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Galerie Thaddaeus Ropac  International contemporary art gallery with locations in Paris, Pantin, London and Salzburg.

#ErwinWurm ‘s exhibition ‘Peace & Plenty’ opens tonight at the @albertinamuseum in Vienna, featuring a vast selection of drawings.

The Austrian artist Erwin Wurm, best known for the One Minute Sculptures, is also a prolific draughtsman. By focusing on this lesser-known aspect of his oeuvre, this exhibition explores how Wurm’s drawings function as a kind of diaristic record-keeping.

Dedicating almost every morning to drawing, the artist has come to produce several hundreds of works in pencil, crayon, ballpoint-pen or in watercolour and collage. They function as commentaries and reflections on the current state of affairs, featuring both self-portraits and representations of those he comes into contact with in everyday life.
Organised in cooperation with the Kunstmuseum Luzern, the exhibition will remain open ‪until 10 February 2019‬.
Image: Erwin Wurm 'Cucumber', 2017. Colored crayon, graphite pencil, paper. © Studio Erwin Wurm

This week is the last chance to view #GeorgBaselitz 's 'A focus on the 1980's' in our London gallery, closing this coming Wednesday.

The exhibition is the first to focus solely on his work from the 1980s - the decade that saw the artist propelled to international fame, garner widespread critical acclaim and, at times, scandalise the art world.

The 1980s marked a departure for Baselitz, opening with his selection to represent Germany at the 1980 Venice Biennale alongside Anselm Kiefer, which marked the artist’s first foray into sculpture. Roughly hewn using chainsaw, axe and chisel, Baselitz’s sculptures in this exhibition, such as the standing figure in Ohne Titel [Untitled], 1983 and Kopf [Head], (pictured) 1978/1984, have their origins in folk art and African carvings. Although the artist has described his sculptures as “more primitive, more brutal" than the paintings, they are nonetheless linked by the expressive brushstrokes with which he daubs both canvas and wooden object.

#Sturtevant 's 'I Am Never Am the Other' is now open @the_power_station art space in Dallas until 22 December.

Sturtevant’s eagerness to distance her work from the term “copy” stems from a radical and unwavering commitment to what it does in the present. She was never interested in producing exact replicas of well-known artworks, but in forcing the viewer to look beyond the work’s surface into its “understructure,” where the “insistent murmur of resemblance” is most resonant.

Pictured is her version of Untitled (Go-go Dancing Platform) 1995, by Felix Gonzalez-Torres . During this iconic piece an unscheduled and unannounced dancer clad in silver lamé shorts, ascends a lighted platform to dance to music of his own choosing, played through earphones so only the dancer could hear. The platform functions as an art object or minimalist sculpture all day, except during those five minutes when the dancer transforms it by his presence.

Two of #EmilioVedova ‘s ‘Dischi’ (Disks) are now on display at Palazzo Ducale in Venice, as
part of the exhibition ‘Tintoretto 1519-1594’.
The show was organised on the occasion of the 500th anniversary of the birth of the Venetian painter Jacopo Tintoretto. Despite the strongly innovative nature of his technique, Vedova always admired the works of Renaissance Venetian painters, and considered himself to be part of this tradition. The production of his ‘Dischi’ is the culmination of an artistic process that has found its strongest source of inspiration in the works of Tintoretto, thus making it possible to juxtapose these two artists born four centuries apart.

The show will remain open throughout January 6th 2019.

For the #Bangkok Art Biennale, #YanPeiMing presents one of the most personal portraits he has ever painted. Having recently lost his mother, Yan comments: ‘the work represents the image I keep in my memory. It does not only express an unfathomable loss, it also helps me completing the dialogue with her soul.’
‘Ma mère’ | 2018 | Oil on canvas | 350 x 350 cm

#ImranQureshi is currently in the UAE city of Al Ain completing his project 'GARDEN AND BEYOND' for 'BEYOND: Artist Commissions', #AbuDhabiArt2018.

His site-specific installations will be on view from tomorrow till January 2019 at the Jahili Fort and at the Al Ain Oasis.

The pictured installation, located outside the Fort, consists of a square composition of a few thousand black roses. Titled 'Morning and night sang a duet together for a long moment' (2018), this work embodies the idea of a changing landscape as a result of the alarming threat of global warming.

The flowers are presented in an extremely arid space, which, between 1956 and 1971, used to be where oil drums where kept for the refuelling of armoured vehicles.
Photo: Mohamed Salman Khan. For Beyond: Artist Commissions, Abu Dhabi Art 2018.

