Navid Nuur, Bridget Riley et al.
Mondrian Moves (group show)
Kunstmuseum Den Haag, The Hague
2 April – 25 September 2022
To celebrate the 150th Birthday of Piet Mondrian (1872–1944), Kunstmuseum Den Haag presents Mondrian Moves from 2 April to 25 September 2022. Showcasing works by Mondrian alongside other artists from the institution’s collection, including Navid Nuur and Bridget Riley, this exhibition explores Mondrian’s inspiring relationships and lasting legacy with fellow artists and future generations.
Kunstmuseum Den Haag
Zentrum Paul Klee, Bern (solo show)
10 June – 21 August 2022
A solo exhibition with paintings and works on paper by Bridget Riley will be on view at the Zentrum Paul Klee in Bern from 10 June until 21 August 2022.
Zentrum Paul Klee
Navid Nuur et al.
Terra incognita – Questions for the Earth (group show)
Lantz’sche Park, Dusseldorf
12 June – 21 August 2022
Work by Navid Nuur is included in the group exhibition Terra incognita – Questions for the Earth, which will be on view at the Lantz’sche Park in Dusseldorf from 12 June until 21 August 2022.
Terra incognita — Questions for the Earth focuses on the “uncharted spaces” on Earth today. The exhibition in Lantz’sche Park combines sculptures, installations, performances and events, all of which address the specific face of the place, its flora and fauna, as well as its social structure and its function as a place to tarry and recuperate - with an open and inquisitive mind. The artists will “conquer”, “explore” and “occupy” the park for a period of two months, all with the intention of encouraging a remapping of this territory in order for us to redefine our place in and with nature.
This exhibition features two works by Navid Nuur. At first glance, Untitled (1988–2015) looks like a normal boulder. Only on closer inspection do we discover the otherworldly, crystal-like flower growing on its surface. “My experience,” the rock explains in an interview with the artist, “is partly the result of an interaction of forces: immaterial factors in other words.” The flower made up of iron dust on the rock is a product of such invisible forces. Held together by a magnet embedded inside the rock by the artist, it symbolizes an ever-changing present. Nuur himself speaks of a “pure presence” with no beginning and no end. His sensitive, poetic settings underline the finiteness of material conditions, including our own existence.
'' (2015), Navid Nuur’s second work in the exhibition, also consists of a mineral. The inlay-like frieze of gold leaf is located on the rear wall directly above the entrance door of Lantz’sche chapel, which was completed in 1879. It shows five different formations of a sphere. Themes such as light, the passage of time in planetary cycles, and also cosmic orders are addressed. By placing the work in the midst of the magnificent array of mosaics and stained glass inside Lantz’sche Chapel, Nuur draws a link to Christian mythology. The golden circular forms can be interpreted here more clearly than elsewhere as references to the halo. This is a connection very deliberately sought by Nuur, bridging as it does the gap between the cosmic order and spiritual faith.
Projekt Lantz’scher Skulpturenpark
Perceptual Abstraction (solo show)
Yale Center for British Art, New Haven
3 March – 24 July 2022
Bridget Riley’s exhibition Perceptual Abstraction is on view at the Yale Center for British Art until 24 July 2022.
Selected by the artist and displayed over two floors, the works in this exhibition comprise the largest survey of Riley’s work in the United States in twenty years. The show opens with an in-depth examination of Riley’s seminal monochrome paintings of the 1960s on the third floor and presents the full range of her oeuvre in colour on the second floor. Assembling Riley’s most iconic paintings alongside rarely seen works, the exhibition traces the evolution of her deep engagement with the fundamentals of visual perception.
“Looking carefully at paintings is the best training you can have as a young painter,” Riley has said of her deep appreciation of the work of painters of the past. For this exhibition, she has selected an oil study by John Constable from the Yale Center for British Art and a watercolour by Eugène Delacroix from the Yale University Art Gallery to hang alongside her own work.
The Yale Center for British Art will offer a free digital publication, Bridget Riley in America, which explores Riley’s long and prolific career. The catalogue includes essays by Maryam Ohadi-Hamadani and Rachel Stratton, along with a reflection by the artist.
To mark the occasion, a symposium on Bridget Riley will take place on Saturday, 14 May, from 9.45am – 5pm (ET), aiming to generate new scholarship by recontextualising and interrogating the impact of transatlantic and international experiences and relationships on the artist’s practice. Watch the livestream here.
