thaddaeusropac thaddaeusropac

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Galerie Thaddaeus Ropac  International contemporary art gallery with locations in Paris, Pantin, London and Salzburg. . https://www.youtube.com/watch?v=UPZwVeOUyI0

‘Baselitz: Six Decades’ opens tomorrow evening at the @hirshhorn museum. It is #GeorgBaselitz ‘s first major US retrospective in more than twenty years, marking the year of the artist’s 80th birthday. With more than 100 works highlighting every phase of his six-decade career from the 1950s to today, this milestone exhibition features work never before seen in the US and cements Baselitz’s reputation as one of the most original and inventive figurative artists of his generation.
The exhibition, curated by Stéphane Aquin, runs from 21 June - 16 September 2018.
Pictured here: Georg Baselitz, 'The Brüke Chorus (Der Brükechor), 1983. Oil on canvas, 280 x 450cm. © Georg Baselitz, 2018. Private Collection. © Christies images limited

Installing #MarcQuinn’s monumental ‘Frozen Wave’ to be featured in the exhibition ‘It Comes in Waves’, opening in our #Pantin gallery next Saturday 23 June.
The exhibition draws on the genealogy of the wave as subject and concept throughout art history. It brings together 15 artists who explore the wave as a motif, metaphor and force. Whether it is through affective landscapes, conceptual practices or performative processes, the artists investigate the moment when both thought and emotion take form. Notions such as constant flux, repetition and eternal recurrence find a new echo today as our perception of time and space has become increasingly liquid.
With works by #MiquelBarceló, #GeorgBaselitz, #RosemarieCastoro, #RichardDeacon, #ElgerEsser, #VALIEEXPORT, #AnselmKiefer, #WolfgangLaib, #JustinMatherly, #SigmarPolke, #MarcQuinn, #ArnulfRainer, #PatSteir, #NotVital and #LawrenceWeiner.

Happy Birthday to Irving #Penn, born on this day in 1917.
Irving Penn was one of the twentieth century's great #photographers. At a time when photography was primarily understood as a means of communication, he approached it with an artist's eye and expanded the creative potential of the medium.
Penn was among the first photographers to pose subjects against a simple grey or white backdrop, capitalising on the impact of simplicity. Expanding his austere studio surroundings, Penn constructed a set of upright angled backdrops, to form a stark, acute corner in which to photograph his sitters. Subjects photographed with this technique included Martha Graham, Marcel #Duchamp, Pablo #Picasso, Georgia #O’Keeffe, W. H. Auden, and Igor Stravinsky.
Penn's creativity flourished during the last decades of his life. Determined to shape the body of work he left behind from such a prolific career, he also carefully structured and reduced his archives. In 2009, Penn died in New York, at the age of 92. During his lifetime, he established The Irving Penn Foundation.
Pictured here: 'Irving Penn: In A Cracked Mirror (Self-Portrait) (A), New York', 1986. Copyright The Irving Penn Foundation.

Today is the last chance to see the Joseph #Beuys exhibition in our London gallery.
'Utopia at the Stag Monuments', curated by Norman Rosenthal, closes today.
If you can't make it into the gallery, tune into our recent panel discussion 'Joseph Beuys: A Transformative Force Today' in collaboration with @theartnewspaper.official on our Youtube channel to find out more about the artist and the works featured in the exhibition. Click on the link in bio to watch Norman #Rosenthal and Antony #Gormley live in conversation with Louisa #Buck, later to be joined by Beuys experts Caroline Tisdall and Richard Calvocoressi.
Pictured here: 'Feldbett (Campaign Bed)', 1982, first exhibited in Beuys’s Workshop (Werkstatt) installation at the 'Zeitgeist' exhibition in Berlin in 1982.
In the cold light of rationality these objects look like ancient furniture, tools, machinery. But in the light of intuition, the bed is charged with electrical energy and the objects pulsate and twist with life.

