FELIX GONZALES-TORRES | THREE GALLERIES

Felix Gonzalez-Torres, "Untitled" (Chemo), 1991. Strands of beads and hanging device, dimensions vary with installation. © The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres at Andrea Rosen Gallery, New York; Massimo De Carlo, Milan; and Hauser & Wirth, London May–June 2016 andrearosengallery.comhauserwirth.commassimodecarlo.comfelixgonzalez-torresfoundation.org A series of three exhibitions of the work of Felix Gonzalez-Torres will open in conjunction at Andrea Rosen Gallery, New York; Massimo De Carlo, Milan; and Hauser & Wirth, London in May 2016. Curated by artists Julie Ault and Roni Horn, each exhibition will focus on the dialogue between works within an essential form that Gonzalez-Torres created. In so doing, Ault and Horn hope to underline the specificity and magnitude within particular bodies of the artist's work. By engaging the range of decisions brought to bear in manifesting and installing selected Gonzalez-Torres works, works that require being made anew for each presentation, Ault and Horn underscore vital methods reflected throughout the artist's entire oeuvre. Opening: May 5 Andrea Rosen Gallery New York Opening: May 20 Massimo De Carlo Milan Opening: May 26 Hauser & Wirth London

SUBODH GUPTA | HAUSER & WIRTH LONDON

Subodh Gupta What does the vessel contain, that the river does not

Savile Row18 May – 27 July 2013, Hauser & Wirth London

What does the vat contain that is not in the river?

What does the room encompass that is not in the city?
This world is the vat, and the heart the running stream,
this world the room, and the heart the city of wonders.

Jalāl ad-Dīn Muhammad Rūmī
Excerpt from ‘The Sufi Path of Love’

Following its critically-acclaimed presentation at the Kochi-Muziris Biennale, Subodh Gupta’s sculpture ‘What does the vessel contain, that the river does not’ will be on view for the first time outside India at Hauser & Wirth’s Savile Row gallery. Through his use of found, commonplace objects, the New Delhi-based artist explores cultural dislocation prevalent in an era of shifting powers, as well as personal histories. ‘What does the vessel contain, that the river does not’ evokes the conflicting feelings of belonging and displacement, movement and stability, and explores the liminal space between these states of being.

Inspired by the work of the 13th century Persian poet, Jalāl ad-Dīn Muhammad Rūmī, ‘What does the vessel contain, that the river does not’ is a traditional fishing boat from Kerala, India that measures over 20 metres and straddles the entire stretch of the gallery. The boat is filled from bow to stern with chairs, beds, window frames, fishing nets, plastic jars, cans, an old radio, cooking pots and pans, suitcases and a bicycle.

The ancient Sufi philosophy embedded in Rūmī‘s poetry speaks eloquently about the idea of the microcosm – the containing of an entire universe within the human soul. With this large-scale work, Gupta too creates a microcosm containing one person’s entire existence, bundled together and crammed into a vessel which appears as if it is about to set sail. For the artist, this boat ceases to be just a simple mode of transportation, but has evolved into an extension of the greater paradigm of survival, sustenance and livelihood.

http://www.hauserwirth.com/

EVA HESSE | HAUSER & WIRTH LONDON

Eva Hesse 1965

30 January – 9 March 2013, Hauser & Wirth London,
Savile Row

Opening: Tuesday 29 January 6 – 8 pm

In 1964, Eva Hesse and her husband Tom Doyle were invited by the industrialist Friedrich Arnhard Scheidt to a residency in Kettwig an der Ruhr, Germany. The following fifteen months marked a significant transformation in Hesse’s practice. ‘Eva Hesse 1965’ brings together key drawings, paintings and reliefs from this short, yet pivotal period where the artist was able to re-think her approach to colour, materials and her two-dimensional practice, and begin moving towards sculpture, preparing herself for the momentous strides she would take upon her return to New York.

Hesse’s studio space was located in an abandoned textile factory in Kettwig an der Ruhr. The building still contained machine parts, tools and materials from its previous use and the angular forms of these disused machines and tools served as inspiration for Hesse’s mechanical drawings and paintings. Sharp lines come together in these works to create complex and futuristic, yet nonsensical forms, which Hesse described in her writings as ‘…clean and clear – but crazy like machines…’.

Seeking a continuation of her mechanical drawings, in March of 1965, Hesse began a period of feverish work in which she made fourteen reliefs, which venture into three-dimensional space. Works such as ‘H + H’ (1965) and ‘Oomamaboomba’ (1965) are the material embodiment of her precisely linear mechanical drawings. Vibrant colours of gouache, varnish and tempera are built up using papier maché and objects Hesse found in the abandoned factory: wood, metal and most importantly, cord, which was often left to hang, protruding from the picture plane. This motif would reappear in the now iconic sculptures Hesse would make in New York.

The time Hesse spent in Germany amounted to much more than a period of artistic experimentation. In Germany, Hesse was afforded the freedom to exercise her unique ability to manipulate materials, creating captivating, enigmatic works which would form the foundation of her emerging sculptural practice.

‘Eva Hesse 1965’ will be accompanied by a new publication, featuring texts by Todd Alden, Jo Applin, Susan Fisher Sterling and Kirsten Swenson, published by Yale University Press.

http://www.hauserwirth.com/exhibitions/1648/eva-hesse-1965/view/