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Hurly-burly

Phyllida Barlow, Rachel Whiteread, Alison Wilding

January 19–March 4, 2023
rue de Ponthieu, Paris

Installation view Artwork, left to right: © Rachel Whiteread, © Alison Wilding. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Rachel Whiteread, © Alison Wilding. Photo: Thomas Lannes

Installation view Artwork, left to right: © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view Artwork, left to right: © Rachel Whiteread, © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Rachel Whiteread, © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view Artwork, left to right: © Rachel Whiteread, © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Rachel Whiteread, © Alison Wilding, © Phyllida Barlow. Photo: Thomas Lannes

Installation view Artwork, left to right: © Alison Wilding, © Rachel Whiteread, © Phyllida Barlow. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Alison Wilding, © Rachel Whiteread, © Phyllida Barlow. Photo: Thomas Lannes

Installation view Artwork, left to right: © Phyllida Barlow, © Alison Wilding. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Phyllida Barlow, © Alison Wilding. Photo: Thomas Lannes

Installation view Artwork, left to right: © Alison Wilding, © Rachel Whiteread. Photo: Thomas Lannes

Installation view

Artwork, left to right: © Alison Wilding, © Rachel Whiteread. Photo: Thomas Lannes

Installation view with Alison Wilding, Drone 3 (2012) Artwork © Alison Wilding. Photo: Thomas Lannes

Installation view with Alison Wilding, Drone 3 (2012)

Artwork © Alison Wilding. Photo: Thomas Lannes

Works Exhibited

Phyllida Barlow, untitled: nibs, 2021 Plywood, hardboard, timber, polyurethane foam, fabric, polystyrene, plaster, wire netting, scrim, paint, and polyvinyl acetate, 49 ¼ × 21 ⅝ × 19 ⅝ inches (125 × 55 × 50 cm)© Phyllida Barlow. Photo: Alex Delfanne, courtesy the artist and Hauser & Wirth

Phyllida Barlow, untitled: nibs, 2021

Plywood, hardboard, timber, polyurethane foam, fabric, polystyrene, plaster, wire netting, scrim, paint, and polyvinyl acetate, 49 ¼ × 21 ⅝ × 19 ⅝ inches (125 × 55 × 50 cm)
© Phyllida Barlow. Photo: Alex Delfanne, courtesy the artist and Hauser & Wirth

Phyllida Barlow, TORSO, 1986–89 Glass, polythene, and Sellotape, 11 ¾ × 16 ¾ × 7 ⅞ inches (30 × 42.5 × 20 cm)© Phyllida Barlow. Photo: Alex Delfanne, courtesy the artist and Hauser & Wirth

Phyllida Barlow, TORSO, 1986–89

Glass, polythene, and Sellotape, 11 ¾ × 16 ¾ × 7 ⅞ inches (30 × 42.5 × 20 cm)
© Phyllida Barlow. Photo: Alex Delfanne, courtesy the artist and Hauser & Wirth

Rachel Whiteread, Untitled (Crease), 2021–22 Wood, metal, paint, and resin, 76 × 91 ⅜ × 41 inches (193 × 232 × 104 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Rachel Whiteread, Untitled (Crease), 2021–22

Wood, metal, paint, and resin, 76 × 91 ⅜ × 41 inches (193 × 232 × 104 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Rachel Whiteread, Untitled (Climber), 2022 Wood, metal, and paint, 153 ⅝ × 91 ⅜ × 41 inches (390 × 232 × 104 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Rachel Whiteread, Untitled (Climber), 2022

Wood, metal, and paint, 153 ⅝ × 91 ⅜ × 41 inches (390 × 232 × 104 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Rachel Whiteread, Untitled (Blue, Blue, Blue), 2021 Papier-mâché and silver leaf, in 3 parts, overall: 31 ½ × 39 ⅜ inches (80 x 100 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Rachel Whiteread, Untitled (Blue, Blue, Blue), 2021

Papier-mâché and silver leaf, in 3 parts, overall: 31 ½ × 39 ⅜ inches (80 x 100 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates Ltd

Alison Wilding, Dramonia, 2022 Patinated bronze, laminate, and acrylic, 37 ⅜ × 70 ⅞ × 33 ½ inches (95 × 180 × 85 cm)© Alison Wilding. Photo: readsreads.info, courtesy the artist and Karsten Schubert London

Alison Wilding, Dramonia, 2022

Patinated bronze, laminate, and acrylic, 37 ⅜ × 70 ⅞ × 33 ½ inches (95 × 180 × 85 cm)
© Alison Wilding. Photo: readsreads.info, courtesy the artist and Karsten Schubert London

Alison Wilding, X, 2018 Brass and patinated brass, 10 ⅝ × 9 ½ × 1 ⅜ inches (27 × 24 × 3.5 cm)© Alison Wilding. Photo: Noah Da Costa, courtesy the artist and Karsten Schubert London

Alison Wilding, X, 2018

Brass and patinated brass, 10 ⅝ × 9 ½ × 1 ⅜ inches (27 × 24 × 3.5 cm)
© Alison Wilding. Photo: Noah Da Costa, courtesy the artist and Karsten Schubert London

About

When shall we three meet again?
In thunder, lightning, or in rain?
When the hurly-burly’s done,
When the battle’s lost and won
—William Shakespeare

Gagosian Paris is pleased to present an exhibition of sculpture by Phyllida Barlow, Rachel Whiteread, and Alison Wilding. Hurly-burly realizes the artists’ long-standing desire to collaborate on an exhibition.

Hurly-burly features several works by each artist, providing viewers with a rare opportunity to compare their diverse but interconnected approaches. It is presented not as a conversation between the works themselves, but rather as a record of an ongoing exchange between the personalities and visions behind them. None of the artists saw or discussed what the others were making during the run-up to the exhibition.

