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Myth-Maker
Alexander Wolf explores the economic, social, and methodological concerns of Piero Golia’s art practice, revealing the real-world implications of the artist’s experiments with form and process.
galleryplatform.la
July 30–August 6, 2020
Sometimes you want to look back at what you did, and then you realize that you only care about the future.
—Piero Golia
Gagosian is pleased to present recent work by Piero Golia online for galleryplatform.la. Golia transforms everyday objects and commonplace events into exceptional works of art that defy established conventions and build narratives. His diverse practice includes both artworks that take physical form, often at an architectural scale, and others that are immaterial or conceptual. For his most recent project, Golia hired a painter to illustrate a set of eight porcelain plates with images from his past artistic output. Each is unique in terms of content, size, and shape; together, they become a self-portrait of the places, objects, and interventions constituting his life and work. From his celebrated sculpture Untitled (My Gold Is Yours), exhibited at the Venice Biennale in 2013, to a 2019 intervention involving the hiring of a landscape painter and an airplane, the set comprises a narrative retrospective of the artist’s career.
Piero Golia with his set of eight porcelain plates The Best Is Yet to Come (2020), Los Angeles, 2020. Artwork © Piero Golia. Photo: Joshua White/JWPictures.com
Alexander Wolf explores the economic, social, and methodological concerns of Piero Golia’s art practice, revealing the real-world implications of the artist’s experiments with form and process.
Andrew Berardini reflects on Piero Golia’s Intermission Paintings, relics from the first phase of the artist’s three-part sculptural performance The Comedy of Craft.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.