Galerie Eva Presenhuber, Waldmannstrasse, Zurich
January 20 – March 23, 2024
Galerie Eva Presenhuber, Maag Areal, Zurich
March 16 – May 18, 2024
Galerie Eva Presenhuber, Waldmannstrasse, Zurich
January 20 – March 23, 2024
Galerie Eva Presenhuber, Maag Areal, Zurich
March 16 – May 18, 2024
Sofia Mitsola has contributed her artwork Faux Fur, Faux Her (2024) to a fundraising auction held during the Ibero-American Patronage Awards on March 3, 2024, organized by the Fundación Callia in Madrid. This auction will support the conservation and restoration of the prestigious public collection of the Royal Academy of Fine Arts in Madrid, a UNESCO World Heritage Site. In addition to the awards ceremony and auction, renowned auctioneer Simon de Pury will be in conversation with three selected artists.
Madeleine Pollard from Elephant Magazine reported on Sofia Mitsola's recent gallery show: "When it came to her latest body of work, Villa Venus: An Organised Dream, which recently showed at Zurich’s Galerie Eva Presenhuber, her focus expanded from the bodies themselves to their surroundings. “I’d been concentrating on my characters for some years, so then I was trying to imagine a place to put them. Where do they sprout from? Where do they live?” she explains. “In 2022, I was on the Greek island of Paros in the Cyclades and it got me thinking about fantastical places. I wanted to create an island of my own.”"
The Bourse de Commerce exhibis a portion of Peter Fischli David Weiss's Suddenly this Overview (1981-2012) installation. This clay-based work humorously explores human history through hand-modeled sculptures, accompanied by the film The Least Resistance (1981). The duo's first sculptural epic utilizes raw clay to create 76 figurines with captions serving as punchlines, offering a playful and thought-provoking blend of absurdity and universality. In the Auditorium, the experimental film The Way Things Go (1987) is screened.
Tschabalala Self has been nominated as one of the seven artists shortlisted for the next Fourth Plinth commissions in 2026 and 2028. The Fourth Plinth in Trafalgar Square is one of the most important art commissions worldwide, putting new work by internationally renowned artists into the heart of London. The public is invited to vote for their favorite proposed artwork.
Spanning Fruitmarket's Exhibition Galleries and Warehouse, the exhibition starts with an architectural installation showcasing wall-based works, transitions to a room displaying Martin Boyce’s history with Jan and Joël Martel’s 1925 concrete ‘trees’, and reimagines Fruitmarket’s Upper Gallery with an atmospheric blend of works. In the Warehouse, sculptures are presented in unconventional ways, questioning notions of storage and memory. This comprehensive showcase, spanning from 1992 to the present, offers a rare opportunity to contemplate the artistic essence and sculptural language of one of the UK’s foremost artists.
Unravel: The Power and Politics of Textiles in Art featuring work by Tschabalala Self is on view at London’s Barbican Gallery, where it can be seen through May 26, 2024. The major exhibition shines a light on 50 artists from the 1960s to today who have explored the transformative and subversive potential of textiles, harnessing the medium to ask charged questions about power: who holds it, and how can it be challenged and reclaimed?
The Spotlight series includes a new or never-before-exhibited artwork paired with a commissioned piece of writing, creating focused and thoughtful conversations between the visual arts and authors, critics, poets, scholars, and beyond. In this iteration, the Spotlight features Tschabalala Self’s Hear No, 2023, presented in dialogue with Faith Ringgold’s fabric work Coming to Jones Road Part 2 #2: We Here Aunt Emmy Got Us Now, 2010. A text by the artist accompanies the presentation.
Expansive in their collecting habits, the Deans, both born and raised in New York, champion a philosophy of “artists supporting artists.” The first major exhibition of the Dean Collection, Giants showcases a focused selection from the couple’s world-class holdings, including a work by Tschabalala Self. The Brooklyn Museum’s presentation spotlights works by Black diasporic artists, part of our ongoing efforts to expand the art-historical narrative.
Artnet portrayed 9 famous artist couples that have spawned creative collaborations, spanning from the the early 20th century to today's art world: "While many artistic couples collaborate on common themes, it is rare to find such a personal working relationship as that between Ugo Rondinone and the late poet and activist John Giorno."
The digital animation Memory selec+ by Gerwald Rockenschaub is an integral part of the facade of the Casino Bregenz from February 15 to March 29, 2024, where two colored squares pulsate daily from 5 pm to 1 am. The dynamic effect of the animation is further enhanced by the intense color contrasts of green and pink. Rockenschaub skillfully deals with the architectural conditions and once again raises the question of the relationship between viewer, artwork and space. The environment and the people themselves become an integral part of his art.
