Gruppenausstellung mit neuen Werken von Wade Guyton, Thomas Hirschhorn, Laura Arminda Kingsley, Mingjun Luo, Olga Titus, Beat Zoderer.
Die Ausstellung «Beyond Imagery» vereint neue Arbeiten von sechs unterschiedlichen Positionen: Mingjun Luo, Beat Zoderer, Wade Guyton, Laura Arminda Kingsley, Thomas Hirschhorn und Olga Titus. Die Künstler:innen dekonstruieren einerseits das klassische Bild als Form der Repräsentation, andererseits schaffen sie neue abstrakte Ästhetiken. Zwischen Materialität und Digitalität, Sprache und Form, Rasterung und Überdrucken entstehen komplexe Dialoge über Wahrnehmung, Repräsentation und den Zustand des Bildes in Bezug auf zeitgenössische Druck- und Editionsproduktion.
In her interactive sculpture Screen Recordings (2024), which will be presented as an intervention at Löwenbräukunst from 9 November 2024 to 13 April 2025, Linda Semadeni turns our familiar relationships of size and perception on their head: the oversized screen faces the viewer and confronts them with the question of what relationship they have to the technologies of everyday life. This reversal shows the omnipresent reality that surrounds and influences us: the symbiosis between body the symbiosis and technology, the blurring of boundaries between the digital and analogue realm and the associated new forms of expression and movement of the body that are transformed by and with these technologies.
At Kunsthalle Zürich three speakers give a short presentation about an artist who inspires their own practice. With the new elements «KURATOR:INNEN ON CURATORS» and «KRITIKER:INNEN on WRITERS»!
Organised by Waves, an artist-initiated studio visit program led by Izidora I LETHE and Leila Peacock.
This January, the artist Rachel Khedoori will present an installation of new work at Hauser & Wirth Zurich, Limmatstrasse.
Minimalist in form and haptic in feeling, Khedoori’s sculptures oscillate between representation and abstraction. Models of rooms are stacked to become towers or collapsed structures. These are then reduced to flattened planes on the floor. Cutouts with holes become passageways for the eye to peep (or punch) through. Incorporating a range of materials and techniques—cast aluminum, bronze, 3-D printing, resin, encaustic paint and paper—the exhibition is staged as an overall site of construction and deconstruction. Like a ruin, everything seems to be in the process of slowly falling apart. The use of shadows and reflections compound this sense of ephemerality by invoking the illusionary realm of film and the spectral projections of a phantasmagoria.
Khedoori’s art explores the physical and psychological boundaries of interior space, with work that challenges viewers’ perceptual experience by interweaving mirrors, films and scale models into the installation. While the work is noticeably void of any representations of the figure, the viewer’s physical presence assumes the role of subject.
Rachel Khedoori, Untitled (detail), 2024 © Rachel Khedoori. Courtesy the artist and Hauser & Wirth
For her second exhibition with the gallery, Uman presents all new paintings and works on paper at Hauser & Wirth Zurich, Limmatstrasse, in equal partnership with Nicola Vassell Gallery, New York NY.
Living and working in Upstate New York, Uman’s new paintings reflect her reverence for the natural world. Fluidly navigating in-between realms to explore both the physical and spiritual, intertwining abstraction, figuration and meditative patterning, Uman draws upon her memories of her East African childhood, rigorous education in traditional Arabic calligraphy, deep engagement with dreams and fascination with kaleidoscopic color and design. Expanding on this unique visual language, Uman’s new body of work also explores ideas of color field painting, looking to artists such as Frank Bowling in her practice. With some works suspended from the ceiling and a site-specific wall mural that will transform part of the gallery space, Uman invites the viewer to be immersed in her lavishly detailed and opulently colored worlds, replete with gesture, geometry and evocations of the sublime.
Uman, Purple Painting, 2024, Acrylic, oil, and oil stick on canvas, 243.8 x 243.8 cm / 96 x 96 in © Uman. Courtesy the artist, Hauser & Wirth and Nicola Vassell Gallery. Photo: Sarah Muehlbauer
Opening of the new exhibitions
from Levan Choghoshvili & Vijay Masharani
Opening:
BOUCHRA KHALILI
A Trilogy: The Tempest Society, The Circle, and The Public Storyteller
Levan Chogoshvili (b. 1953, lives and works in Tbilisi, Georgia) is among the most important Georgian artists of his generation. Since the 1970s he had created an extensive body of work in Tbilisi which incorporates painting, drawing, film and sculpture. Central to this work is the question of history: how it is essential – in general, but particularly for Georgia. For some two centuries in the case of Georgia, the telling or recording of history has been continually under pressure; history is continually expunged or corrupted, equally artists like Chogoshvili bring it back to life and render it visible. In his series Destroyed Aristocracy (1970-1985), for example, he created a new form of imagery, one which was based on the family photographs that were hidden for decades, because their existence could have been life-threatening for whoever possessed them.
Chogoshvili's art, which was prohibited in the Soviet Union until well into the 1980s, grapples with this erasure. It resists ignorance and stands up against amnesia. For these and many other reasons Choghoshvili is very highly regarded by the younger generation of Georgian artists, as an examplar, teacher and their selfless supporter.
The exhibition at Kunsthalle Zürich will be the artist's largest to date. The images shown above were taken in the artist's studio.
The artist will be present.
Bouchra Khalili (b. 1975) is a French–Moroccan artist whose multi-disciplinary practice develops collaborative strategies of storytelling with members of communities excluded from citizen membership.
Combining the traditions of post-independence avant-gardes and conceptual practices, Khalili’s work suggests poetical hypotheses for newer imaginations of community.
Central to the exhibition are three seminal works: The Tempest Society (2017), The Circle Project (2023), and The Public Storyteller (2024). These works trace the legacy of the Mouvement des travailleurs arabes (MTA) and its theatre groups, Al Assifa and Al Halaka, highlighting their pioneering struggle for equal rights in 1970s France and their enduring relevance.
Through storytelling, montage, and performance, Khalili’s works invite viewers to witness forgotten histories, reflect on our present, and imagine our potential collective futures.
Image: The Public Storyteller, 2024. Dual synchronized channel. 18'. Video and 16mm film transferred to video. Color and black&white. Video still. Sound. Courtesy of the artist and Mor Charpentier gallery, Paris/Bogota.
At Kunsthalle Zürich three speakers give a short presentation about an artist who inspires their own practice. With the new elements «KURATOR:INNEN ON CURATORS» and «KRITIKER:INNEN on WRITERS»!
Organised by Waves, an artist-initiated studio visit program led by Izidora I LETHE and Leila Peacock.
