Forthcoming Exhibitions and Publications in Europe
Spring / Summer 2024
Press Release
Philip Guston. Singularities
Hauser & Wirth Zurich, Limmatstrasse
7 June – 7 September 2024
Opening during Zurich Art Weekend 2024, an exhibition of late figurative Philip Guston paintings dated between 1968 and 1979 will be on view at the gallery’s second floor Limmatstrasse space. Curated in collaboration with Musa Mayer, the artist’s daughter and President of The Guston Foundation, the exhibition explores the liberated motifs and instinctual forms that emerged in Guston’s late works, as they continued to evolve until his death in 1980. When his late works were first shown at Marlborough Gallery in 1970, critics denounced Guston’s dramatic shift from abstraction towards dark, cartoon-like imagery. Today, the paintings of Guston’s last years are considered milestones of modern art. Well-known paintings will be featured alongside never-before exhibited works. This exhibition in Zurich follows the major retrospective ‘Philip Guston’ at the Tate Modern, which closed in February 2024.
Nairy Baghramian. Modèle vivant (Se ployant)
Hauser & Wirth Zurich, Limmatstrasse
7 June – 7 September 2024
With her solo exhibition at Hauser & Wirth in Zurich, Nairy Baghramian concludes her series Modèle vivant, initially begun on the occasion of her exhibition at the Nasher Sculpture Center in Dallas TX in 2022. For this presentation, Baghramian will present eight new sculptures under the title ‘Modèle vivant (Se ployant).’ Making reference to the tradition of drawing, painting or sculpting from a live model, as indicated by the French term ‘modèle vivant’ in the series’ title, the Berlin-based artist’s abstract works, as per usual in her practice, grant only approximations and allusions of the human gestalt. Baghramian’s geometric shapes and organic forms, invariably made from cast aluminum and held or supported by armatures, hooks and rods, rather confront their beholders with subtle evocations of poses and postures, demeanors and dispositions. Placed at the margins or dangling from the ceiling of the exhibition space, these sculptures, as they appear to withdraw, stand up or recline (as in her 2023 outdoor work ‘S’adossant (Pauline)’, currently on view at MoMA in New York), poignantly evoke both the social strictures and potential mutability of embodiment, thereby offering striking allegories—or models—of contemporary subject positions.
Intensifying her preceding interrogation of the poetics and politics of representing and addressing the human figure, the syntax and placement of her new works—all of which conjure bent or bowed bodies (as suggested by the title addition ‘se ployant’)—starts from the double meaning of the term ‘mass.’ Aligning a central facet of any sculpture, ‘mass’ is palpable even when it is absent or negated. In this new body of work, the artist questions the pressures (figuratively or literally) exerted on the individual elements of any given group arrangement (be it social or artistic, or both). In this way, Baghramian’s abstract works intend to explore the interstices between conforming and retreating and the space of leeway they may offer for perception, critique and reflection.
Vilhelm Hammershøi. Silence
Hauser & Wirth Basel
1 June – 13 July 2024
Hauser & Wirth inaugurates its new space in Basel at Luftgässlein 4 with the exhibition ‘Vilhelm Hammershøi. Silence.’ Curated by art historian Dr. Felix Krämer, a leading expert on Hammershøi, it is the first solo exhibition of the celebrated 19th- and 20th-century Danish artist in Switzerland, bringing together 18 works from private collections, some of which have rarely been exhibited before. The presentation will be accompanied by a catalog by Hauser & Wirth Publishers, featuring essays from the curator Dr. Felix Krämer and art historian and writer Florian Illies (author of ‘Love in a Time of Hate’ and ‘1913: The Year Before the Storm’).
