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Installation

Piero Golia

February 11–March 11, 2021
Dries Van Noten, Los Angeles
driesvannoten-la.com

Piero Golia’s animatronic sculpture The Dog and the Drop (2013) is on view at the Little House, an exhibition space in the recently opened Dries Van Noten store in Los Angeles. Golia’s practice is heterogeneous and unpredictable, employing diverse mediums and methods to spark chain reactions that, even when they leave no objects or images behind, have the capacity to alter our perception.

Piero Golia, The Dog and the Drop, 2013 © Piero Golia

Piero Golia, The Dog and the Drop, 2013 © Piero Golia

Related News

Piero Golia’s performance “The End” from Roman Trilogy at La Fondazione, Rome, 2020 © Piero Golia. Photo: Daniele Molajoli

In Conversation

Piero Golia
Pier Paolo Pancotto

Thursday, December 10, 2020, 12pm est (6pm cet)

Piero Golia will speak with curator Pier Paolo Pancotto in conjunction with the publication of a new book about the artist’s recent work at La Fondazione, Rome. On January 18, 2020, a team of construction workers with jackhammers appeared at the institution and rather than conducting maintenance work, as might be expected, were directed by Golia to engrave the phrase “The End” into the floor as the third and final performance of his Roman Trilogy. Over the course of the work’s production, the unrelenting drilling disrupted the surrounding commercial gallery spaces—both literally and conceptually—causing the paintings hanging on the walls to shake uncontrollably. To watch the live conversation conducted in Italian, visit www.youtube.com.

Piero Golia’s performance “The End” from Roman Trilogy at La Fondazione, Rome, 2020 © Piero Golia. Photo: Daniele Molajoli

Nathaniel Mary Quinn, Breonna Taylor, 2020 © Nathaniel Mary Quinn

Support

Louise Bonnet, Piero Golia, Meleko Mokgosi, Nathaniel Mary Quinn, and Nancy Rubins in
Show Me the Signs

November 10–30, 2020

Show Me the Signs is an online benefit auction hosted by Artfizz to support the families of Black women killed by the police. Over 100 artists have created pieces in the form of protest signs for the auction, with 100 percent of the proceeds going to the African American Policy Forum’s #SayHerName Mothers Network. Work by Louise Bonnet, Piero Golia, Meleko Mokgosi, Nathaniel Mary Quinn, and Nancy Rubins is included. To register to bid, visit artfizz.com.

Nathaniel Mary Quinn, Breonna Taylor, 2020 © Nathaniel Mary Quinn

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

galleryplatform.la

Piero Golia
The Best Is Yet to Come

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

Adriana Varejão: In the Studio

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Adriana Varejão: In the Studio

Join Adriana Varejão at her studio in Rio de Janeiro as she prepares for her upcoming exhibition at Gagosian in New York. She speaks about the inspirations for her “tile” paintings, from Portuguese azulejos to the Brazilian Baroque to the Talavera ceramic tradition of Mexico, and reveals for the first time her unique process for creating these works.

Gerhard Richter’s Helen (1963) on the cover of Gagosian Quarterly, Spring 2021

Now available
Gagosian Quarterly Spring 2021

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David Adjaye (left). Photo: Chris Schwagga. Zoë Ryan (right). Photo: Clare Britt

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Gisele Castro and Nathaniel Mary Quinn at exalt’s annual gala, New York, 2017

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Edmund de Waal and Theaster Gates

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Join the artists for an extended conversation about their most recent exhibitions, their forebears in the world of ceramics, and the key role that history plays in their practices.

Installation view, Meleko Mokgosi, Democratic Intuition

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Meleko Mokgosi and Louise Neri

On the occasion of Meleko Mokgosi’s recent exhibition Democratic Intuition, the artist speaks with Louise Neri about notions of pedagogy, the nation state, and value systems wrapped up in his visual epic.

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The Iconoclasts: Part 1

The first installment of a four-part story cycle by Anne Boyer.

From left to right: Carolyn Christov-Bakargiev, Elvira Dyangani Ose, and Sarah Cosulich

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We invited Carolyn Christov-Bakargiev to select two outstanding arts professionals to join her in a conversation about their career trajectories, current projects, and goals for the future.

Hank Willis Thomas and Chitose Abe

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Artist Hank Willis Thomas and Chitose Abe, the creative director and founder of Sacai, speak with the Quarterly’s Wyatt Allgeier about their recent collaboration.

The Tribuna, c. 1560, Museo di Palazzo Grimani, Venice. Photo: courtesy of Polo Museale del Veneto

Venetian Heritage

Venetian Heritage, a philanthropic organization dedicated to the restoration and preservation of Venice’s cultural treasures, has pursued its mission for two decades. Here, the architect Peter Marino, the organization’s chairman, joins Toto Bergamo Rossi, director of the Venice office, to tell Gagosian director Jason Ysenburg about the history and future of the organization and its program for the 2019 Venice Biennale.

The dining room, lined with an early nineteenth-century papier peint and featuring a large crystal chandelier in the center, seen from the library

Studio Peregalli

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