| contemporary drawing |

Drawings & Notes

5 October 2022
Pélagie Gbaguidi | Care, 2020 | dry pastel and wool on paper, 21 x 29 cm

Pélagie Gbaguidi

Care, 2020
dry pastel and wool on paper
21 x 29 cm

40 YEARS of Zeno X Gallery – the two-thousands
[with: N. Dash, Jan De Maesschalck, Pélagie Gbaguidi, Kees Goudzwaard, Susan Hartnett, Yun-Fei Ji, Kim Jones Naoto Kawahara, Martin Margiela, Philip Metten, Paulo Monteiro, Jockum Nordström, Marina Rheingantz, Pietro Roccasalva, Grace Schwindt, Jenny Scobel, Hyun-Sook Song, Bart Stolle, Mircea Suciu, Jack Whitten]
24 September – 12 October 2022
Zeno X Gallery, Antwerpen

Susan Hartnett

Oct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis), 2011
charcoal on paper
56,5 x 76 cm

Jockum Nordström

Cat Dog Cat, 2016
collage, watercolour and graphite on paper
40 x 50 cm

1 October 2022

Louise Bourgeois

Orbits and Gravity, 2009
Watercolor, ink, pencil and etching on paper
14 x 24.1 cm

Louise BourgeoisDrawing Intimacy 1939 – 2010
1 October 2022 – 2 January 2023
Hauser & Wirth Gallery

Louise Bourgeois
Les Petites Fleurs
, 2007
Watercolor, gouache, colored pencil and etching on paper
30.5 x 21 cm

Louise Bourgeois
La Fleur Bleue, 2007
Watercolor, pencil and etching on paper
20.6 x 28.9 cm

8 September 2022

Mark Manders

Untitled Drawing, 2011-2022
Pencil on paper
59 × 42 cm

Mark Manders
3 September – 15 October 2022
Zeno X Gallery, Antwerpen

Mark Manders
Cloud Study (with All Existing Words), 2005-2022
Offset print and acrylic on paper, chicken wire, wood
71 × 52 × 4 cm

Mark Manders
Drawing with Six Drops of Rain / Drawing with Vanishing Point, 2020-2022
Pencil on paper
65 × 50 cm

6 September 2022

Peppi Bottrop

Sprgs, 2022
Coal, graphite, acrylic and flame soot on canvas
140 x 90 cm

Peppi Bottrop. Dream On
3 September – 15 October 2022
Sies + Höke, Düsseldorf

Peppi Bottrop
Untitled, 2022
Coal and graphite on paper
59,2 x 42 cm

Peppi Bottrop
Drpwrt Hmlck wtr, 2022
Coal, graphite, acrylic and flame soot on canvas
185 x 150 cm

23 August 2022

Felipe Baeza

Wayward, 2021
ink, cut paper, graphite, twine, and acrylic collaged on paper
167.6 × 121.9 cm

Felipe Baeza
The 59th Venice Biennale: The Milk of Dreams
23 April – 27 November 2022 | Venice, Italy

Felipe Baeza
Fragments, refusing totality and wholeness, 2021
ink, embroidery, acrylic, graphite, varnish, and cut paper on panel
40.6 × 30.5 cm

[from the pressrelease] I open against my will dreaming of other planets I am dreaming of other ways of seeing this life These lines title a large-scale painting by Felipe Baeza, who combines collage, mixed media, egg tempera, and printmaking to make heavily textured two- dimensional works. Dreams of other planets, of another life arise through bodies depicted in states of transformation – often half human, half flora. Full foliage bursts from human heads, overtakes torsos and limbs, and erotically vines its way in and out of desirous mouths. Baeza’s approach to material aligns with the concepts that underline his work. This is visible in the new works shown at the Biennale Arte 2022, a continuation of a series Baeza has developed since 2018. He builds up his figures with layer after layer on panel, canvas, and paper, then sanding, carving, and altering the elements within each composition. This intense material manipulation recharacterises traditional drawing and painting processes and, reflecting the artist’s experience of migration to the United States from Mexico and migration across the globe, express his intent to create “fugitive bodies.” Described by the artist as love letters, his paintings and collages are a form of imaginative self-portraiture and future building.