Philadelphia Art Alliance at UArts is proud to present(re)FOCUS, including works by Karen Kilimnik and others. It is an important multi-generational group exhibit that features varied works that probe the human condition through singular images and handmade processes. No one style is represented here, but rather a panoply, with feminist and world political allusions, art historical references, wry appropriation, DIY bricolage, and craft sensibilities in a range of media.
Wyatt Kahn presents a new solo exhibition titled Fantasmas at Museo Anahuacalli Mexico City from February 6 through May 19, 2024. The show includes over twenty sculptural paintings that move between painting and sculpture, between the abstract and the figurative, and between the flat and the three-dimensional. With more than thirty works in total and spanning thirteen years of Kahn’s career, the exhibition is his largest and most diverse to date, including works in bronze, lead, canvas, and stuffed animals and some of his first unprimed multi-panel works from 2011.
Valérie Knoll interviews Jean-Frédéric Schnyder about ŒL AUF LEINWAND, his retrospective exhibition spanning 40 years. The conversation covers Schnyder's "Billige Bilder" (Cheap Paintings), initially created for fun without the intention of being artworks, as well as his pragmatic titles and his resistance to hierarchical art categorization. Schnyder discusses his artistic process, aversion to technology, and passion for hands-on craftsmanship. The interview also explores Schnyder's daily routine, unconventional studio setup, and perceptions of irony in his art, offering insight into his diverse subjects and the creation of a comprehensive catalog of his works, providing a glimpse into his unconventional artistic journey.
Chloe Stead reviewed Steven Shearer's exhibition at the George Economou Collection, Athens: "I’ve never had insomnia, but Steven Shearer’s paintings are a good indication of what it must feel like. Red-eyed, his protagonists stare pleadingly out at the viewer or hide from their gaze under veils of lank hair, shoulders hunched, cigarette in mouth. Rendered with luminous blue-, yellow- and green-tinged skin, these men – visually coded as artist and musician types through their personal style and twilight activities – are clearly in need of some quality shut-eye."
The exhibition Candida Höfer: Epic Gaze is a curatorial selection chosen from the body of work developed by Candida Höfer over the last 20 years. It features a variety of pieces organised in six major themes: ‘Passages’, ‘Theatres’, ‘Museums’, ‘Libraries’, ‘Worldview’ and ‘Unseen Works’. These themes are enclosed in separate sections and placed in a bespoke exhibition layout as a way to promote a paced and sequential contemplation in the viewer.
CC Strombeek presents the first institutional exhibition of Swiss artist Louisa Gagliardi. Her practice mainly revolves around alienation, and dislocation as essential features of our current, global existence. Gagliardi’s strongly pronounced, figurative paintings form not only technically, but also visually a complex game denoting delirium or delusion. For this show, the artist will conceive a new series of paintings and sculptures within a maze-like scenography. Deep Breaths builds upon her ongoing interest in the liminal space. In our highly technological and hyper connected world the borders between reality and fiction are becoming more and more blurry. We get tricked into thinking that our flesh self and virtual self might become one.
Jerry Saltz reviewed Tschabalala Self's exhibition Bodega Run at the Swiss Institute in New York: "Were the dusty bodegas of old superior to the anonymous, flattened spaces where many of us now buy our food? Yes and no. Self’s pop-up show was a milestone in a project that testifies that, especially in this city, there’s no such thing as a love that’s uncomplicated."
Among those familiar with Eva Presenhuber's work is Zurich-based artist and curator Mitchell Anderson, who founded the project space Plymouth Rock in 2014 to 'show artists who weren't getting the attention they deserved' in Zurich. In this conversation, Anderson shares his thoughts on the significance of hosting such an exhibition now, the relationship between art and melancholy, and the Swiss city's ever-evolving art scene.
The exhibition title Cry Me a River cites a song that has been interpreted by many singers, including Ella Fitzgerald and Justin Timberlake. In the case of Ugo Rondinone, “river” refers to the River Reuss, which flows out of the Lake Lucerne, in front of the Kunstmuseum Luzern. Inside the museum it seems as if it is snowing, a couple of fish flit by. Ugo Rondinone’s reference to the legendary Inner-Swiss Inwardness and its particular leaning towards materials is no coincidence. The artist stages his cultural origins lovingly and with great exhilaration. A nice example of this are his “Stonefigures”, larger-than-life stone men that continue the tradition of the helpful signposts in the mountains.
BOMB Magazine asked artist Chase Hall who he would most want to speak with and he selected mentor and visual artist, Henry Taylor. They discuss their memorable first meeting, lucky brushes, and how an athlete-inspired work ethic influences their processes. Chase Hall’s paintings in coffee and acrylic on cotton canvas investigate generational celebrations and traumas encoded throughout American history.
