Alternate Meanings in Film and Video
You’re only as young as the last time you changed your mind.
Gagosian is pleased to present Broadcast: Alternate Meanings in Film and Video, an online exhibition of artists’ films and videos viewable exclusively on gagosian.com. The exhibition will be organized into a series of “chapters,” each lasting two weeks. The first chapter begins on Tuesday, May 19, 2020.
Broadcast: Alternate Meanings in Film and Video employs the innate immediacy of time-based art to spark reflection on the here and now, taking the words of famed psychologist and countercultural icon Timothy Leary as its starting point. In the midst of the political tumult of the late 1960s, Leary’s phrase “turn on, tune in, drop out” became a mantra for a generation defined by its upending of convention. In this exhibition, the slogan transcends its original link with the psychedelic experience to address the impulse to find alternative models for life and thought during times of crisis and uncertainty.
The featured works consider alternate meanings of Leary’s words under three distinct headings: “turn on” features films and videos that explore levels of self-awareness; “tune in” comprises works that investigate or dramatize interactions with the external world; and “drop out” describes artistic efforts to enact groundbreaking change.
Some of the featured video works present artistic ruminations on alternative forms of introspection. In Cutaways (2012), Taryn Simon appears to be a wayward test subject, staring silently at her interviewers on the Prime Time Russia news show when, in fact, the sequence was recorded as extra footage to finesse postproduction. Richard Serra’s Hand Catching Lead (1968) records the artist attempting to grasp—and thus modify—pieces of the metal dropped from above.
Other works in the exhibition approach their ostensible subjects through meditations on the moving image as document. To film Domestic (as long as it lasts) (2002), Douglas Gordon kicked a camera around his New York apartment. The resultant kinetic footage, in which the artist’s boot comes in and out of view, deteriorates gradually over the course of fourteen minutes until the camera fails. In Adam McEwen’s four-channel loop Escape from New York (2014) (named for the 1981 John Carpenter film), journeys through the city’s Lincoln, Holland, Battery, and Midtown Tunnels end abruptly as each car resurfaces beyond the island of Manhattan. And hinging on the contextual possibilities and oddities of television is Chris Burden’s The TV Commercials 1973–77 (1973–77): in the mid-1970s, Burden aimed to break the medium’s “omnipotent stranglehold of the airwaves” by purchasing commercial spots, which he used to air footage ranging from recordings of his own performance works to sequences that toy with the platform’s characteristic qualities.
Adam McEwen’s Escape from New York is currently installed in the storefront windows of Gagosian Park & 75 in New York.
The exhibition will include works by Chris Burden, Rachel Feinstein, William Forsythe, Theaster Gates, Piero Golia, Douglas Gordon, Damien Hirst and Angus Fairhurst, Carsten Höller, Harmony Korine, Vera Lutter, Man Ray, Adam McEwen, Nam June Paik, Steven Parrino, Sterling Ruby, Ed Ruscha, Richard Serra, Taryn Simon, and others.
Adam McEwen, Escape from New York, 2014 (still from “Battery Tunnel”) © Adam McEwen
March 29–May 20, 2023
Gagosian Shop, London
Giuseppe Penone is taking over the Gagosian Shop in London’s historic Burlington Arcade with Somersault. Posters, books, and catalogues, including historical items, are presented alongside selected works on paper by the artist to coincide with his exhibition at Galleria Borghese, Rome, on view through May 28, 2023.
In a diverse body of sculpture, performance, photography, and works on paper spanning more than fifty years, Penone, a practitioner of Arte Povera, explores growth, respiration, and other involuntary natural processes, drawing attention to the relationship between man and nature. The works on view in the Shop include Somersault (2020), a suite of twenty-one drypoint etchings; the print Identity (2018); and the iconic photograph Rovesciare i propri occhi (Reversing One’s Eyes) (1970), in which Penone was photographed wearing custom-made mirrored contact lenses.
Highlights of the presentation also include two rare 1970s exhibition posters and numerous catalogues and monographs on the artist, including The Inner Life of Forms, published by Gagosian in 2018, and Le Bois Sacré du Couvent de la Tourette (2022), an artist’s book inspired by the recent installation at the monastery designed by Le Corbusier in Éveux, France.
