32 East 69th Street, New York 10021
Events by this organizer
Event Location
All
1x1 Art Gallery
Agial Art Gallery
Anna Laudel
Ayyam Gallery
C.A.M. Gallery
Carbon 12
Casa Árabe
Christie’s
Contemporary Istanbul
Dastan’s Basement
Egypt International Art Fair
Fann A Porter
Fann A Porter - Dubai
Fort Gansevoort New York
Forum Gallery
GALERIE BRUNO MASSA
galerie frank elbaz
Galerie Janine Rubeiz
Galerie Nathalie Obadia
Galerie Tanit, Beyrouth
Gallery Isabelle van den Eynde
Gazelli Art House
Green Art Gallery
Grey Noise
Hauser & Wirth
Hauser & Wirth - New York, 22nd Street
Institut français Berlin
Ishara Art Foundation
Istanbul Museum of Modern Art
Kohn Gallery
Kristin Hjellegjerde Gallery - London Bridge
Lawrie Shabibi
Leila Heller Gallery
Leila Heller Gallery - Dubai
Lévy Gorvy
Louvre Abu Dhabi
Mashrabia Gallery Of Contemporary Art
Meem Gallery
Opera Gallery Beirut
Pera Museum
Perrotin
Pi Artworks Istanbul
Sabrina Amrani
Saleh Barakat Gallery
SALT Beyoğlu
SALT Galata
Selma Feriani Gallery, Tunis
Serpentine Gallery
Sfeir Semler Gallery
Sotheby’s
Tabari Artspace
Tashkeel Studio and Gallery
Taymour Grahne Projects
The Herron Galleries
Timothy Taylor
White Cube Mason's Yard
Zawyeh Gallery
Zawyeh Gallery - Dubai
Zilberman Gallery - Istanbul
Event Organizer
All
1x1 Art Gallery
Agial Art Gallery
Anna Laudel
Ayyam Gallery
C.A.M. Gallery
Carbon 12
Casa Árabe
Christie’s
Contemporary Istanbul
Dastan’s Basement
Egypt International Art Fair
Fann A Porter
Fann A Porter - Dubai
Fort Gansevoort New York
Forum Gallery
GALERIE BRUNO MASSA
galerie frank elbaz
Galerie Janine Rubeiz
Galerie Nathalie Obadia
Galerie Tanit, Beyrouth
Gallery Isabelle van den Eynde
Gazelli Art House
Green Art Gallery
Grey Noise
Hauser & Wirth
Hauser & Wirth - New York, 22nd Street
Institut français Berlin
Intersect Art and Design
Ishara Art Foundation
Istanbul Museum of Modern Art
Kohn Gallery
Kristin Hjellegjerde Gallery - London Bridge
Lawrie Shabibi
Leila Heller Gallery
Leila Heller Gallery - Dubai
Lévy Gorvy
Louvre Abu Dhabi
Mamut Art Project
Mashrabia Gallery Of Contemporary Art
Meem Gallery
Opera Gallery Beirut
Pera Museum
Perrotin
Pi Artworks Istanbul
Sabrina Amrani
Saleh Barakat Gallery
SALT Beyoğlu founded by Garanti BBVA
SALT Galata
Selma Feriani Gallery, Tunis
Serpentine Gallery
Sfeir Semler Gallery
Sotheby’s
Tabari Artspace
Tashkeel
Taymour Grahne Projects
The Herron Galleries
Timothy Taylor
White Cube Mason's Yard
Zawyeh Gallery
Zawyeh Gallery - Dubai
Zilberman Gallery - Istanbul
Past & Future Events
All
Only Past Events
Only Future Events
march
26janAll Day07aprFRANÇOIS MORELLET IN-COHERENT
Event Details
François Morellet (1926 – 2016), a prolific self-taught painter, sculptor, and installation artist, developed a radical approach to geometric abstraction during a career spanning more than six decades. The artist’s
Event Details
François Morellet (1926 – 2016), a prolific self-taught painter, sculptor, and installation artist, developed a radical approach to geometric abstraction during a career spanning more than six decades. The artist’s inaugural exhibition with Hauser & Wirth, ‘François Morellet. In-Coherent,’ will offer a glimpse of Morellet’s prolific and multi-faceted oeuvre from 1953 – 2013, including some rarely seen key abstract geometric paintings from the 1950s and 1960s, a major wall installation from 1977, space installations and several neon works, a medium pioneered and continuously readdressed by the artist throughout his life. The exhibition makes plain Morellet’s lasting influence in art through his distinctive talent for bringing Dada- infused irreverence, irony, and joyful lightness to his aspiration of dismantling traditional hierarchies and embracing elements of randomness and chance within the framework of pre-established systems.