Fondazione Prada presents the installation Suddenly This Overview (1981-2012) by Peter Fischli David Weiss at the Torre’s fifth floor as part of the exhibition project Atlas. This work’s version combines 157 medium- and small-scale raw clay sculptures arranged on plinths of different heights, representing the world through a seemingly arbitrary selection of events, objects, phrases, and historical or invented notions.
Aesthetica Magazine reviewed Doug Aitken's show at SCHAUWERK: "It’s a piece that informs a wider exhibition rooted in behaviour and fragmentation. The artist offers up a contemporary portrait of a restless, globalised world — driven by constant information, progress and technology. It speaks to other interdisciplinary installations, such as Julianknxx’s In ReMemory of Flight at The Barbican Centre, London, or John Akomfrah’s Arcadia at The Box, that use media and film as a means of documentation and observation. Overwhelmingly, Aitken tells us to pay attention to our rapidly changing environment. He asks us to look around and come into contact with the world around us, to resist being dictated by an algorithm. He notes, “When we look at art, perhaps we’re looking for a return to the real.'"
"Jean-Marie Appriou’s exhibition unfolds as a poetic journey into a sculptor’s mind, where words take shape, and sculptures emerge as the written pages of a journal. Like the characters of a play, the figures present in the gallery unfold one by one, weaving the plot of a story unique to every viewer, projecting the contemplative realm of Appriou’s sculptural universe into the limitless multitude of simultaneous existence."
"The idea of the Phillips Collection’s “One-on-One” series is to pair a contemporary artist’s work with that of an artist from the museum’s holdings. Thus the current duet of Swiss-born New York artist Ugo Rondinone and Louis Michel Eilshemius (1864-1941), a New Jersey native whose mother was Swiss. But this time, there’s a twist: Rondinone owns a lot more Eilshemius paintings than the Phillips does."
"The effect, both of Hall’s individual paintings and, in a more profound way, of his cumulative work, is a refreshing challenge. Hall forces us to meet the people he depicts on their own terms, without the usual lens—or crutch—of our inherited, fetishizing, or condescending projections. One of his central goals, as he put it to me later, is “redefining our relationship with the landscape, outside of basketball, enslavement.” He’s concerned with matters of agency, world building, and individuality—what he calls “post-victimhood” storytelling. “I really believe in life,” he told me. “I go out and try to make the best of it.”"
Peter Fischli David Weiss, Douglas Gordon, Ugo Rondinone, Doug Aitken, Tschabalala Self and Franz West were selected among this year’s Kunstkompass Top 100 contemporary artists rankings in Capital Magazin! Rondinone additionally ranked 72th in the top 100 of Monopol Magazin. The artists are selected based on a thorough assessment of their recent activities, including participation in major international biennales, institutional exhibitions, public art installations, awards, and reviews in prestigious journals. Fischli Weiss (30th), Gordon (40th), Rondinone (52nd), and Aitken (96th) ranked among the top 100 in the overall ranking. Self ranked 43rd among the top 100 with the highest increase in points (Stars of Tomorrow). West ranked 9th among the top 20 influential posthumous artists (Olymp).
Hanno Hauenstein from Artnet visited Adam Pendleton in his New York studio: "Asked whether it would be fair to say that he is currently moving away from words and more towards abstraction, he said: “A little bit, but it is much more ‘both-and’ instead of ‘either-or.’” His answer not only explains an art practice, but it might also be useful to keep in one’s mind amid the political debates swirling in recent weeks. While he might be reluctant to admit it, the artist’s engagement with politics excels beyond the canvas or his studio."
"Presented in Vienna by Galerie Eva Presenhuber, “Jean-Marie Appriou: Gemini” is the artist’s third exhibition with the gallery and is thematically focused on the celestial twins. The concepts of Gemini, twins, dualities, and dichotomies have long been present in the history of art, but here Appriou looks at ideas around these concepts and forms a new, unique parallel, that of poetry and sculpture."
"According to the vaguely trustworthy website we all use, Lars von Trier’s apocalyptic film Melancholia (2011) was inspired by a depressive episode he had. Apparently, a therapist told him “Depressive people tend to act more calmly than others under heavy pressure because they already expect bad things to happen.” However the current group show at Galerie Eva Presenhuber has nothing to do with this but rather Albrecht Dürer’s engraving Melencolia 1 (1514), which was the initial reference to the exhibition of the first major group show curated by the gallerist in 1988 at Galerie Grita Insam..."
"For Jean-Marie Appriou and Andrew Lord, sculpture provides a means to explore the material essence of life and, imbued within it, history, personal experiences, myths, and memories. At Galerie Eva Presenhuber, Vienna, two concurrent solo presentations of Jean-Marie Appriou's bronze and casted glass sculptures in Gemini and Andrew Lord's intimate, entangled forms in a sculpture of my left hand and five embraces (9 November–22 December 2023) act as containers to these threads."
