Showing posts with label Gagosian. Show all posts
Showing posts with label Gagosian. Show all posts

Saturday, March 26, 2016

Giuseppe Penone at Gagosian Hong Kong

The exhibition ‘Leaves of Stone’ opened at the Gagosian HK in January 2016 presenting art that was as poetic as the exhibition title suggested.
In Foglie di pietra, several freestanding pieces comprised trees cast in bronze, their branches entwined, embracing stone architectural fragments that had been carved into decorative, classical acanthus leaves.

Another series, Indistinti confine, featured marble trees, their limbs removed and replaced with bronze knots. Sharp, rusting spikes appeared to pierce the trees in specific places, from where the rust seemed to bleed down and into the marble trunks.
A large drawing took up one entire wall comprised of thorns, thousands of them arranged as though to describe a pair of lips – Spine d’acacia.

Riflesso del bronzo - a highly polished wall-mounted bronze mirror reminds us that mirrors in antiquity presented to the viewer a warm, almost sun-drenched reflection. The mirror was accompanied by its ‘reflection’, a casting that was then itself cast and so on until there were the 8 versions we can see in the exhibition.


Through handcrafted stone and marble Penone comments on the millennia-old relationship between mankind and nature and between past and present cultures and throughout his work he achieves a poetry that takes on physical form.










Sunday, June 15, 2014

Michael Craig-Martin - Gagosian Gallery Hong Kong

On Thursday 12th June I turned up at the Gagosian Gallery in the Peddar Building, Central for the opening of Michael Craig-Martin's exhibition.

I had seen his steel sculptures before and appreciated the way the steel frame created the illusion of a fully 3D object when viewed from a certain viewpoint but this was the first time I had the opportunity to see his paintings up close.

The gallery space was decorated with large, colourful paintings on aluminum panels with an everyday, 'contemporary' object as the subject. The subject of each painting had been depicted straight on, in a dead-pan way, devoid of feeling or opinion. They resembled large kindergarten flashcards.

In the gallery notes I read how he 'subverts' the image through rendering an object as an iconic depiction of a previously familiar object. I felt that in his quest to impart a feeling of artificiality he was totally successful. I found the work to be extremely artificial, the colours, the rendering and the technique which suggested a mechanical process but without the perfection such a process would bring.

Much more interesting was the computerised portrait close to the gallery entrance. This 40 inch monitor displayed one of his 'portraits' powered by a programme which caused the image to change every 5 to 15 seconds as the colours of the many sections of the portrait slowly faded from one colour to another randomly. Some combinations of colors were dazzling, others jarring but anyway constantly changing.


Untitled (Headphones) 2014



Photos courtesy of Gagosian Hong Kong