A Tree in the Wood
May 26, 2018–April 28, 2019
Yorkshire Sculpture Park, UK
Yorkshire Sculpture Park will present an extensive new exhibition by Giuseppe Penone which aims to trace his evolving and deeply thoughtful investigation of sculpture’s intimate connections to the organic world. Works drawn from five decades of his career, from the late 1960s to the present day will be on display, including the thirteen-meter-high Vene di pietra tra i rami (2015), which has never been previously exhibited in the UK.
Giuseppe Penone, Alpi Marittime – Continuerà a crescere tranne che in quel punto (Maritime Alps – It Will Continue to Grow except at That Point), 1968–2003 © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris
Giuseppe Penone Website
Giuseppe Penone has launched a website, giuseppepenone.com, offering an in-depth overview of his career to audiences everywhere. The bilingual (English/Italian) site features hundreds of works made over five decades—including many in major public collections and from the artist’s personal collection—which are searchable both chronologically and thematically. Designed and developed by Wiedner Studio, the site also contains extensive biographical information, writings by the artist, and a news section.
View of Giuseppe Penone’s website, giuseppepenone.com
May 22–November 21, 2021
Presented by the Vuslat Foundation, Giuseppe Penone’s The Listener (2008) has been installed in Venice as part of the 17th Biennale Architettura of La Biennale di Venezia. This year’s exhibition brings together artists and architects to explore the question “How Will We Live Together?” At just over twenty-nine feet high, Penone’s sculpture, comprising a bronze elm tree cradling a heavy stone, is partially submerged in the Venetian lagoon at the Arsenale site.
Giuseppe Penone, The Listener, 2008, installation view, Gaggiandre, Arsenale, La Biennale di Venezia, Venice © Giuseppe Penone/2021 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Sebastiano Pellion di Persano, courtesy Vuslat Foundation
March 25–September 12, 2021
Piazza della Signoria, Florence, Italy
Giuseppe Penone’s Abete (Fir) is installed in the Piazza della Signoria in Florence, Italy, to celebrate Dantedì, the day dedicated to the Florentine poet Dante Alighieri, and the 700th anniversary of his death. The trunk and branches are made of cast stainless steel, encircled by a lattice with eighteen cast bronze elements. At just over 72 feet high, Penone’s sculpture is the largest ever installed in a public space in Florence and anticipates an upcoming exhibition of his work at the Gallerie degli Uffizi entitled Alberi In-versi (In-verse Trees), opening July 6.
Giuseppe Penone, Abete (Fir), 2013, installation view, Piazza della Signoria, Florence, Italy © Giuseppe Penone/2021 Artists Rights Society (ARS), New York/ADAGP, Paris
Tetsuya Ishida’s Nihilist Realism
Mika Yoshitake details the economic, psychological, and cultural conditions that gave rise to Tetsuya Ishida’s unique strain of Japanese postwar realism.
Gagosian Quarterly Summer 2022
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
Tetsuya Ishida: Painter of Modern Life
Yūko Hasegawa explores the fantastical convergences and amalgamations in Tetsuya Ishida’s paintings, their connections to manga and advertising imagery, and the shift that occurred in the artist’s work as he moved from acrylic to oil paint in 2000.
Louise Bonnet and Dodie Bellamy
Poet and novelist Dodie Bellamy visits the artist Louise Bonnet at her Los Angeles studio as she prepares for an exhibition of new works in Hong Kong and the inclusion of one of her paintings in the 59th Biennale di Venezia. The two discuss the power of horror, the intensity of memory, and their creative processes.
Receptacles of Memory
Lara Mashayekh speaks with artist Albert Chong and scholar Marci Kwon about the role of the archive and mysticism, their lived experiences as professionals in the art world, and their forthcoming endeavors.
Urs Fischer: Lovers
The exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, brings together works from international public and private collections as well as from the artist’s own archive, alongside new pieces made especially for the exhibition. To mark this momentous twenty-year survey, the artist sits down with the exhibition’s curator, Francesco Bonami, to discuss the installation.
Takashi Murakami and RTFKT: An Arrow through History
Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.
Artist to Artist: Pat Steir and Sarah Sze
On the occasion of her exhibition of recent paintings, presented at Gagosian in Rome, Pat Steir met with fellow artist Sarah Sze for a wide-ranging discussion—from shared inspirations and influences to the role of chance, contingency, place, and time in painting.
On the occasion of an exhibition at Gagosian, New York, from May 5 to June 18, 2022, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.
The artist speaks with author Nalo Hopkinson about what it means to depict the body, the struggles to embark on new projects, and the contours of space and place in the creation of fiction and art.
Mary Weatherford: The Flaying of Marsyas
Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (1570–76). Francine Prose traces the development of these works.
Simon Hantaï: Les blancs de la couleur, la couleur du blanc
Anne Baldassari reflects on the art historical influences and radical breaks reflected in the artist’s work with color.