The exhibition’s title makes playful reference to another famous alliance, in the opening scene of Shakespeare’s Macbeth. It also alludes to the ever-changing character of the art world that Barlow, Whiteread, and Wilding have observed and participated in over the course of their careers. Wilding first met Barlow in London in 1969 when the latter was teaching at Chelsea College of Art, and both met Whiteread in 1982 at Brighton Polytechnic, where they were her tutors. Barlow and Wilding left Brighton to teach at London’s Slade School of Fine Art, and Whiteread followed them there to study sculpture and worked as an assistant to both. The three have remained friends throughout the forty years since.

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Quand nous réunirons-nous toutes trois ?
Serait-ce par le tonnerre, les éclairs ou
la pluie ? 
Quand le bacchanal aura cessé, 
Quand la bataille sera gagnée et perdue. 
—William Shakespeare

Gagosian Paris a le plaisir de présenter une exposition de sculptures de Phyllida Barlow, Rachel Whiteread et Alison Wilding. Hurly-burly est le résultat d’un désir de longue date des artistes de réaliser une exposition collaborative.

Hurly-burly présente plusieurs œuvres de chaque artiste, proposant aux visiteurs la rare occasion de comparer leurs approches diverses mais toutefois, interconnectées. L’exposition n’est pas conçue tel un dialogue entre les œuvres elles-mêmes, mais plutôt comme le constat dun échange permanent entre les personnalités et leurs visions. Les artistes n’ont ni vu les œuvres ni discuté de de celles-ci en amont de l’exposition.

Le titre de l’exposition fait référence de manière ludique à une autre alliance célèbre, la scène d’ouverture de Macbeth de Shakespeare. Il fait également allusion au caractère changeant du monde de l’art que Barlow, Whiteread et Wilding ont observé et soutenu au cours de leurs carrières. Wilding et Barlow se sont connues à Londres en 1969, alors que cette dernière enseignait au Chelsea College of Art, toutes deux ont ensuite rencontré Whiteread en 1982 à Brighton Polytechnic, où elles étaient ses professeures. Barlow et Wilding ont quitté Brighton afin d’enseigner à la Slade School of Fine Art de Londres, où Whiteread leur a succédé pour y étudier la sculpture et fut leur assistante. Les trois artistes sont restées amies depuis ces quarante dernières années.

Barlow utilise habituellement des matériaux du quotidien et industriels tels que le ciment, le contreplaqué et le polystyrène, produisant des structures anti-monumentales souvent peintes de couleurs vives et dans lesquelles les méthodes de construction sont laissées stratégiquement visibles. Dans les œuvres à grande échelle, tel que modernsculpture (2022), l’artiste joue avec l’équilibre, la masse et le volume, testant et réorientant notre négociation du monde physique, tandis que des œuvres plus petites, tel que TORSO (1986–89), englobent des allusions corporelles ironiques (cette dernière est également l’une de ses plus anciennes sculptures existantes).

Dans ses sculptures récentes, Whiteread s’oriente vers l’utilisation de formes plus ouvertes et naturelles que ses œuvres précédentes moulées, mais conserve une sensibilité aigue pour les détails des objets. Untitled (Crease) (2021–22) et Untitled (Climber) (2022) sont réalisées à partir de branches et de lattes de bois trouvées et liées entre elles grâce à d’autres matériaux. Enduites de peinture ménagère opaque, les structures d’un blanc fantomatique font allusion à des récits inachevés ou interrompus tout en évoquant une présence corporelle fugace. Dans des œuvres murales plus petites, comme Untitled (Lemon and Blue) (2020–22) et Untitled (Blue, Blue, Blue) (2022), Whiteread revient au processus de moulage, conférant à des surfaces industrielles familières des couleurs et des finitions inattendues.

Wilding, pour sa part, combine une grande variété de techniques et de formes, aboutissant à des sculptures abstraites éclectiques centrées sur le contraste, la dissimulation et la dissemblance des matériaux. Elle rejette toute hiérarchie traditionnelle des matériaux, qu’ils soient industriels ou organiques, récupérés ou réaffectés, et son choix découle souvent de ce qui lui est disponible à un moment donné. X (2018) est une élégante double boucle segmentée en laiton patiné ressemblant à un coquillage ou à un escalier en spirale, alors que le sommet en pointe du tube en cuivre de Pointing (2021) le transforme en une couronne archétypale étendue, s’élevant d’une base en hexagramme en azobé.

Un catalogue comprenant des essais de l’historienne et critique d’art Briony Fer et de l’auteure et journaliste Louisa Buck sera publié à l’occasion de l’exposition.

Presse

Gagosian
press@gagosian.com

Toby Kidd
tkidd@gagosian.com
+44 20 7495 1500

Karla Otto
Ottavia Palomba
ottavia.palomba@karlaotto.com
+33 1 42 61 34 36

rue de Ponthieu, Paris

4 rue de Ponthieu
75008 Paris

+33 1 75 00 05 92
paris@gagosian.com

Hours: Tuesday–Saturday 10:30–6:30

Press

Gagosian
press@gagosian.com

Toby Kidd
tkidd@gagosian.com
+44 20 7495 1500

Karla Otto
Ottavia Palomba
ottavia.palomba@karlaotto.com
+33 1 42 61 34 36

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

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

Rachel Whiteread, Kunisaki House, 2021–22, concrete, 102 ½ × 305 ⅛ × 191 ⅜ inches (260 × 775 × 486 cm)

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Rachel Whiteread

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Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

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Rachel Whiteread and Ann Gallagher

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Piero della Francesca, The Baptism of Christ, after 1437, egg on poplar.

Rachel Whiteread on Piero della Francesca

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