Felipe Baeza
Por caminos ignorados, por hendiduras secretas, por las misteriosas vetas de troncos recién cortados, 2020
ink, flashe, acrylic, varnish, twine, cut paper, and egg tempera on paper

19 August 2022

Ilana Savdie

Me meneaba la cintura, 2022
Pen and acrylic on paper
61 x 45.7 cm

Ilana SavdieIn Jest
8 July – 11 September 2022
White Cube Bermondsey

Ilana Savdie
Mamita mamita, rica y apretadita, 2022
Oil, acrylic and beeswax on canvas stretched on panel
182.9 x 170.2 cm

Ilana Savdie
Paraphyletics, 2022
Pen and acrylic on paper
61 x 45.7 cm

[from the pressrelease]
Expanding on the carnaval tradition of her native Colombia, a subject she has worked with in the past, in this group of paintings Savdie introduces theatrical themes relating to the circus through the repeating motifs of a curtain, a hoof, a ball, a hoop (sometimes becoming a hole or portal), and in the suggestion of stretching, hanging and reaching bodies. Savdie’s fascination with performance is focused on destabilising agents and excessive modes of behaviour, and her visceral, dream-scape paintings celebrate the jester, the trickster, the parasite, the witch and the clown. As Savdie describes it: ‘They are always protesting, always resisting, always questioning power, and they are doing it through a grotesque exaggeration of themselves, their bodies, their failure to be legible, their needs and desires, their oppression, their social norms, their language, it is a mockery of all of it. They mock binaries, especially the idea of good and evil.’

Using fluid, layered, and discursive forms that dance across the canvas, her compositional arrangements are a riot of parasitic, disassembled bodies, ungrounded and endlessly evolving. A display of superabundance and enumeration, entrails, orifices, tissue, muscles, ribs, bones and joints are fused with less decipherable forms that might be some kind of basic organic matter. Worms, slugs, parasites or amoeba are shape shifting entities that destabilise the pictorial status quo, creating disarray and dissolution. Proportions and relative sizes do not adhere to their norms, so that everything appears equal in importance, heightening this structural undoing of the composition.

Drawing on the idea of the genuine or any fundamental authenticity at the heart of performance, Savdie sees role-play as a powerful force that opens a space of belonging for those at the margins of society, and equally, as a mechanism for self-discovery. Themes of perversion, inversion and contamination are celebrated through hybrid, physical matter that amalgamates forms, colours and textures in a single, horizontal plane. From the realistic to the cartoon-like, Savdie’s painterly language fuses into a kind of biomorphic caricature through procedures that range from thin pale washes to passages of thick impasto, from expressive brushwork to smooth, machine-like areas of paint.

A frenzy of incidence, of jostling, intersecting forms, is contrasted with large blank sections of paint and beeswax that create viscous pools of colour with a skin-like surface, pitted and rippled and defined by ridges. Savdie’s palette is distinctive, dominated by hues of searing hot pink, sun yellow, lime green, red, green and deep purple. Describing their effect as both euphoric and grotesque, Savdie uses colour to seduce and repel, and directly associates them with modes of dressing up, including drag and ‘queer’ space. ‘I respond to colour, spaces of ambiguity, the uncanny’, Savdie has said. ‘I’m using language that permeates queer conversation.’

17 August 2022

Candice Lin

Pueraria montana, 2022
Indigo, turmeric, and pencil on cotton rag blotting paper with plant remnants
30 x 24 cm

Candice LinXternesta
The 59th Venice Biennale: The Milk of Dreams
23 April – 27 November 2022 | Venice, Italy

Candice Lin
Strobilanthes cusia, 2022
Parasitic wasp and oak gall ink and turmeric on cotton rag blotting paper with plant remnants
30 x 24 cm

Candice Lin
Papaver somniferum, 2022
Parasitic wasp and oak gall ink, madder, turmeric, indigo, and soot black on cotton rag blotting paper with plant remnants
30 x 24 cm

9 August 2022

Tirdad Hashemi

The difficult life of an easy girl, 2020
Collage and pastel on paper
29,5 x 42 cm

Tirdad HashemiWet Plastic Fragile Heart
1 March – 31 Augustus 2022
gb agency (viewing rooms), Paris

Tirdad Hashemi
If corona don’t kill us we kill each other, 2020
Collage and pastel gras on paper
29,5 x 42 cm

Tirdad Hashemi

Dreaming of you dismantles any fear of loneliness at night, 2021
Oil pastel on paper
21 x 29.7 cm

3 August 2022

Susanna Inglada

Turn the Tables, 2021
charcoal, acrylic, pastel on coloured paper
198 x 211 cm

Summershow
Sam Hersbach, Susanna Inglada, Jantien Jongsma, Ronald Versloot, Dan Zhu
paintings, works on paper, drawings
10 July – 14 August 2022
Galerie Maurits van de Laar, Den Haag

Ronald Versloot

Just Wait, 2022
pastel on paper
70 x 50 cm

Jantien Jongsma

Siskin, 2021
gouache and ink on paper
70 x 100 cm

Dan Zhu

The Lightning, 2022
watercolour on paper
44,5 x 59,5 cm

Sam Hersbach

Eyes and Pearls, 2017
acrylic, gouache, pigment on linen
150 x 95 cm

30 July 2022

Kara Walker

Your Secret Pain, 2021
Graphite, ink and shell white on paper
57.1 × 76.2 cm

Kara WalkerRing Around the Rosy
10 June – 30 July 2022
Sprüth Magers, London

Kara Walker
The Colonists Day of Judgement, 2020
Walnut ink, shell white, pen, ink and watercolor on paper
66 × 101.6 cm

