Art Fair
May 27–29, 2022, booth 1C15
Hong Kong Convention and Exhibition Centre
www.artbasel.com
Gagosian is pleased to participate in Art Basel Hong Kong 2022 with an ensemble of contemporary works by international artists.
Gagosian’s presentation will include Zeng Fanzhi’s expansive new painting, Untitled (2022). In Zeng’s canvases, allover linear networks generate dynamic rhythms and feature luminous chromatic shifts. Untitled represents a culmination of twenty years of investigating the expressive potentials of abstraction, in works ranging from landscapes to compositions with intertwined foliage, figures, and animals, to purely nonrepresentational explorations of painterly form.
Leneh (2020), from Georg Baselitz’s Springtime series (2020–21), features the motif of the inverted figure that the painter has explored over the past five decades and juxtaposes broad, flowing brushstrokes in bright, vernal colors with the direct imprint of a pair of nylon stockings. The title is an anagram of “Helen”—a reference to Helen Frankenthaler. Another painting that simultaneously represents and obscures the female figure is Ewa Juszkiewicz’s Lace Leaves (2022). Emulating the modes of historical European portraiture while subverting genre conventions, Juszkiewicz hides the faces of her subjects behind drapery or flowers. Here, the sitter’s face is replaced by anemone and anthurium (laceleaf) flowers and leaves.
Tetsuya Ishida’s haunting painting The Visitor (1999) pictures the head of a bearded man merged with a nautilus shell within the confined space of a door’s threshold. Realized in fine illustrative detail, its amalgamation of human and animal forms conveys the artist’s visionary imagination while reflecting the anxieties of his generation. Takashi Murakami’s Korpokkur in the Forest (2019) is titled after an ancient race of small people in the folklore of the Ainu of Japan’s northern islands. The painting’s profusion of colorful, smiling flowers is rendered in Murakami’s Superflat style, which is inspired by both manga and fine-art traditions.
The gallery’s presentation will also feature works by artists including Louise Bonnet, Edmund de Waal, Urs Fischer, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Simon Hantaï, Hao Liang, Damien Hirst, Thomas Houseago, Alex Israel, Rick Lowe, Albert Oehlen, Nam June Paik, Giuseppe Penone, Rudolf Polanszky, Sterling Ruby, Ed Ruscha, Jenny Saville, Jim Shaw, Rudolf Stingel, Spencer Sweeney, and Rachel Whiteread.
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.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Albert Oehlen in conversation with Max Dax.
Thomas Demand looks at Rudolf Stingel’s Vineyard Paintings.
Ahead of her exhibition over the summer at the National Portrait Gallery, London, Jenny Saville met with the novelist Douglas Stuart to discuss Glasgow, the beauty and blemishes of bodies, and their respective creative processes.
For Art Basel 2025, the fair has commissioned Katharina Grosse to create CHOIR, a large-scale, site-responsive painting for the Messeplatz Project. The curator for the project, Natalia Grabowska, met with Grosse in her studio in Berlin ahead of the work’s creation to talk through the process; Grosse’s approach to the specifics of the Messeplatz’s architecture; and the importance of unscripted encounters.
From her Judenplatz Holocaust Memorial in Vienna to her casting of George Orwell’s World War II office at the BBC, Rachel Whiteread has long engaged with the emotional and historical complexities of addressing deeply troubling moments in human history through art. This month, Whiteread will debut a new work for the inaugural exhibition at the Goodwood Art Foundation in Sussex, England.
Swiss Institute, New York, is staging an exhibition that places the paintings of Louise Bonnet and the sculptures and videos of Elizabeth King in dialogue. Ahead of the exhibition’s opening this May, Stefanie Hessler—the show’s curator and the Institute’s director—met with the two artists to discuss animacy, gesture, and the liminal space between life and lifelikeness.
On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.
Bartolomeo Sala considers the brief yet revolutionary dreams of Arte Povera. On the occasion of a retrospective at the Bourse de Commerce, Paris, he explores the historical conditions that gave rise to the radical midcentury movement and the warnings we might glean today from its legacy.
Sam Wasson brings his deep knowledge of cinema, Hollywood, and film noir to Alex Israel’s new paintings of Los Angeles.