Born in 1864, Hammershøi’s timeless paintings defy categorization, visually bridging the art of the Old Masters with that of the modern era. His painting and drawing practice found inspiration in Dutch 17th-century genre painting, particularly the mysterious domestic interiors of Johannes Vermeer, and in the 19th-century Danish Golden Age, creating a highly individual artistic language. The exhibition in Basel shows the breadth and depth of the artist’s practice through works dating from 1883 to 1914. Alongside the interior paintings for which Hammershøi is highly renowned, the exhibition features a number of the artist’s early farmstead paintings and cityscapes of Copenhagen and London, alongside a rare self-portrait of the artist. A further nine exemplary interior paintings featuring an isolated female figure are on view, including major paintings of the artist’s wife Ida Ilsted such as ‘Interior with a Standing Woman’ (1898) and ‘Woman Before a Mirror’ (1906). Characterized by their mesmerizing composure and omnipresent minimal color palette, ‘Vilhelm Hammershøi. Silence’ devotes its attention to these genre paintings without narratives. Their quiet but radical originality situates the artist as a powerful precursor to the modern masters who were to follow, including Edward Hopper, Giorgio Morandi and Andrew Wyeth.
Roni Horn
Hauser & Wirth Menorca
11 May – 27 October 2024
The acclaimed New York-based artist Roni Horn, awarded the Joan Miró Prize in 2013 and known for her conceptually oriented work in diverse media, presents her first solo exhibition in Menorca, featuring a selection of sculptures and installations that interact with the historical gallery spaces and natural surroundings. Although varied in medium, all works derive from longstanding themes that have propelled Horn’s ongoing poetic study on the protean nature of identity, meaning and perception. An ambitious installation of solid cast glass sculptures invites visitors to witness the interplay between light and weather in the South Galleries. Additionally, the exhibition features pieces inspired by the verses of Emily Dickinson and works in gold and copper from important series which the artist has worked on since the 1990s.
Chillida in Menorca
Hauser & Wirth Menorca
From 11 May
On occasion of ‘Eduardo Chillida 100 years’ and in collaboration with the Estate of Eduardo Chillida, ‘Chillida in Menorca’ celebrates the artist’s profound connection with the island through a major presentation of sculpture and works on paper, including several created during his time in Menorca. Featuring over 60 works spanning half a century from 1949 to 2000, the exhibition exemplifies the full breadth of Chillida’s oeuvre. The presentation concept, developed by architect Luis Laplace with a focus on local materials, amplifies the artist’s bond with the island and its natural environment. Accompanying the exhibition is an Education Lab developed in partnership with Chillida Leku and the NGO Menorca Preservation via its project Plastic Free Menorca.
Nicole Eisenman
Hauser & Wirth Paris
5 June – 22 September 2024
For Nicole Eisenman’s first exhibition at Hauser & Wirth in Paris, the artist will celebrate the medium of sculpture, which has been an integral aspect of the artist’s practice over the last decade. Having established herself as a central figure in American painting throughout the 1990s, Eisenman has since expanded her practice into the third dimension with international acclaim. This show brings together a diverse multidisciplinary language comprised of sculpture, two-dimensional work from the sculpture studio and paintings that relate to sculpture.
Nicole Eisenman lives and works in Brooklyn NY. She is a MacArthur Foundation Fellow and was inducted into the American Academy of Arts and Letters in 2018. Her work was included in the 2019 Venice Biennale, 2019 Whitney Biennial and 2017 Skulptur Projekte Münster in Münster, Germany. Most recently, the solo exhibition ‘Nicole Eisenman: What Happened’ was displayed at Museum Brandhorst, Munich in 2023 and at Whitechapel Gallery in London from 2023 – 2024, traveling to the Museum of Contemporary Art Chicago in April 2024.
Phyllida Barlow. unscripted
Curated by Frances Morris
Hauser & Wirth Somerset
25 May 2024 – 5 January 2025
The work of Phyllida Barlow (1944 – 2023) will take over Hauser & Wirth Somerset in a celebration of the British artist’s transformative approach to sculpture, marking the 10th anniversary of the arts center that was inaugurated by Barlow’s solo exhibition ‘GIG’ in 2014. The landmark exhibition is curated by Frances Morris and draws on her close working relationship with the artist during her lifetime. The presentation will explore the evolution of Barlow’s formal and expressive vocabulary, bringing together objects and installations, studio maquettes and drawings from across her extensive career, some of which will be on public view for the first time.