[from the pressrelease]
Sprüth Magers is proud to present Ring Around the Rosy, a solo exhibition of recent works on paper by Kara Walker. This is Walker’s second exhibition at the London gallery and brings into focus the breadth of her drawing practice. Her work within the medium is concurrently explored in depth in her touring museum exhibition, A Black Hole is Everything a Star Longs to Be, on view at the De Pont Museum in Tilburg, The Netherlands, through July 24.
Throughout her career, paper has been central to Walker’s practice, from the cut silhouettes that brought her early renown, to her small-scale drawing series and now monumentally scaled compositions. Drawing offers the artist a place to operate and develop in a transformative medium outside the heavily European male dominated discourse on painting. In Ring Around the Rosy, Walker’s dynamic inquiry into gender, identity, and sexuality is brought into poignant, suspended meditation across drawings of various scales; some produced as recently as this past year further elucidate the timeliness of her perspective on the present. Tracing the historical lineages of oppression and subjugation across centuries and continents, her work questions and confronts present-day matrices of race, power, and desire in the United States.
As is emblematic of her practice, the works on view are layered with art historical references. The eponymous drawing Ring Around the Rosy/Usher to the House of the Fall (2021) alludes to Edgar Allen Poe’s 1839 Gothic short story The Fall of the House of Usher, as well as Matisse, Blake and Bernt Notke’s medieval Danse Macabre, and the iconic children’s nursery rhyme. In The Origin of the World (Juried Art Competition) (2022), Walker makes pointed reference to Gustave Courbet’s painting of the same name, while rewriting his original intent for The Painter’s Studio (1855) to feature a Black painter at the centre of the work. The artist’s muse becomes the artist, vaunted by her beret, occupying the centre of the visual tableau.
The act of drawing has consistently been a way for Walker to reflect on current events and their overlap with history and myth. This exercise took on an extra dimension during the isolation of the pandemic, as she came to see the drawings as markers of passing time, similar to the meditative reading of the medieval book of hours. The imagery found within this series ranges from Biblical scenes to more contemporary acts of violence and strife, suggesting an interconnection of myth and reality across history. At the same time, drawing remains an act of hope for Walker: the personal devotion to time, and to the gesture of creation. 

Kara Walker
Untitled, 2021
Graphite and ink on paper
50.8 × 66 cm

Kara Walker
Eunich and Protégé, 2018
Graphite and ink on paper
33 × 48.3 cm

28 July 2022

Koen Delaere

390 Degrees of Stimulated Stereo 18, 2021-2022
Oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

Koen Delaere. 390 Degrees of Simulated Stereo
6 July – 29 August 2022
Gallery Gerhard Hofland

Koen Delaere
390 Degrees of Stimulated Stereo 15, 2021-2022
Oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

Koen Delaere
390 Degrees of Stimulated Stereo 9, 2021-2022
oil stick, collage, pigments, acrylic medium on oil paint paper
70 x 50 cm

24 July 2022

Albert Oehlen

Untitled, 2022
watercolor and ink on carton
30.5 x 22.9 cm

Albert OehlenWorks on Paper and a Sculpture
9 June – 30 July 2022
Gagosian Gallery, Athens

Links: [Gagosian Gallery]

Albert Oehlen
Untitled, 2022
paper and plastic sheet on paper
30.5 x 22.9 cm

Albert Oehlen
Untitled, 2022
watercolor, pencil and ink on carton
30.5 x 22.9 cm

[from the pressrelease]
In several of twenty-one small works in watercolor and ink on paper on view in Athens, Oehlen also refers to the same source as the John Graham paintings of his 2021 exhibition at Gagosian Beverly Hills. In these new drawings, Oehlen works alternately in black and white and with a restricted color palette, picturing biomorphic forms alongside wholly abstract passages, infusing both with anarchic energy.

In thirteen larger works in ink, paper, pencil, and watercolor, on paper, Oehlen refers to his Ö-Norm paintings of 2020–21. Characterized by wandering organic lines that often stretch to the edges of their supports, the drawings share with their root paintings a raw, unfinished quality and establish a tension between elegance and abjection. Here, drawing becomes an arena in which ideas of authenticity and expression undergo a thorough but still playful reassessment through experimentation with line, shape, and tone. An additional large charcoal drawing from 2016 features a loose web of black lines that traces the expansive gestures and directional shifts of the artist’s hand.

Finally, in six collages from 2009, Oehlen juxtaposes various found images and materials, including posters, postcards, stickers, and magazine advertisements, with original drawings and prints. These pared-down compositions allude to the continual reframing of aesthetic value and conceptual weight characteristic of twenty-first century consumer culture, while the heterogeneity of their components also challenges the viewer to uncover further visual and thematic links.