#GeorgBaselitz ‘A focus on the 1980s’ remains open in our London gallery till 21 November.
The exhibition presents seminal works from each of the series Baselitz developed during this breakthrough decade – his Strandbilder [Beach Pictures], Trinker [Drinkers] and Orangenesser [Orange Eaters].
‘Previously I worked on paintings independently, taking a long time with each. Later, I worked more quickly, now I work very quickly. At the time when I did the Orange Eaters, I did the series, if you want to call it that, based on the theme of an orange more or less in the middle of the painting. At least somewhere where you can fix it centrally: the orange, the yellow spot. At the time, the reason behind these kinds of paintings of mine was the so called ‘wild youth’ (die Jungen Wilden). The wild youth were a great surprise in Europe, in Germany. Suddenly, enormous pictures were in, which were incredibly funny, full of humour and… were they critical? I don’t know. In any case, vehement in their appearance. And at the time, I was just over forty, but the young artists were just about twenty, a generation below me, and I had the feeling they overlooked me. I just had to do something. I had to just plant my flag, and that’s when I started to paint these light-hearted paintings.
Pictured: Orangenesser (VIII) [Orange Eater (VIII)], 1980-1981. Oil and tempera on canvas. 200 x 162 cm (78,74 x 63,78 in). Photo: Ben Westoby.

A number of #TonyCragg ‘s recent sculptures are on display in the Ehrenhof courtyard at Dusseldorf’s Museum Kunstpalast.

In the photographed work, ‘Mean Average’ (2018), entirely made in fiberglass, Cragg manages to
distinctively transform the material and consequently succeed in creating a sculpture which perfectly combines illusionism and statuary monumentality.

Accompanied by a cabinet exhibition, these sculptures will remain on display ‪until 10 February 2019‬.

#SylvieFleury ’s ‘YES TO ALL’ neon, originally conceived for her 2016 exhibition 'My Life On The Road', has just been reinstalled at Villa Stuck in Munich on the occasion of the museum’s 50th birthday.

#yestoall welcomes visitors in an aspiration to openness, a leitmotif of Fleury’s work.

Consisting of readymade materials, and appearing on the classical facade of the late 19th century building, the message appears to be out of context, thus open to interpretation by the viewer. As Fleury herself has claimed, this quote is not to be intended as a moralistic message, but instead is ‘about mirroring the viewer’s own thinking. There’s no punctuation, which means you can interpret it any way you wish’.

Don't miss our stand (A108) at #Westbund art fair, open until Sunday 11 November.

The booth features highlights by #AdrianGhenie and #TonyCragg (pictured here) and by #AntonyGormley #YanPeiMing #RobertLongo and #ElizabethPeyton.

In Adrian Ghenie’s ‘Favela’ (2018), just as in his other recent works from this series, wild creatures appear in opposition to the corrugated iron fence and yellow gas pipe that symbolise human presence and urbanisation. The artist's most recent body of work ‘Jungles in Paris’, its title inspired by Henri Rousseau, was exhibited in our Paris Marais gallery earlier this year.

Our stand at #ART021 (C07) also remains open until Sunday 11 November.
“Each fair has a totally different dynamic,” dealer Thaddaeus Ropac, who also exhibited at both venues, told @artnet News. “Art021 is more accessible, popular, and reaches a younger and more fashionable audience. West Bund is more art-world oriented and also more difficult to access geographically as it is not in the center of the city.”

Pictured: Adrian Ghenie. Favela, 2018. Oil on canvas. 220,5 x 250,2 cm (86,81 x 98,5 in)

Today is the last chance to view #TomSach 's 'Swiss Passport Office' exhibition in our London gallery.
For Sachs, Swiss citizenship is “the ultimate status nationality, representing wealth, neutrality and freedom”; a status the artist wishes to make available to all.
'Sachs breaks his gaze and points at a panther-shaped cuckoo clock hanging on the wall, which he later tells me was the hardest thing he’s ever had to make. “Look. This happens only once an hour.” We watch in anticipation as the beast opens its mouth and a little yellow chicken escapes momentarily to signal that it’s 11 am. “There’s a myth of a panther that was on the loose in Switzerland and it killed all these people. It was wild over a summer and eventually, a hunter killed it and ate it.” I suggest that it could be emblematic of a revolution coming. He looks at me from across his desk and nods, “I hope so.”' @dazed
A video from the 24h Swiss Passport Office performance is available on our IGTV channel.
Pictured: Tom Sachs. Koo Koo Klock, 2018. Plywood, mixed media. 57,8 x 57,2 x 54,9 cm (22,75 x 22,5 x 21.625 in)

We’re delighted to be showing a solo presentation of recent works by young British artist #OliverBeer @independent_hq #Brussels.
Join us at our booth number 3_11.

The artist's latest performance 'Composition for Mouths (Songs My Mother Taught Me)' will premiere in Europe as a highlight of #Independent's performance programme. Originally developed by the artist during his residency at the Sydney Opera House for the Sydney Biennale in 2018, for this performance Beer has worked with singers from Brussels, asking them to recall the earliest songs they remember from childhood and incorporating these melodies into his score. In the composition the pairs of singers join their lips in a tight seal to create a single mouth cavity, allowing them to explore the resonant frequencies of each other’s bodies.

Today's performance is ‪at 7:15 PM‬ on the ground floor.
Pictured: Oliver Beer. ‘Composition for Mouths (Songs my Mother Taught Me)’, 2018. Live performance. Image courtesy the artist. Photo: Hugard & Vanoverschelde

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