Giuseppe Penone, Rovesciare i propri occhi (Reversing One’s Eyes), 1970 © Giuseppe Penone
Impossible Architecture: Chris Burden’s Unrealized Projects
Vicky Richardson and Yayoi Shionoiri
Tuesday, April 4, 2023, 7pm
Burlington Arcade, London
Join Gagosian for a conversation between Vicky Richardson, head of architecture and Drue Heinz Curator at the Royal Academy of Arts, London, and Yayoi Shionoiri, executive director of the Estate of Chris Burden. The pair will discuss the recently published book Poetic Practical: The Unrealized Work of Chris Burden, which documents sixty-seven projects of varying scope and ambition that Burden was unable to complete during his lifetime. They will consider how the artist challenged not only principles of physics but also the lines between art and architecture, and evaluate Burden’s enduring legacy in his own works and those of others.
Left: Vicky Richardson. Right: Yayoi Shionoiri
David Adjaye, Frida Escobedo, Julian Rose
Tuesday, April 4, 2023, 6pm
New School, New York
Join Gagosian and Judd Foundation for a conversation between architects David Adjaye and Frida Escobedo, moderated by architect and critic Julian Rose. The trio will closely examine some of Donald Judd’s rigorously developed architectural projects while considering the question “What does it mean for an artist to make architecture?” They will discuss the agency of art and architecture alike—confronting their potentials and their limits—and the significance of taking art outside the museum and into the city or landscape. Adjaye’s current projects include the design of the new Studio Museum in Harlem, New York, while Escobedo is the architect for the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing of the Metropolitan Museum of Art, New York.
Left: David Adjaye. Photo: Alex Fradkin, courtesy Adjaye Associates. Middle: Frida Escobedo. Photo: Carlos Torres. Right: Julian Rose
Sally Mann and Benjamin Moser
During the 2022 edition of Paris Photo, Sally Mann and Benjamin Moser sat down for an intimate conversation as the first event in Gagosian’s Paris Salon series, initiated by Jessie Fortune Ryan. In light of Moser’s Pulitzer Prize–winning biography of Susan Sontag, Sontag: Her Life and Work (2019), recently translated into French, the two discussed the power and responsibility tied up in their respective practices of photography and writing.
Gagosian Quarterly Spring 2023
The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.
Sterling Ruby: The Frenetic Beat
Ester Coen meditates on the dynamism of Sterling Ruby’s recent projects, tracing parallels between these works and the histories of Futurism, Constructivism, and the avant-garde.
Louise Bonnet, Johanna Burton, and Celinda M. Vázquez
Join Gagosian for a panel discussion with Louise Bonnet; Johanna Burton, director of the Museum of Contemporary Art, Los Angeles; and Celinda M. Vázquez, chief external affairs officer of Planned Parenthood Los Angeles (PPLA), on the occasion of Bonnet’s donation to PPLA of the proceeds from the sale of her painting Red Study (2022).
Incontri: Paolo Roversi and Poliform
Poliform, an Italian furniture brand, has launched a communication project called Incontri that aims to broaden the company’s reach to new forms of expression. In the first chapter of the project, Poliform collaborated with Paolo Roversi, a renowned contemporary photographer, to create a series of photographs showcasing the souls of both design objects and human subjects. Here, Poliform CEO Giovanni Anzani speaks with the Quarterly’s Wyatt Allgeier about the partnership.
Glenn Brown: From the Inside Out
Novelist Andrew Winer reports on the formal, conceptual, historical, and philosophical perspectives embedded in Glenn Brown’s latest paintings and drawings. The two talked after the opening of the artist’s recent New York exhibition Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent.
In an excerpt from his forthcoming monograph, Richard Wright pens a personal and philosophical text about painting.
Hao Liang: Emaciation Now: Paintings of My Contemporaries
Travis Diehl pens an essay on Hao Liang’s latest paintings.
Adam McEwen: An Act of Love
Contemporary artists Adam McEwen and Jeremy Deller met up online over the holiday season to discuss McEwen’s upcoming exhibitions in London and Rome. McEwen delves into the motivations and criteria behind his work, as well as the challenges and complexities of memorializing the living.
Michael Slenske pays tribute to the life and work of artist Ashley Bickerton.
Harold Ancart and Andrew Winer
Harold Ancart speaks with novelist Andrew Winer about being present, finding freedom in tension, and pathological escapism.
Red, White, Yellow, and Black: 1972–73
In December 1972 and April 1973, Shigeko Kubota, Mary Lucier, Cecilia Sandoval, and Charlotte Warren conceived of “multimedia concerts” at The Kitchen, New York, under the name Red, White, Yellow, and Black. Here, Lumi Tan, former senior curator at The Kitchen, and Lia Robinson, director of programs and research at the Shigeko Kubota Video Art Foundation, speak with the Quarterly’s Wyatt Allgeier about the project.