Albert Oehlen
Untitled, 2009
collage on paper
100 x 70 cm

21 July 2022

Atalay Yavuz

Uzandığım yer cilalı (The floor I lie on is polished), 2022
acrylic, graphite on paper
111.76 x 76.2 cm

Atalay YavuzI could stay up all night and make mistakes, and none of them would count
3 June – 22 July 2022
Galerie Elisabeth & Klaus Thoman/ tart.vienna

Atalay Yavuz
Ben kendimi bildim bileli (Ever since I have known myself), 2022
graphite on paper
44.5 x 58.25 cm

Atalay Yavuz | Kapına geldim kendime rağmen (I came to your door despite myself), 2022 | acrylic, graphite on paper, 111.76 x 76.2 cm, contemporary drawing

Atalay Yavuz
Kapına geldim kendime rağmen (I came to your door despite myself), 2022
acrylic, graphite on paper
111.76 x 76.2 cm

18 July 2022

Tal R

Untitled Flowers, 2021
Crayon and oil stick on paper
52 x 40 cm

Tal RUntitled Flowers
26 May – 30 July 2022
Victoria Miro, London

Tal R

Untitled Flowers, 2020
Ink on paper
124 x 80 cm

Tal R

Untitled Flowers, 2022
Oil stick on handmade coloured paper
178 x 130 cm

25 February 2022

Gerhard Richter

8.12.1989, 1989
Graphite and colored pencil on paper
29.7 × 21 cm

Gerhard Richter. Drawings | Zeichnungen 1963 – 2020
29 January – 12 March 2022
Sies + Höke, Düsseldorf

Gerhard Richter
Ohne Titel (Febr. 92)
, 1992
Oil and graphite on paper
21 × 16 cm

Gerhard Richter
VII. 91, 1991
Indian ink (brush) on paper
16.5 × 24 cm

Gerhard Richter
Snow White, 2005
Acrylic and graphite on offset print
22.5 × 32 cm

Gerhard Richter
Portrait Günther Uecker, 1968
Graphite and oil on primed canvas
50 × 38 cm

24 February 2022

Marijn van Kreij

Untitled (Sigmar Polke, Ad Reinhardt, Physiognomical Changes, The Insiders), 2015
Montage, gouache on the back of a drawing paper pad cover and book clipping
22.6 x 30.5 cm

Marijn van Kreij
Untitled (Sam McBratney, Anita Jeram, Raad Eens Hoeveel Ik Van Je Hou, 1995, Lawrence Weiner, Something to Put Something On, 2008)
, 2020
gouache and pencil on bookpage
21 x 25 cm

Marijn van Kreij
Untitled (Picasso, L’Atelier, 1955, Snow Butter), 2020
gouache and pencil on laserprint
42 x 29,7 cm

Marijn van Kreij
Untitled (Dakloos Bla Bla Bla, De Groene Amsterdammer, Molletje), 2020
gouache, pencil and ink on magazine page
29,5 x 23 cm

18 February 2022

Georg Baselitz

Ohne Titel, 2021
Ink on paper
100 x 74.8 cm

Georg Baselitz. Drawings
13 January – 26 February 2022
Anton Kern Gallery

Georg Baselitz
Ohne Titel
, 2021
Ink on paper
66.2 x 50.9 cm

Georg Baselitz
Ohne Titel
, 2021
Ink on paper
66.3 x 50.2 cm

[from the pressrelease]
A drawing is always naked.
— Georg Baselitz 

Made from memory in one sitting over the summer of 2021, the thirteen experimental and dynamic compositions in red and black India ink reconsider past bodies of work in addition to specific, individual images. Some are loosely based on the seminal portrait of Baselitz’s wife, Portrait of Elke I (1969), which marked the beginning of the artist’s inversion of his images and was recently donated by the artist to the Metropolitan Museum of Art in New York.

His choice to rework Elke repeatedly over the years in the same familiar poses represents an ever-renewing declaration of love, as well as an intimate reflection on change and stability, on the inevitability of ageing, and on the function of portraiture. New self-portraits and depictions of Elke are on view alongside a drawing derived from the well-known painting Schlafzimmer (Bedroom) (1975). Diverging from his recent black ink drawings, the vibrant flesh-red palette of many of the new works is inspired by Henri Rousseau’s 1895 lithograph La Guerre (The War) and intensifies the fragility and sensuousness of these portraits.