Organised with Olivier Renaud-Clément, ‘François Morellet. In-Coherent’ underscores the full breadth of the artist’s artistic explorations through a large array of mediums. The exhibition begins with works from the 1950s, a period during which Morellet turned from figurative and representational work to abstraction following an influential trip to Brazil in 1950. Inspired by his first encounters there with Concrete art and the work of Max Bill, he began creating works that followed simple systems and rules and eliminated as many arbitrary decisions as possible. On personal detachment, Morellet has said, ‘All my work is about doing as little as possible and making the fewest possible arbitrary decisions.’ His ‘Trames’ (Grids) paintings feature, for example, superimposed grids of perpendicular lines or networks of dashes rotated at various angles, as in ‘36 trames de tirets pivotées au centre’ (36 Grids of Dashes Rotated at the Centre) (1960). In works such as ‘Carrés et triangles rouges et bleus’ (Red and Blue Squares and Triangles) (1953) and ‘Carré inscrit dans un carré’ (Square Inscribed in a Square) (1954), Morellet exploits the possibilities of simple geometry by creating a system of circumscribed squares which in turn form isosceles square triangles. These early works also expose Morellet’s intent to use descriptive titles containing the information necessary for the viewer to understand the rule behind the creation of the work.
Morellet eventually went beyond the confines of the picture plane and in the 1970s became interested in what he called ‘the outside of painting,’ focusing on three-dimensionality and introducing steel, iron, wire, mesh, and later wood into his work. Three space installations in the exhibition, each composed of a metal angle iron and two white canvases, exploit the simple rule of finding ways to connect two surfaces that are not situated in the same plane by the sole straight line shared by these surfaces. By exploring the possibilities of three- dimensionality, Morellet succeeds in creating a new train of thought: rather than drawing focus into the interior of the picture plane, he broadens his scope to include the spaces around, beneath, and above the painting.
In the 1980s Morellet explored relief paintings containing irregularly shaped elements, often natural material culled from outside. Morellet found it ‘wonderful that nature has finally started to imitate painting.’ In works such as ‘Géométree n° 69’ (1984), he incorporates chance and humor to the most cogent effect. The title ‘Géométree’ is a portmanteau combining two words that describe his work’s ingredients – geometry and a tree branch. Here, an arched tree branch that juts from the canvas dictates the shape and the curve of an intersecting line drawn in pencil, creating two larger intersecting circles that continue beyond the plane of the canvas. In a series of diptychs entitled ‘Entre deux mers’ (Between two seas) (2012 – 2013), the sea level, suggested by brushed stainless steel plates placed on the canvases, forms a visual line uniting the two paintings that make up each diptych, and, beyond that, the series as a whole: ‘I’ve enjoyed juxtaposing two of these ‘Entre deux mers.’ I’ve been dreaming of showing several variations of ‘Entre deux mers’ in a single room from the beginning – a room that wouldn’t be too big and, of course, with all the seas at the same level. That way, the viewer would really be out at sea.’ Viewers could also see a reference to the name of a white wine from the Bordeaux region traditionally paired with oysters. The tilted canvases could then humorously evoke the queasiness caused by excessive wine consumption.
Also on view at Hauser & Wirth are wall drawings, conceived according to a technique that the artist explored as early as 1968, and reconfigured for this exhibition following a previously determined system. In ‘4 trames 30° 60° 120° 150° partant des 4 angles du mur’ (4 Grids 30° 60° 120° 150° starting from the 4 angles of the wall) and ‘4 trames 30°, 60°, 120°, 150° partant d’un angle du mur’ (4 Grids 30°, 60°, 120°, 150° starting from 1 corner of the wall) (1977 / 2021), the artist left the most concise instructions to create a network of lines traced with black adhesive tape on a blank white wall. These ephemeral works showcase Morellet’s engagement with systems based on simple rules as a proliferation factor and with the notion of ‘all over’, allowing him once again to go beyond the arbitrary limits of the canvas.
Courtesy of Hauser & Wirth
more
Time
January 26 (Tuesday) - April 7 (Wednesday)
Location
Hauser & Wirth
32 East 69th Street, New York 10021
Organizer
Hauser & Wirth 32 East 69th Street, New York 10021
april
26janAll Day07aprFRANÇOIS MORELLET IN-COHERENT
Event Details
François Morellet (1926 – 2016), a prolific self-taught painter, sculptor, and installation artist, developed a radical approach to geometric abstraction during a career spanning more than six decades. The artist’s
Event Details
François Morellet (1926 – 2016), a prolific self-taught painter, sculptor, and installation artist, developed a radical approach to geometric abstraction during a career spanning more than six decades. The artist’s inaugural exhibition with Hauser & Wirth, ‘François Morellet. In-Coherent,’ will offer a glimpse of Morellet’s prolific and multi-faceted oeuvre from 1953 – 2013, including some rarely seen key abstract geometric paintings from the 1950s and 1960s, a major wall installation from 1977, space installations and several neon works, a medium pioneered and continuously readdressed by the artist throughout his life. The exhibition makes plain Morellet’s lasting influence in art through his distinctive talent for bringing Dada- infused irreverence, irony, and joyful lightness to his aspiration of dismantling traditional hierarchies and embracing elements of randomness and chance within the framework of pre-established systems.
