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Günther Förg, Christopher Wool et al.

A Collection in Progress. Nature is what we see (group show)
MASI Lugano, Lugano
29 March – 16 June 2019

In spring, the Collezione Giancarlo e Danna Olgiati will launch a new production of A Collection in Progress, with important new acquisitions including artworks by Harold Ancart, Roberto Cuoghi, Enrico David, Roni Horn, Jannis Kounellis, Ugo Rondinone. The exhibition demonstrates how every year these important collectors manage to promote and integrate their collection with new artworks of outstanding quality.

MASI Lugano


Additional:

Günther Förg

Who's afraid of bauhaus? Kritische Reflexionen zum 100. (group show)
Museum Ratingen, Ratingen
15 February - 12 May 2019


Günther Förg

Photographic Recall: Italian Rationalist Architecture in Contemporary German Art (group show)
Anderson Gallery, University at Buffalo, Buffalo
9 February - 12 May 2019

How do contemporary artists use photography to engage with Italian architecture of the fascist era? What lures them today into the remains of this “rationalist” style? Where is the tipping point between a self-proclaimed, critical observation and complicity with Mussolini’s propaganda project of the 1920s-40s?

These and other questions occupy the minds of the seven artists in “Photographic Recall.” The exhibition is the first to showcase these mostly German photographers, all independently drawn to Italian rationalist architecture and urban spaces. The work by Caterina Borelli, Johanna Diehl, Günther Förg, Eiko Grimberg, Thomas Ruff, Hans-Christian Schink and Heidi Specker represents themes that vary in style from street photography and lush interiors to synthetic architectural documentation and carefully pre-planned and measured urban scenes.

Their use of media ranges from analog to digital processes, black-and-white to color imagery, and a variety of works made in series. Each artist engages these built environments with his/her own visual language, demonstrating photography’s intense involvement with aesthetic and conceptual trends in contemporary art of the past three decades.

Anderson Gallery, University at Buffalo, Buffalo


Christopher Wool

Maybe Maybe Not. Christopher Wool and the Hill Collection (solo show)
Hill Art Foundation, New York
9 February - 28 June 2019

Installation view of Maybe Maybe Not: Christopher Wool and the Hill Collection © Christopher Wool. Photograph by Matthew Herrmann © Hill Art Foundation
Installation view of Maybe Maybe Not: Christopher Wool and the Hill Collection © Christopher Wool. Photograph by Matthew Herrmann © Hill Art Foundation

Maybe Maybe Not presents an emblematic selection of the work of American artist Christopher Wool. It inaugurates the exhibition program of the Hill Art Foundation, a cultural center conceived to offer broad public access to the seminal collection of contemporary and historical works assembled by J. Tomilson and Janine Hill over the past four decades.

Since coming to prominence in the 1980s, Christopher Wool has conducted a richly nuanced investigation of the possibilities of pictorial composition. This presentation of paintings, works on paper, photographs and prints encapsulates the evolution of the artist’s career, ranging from early experiments with readymade forms in his pattern and word paintings to more recent explorations of spontaneous gesture and digital intervention. Threading through Wool’s use of stenciled flowers, wildly looping spray paint, passages of violent erasure, and silkscreened apparitions of his own past imagery is a tension between freedom and constraint that has always animated his work.

Photography has long played an integral role in Wool’s practice, and this exhibition debuts two new photographic series. Whereas his previous work in the medium focused on scenes of alienation and degradation in the urban landscape, this more recent production documents the landscape of West Texas, where the artist has a home. Employing a disarming convergence of exposures, Yard locates unexpected sculptural vignettes in the ramshackle detritus surrounding semi-rural dwellings, while Road captures empty stretches of rough, overgrown track in which a destination is always deferred.

Hill Art Foundation, New York