These new works are a vivid reminder that drawing has always been at the core of Baselitz’s practice, the line functioning as the seismograph of the artist’s attitude towards image and motif. Taking a look back at ink works from the late 1950s and early 1960s, the profound influence of French poet, dramatist and visual artist Antonin Artaud, a kindred spirit of sorts, becomes instantly evident. It was out of this investigation that Baselitz developed his unique definition of the role of the artist in society, while simultaneously inventing a deeply original language of drawing and painting. These early motifs were drawn in bold, gnarly lines and high contrast ink washes, held together in bouncy yet slightly unsteady and restless compositions.

Now, Baselitz directs the same existential rigor towards himself and his own oeuvre. The lines, drawn with an ink-wet brush and an almost weightless stroke, allow the liquid to pool and follow the pull of gravity or the blow of air, seemingly trailing an invisible compositional grid, substituting for any indication of background or space. Elke and Georg Baselitz appear and disappear out of the thicket of drawn ink, and even, in a dazzling use of color, to bleed in raw redness. The contours, the disegno, of the human figures are fragmentary, tremulous, but also, at times, fluid and very much alive. This new series is an uncompromising self-investigation of an artist in his 84th year. No outside existential spark is needed. It has been replaced by a lifetime of art making stripped bare.

Georg Baselitz Ohne Titel, 2020 Ink and gouache on paper 248.4 x 176.2 cm
9 February 2022

Fabrice Souvereyns

Not erased, tree with tulips, 2021
Pencil on paper
26 x 37.7 cm

Fabrice SouvereynsNECTAR
16 January – 26 February 2022
Hopstreet Gallery, Brussels

Fabrice Souvereyns
Not erased, untitled, 2020
Left: pencil on paper, right: pencil and easer on paper
2 x 44.5 x 29.3 cm

[from the pressrelease]
For the drawings in this exhibition, Fabrice Souvereyns uses numerous recurring starting points. He opts for Simili Japon paper of the same size as a medium. A pencil, eraser and cutter are his only tools. He is exceptionally creative with very few resources and the resulting ‘colour palette’. The pencil touches the paper with varying degrees of force, from hard to soft; the lines hover between fragile and deep indentations. Heavy grey tones vie for the upper hand with grey-white tones. He does not plan series in advance; every drawing is unique.

Without a story or theme, he spontaneously investigates with flowing lines in an initial phase. An intense observation of plants, the sun, clouds, waves and textile patterns serves as a vague guideline. The work process quickly develops an unpredictable vitality of organic shapes, an interplay between surface and depth, or the utilisation of mistakes he has made. The serrated edges help determine the composition. Occasionally he uses collage and negative shapes. A rhythm evokes syncopation; he answers a previous intervention with a countermovement. Bright areas become dark and vice versa. The artist consciously deviates from obvious virtuosity. Sometimes he steps back. Fragments are erased or drawn over. Geometric shapes insert order into the loose lines. The focus areas change along the way; the subject transforms. As the work process evolves, he consciously steers the drawing in a particular direction. He remains the master of his artistic decisions.

The artist concentrates on one drawing at a time; he carefully lists the working hours on the back. The reverse side is a work of art in its own right, filled with traces of erasure and indentations. In the atelier, the artist’s imagination leads to self-invented shapes. Exploring his own consciousness gains the upper hand over the initial representation of visual reality. The concentrated process broadens his consciousness. Dream and creation make an appearance. Lines are placed closer together; manifestations take an abstract turn. This makes his art look simultaneously universal and original. The pieces appeal directly to the viewer’s experiences. We harbour certain feelings for them, but the artist does not serve up any explicit points of views or personal feelings. He consciously avoids ostentatious accents. Conversely, his vegetative shapes are filled with hidden eyes. Are they looking at the drawing, the viewer or the world? Or was the artist looking at something else during the work process? In any case, we look at drawings that are result of intense observation of both the outside world and the reality of consciousness.

Fabrice Souvereyns
Not erased, red, climbing waves
, 2020
Pencil on paper
36.2 x 27.2 cm

1 February 2022
Play Video about On Drawing: Trends in Contemporary Drawing | Menil Collection 

On Drawing: Trends in Contemporary Drawing

Menil Collection program about recent trends in contemporary drawing, in conjunction with the publication of “Vitamin D3: Today’s Best in Contemporary Drawing” (Phaidon, 2021). Edouard Kopp, Chief Curator of the Menil Drawing Institute, is in conversation with Louisa Elderton, editor of “Vitamin D3,” and Anna Lovatt, art historian and contributor to the publication.

