Le Centre Pompidou revisite l’œuvre de Bernard Frize, peintre français incontournable de la scène artistique internationale, depuis ses débuts en 1977. Connu pour ses peintures abstraites conceptuelles, au cours des années 1980, Frize intègre des éléments figuratifs à sa pratique et s’intéresse également à la photographie.
L’exposition propose un parcours thématique libre, sans direction ni hiérarchie, qui brouille l’approche sérielle caractéristique du travail de l’artiste. Riche d’une soixantaine d’œuvres, ce projet, conçu en collaboration étroite avec l’artiste, nous fait entrer dans l’acte même de création, en révélant quels stratégies et défis intellectuels soustendent les œuvres du peintre.
Six thèmes structurent le parcours d’inspiration oulipienne et volontairement paradoxal : Avec déraison, Sans effort, Avec système, Sans système, Avec maîtrise, Sans arrêt.
Prints and Multiples from 1984 till 2019
Galleria Gentili partecipates at ARCO Madrid from February 27 to March 3, 2019. The gallery will present a selection of works by Ulrich Erben and Ignacio Uriarte at booth 9C15 and a special project by Vanessa Billy at booth 9C16.
Come meet us !
Galleria Gentili partecipates at ZONAMACO 2019, from February 6 to February 10, 2019 in Mexico City with a selection of works by Olaf Metzel and Heimo Zobernig.
Come meet us at Booth C204
Galleria Gentili partecipates at ArtGenève - Salon D'Art, from January 31 to February 3, 2019 in Geneve (CH) with a selection of works by Heinz Mack and Luciano Bartolini.
Come meet us at Booth B41
For the past seven years, Museo ABC and Fundación Banco Santander have supported Contemporary Art with the program Conexiones. Artists linked to drawings are invited to develop a specific project for the Museum revealing the connections between two works chosen from the funds of Colección Banco Santander and Colección ABC. They face the challenge —based on their choice and with absolute creative freedom— to reveal the connections that give name to the program.
Drawing is the key in the work of Ignacio Uriarte (Krefeld, 1972), Spanish Artist born in Germany. His style has been described as “Office Art” as it is made with the most common working tools (sheets of paper, copies, pens, typewriters…). These are used to reflect and think about repetition, monotony, routines and grunt work. Thus, the title of the exhibition refers to the axis of rotation and symmetry or the unknown quantity in an equation. In addition, the form of the letters X, Y, Z recalls the ideas hidden in his works by: parallelism, zigzag, fold, turn up, spigot, arrow…
The invited works in Conexiones XVI are the Gerardo Rueda, Pintura blanca (1970) [White Painting], from Colección Banco Santander, and Aguinaldos, by Mecachis (Eduardo Sáenz Hermúa), published in Blanco y Negro in 1894.
Galleria Gentili participates at the 25th edition of Artissima in Turin from November 2 to 4, 2018 in the Drawings Section. In collaboration with Philip Von Rosen Galerie, we will present Ignacio Uriarte’s solo show with his latest works belonging to what the artist himself defines Office Art.
After his studies in Business Administration in Madrid and Mannheim followed by various jobs for multinational companies like Siemens, Canon and Interlub, in 1999 Uriarte (Krefeld, Germany – 1972) attended the Centro de Artes Audivisuales in Guadalajara to study audiovisual arts. The paper works that will be exhibited at Artissima are among his most recent productions and belong to the series X-Squares, created with the typewriter, and Marker Drawings, realized with permanent markers.
Uriarte’s interest in the exploration of supports and materials belonging to the world of the office work is particularly evident in the use of techniques and tools that are typical of daily dossier processing like pens, A4 sheets, Excel worksheets tab and Word docs. The almost mechanical repetition of the creative gesture defines a particular formal universe alluding to concepts such as serial production, time scanning, repetitive rhythms, routine. Uriarte’s modus operandi is systematical and ordered but the mechanical action produces countless unpredictable variables in which the artist, with his creative responsibility, tends to disappears.
Under the title HEIMVORTEIL the SCHAUWERK presents a selection of more than 100 works by German artists from the Schaufler collection. Thus, the exhibition offers a varied overview of painting, light art and sculpture of the last 60 years in Germany.
A New Platform for Art, Culture and Sports: Deutsche Bank Is Opening the PalaisPopulaire in Berlin On September 27, 2018, Deutsche Bank is opening a groundbreaking international forum for art, culture, and sports in the heart of Berlin: the PalaisPopulaire. Rooms of the historic Prinzessinnenpalais at Unter den Linden 5 were redesigned by the renowned architectural office Kuehn & Malvezzi, and with clear forms and state-of-the-art technology transformed into a dynamic stage for contemporary culture. The PalaisPopulaire will be a vibrant, cosmopolitan space that connects and enthralls lovers of contemporary art and culture as well as sports enthusiasts. It will bring exhibitions from the Deutsche Bank Collection and important partner institutions to Berlin, as well as concerts, readings, sports workshops, and digital experiences. Thorsten Strauß, Global Head of Art, Culture & Sports of Deutsche Bank said: “The name PalaisPopulaire is programmatic. It stands for a place that is contemporary and open, offering an exciting mixture of art, culture, and sports activities. The PalaisPopulaire stands for the fundamental goals that Deutsche Bank has pursued with its cultural commitment for decades: creating access for everyone, recognizing and promoting talent, and thus making a positive contribution.” The PalaisPopulaire will be directed by Svenja von Reichenbach, who has been in charge of Deutsche Bank’s Berlin exhibition activities since 1997, and directed the Deutsche Bank KunstHalle from 2013 until recently.
Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.