‘Over the last 10 years, Phyllida Barlow kept her fans and followers on the edge of their seats as she brought new and ever more audacious projects to life in venues across the world. Unfolding as a running commentary on the tragedies and absurdities of our time, each work formed part of an ongoing and intensely experimental investigation into the techniques and materials of art making, seeking visual equivalents to her own personal experience of living and looking.’—Frances Morris
Over a career that spanned six decades, Barlow took inspiration from her surroundings to create imposing installations that can be at once menacing and playful. Barlow’s restless invented forms stretch the limits of mass, volume and height as they block, straddle and balance precariously. The audience is challenged into a new relationship with the sculptural object, the gallery environment and the world beyond.
Coinciding with the exhibition, our Learning program will include activities such as workshops and tours, as well as our annual Bristol Old Vic Youth Theatre Summer School, all taking inspiration from Barlow’s work. Our Education Lab, ‘Art School,’ will provide a dynamic platform for a wide range of learning across our communities. Participants will have a space to learn new skills, share knowledge and display new ideas in relation to the themes and processes presented within the exhibition.
Harmony Korine. AGGRESSIVE DR1FTER PART II
Hauser & Wirth London
9 May – 17 July 2024
Over the last 30 years, American artist and filmmaker Harmony Korine has cultivated a multidisciplinary practice built upon tireless experimentation. A second chapter to Korine’s 2023 exhibition, ‘AGGRESSIVE DR1FTER’, at Hauser & Wirth Downtown Los Angeles, this exhibition in London features a series of paintings drawn from his newly released film ‘Aggro Dr1ft’, which premiered at the Venice Film Festival in 2023 and was notably shot using infrared cameras. The exhibition’s acid-hued oils display an unprecedented fusion of Korine’s painting and filmic practices. These hallucinatory works, like his films, blur the boundaries between ‘high’ and ‘low’ in ways that simultaneously attract and repel viewers with their hypnotic, otherworldly atmosphere.
.jpg "Isa Genzken, Wasserspeier and Angels, 2004")
Isa Genzken. Wasserspeier and Angels
Hauser & Wirth London
9 May – 17 July 2024
On view is a revival of Isa Genzken’s expansive installation ‘Wasserspeier and Angels’ (2004), marking 20 years since it was displayed in the artist’s first major solo exhibition in London. Originally responding to Hauser & Wirth’s former historic space in Piccadilly in 2004, the re-presentation of Genzken’s complex assemblage in the city brings her work into a contemporary context, confronting socio-political themes that are still relevant today. This moment follows on from the acclaimed exhibition ‘Isa Genzken: 75/75’ at Neue Nationalgalerie in Berlin in 2023, celebrating the artist’s 75th birthday with a display of 75 sculptures from her oeuvre from the 1970s to the present.
The installation’s starting point came from the artist’s fascination with the ‘Wasserspeier’ (gargoyles) on Cologne Cathedral, encountering their restoration in the building’s masonry shop. Having tried to convince the cathedral’s master builder to let her take the carvings to London, the artist instead created her own gargoyles for the exhibition in 2004, setting them in opposition with winged, angelic figures. Incorporating materials sourced for purpose—from fabrics, household items and books to aluminum panels, electric cables and industrial lights—this multifaceted installation contains layered references and takes on new meaning in today’s landscape.
The first presentation of this work not only marked Genzken’s inaugural show with the gallery but also captured a specific moment in time. Working in Berlin and in New York at the turn of the century, the artist witnessed the aftermath of the fall of the Berlin Wall and the subsequent changing landscape of the city, as well as the collapse of the World Trade Center in New York City. Genzken explores the relationships between different media and social, political and urban spaces, with references to everyday lived experience intruding on her formal experiments.