18 September 2021

Tatiana Trouvé

April 10th, The Washington Post, USA
from the series ‘March to May’,
2020
inkjet print and pencil on paper
42.1 x 29.5 cm

Tatiana TrouvéFrom March to May
18 September – 30 October 2021
Gagosian Gallery, New York

Links: [Tatiana Trouvé] [Gagosian Gallery] [Gagosian Quarterly]

Tatiana Trouvé
April 14th, La Tercera, Chile
from the series ‘March to May’,
2020
inkjet print and pencil on paper
42.1 x 29.5 cm

[from the pressrelease]
“When the quarantine was announced, newspapers from countries around the world being ravaged by the pandemic took on new meaning. I began, each day, to draw on the front page of a paper—it was a way of escaping the confinement, and of being connected to the strange atmosphere that was spreading around the globe with the virus. This world tour via headlines and front pages was like a journey in reverse. Suddenly, I could no longer meet the world unless the world came to me, through the newspapers. Governments and leaders around the world should have seen this as an opportunity to reconsider our societal and economic models. But no. This crisis has only heightened my anger at the inequalities we accept daily, and at the contempt we show for our planet.
—Tatiana Trouvé

9 June 2021

Francis Alÿs

Untitled (study for Le Juif Errant Gibraltar), 2008
Oil, collage and pencil on canvas
32.5 x 40.5 cm

27 May – 17 July 2021
Gallery David Zwirner, Paris

Francis Alÿs
Untitled (Study for ‘Don’t Cross the Bridge Before You Get to the River’), 2006-2008
Oil, encaustic, and graphite on canvas on panel
19.4 x 24.4 cm

[from the pressrelease]
Don’t Cross the Bridge Before You Get to the River brings together a group of works made by the artist from 2006 onward that relate to an action that took place simultaneously on opposite shores of the Strait of Gibraltar—in Tangier, Morocco, and Tarifa, Spain—on 12 August 2008. This is the first solo presentation in Paris for the internationally acclaimed artist, who will represent Belgium at the 2022 Venice Biennale.

Alÿs is known for his in-depth projects in a wide range of media, including documentary film, painting, photography, performance, and video. Through his practice, Alÿs consistently directs his distinct poetic and imaginative sensibility toward anthropological and geopolitical concerns centered around observations of, and engagements with, everyday life. The artist himself has described his work as “a sort of discursive argument composed of episodes, metaphors, or parables.”

Since 2004, the artist has shifted his attention to the inherent sociopolitical conflict in border regions, making works in interstitial locales such as the Strait of Gibraltar, Jerusalem, the Turkish-Armenian border, the open water between Havana and Key West, Florida, and the Panama Canal Zone. Don’t Cross the Bridge Before You Get to the River is a prime example of Alÿs’s tenet that the poetic and the political are intimately connected. Here, Alÿs again examines geographical and philosophical notions of borders as well as larger issues concerning freedom of movement. Alÿs prepared for this action, which is documented in a two-channel video, over the course of many years.

All videos included in this exhibition were created in collaboration with Julien Devaux, Ivan Boccara, Rafael Ortega and Felix Blume. On the appointed day, a line of local children, each holding a small boat fashioned from a shoe, assembled on the beach in Tarifa and a counterpart line of children holding shoe-boats gathered on the beach in Tangier. Attempting to bridge not only continents but also cultures, the two lines of giggling children waded into the lapping waves, trying to move toward each other, while the tide relentlessly pulls them back to the shore, in an effort to answer the question posed by Alÿs: “Will the two lines meet in the chimera of the horizon?”

In addition to the video documentation, Alÿs created an important group of paintings, drawings, and sculptures. Made on site as well as in the studio, they allow the artist to experiment with similar ideas and themes in a more solitary and introspective way. The paintings allow the artist to stay connected to the project throughout the different stages of the process, often over the course of several years. Alÿs also uses image as his main communication system in order to express and explain his intentions to his collaborators. Throughout his practice, Alÿs has utilized a combination of abstract and realist motifs in his paintings in order to address the inherent difficulty of representing complex concepts directly.

13 May 2021

Susan Te Kahurangi King

Untitled, ca. 1967–70
Crayon, ink, colored pencil and graphite on paper
10.25 x 8.25 inches.

Parallel Phenomena: Works on Paper by Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul. [Curated by Damon Brandt]
Andrew Edlin Gallery, New York
May 13 – July 2, 2021

Peter Saul

Untitled, 1962
Crayon on paper
35 x 39 inches

Carroll Dunham

Land, 1998
Graphite on paper
15 x 21.5 inches

Gladys Nilsson

Blue Glass, 1985
Watercolor on paper
21.75 x 41.75 inches

Parallel Phenomena [from the pressrelease] – Parallel Phenomena compares and contrasts the distinct yet related worlds these four artists have constructed and woven into being with graphite, colored pencil and watercolor. Every paper surface becomes the territory for a series of eccentrically fueled and compulsively composed narratives, each distinguished by a level of figurative distortion that bears the unmistakable signature of its author. By exploring the compositional and conceptual connective tissue among the works of Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul, one can trace the mysterious phenomena of unorchestrated communal responses to deeply held individual impulses or needs. Through this clarifying process one can simultaneously highlight individual inspiration and celebrate the shared instincts and aesthetic parallels.

