhibition of new paintings and works on paper by Katharina Grosse. This is her first solo exhibition in Rome. Separatrix coincides with Grosse’s major installation It Wasn’t Us, currently on view at Hamburger Bahnhof–Museum für Gegenwart, Berlin.

Grosse embraces the events that occur as she paints, opening up surfaces and spaces to chance. In massive in situ paintings—where she uses a spray gun to propel unmixed color over objects, rooms, buildings, and even entire landscapes—and autonomous works on canvas, paper, and sculptural supports, she stylizes gesture as a spontaneous mark of personal agency.

In July 2019, Grosse started working in a new purpose-built studio in a remote coastal area in northern New Zealand, where she spends several months each year. There, secluded in nature, she began a new body of work, imbuing the medium of watercolor with the directness and immediacy of her spray paintings.

Read more

Il filosofo Leibniz aveva una teoria riguardo la cosiddetta “separatrix”, la struttura intermedia tra due cose che sono in contraddizione tra loro. C’è sempre una linea. Da un lato c’è il blu, dall’altro il rosso. Però nella realtà il rosso coesiste nel blu, e il blu coesiste nel rosso. Leibniz sostiene che il cinquanta per cento di questa linea, di questa struttura intermedia, è ordine, e il restante cinquanta per cento è anarchia.
—Alexander Kluge

Gagosian è lieta di presentare Separatrix, una mostra di nuovi dipinti ed opere su carta di Katharina Grosse. Separatrix, prima personale dell’artista a Roma, coincide con la sua importante installazione It Wasn’t Us, attualmente in mostra all’Hamburger Bahnhof-Museum für Gegenwart di Berlino.

Grosse recepisce gli eventi che accadono mentre dipinge, affidando gli spazi e le superfici al caso. L’artista caratterizza il gesto come un segno propulsivo della propria tecnica personale sia negli imponenti dipinti site-specific – dove usa un aerografo per spruzzare colore puro su oggetti, stanze, edifici e perfino su interi paesaggi – che nelle opere su tela, su carta e nelle sculture.

Grosse trascorre diversi mesi l’anno in una remota zona costiera della Nuova Zelanda settentrionale dove ha costruito, nel luglio 2019, un nuovo studio ad hoc. Lì, isolata nella natura, ha iniziato un nuovo corpus di lavori, applicando la spontaneità e l’immediatezza dei suoi “spray paintings” alla tecnica dell’acquerello.

Immaginando il foglio bianco come un rilievo topografico, l’artista ha sperimentato la tecnica del wet-on-wet (bagnato-su-bagnato) permettendo a pigmenti vivaci di galleggiare e di mescolarsi sulla superficie, lasciando dietro di sé pozze di colore e fioriture iridescenti. Tornata poi a Berlino, ha trasferito quelli che lei chiama gli “effetti” di questi acquerelli in una serie di dipinti di grandi dimensioni, impostando la tela in orizzontale, aggiungendo acrilici diluiti con il pennello e inclinando poi il supporto per produrre gocciolamenti e correnti multidirezionali come gesto secondario.

Prendendo spunto dalla teoria della “separatrix” di Leibniz, Grosse si diletta nell’alternanza di ordine e caos che nasce dai confini visivi – momenti di collisione e di propagazione nel medium, nella materia e nelle tonalità. Il suo approccio è scientifico oltre che pittorico: l’artista analizza in anticipo le proprietà tecniche della pittura, dell’acqua e della tela, utilizzando le loro interazioni alchemiche per realizzare specifici effetti ottici. Campi di colore si osmotizzano l’uno con l’altro e si scontrano come le colture su un vetrino; un’ampia pennellata si trasforma in una matrice di neuroni. Nelle mani di Grosse i dettagli microscopici del suo lavoro emergono con vigore, dando luogo ad eminenti composizioni formali che testimoniano momenti di flusso e di improvvisa chiarezza nel suo processo creativo.

La mostra Is it You?, che comprende un’imponente installazione e un gruppo di dipinti su tela, ha aperto l’1 marzo 2020 al Baltimore Museum of Art e prosegue fino al 3 gennaio 2021. It Wasn’t Us è in mostra alla Hamburger Bahnhof-Museum für Gegenwart, a Berlino, dal 14 giugno 2020 fino al 10 gennaio 2021.