Tomorrow is the last day to visit #AdrianGhenie’s exhibition ‘Jungle in Paris’ in our #Paris Marais. Don’t miss it!
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In ‘Favela’ Ghenie paints a post-apocalyptic landscape in yellow, mustard and earth tones. Undulating plains seem to crumble down as a symphony of stripes directs our gaze towards the centre. The scene features a cast of wild beasts that seem to fight much like the fauna in Henri Rousseau’s painting ‘The Hungry Lion Throws itself on the Antelope’ (1898-1905). On this picture:
Adrian Ghenie | Favela | 2018 | Oil on canvas | 220 x 250 cm | 87 x 99 in.

We are pleased to announce our upcoming exhibition of American artist Elizabeth #Peyton. The artist’s new paintings and works on paper will be unveiled at 'Eventyr', a title taken from an old Norse word meaning fairytale and/or adventure, to be shown at Ropac’s #Salzburg gallery in July/ August 2018. To mark the occasion, a preview is presented at our #ArtBasel18 booth (Halle 2.0, Stand B1) with her painting ‘Hanyu (Yuzuru Hanyu)’.
Peyton's works, though figurative, also use the language of abstract paintings - they are as sweeping, open and gestural as they are delicate and fragile. Mostly portraits, they also include still life, landscape and self-portraits, depicted in various mediums (oil painting, watercolour, drawing and print). Her subjects range from King Ludwig II of Bavaria to her dog Isolde, from friends, artists (writers, musicians etc), particular royalty, characters from literature, to historical figures and athletes.
Her works are represented in distinguished international collections including at the Guggenheim Museum, New York; Museum of Modern Art, New York; Centre Georges Pompidou, Paris; San Francisco Museum of Modern Art, San Francisco; Kunstmuseum, Wolfsburg; Walker Art Center, Minneapolis; Museum of Contemporary Art, Los Angeles; Tate Modern, London and Whitney Museum of American Art, New York.

Marking a rare appearance for works by Joseph #Beuys at #ArtBasel (Halle 2.0, Stand B1), we are pleased to present the artist’s early sculpture ‘Junges Pferdchen [Young Horse]’ (1955/86).
The work comes directly from the artist estate, represented by the gallery since last April, and was exhibited for the first time as part of our current London show ‘Joseph Beuys: Utopia at The Stag Monuments’ (on view till 16 June 2018). The wax figure of a horse in an open plaster cast was completed by Beuys shortly before his death. The figure of the horse regularly features in his drawings, but the wax cast is a singular sculptural work. Its title was provided by Eva Beuys, the artist's wife, using the German diminutive for horse – pferdchen – which emphasises the figure’s delicateness and fragility. The ‘unfinished’ character of the work gives it a dynamic quality and provides invaluable insight into the artist’s working methods. According to Eva, when Beuys went into hospital in 1986, he asked her to take care of the pieces that he had placed in a zinc tub in his studio, as he had ‘something in mind with them’.
Also pictured here a Robert #Rauschenberg #Borealis: ‘Untitled (Borealis)’, 1991. Acrylic and tarnishes on brass. 306,7 x 123,8 cm (120,75 x 48,75 in)

We are delighted to be showing a rare Robert #Rauschenberg ‘Combine’ at our #ArtBasel18 booth. ‘Slug’ (1961) is a work from the renowned and much sought-after Combine series (1954-64), named after the term Rauschenberg coined to describe a hybrid of sculpture and painting. Rauschenberg’s radical reinvention of the collage principle reached its fullest expression in his later Combines, which are fully freestanding or, as in ‘Slug’, incorporate both wall and floor elements, with an appendage reaching out into the viewer’s space
The Combines brought Rauschenberg international acclaim (he was awarded the coveted Golden Lion at the 1964 Venice Biennale), and their innovative approach to blending materials and categories remains one of the most significant developments in twentieth-century art. Works from the series form part of the permanent collections of major international museums, including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; Museum of Contemporary Art, Los Angeles; Museum Ludwig, Cologne; Stedelijk Museum, Amsterdam and Moderna Museet, Stockholm.
‘Slug’ itself went directly from Leo Castelli Gallery, via Galerie Schmela, to prominent German collectors, whose art collection was on long-term loan to the Kaiser Wilhelm Museum, Krefeld, for over 40 years.