Susan Te Kahurangi King
Untitled, circa 1967
Crayon, ink, colored pencil and graphite on paper
10 1/4 x 8 inches

5 May 2021

Willem de Kooning

Two Women, c. 1950
Graphite and oil on paper
25 × 20 cm

Willem de Kooning. Drawings
5 May – 26 June 2021
Matthew Marks Gallery, New York

Willem de Kooning

Untitled (Painting Study), c. 1975
Charcoal on paper
22 × 28 cm

Willem de Kooning

Untitled (Clamdigger), c. 1970
Charcoal on paper
28 × 22 cm

“Even abstract shapes must have a likeness”
[from the pressrelease] – The exhibition Drawings features thirty-two works spanning the artist’s long career. The tension between abstraction and figuration that defined de Kooning’s art is apparent in the exhibition’s earliest works. Included are several of his most celebrated drawings from the 1930s, including a 1937 study for his World’s Fair mural, his 1938 portrait of the art critic Harold Rosenberg, and the Ingresque Reclining Nude (Juliet Browner) (c. 1938), one of his first female nudes. The traditional skills he learned at the art academy in Rotterdam are evident in a sheet of precisely drawn portraits of Elaine de Kooning from the early 1940s.

By the following decade de Kooning had traded deliberateness for velocity. Included in the exhibition are three Woman drawings from c. 1950 made up of swarms of graphite marks in constant motion, smeared or removed almost as quickly as they were laid down. Widely celebrated for his skilled draftsmanship, de Kooning nevertheless strived to avoid what he considered the pitfalls of virtuosity. In the mid-1960s he used experiments like drawing with his eyes closed to break old habits and discover new means of expression. 

Several drawings in the exhibition build on the lessons of those exercises. Drawn with charcoal, which facilitated even faster mark-making, they describe figures with an immediacy that the artist likened to snapshots. The human form still provides the departure point for three turbulent drawings from the late 1970s, the latest in the exhibition. As de Kooning famously said, “Even abstract shapes must have a likeness.”

Willem de Kooning

Woman, c. 1950
Graphite and wax crayon on paperboard, double
33 × 25 cm

27 March 2021

Amalia Pica

Joy in Paperwork 342, 2015
ink on paper
29.7 x 21 cm

27 March – 25 April 2021
König Galerie, Nave of St. Agnes, Berlin

Amalia Pica

Joy in Paperwork 338, 2015
ink on paper
29.7 x 21 cm

[from the pressrelease]

The series Joy in Paperwork addresses questions of bureaucracy and arbitrariness. The drawings are made with stamps that the artist picked up from different countries. In times of the digitalization documents are still essential in many official processes. Arranged in different patterns the stamps both play with and subvert our obeisance of bureaucracy. Joy in Paperwork Despite the discussion of the global digital world, bureaucratic procedures continue to be based on hard copies, e.g. one’s passport booklet, driver’s license, or official mail. Utilizing a lexicon of formal compositional possibilities Joy in Paperwork, presents elaborate rubber-stamp drawings.

As the texts of the stamps are repeatedly imprinted, their utility becomes abstracted and gives way to patterns or even recognizable forms – sometimes these drawings look like flowers, or even landscape. Pica has restricted her palette to the three ink colors most commonly used in official paperwork–black, red and blue–and with that. The stamps from different countries in different languages mark something has been paid, received, delivered, or duplicated within the abstraction of the bureaucratic machine. From the repetitive gesture of stamping, archiving and display emerges not only a defiant attitude, but also a resilience and joy that defy the very oppression of bureaucracy itself.

The drawings are meant to overwhelm viewers but also draw them in for close viewing as well. Pica is interested in things that get lost, are overheard, forgotten or miscommunicated. In her work, erasure and compensation happens both at the level of the historical anecdote, and at its mediation through art. Although not only linked to immigration, the work speaks to Pica’s arduous process as a non- European person applying for citizenship in a European country.

Amalia Pica

Joy in Paperwork 335, 2015
ink on paper
29.7 x 21 cm

21 January 2021

Michaël Borremans

Bullet, 2019
pencil and white ink on blue-grey grounded paper
20,9 x 13,8 cm

Works on Paper. Michaël Borremans – N. Dash – Jan De Maesschalck – Philip Metten – Pietro Roccasalva – Hyun-Sook Song – Bart Stolle – Mircea Suciu – Luc Tuymans – Cristof Yvoré
13 January – 20 February 2021
Zeno X Gallery, Antwerpen

Luc Tuymans

Facial Reconstruction, 2020
charcoal and watercolour on paper
32 x 29 cm

Mircea Suciu

Shame (Study 2), 2020
charcoal on paper
76 x 56,5 cm

Pietro Roccasalva

Study from Just Married Machine, 2020
acrylic on paper
49,8 x 65,5 cm

6 November 2020

Stephan van den Burg

Untitled (borrowed settings #2), 2020
colored pencil on paper
29.7 x 21 cm

Positioning. Stephan van den Burg & Zaida Oenema
17 October – 14 November 2020
Gallery Helder, Den Haag