In occasione della mostra, la rassegna online Conversazioni d’autore del Museo nazionale delle arti del XXI secolo (MAXXI) avrà come protagonista Katharina Grosse, in dialogo con il Direttore MAXXI Arte Bartolomeo Pietromarchi, martedì 10 novembre alle 7pm CET. L’evento è realizzato in collaborazione con Gagosian, Accademia Tedesca Roma Villa Massimo, e Goethe-Institut.

Martedì 24 novembre alle 19:00, Grosse parteciperà a una conversazione online con lo scrittore, teorico e regista Alexander Kluge per discutere dei suoi scritti sulla teoria della “separatrix” di Leibniz e la sua influenza sui nuovi acquerelli e dipinti su tela di Grosse. La conversazione sarà moderata dagli ospiti d’eccezione Joachim Bernauer, direttore del Goethe-Insitut Italien e Julia Draganović, direttrice dell’Accademia Tedesca Roma Villa Massimo. Visitate la sezione News su gagosian.com per maggiori dettagli sulle modalità di partecipazione a questo evento gratuito.

Ufficio ​stampa

PCM Studio
Federica Farci
federica@paolamanfredi.com
+39 342 05 15 787

Gagosian
pressrome@gagosian.com
+39 06 4208 6498

Press

PCM Studio
Federica Farci
federica@paolamanfredi.com
+39 342 05 15 787

Gagosian
pressrome@gagosian.com
+39 06 4208 6498

News

Helen Frankenthaler, Distant Barrier, 1992 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Art Fair

Art Basel Miami Beach Online

Gagosian Online
November 29–December 7, 2020
Presented in four forty-eight-hour cycles
gagosian.com

OVR: Miami Beach 
VIP preview: December 2–4, 2020
Public viewing: December 4–6, 2020
artbasel.com

On the occasion of Art Basel Miami Beach 2020, which was canceled this year due to the COVID-19 pandemic, Gagosian is pleased to present works by modern and contemporary masters on two concurrent online platforms: Gagosian Online, which will feature four individually curated groupings of artworks in forty-eight-hour cycles, and OVR: Miami Beach.

Helen Frankenthaler, Distant Barrier, 1992 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Still from Alexander Kluge’s film Separatrix (2020), featuring Katharina Grosse’s painting Untitled (2019)

In Conversation

Katharina Grosse and Alexander Kluge
with Joachim Bernauer and Julia Draganović

Tuesday, November 24, 2020, 1pm EST (7pm CET)

Katharina Grosse will speak with writer, theorist, and filmmaker Alexander Kluge about his writings on Leibniz’s theory of the “separatrix” and its key impact on her new body of watercolors and paintings on canvas, on view at Gagosian, Rome, through January 7. The conversation will be moderated by special guests Joachim Bernauer, director of Goethe-Institut Italien, and Julia Draganović, director of Accademia Tedesca Roma Villa Massimo, Rome. For this online discussion, Bernauer and Draganović will be speaking live from the gallery while Grosse and Kluge will join remotely. To join, complete this form.

Still from Alexander Kluge’s film Separatrix (2020), featuring Katharina Grosse’s painting Untitled (2019)

Photo: Robert Schittko, Art/Beats

In Conversation

Katharina Grosse
Bartolomeo Pietromarchi

Tuesday, November 10, 2020, 1pm EST (7pm CET)

Katharina Grosse will speak with Bartolomeo Pietromarchi, director of Museo nazionale delle arti del XXI secolo (MAXXI) in Rome, as part of the museum’s Conversazioni d’autore series. The pair will discuss her artistic practice, including such works as Ingres Wood Seven (2018) in the MAXXI collection, as well as her latest paintings and works on paper on view in Separatrix at Gagosian, Rome, through January 7. The event is organized in collaboration with Gagosian; Accademia Tedesca Roma Villa Massimo, Rome; and Goethe-Institut, Rome. To watch the live conversation, visit MAXXI’s Facebook.

Photo: Robert Schittko, Art/Beats