Organised with Olivier Renaud-Clément, ‘François Morellet. In-Coherent’ underscores the full breadth of the artist’s artistic explorations through a large array of mediums. The exhibition begins with works from the 1950s, a period during which Morellet turned from figurative and representational work to abstraction following an influential trip to Brazil in 1950. Inspired by his first encounters there with Concrete art and the work of Max Bill, he began creating works that followed simple systems and rules and eliminated as many arbitrary decisions as possible. On personal detachment, Morellet has said, ‘All my work is about doing as little as possible and making the fewest possible arbitrary decisions.’ His ‘Trames’ (Grids) paintings feature, for example, superimposed grids of perpendicular lines or networks of dashes rotated at various angles, as in ‘36 trames de tirets pivotées au centre’ (36 Grids of Dashes Rotated at the Centre) (1960). In works such as ‘Carrés et triangles rouges et bleus’ (Red and Blue Squares and Triangles) (1953) and ‘Carré inscrit dans un carré’ (Square Inscribed in a Square) (1954), Morellet exploits the possibilities of simple geometry by creating a system of circumscribed squares which in turn form isosceles square triangles. These early works also expose Morellet’s intent to use descriptive titles containing the information necessary for the viewer to understand the rule behind the creation of the work.
Morellet eventually went beyond the confines of the picture plane and in the 1970s became interested in what he called ‘the outside of painting,’ focusing on three-dimensionality and introducing steel, iron, wire, mesh, and later wood into his work. Three space installations in the exhibition, each composed of a metal angle iron and two white canvases, exploit the simple rule of finding ways to connect two surfaces that are not situated in the same plane by the sole straight line shared by these surfaces. By exploring the possibilities of three- dimensionality, Morellet succeeds in creating a new train of thought: rather than drawing focus into the interior of the picture plane, he broadens his scope to include the spaces around, beneath, and above the painting.
In the 1980s Morellet explored relief paintings containing irregularly shaped elements, often natural material culled from outside. Morellet found it ‘wonderful that nature has finally started to imitate painting.’ In works such as ‘Géométree n° 69’ (1984), he incorporates chance and humor to the most cogent effect. The title ‘Géométree’ is a portmanteau combining two words that describe his work’s ingredients – geometry and a tree branch. Here, an arched tree branch that juts from the canvas dictates the shape and the curve of an intersecting line drawn in pencil, creating two larger intersecting circles that continue beyond the plane of the canvas. In a series of diptychs entitled ‘Entre deux mers’ (Between two seas) (2012 – 2013), the sea level, suggested by brushed stainless steel plates placed on the canvases, forms a visual line uniting the two paintings that make up each diptych, and, beyond that, the series as a whole: ‘I’ve enjoyed juxtaposing two of these ‘Entre deux mers.’ I’ve been dreaming of showing several variations of ‘Entre deux mers’ in a single room from the beginning – a room that wouldn’t be too big and, of course, with all the seas at the same level. That way, the viewer would really be out at sea.’ Viewers could also see a reference to the name of a white wine from the Bordeaux region traditionally paired with oysters. The tilted canvases could then humorously evoke the queasiness caused by excessive wine consumption.
Also on view at Hauser & Wirth are wall drawings, conceived according to a technique that the artist explored as early as 1968, and reconfigured for this exhibition following a previously determined system. In ‘4 trames 30° 60° 120° 150° partant des 4 angles du mur’ (4 Grids 30° 60° 120° 150° starting from the 4 angles of the wall) and ‘4 trames 30°, 60°, 120°, 150° partant d’un angle du mur’ (4 Grids 30°, 60°, 120°, 150° starting from 1 corner of the wall) (1977 / 2021), the artist left the most concise instructions to create a network of lines traced with black adhesive tape on a blank white wall. These ephemeral works showcase Morellet’s engagement with systems based on simple rules as a proliferation factor and with the notion of ‘all over’, allowing him once again to go beyond the arbitrary limits of the canvas.
Courtesy of Hauser & Wirth
more
Time
January 26 (Tuesday) - April 7 (Wednesday)
Location
Hauser & Wirth
32 East 69th Street, New York 10021
Organizer
Hauser & Wirth 32 East 69th Street, New York 10021