Yale Center for British Art
Bridget Riley Drawings: From the Artist’s Studio (solo show)
Art Institute of Chicago, Chicago
17 September 2022 – 16 January 2023
Bridget Riley considers drawing to be an essential part of her—and any—artistic practice. For more than 60 years, the British artist has created abstract, geometric paintings and drawings that challenge and delight the senses. These studies range from working drawings on graph paper to finished gouaches and serve alternately to anticipate and accompany her paintings.
Bridget Riley Drawings: From the Artist’s Studio is the first and most extensive museum exhibition dedicated exclusively to Riley’s drawings in over half a century. The exhibition presents approximately 90 sheets from the artist’s own collection, kept as part of her dynamic studio practice. These works cover the full range of her career—from her student days in the late 1940s, when she dedicated herself exclusively to drawing courses at Goldsmiths College, through her groundbreaking black-and-white optical works of the early 1960s and the innovative colour studies she has produced from the late 1960s to the present day.
In one gallery of the exhibition, Riley has selected works from the Art Institute’s permanent collection to pay homage to the artists who have influenced her work. These include paintings and drawings by Paul Klee, Piet Mondrian, Georges Seurat, and others.
Art Institute of Chicago
Navid Nuur et al.
Beating Around the Bush #7: False Flat (group show)
Bonnefanten Museum, Maastricht
20 February 2022 – 8 January 2023
Work by Navid Nuur is included in the group exhibition Beating Around the Bush #7: False Flat, which will be on view at the Bonnefanten Museum in Maastricht from 20 February 2022 until 8 January 2023.
Working Drawings (publication)
Thames & Hudson has published Bridget Riley: Working Drawings, the first-ever book dedicated to the celebrated British artist’s working drawings. This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburg and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction.
The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.
Get your copy here.
a large-scale painting commission, now on view, in the new temporary location of the Senate of the Dutch Parliament (Eerste Kamer der Staten-Generaal)
A large-scale painting by Navid Nuur was commissioned by the Dutch Parliament (Eerste Kamer der Staten-Generaal) and is now on view at its temporary location in The Hague.
Navid Nuur et al.
Creatives on Creativity (publication)
The publication Creatives on Creativity documents interviews with 44 artists and designers, including Navid Nuur, which were conducted by Steve Brouwers, Creative Director at SBS. Focused on the topic of creativity, they talk about childhood, creative processes, inspirations and the artists' most memorable achievements.
Order a copy here.
Intervals 1, 2019
recently acquired by the National Gallery of Ireland
We are pleased to announce that Bridget Riley's Intervals 1, 2019, is now part of the collection of the National Gallery of Ireland.
National Gallery of Ireland
Messengers (wall painting)
The National Gallery, London
From 17 January 2019
See Messengers, a new large-scale wall painting by Bridget Riley: one of the most important artists of her generation.
The title, Messengers, is inspired by a phrase Constable used when referring to clouds, and might also be an allusion to the numerous angels, bearers of news, that we see in the skies of so many National Gallery pictures.
Painted directly onto the wall of the Annenberg Court and spanning a vast 10 x 20 metres, the abstract work, comprised of coloured discs, carries influences from our historic collection over into the 21st century. Throughout art history, harmonies of colour have played a large part in pictorial composition.Taking as a point of departure the paintings of George Seurat, in particular Bathers at Asnières, Bridget Riley’s 'Messengers' transforms the Annenberg Court into a great white space in which coloured discs float as clouds drift in the lanes of the sky. By leaving after-images on the viewer's retina that suggest volume and movement the longer it is perceived, the work becomes a tribute to its artistic predecessors and to the process of looking at art itself.
Bridget Riley (born 1931) has a long-standing relationship with the Gallery; she made copies of paintings in the collection including Jan van Eyck’s Portrait of a Man (Self Portrait?), 1433, as a teenager as part of her portfolio when applying to Goldsmiths College, London, just after the end of the Second World War, and Georges Seurat's Bathers at Asnières while training as an artist.
In 1989 Riley was invited to select that year’s Artist’s Eye exhibition and between 2010 and 2011 the Gallery held her acclaimed exhibition Bridget Riley: Paintings and Related Work.
The National Gallery, London