Zaida Oenema

Soft Ground/Hard Edge (graphite), 2020
Cogon grass paper, cut with soldering iron, graphite
50 x 42 cm

Stephan van den Burg

Untitled (sample book pages #12), 2020
colored pencil on paper
29.7 x 21 cm

Zaida Oenema

Soft Ground/Hard Edge (yellow #2), 2020
Cogon grass, colour pencil
50 x 42 cm

Stephan van den Burg

Untitled (graphite finish #15), 2020
colored pencil on paper
29.7 x 21 cm

31 October 2020

Silvia Bächli

Untitled, 2020
Gouache on paper
62 × 44 cm

Silvia Bächli

Untitled, 2020
Gouache on paper
44 × 31 cm

Silvia Bächli

Untitled, 2020
Gouache on paper
62 × 44 cm

7 October 2020

Joe Bradley

Untitled, 2019
Graphite on paper
23 x 30.5 cm

Works on paper.

Works by: Hurvin Anderson, Milton Avery, Georg Baselitz, Joe Bradley, Marcel Broodthaers, James Lee Byars, Enrico David, Peter Doig, Jörg Immendorff, Per Kirkeby, Florian Krewer, Eugène Leroy, Markus Lüpertz, Walter de Maria, Roberto Matta, Henri Michaux, A.R. Penck, Elizabeth Peyton, Francis Picabia, Sigmar Polke, Peter Saul, Raphaela Simon, and Don Van Vliet.
7 October – 22 November 2020
Michael Werner Gallery, New York

Francis Picabia

Untitled, 1933
Colored pencil, ink on paper
27 x 21 cm

Georg Baselitz

Untitled, 1992
Charcoal on paper
86.5 x 61 cm

Roberto Matta

Woman Impaled and Five Other Scenes, 1943
Graphite, crayon on paper
58.5 x 73 cm

Milton Avery

Misty morning, 1959
Watercolor on paper
55.5 x 76 cm

A.R. Penck

Untitled (Standart), ca. 1967-1968
Watercolor on paper
30 x 21 cm

Peter Doig

Untitled, 2015
Charcoal on paper
50 x 70.5 cm

Henri Michaux

Untitled (Mescaline Drawing), 1959
India ink, watercolor on paper
28 x 20 cm

12 September 2020

Rita Ackermann

Mama Backwards 7, 2020
Oil, acrylic and china marker on canvas
190.5 x 165.1 cm

Rita Ackermann | Mama ’20
12 September – 22 November 2020
Hauser & Wirth, Zurich

[from the pressrelease]
In Mama ’20 Rita Ackermann presents her latest body of work – a continuation of her Mama series – consisting of automatic drawings and paintings on canvas which reveal her persisting interrogation of line, color and form.

This new suite of paintings on both canvas and paper, feature figures and motifs which rise to the surface only to dissolve and reappear elsewhere again. In Ackermann’s Mama series, repeated imagery is often combined with vivid swathes of color, giving her work a complex visual component that oscillates between abstraction and figuration. Her images are the product of automatic lines and gestures, a subconscious unfolding of form.

Ackermann’s distinctive approach to layering yields a framework for a maelstrom of vibrant pigments and textures that invite and immerse the viewer. In works such as ‘Mama, The Best is Always Yet To Come’ (2020), the weight of the paint’s application combined with the additive and subtractive process of color and figurative line, evoke a nuanced interior realm. Pastel, pigment, china marker, and oil create a depth of surface, which are scraped away to reveal figures of shattered compositions.

For her new series of works on paper, Ackermann applies oil and china marker to create intimate incarnations of her larger canvases. Titling them as ‘studies’, Ackermann focuses on details of her Mama paintings, obscuring various pencil-drawn figures through thick veils of brightly colored oil paint. ‘Mama ‘20’ at Hauser & Wirth Zürich continues Ackermann’s distinctive approach to painting and the coalescence between the personal and collective experience within.

8 September 2020

Charlotte Schleiffert

Girl with dog and monkey, 2019
mixed media on paper
25 x 32,5 cm

Susanna Inglada, Charlotte Schleiffert: AROM(E)IS. Drawings, work on paper, animations, painting
6 September – 4 October 2020
Gallery Maurits van de Laar, Den Haag

Susanna Inglada

no title, 2020
charcoal, acrylic, pastel, on coloured paper
36 x 28 cm

Charlotte Schleiffert

no title (P29), 2019
pencil watercolour, pastel on paper
32,5 x 50 cm

Susanna Inglada

no title, 2020
charcoal, acrylic, pastel, on coloured paper
37 x 30 cm