Art Fair
May 21–23, 2021, booth 1d30
Hong Kong Convention and Exhibition Centre
www.artbasel.com
Gagosian is pleased to participate in Art Basel Hong Kong with a presentation of modern and contemporary painting and sculpture by gallery artists. New paintings by Georg Baselitz, Alex Israel, Ed Ruscha, and Sarah Sze are featured alongside exceptional works in a range of mediums by Louise Bonnet, Theaster Gates, Henry Moore, Nam June Paik, and others, uncovering formal and conceptual innovations and associations that span genres and aesthetic approaches.
The dazzling radiant composition of Jennifer Guidi’s oil, acrylic, and sand painting The Divine Feminine (Painted White Sand SF #3B, Pink-Orange Gradient Fill) (2021) finds a visual echo in the intersecting vertical and diagonal strips of photographic imagery in Sarah Sze’s bold new collage painting Tell it Slant (2021), while the polychrome graphic burst of Mark Grotjahn’s color pencil drawing Untitled (Full Color Butterfly 54.11) (2020) has its literal opposite in Damien Hirst’s hypnotic canvas Martyr (2019), a blue-and-white mandala made of myriad concentric circles of dazzling butterfly wings preserved in household gloss paint.
Among the featured figural paintings are Tom Wesselmann’s distinctive oil-and-graphite composition Still Life with Odalisque and Goldfish (1998–99), which depicts a tabletop figurine within a colorful domestic arrangement, and Georg Baselitz’s large oil Noch ein Orangnesser (Another Orange Eater) (2020), where the artist uses a transfer technique to render an inverted male figure that evokes his Orangenesser (Orange Eater) series from 1980–82. A standout from the selection of sculptures is Takashi Murakami’s Oval Buddha Silver (2008–11), a gleaming metallic icon that combines material brilliance with pop-cultural style and an allusion to the quest for enlightenment.
Featured artists include Balthus, Georg Baselitz, Louise Bonnet, Helen Frankenthaler, Theaster Gates, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Damien Hirst, Tetsuya Ishida, Alex Israel, Henry Moore, Takashi Murakami, Yoshitomo Nara, Nam June Paik, Richard Prince, Ed Ruscha, Richard Serra, Rudolf Stingel, Spencer Sweeney, Sarah Sze, Tom Wesselmann, and Jonas Wood.
Featured works by Georg Baselitz, Helen Frankenthaler, Theaster Gates, Damien Hirst, Nam June Paik, Spencer Sweeney, and Sarah Sze are also accessible in the Art Basel Hong Kong Online Viewing Rooms at artbasel.com and on gagosian.com.
To receive a pdf with detailed information on the works, please contact the gallery at inquire@gagosian.com.
To attend the fair, purchase tickets at artbasel.com.
Download the full press release in English (pdf), Simplified Chinese (pdf), or Traditional Chinese (pdf)
Georg Baselitz, Noch ein Orangenesser, 2020 © Georg Baselitz
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
Join Theaster Gates in his studio as he prepares for an upcoming exhibition at Gagosian, New York. In this video, shot on location in Chicago during the tumultuous weeks of protest in late spring 2020, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.
Richard Calvocoressi narrates a tour of an exhibition of new paintings by Georg Baselitz in San Francisco, describing the visual effect of these luminous compositions and explaining their relationship to earlier works by the artist.
Alexander Wolf explores the intersection of life and technology as it exists in the work of Nam June Paik, revealing the artist’s ability to balance technological concerns with humanity through music, performance, expressive painting, and images from nature.
Richard Armstrong, director emeritus of the Solomon R. Guggenheim Museum and Foundation, joins the Quarterly’s Alison McDonald to discuss his election to the board of the Helen Frankenthaler Foundation, as well as the changing priorities and strategies of museums, foundations, and curators. He reflects on his various roles within museums and recounts his first meeting with Frankenthaler.
In conjunction with My Anxious Self, the most comprehensive survey of paintings by the late Tetsuya Ishida (1973–2005) to have been staged outside of Japan and the first-ever exhibition of his work in New York, Gagosian hosted a panel discussion. Here, Alexandra Munroe, senior curator at large, Global Arts, Solomon R. Guggenheim Museum and Foundation, and Tomiko Yoda, Takashima Professor of Japanese Humanities at Harvard University, delve into the societal context in which Ishida developed his work, in a conversation moderated by exhibition curator Cecilia Alemani.
Gagosian hosted a conversation between Louise Bonnet and Stefanie Hessler, director of Swiss Institute, New York, inside 30 Ghosts, the artist’s exhibition of new paintings at Gagosian, New York. The pair explores the work’s recurring themes—the cycles of life, continuity and the future, and death—and discuss how the conceptual and pictorial structures Bonnet borrows from seventeenth-century Dutch still-life painting converge to form a metaphor for hard labor, basic animal urges, and the things we often try, but fail, to hide.
Francine Prose ruminates on temporality, fragility, and strength following a visit to Sarah Sze’s exhibition Timelapse at the Solomon R. Guggenheim Museum, New York.
Scholar and researcher Yves Guignard, who is working on Balthus’s archives for a revision of the Balthus catalogue raisonné, examines the artist’s engagement with drawing, arguing for a more concerted attention to these works than scholarship has paid them.
In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.
In this video, Sarah Sze elaborates on the creation of her solo exhibition Timelapse, on view through September 10, 2023. The show features a series of site-specific installations throughout the Solomon R. Guggenheim Museum, New York, that explore her ongoing reflection on how our experience of time and place is continuously reshaped in relationship to the constant stream of objects, images, and information in today’s digitally and materially saturated world. In Sze’s reimagination of the Guggenheim’s iconic architecture, designed in the 1940s by Frank Lloyd Wright, the building becomes a public timekeeper reminding us that timelines are built through shared experience and memory.
Invited to exhibit at Château La Coste in Provence, Jennifer Guidi created a new body of work that engaged with the cantilevered architecture of the gallery building, designed by Richard Rogers, and with the artistic heritage of the region. Amie Corry reports on the evolution of the exhibition and on its place within Guidi’s larger practice.