We look forward to welcoming you to our stand (Halle 2.0, Stand B1) at Art Basel 2018. This year, the gallery presents highlights by Robert Rauschenberg, Georg Baselitz, Joseph Beuys and Elizabeth Peyton.
Pictured here (far right), a historic painting from Baselitz’s seminal ‘Fracture’ series ‘Ein zerrissener Hund, aufwärts [A Fractured Dog, Upwards]’ (1968), painted in the revolutionary year 1968, exemplifies the series that heralded the artist's typical inversion of the motif. The piece accompanies new works by the artist on our stand.
Further works presented include ‘I should have know better’ by Daniel Richer (pictured left: 2018, 230 x 170cm) and by Adrian Ghenie, Alex Katz, Wolfgang Laib, Erwin Wurm, VALIE EXPORT, Robert Longo, Irving Penn and Sigmar Polke.

#RobertLongo’s ‘Death Star II’ (2017/18) features at this year's #ArtUnlimited. The work is a sphere made of 40,000 cartridge cases, hanging from the ceiling. Twice the size of and including double the number of bullets in the 1993 ‘Death Star’, it symbolises the increase in deaths from gun violence in the USA over the past 25 years.
The bullet ball, as Longo calls it, is hung at eye level, from a chain secured to I-beams. ‘Death Star II’ sits in darkness under a high-intensity spotlight; as you walk towards it, the edges start to glow. ‘It’s very trippy because when you first see it you’re not quite sure what it is. Once you get right up to it and you realize it’s made of bullets, it becomes rather shocking. The amount of bullets is pretty insane.’
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To compose the random sequencing of bullets, each attached by hand, the artist worked with a NASA engineer at Neoset Designs in Brooklyn, New York. The 2-ton result, which took over a year to complete, is presented by the gallery and Metro Pictures at Basel Unlimited. 20 % of the proceeds from its sale will be donated to ‘Everytown for Gun Safety’. A selection of Longo works will also feature on the Ropac #ArtBasel booth.
Photo: Metro pictures, swipe to see detail.
@artbasel

We are delighted to announce that Sylvie Fleury is one of the three artists who will receive the Prix Meret Oppenheim at the Swiss Art Awards tonight.
The Swiss Federal Office of Culture is presenting the 18th Swiss Grand Award to three outstanding personalities from Switzerland's cultural scene who's work has had international impact: artists Sylvie Fleury and Thomas Hirschhorn and architect Luigi Snozzi.
Sylvie Fleury will be celebrated for her work, which uses installation and mixed media to construct a paradigm of the new age within consumerist culture. In the spirit of Duchamp's readymades and Warhol's Pop Art, brands and logos are exaggerated and deified as a means to comment on superficiality, materiality and collective obsession.
The award ceremony takes place tonight at 5.30pm (Hall 3, Messe Basel)

As part of this year's #ArtUnlimited, Galerie Thaddaeus Ropac presents an installation by #German #Minimalist artist Wolfgang #Laib.
His site-specific ‘You will go somewhere else’ (1997/2005) features seven enigmatic, wax boat-like forms, perched on wooden scaffolding, seeming to file through the space.
Reflecting Laib’s temporal exploration of how the present holds the future, these vessels float in the air, inviting the viewer to meditate on a journey into the unknown.
The artist’s working process demonstrates a kind of purity and calm concentration, reflected in the simplicity of his materials. Characterized less by innovation or formal development than by strict continuity, the series of repeated processes, collecting and utilizing the same basic essentials – natural substances such as milk, pollen, rice, beeswax, and marble – enhance awareness of the transience of phenomena while encouraging the mental quest for serenity and the transcendental.
Laib’s formal vocabulary, which tends towards abstraction, is based on geometrical figures and forms such as the rectangle, circle, pyramid, cone, and the stylized, archetypal motifs of house, mountain, boat or stairs.
Find it at: Unlimited | Hall 1.1 | U40.
Pictured: ‘You will go somewhere else’, 1997 - 2015. Installation: Beeswax, wood. 80.0 × 271.0 × 1,700.0 (cm)

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