Matthieu Jacquet reviewed the photograph Barbershop Scene by Torbjørn Rødland, on view at Consortium Museum, Dijon: "Rødland once compared his photographs to tarot cards, representations that are laden with symbols and multiple possible interpretations, none of which can be categorical, verified, or rationalized. The strength of works like Barbershop Scene is that Rødland can turn multiple potential readings into a psychological funhouse mirror, one that is both bewildering and captivating, causing viewers to constantly question their own assumptions."
Contemporary artists engage in conversation with the unique collection from the nineteenth-century art lover Fritz Mayer van den Bergh. They have been inspired by Dulle Griet (also known as Mad Meg) by Pieter Bruegel, the portraits by Cornelis De Vos and Alessandro Allori, still-lifes by Antwerp masters like Daniël Seghers, works by Jacob Jordaens, Joachim Patinir and Gerard de Lairesse, etc. The applied arts so richly represented in the museum collection also receive a contemporary response. The exhibibition includes a painting by Tobias Pils.
"Eva Presenhuber opens a group show in Zurich this week, giving equal prominence to the artists she represents and those she describes as having “different positions”, who are mostly lesser-known. The latter include Stanislava Kovalcikova, a Czech artist whose work Presenhuber discovered at Vienna’s Belvedere Museum last year, and Aleksandra Waliszewska, an artist with great success in her home country of Poland but less well known elsewhere. They join gallery stalwarts, including Ugo Rondinone, Franz West and Steven Shearer, in a show of about 80 works by about 26 artists (November 11 to February 24). The title of the exhibition is Melencolia, although Presenhuber says that the art is more “works that are all reflective and thoughtful”. This, she says, is relevant for some of today’s artists under the age of 40 who can get “abused by high prices at auction, when they need more time and energy to think about what they are making. I have a distinct preference for slow burners,” she says."
"As the work rouses and relieves this anxiety of gazing, Sleep, Death’s Own Brother sets forth a vision of rebellion that often turns on itself, its enactment of the anti-hero dandy exerting pressure on the parameters and possibilities of portrait-making. It is also a fascinating study of how an artist can entice the viewer into a poetic scenography of cat and mouse, where existential dread looms and strategies of release do not always ease the pain."
Heinz Schütz interviewed Matthew Angelo Harrison for KUNSTFORUM International, stating: "The encapsulation of traditional African sculptures plays a central role in Matthew Angelo Harrison's work. Transparent, futuristic-looking plastic boxes preserve what has been encapsulated. With their purist minimalist aesthetics, they act like "coolers" that contain and dim down the once cultic-magical and highly expressive in a modernist way. What began as an exploration of Harrison's African-American roots points beyond and becomes a commentary on the present."
The solo exhibition Oh My God You Guys by Torbjørn Rødland highlights Rødland’s photographs in which two contradictory characters are featured. The artist often employs this type of “disruptive casting” to emphasize the oddness in the photographed scenes. The "scenario" created by the curator for this exhibition – titled Oh My God You Guys as agreed with the artist – takes the viewers on a journey from the dawn to the dusk of life, exploring sophisticated and troubled human relationships. The show is on view at Consortium Museum, Dijon, from October 27, 2023, through March 31, 2024.
Around the Way features multi-material paintings and sculptures by Tschabalala Self, whose works will together form colourful spatial displays in EMMA’s concrete-dominated exhibition space. Self’s art often deals with the intersections of race and gender. The artist draws from her personal experiences as a Black American woman. She depicts bodies that are both exalted and objectified in Western imagery and art history. Through repetition, deconstruction and distortion of this imagery, she creates a new kind of narrative about the Black body.
For his group of works Sunrise. East, Rondinone assigned a head with characteristic, highly reduced facial features to represent each calendar month. Larger than life and cast in shiny silver aluminium, the massive sculptural heads are reduced to their facial expressions: With mouths agape, they gaze from small eyes, from friendly and naïve to sceptical, from surprised to eerie. They trigger the most diverse associations, evoking ritual masks and ghosts, as well as the visual language of comics, emoticons, and memes. Visitors to the Städel Garden are invited to come face-to-face with all twelve creatures – and thus every month of the year – and experience the various joys, adversities, and emotions of an entire year in fast forward.
Titled after a line from Hesiod’s eighth-century BC epic poem Theogony (“Harmful Night, veiled in dusky fog, carries in her arms Sleep, Death’s own brother”), this new exhibition by Steven Shearer revolves around this uneasy proximity (“brotherhood”) between death and sleep, a recurring trope in Shearer’s art. Built around the George Economou Collection’s substantial holdings of Steven Shearer’s work in painting and printed matter, Sleep, Death’s Own Brother proposes an in-depth look at the oeuvre of this Vancouver-based artist from the transgressive thematic perspective of the lifeless body, which is sometimes truly, sometimes only seemingly dead.