Larry Bell: Works from the 1970s
Hauser & Wirth Monaco
4 June – 31 August 2024
Larry Bell first came to attention as part of the light and space movement in Los Angeles in the 1960s. This exhibition will focus on his architecturally scaled works from the 1970s, known as standing walls. The large scale works in this show are among his most ambitious early works and follow a rigorous, radical and austere economy of means. They reflect a change in Bell’s work that occurred in the late 1960s when he abandoned the use of metal frames in his sculptures, towards free-standing glass panels joined with silicone, allowing him to work on a much grander scale, determined by the body. This also saw him move away from the pure form of the cube, towards an exploration of architectural and mural geometries, not just squares but corners and zig-zags.
The exhibition will consist of four large-scale glass sculptures from the early 1970s, along with ‘Moving Ways,’ a monumental late 1970s wall work. These works highlight Bell’s historic contribution to a severely pared down aesthetic and how his work at this stage addresses not just the viewer’s gaze but the perceiving body (Bell’s recourse to corporeal phenomenology), both characteristics that can be allied to minimalism. To signal and compliment the exhibition, a more recent, highly colored glass work will be installed outdoors in the Jardins des Boulingrins adjacent to the gallery during the course of the exhibition. The rare, museum-quality works that will be shown come primarily from important Italian collections, such as the Panza Collection. This includes the work ‘Untitled’ (1970) which was featured in a key solo exhibition of Bell’s work in Rome in 1974.
Hauser & Wirth Publishers: New Releases
Spring / Summer 2024
Interior view of Hauser & Wirth Publishers Headquarters and Bookshop, Zurich, Switzerland. Courtesy Hauser & Wirth Publishers. Photo: Sim Canetty Clarke
Interior view of Hauser & Wirth New York, 18th Street featuring ‘Crack Between the Floorboards’ (2014) by Mark Bradford © Mark Bradford. Courtesy the artist and Hauser & Wirth. Photo: Kyle KnodellHauser & Wirth Publishers’ spring and summer program features eight new titles, including ‘Mark Bradford: Process Collettivo,’ which explores his collaboration with the cooperative Rio Terà dei Pensieri, an organization that creates work opportunities with and for people incarcerated and formerly incarcerated in two prisons in Venice, Italy. From 15 April until 3 May, ‘Mark Bradford: Process Collettivo’ will feature in a special pop-up Hauser & Wirth Publishers bookstore in Campo San Maurizio coinciding with the 60th International Art Exhibition of La Biennale di Venezia.
On the occasion of the inaugural show at the gallery’s new space in Basel, the exhibition catalog ‘Vilhelm Hammershøi. Silence’ will be released this June, featuring essays from the curator Dr. Felix Krämer and art historian and writer Florian Illies (author of ‘Love in a Time of Hate’ and ‘1913: The Year Before the Storm’). A long-awaited, comprehensive book of writings and interviews by Glenn Ligon will be released in June, the fullest picture yet of the artist and his ongoing evaluation of the art and politics of our time. Other highlights include a volume dedicated to Mike Kelley’s recent exhibition in Los Angeles, ‘Nonmemory’; a major scholarly publication documenting Eva Hesse’s landmark solo museum exhibitions; an artist’s book by Nicole Eisenman focusing on her work ‘Maker’s Muck,’ released alongside a special edition of the publication conceived in close collaboration with the artist; a memoir on Dieter Roth written by the artist’s former wife Sigrídur Björnsdóttir; and a beautiful catalog of Gerhard Richter’s works made in and about Switzerland’s Engadin valley, which accompanies his recent exhibition in St. Moritz.
Hauser & Wirth Publishers will return to Printed Matter New York Art Book Fair in April with a first presentation of selected new titles and an exciting program of events at its 18th Street location.
Press Contacts:
Alice Haguenauer, Hauser & Wirth London/Paris/Monaco
alicehaguenauer@hauserwirth.com
Laura Cook, Hauser & Wirth Somerset
lauracook@hauserwirth.com
Maddy Martin, Hauser & Wirth Zurich/Basel
maddymartin@hauserwirth.com
Mavi Behramoglu
, Hauser & Wirth Publishers/Basel
mavibehramoglu@hauserwirth.com
Marta Coll, Hauser & Wirth Menorca
martacoll@hauserwirth.com
Tara Liang, Hauser & Wirth Hong Kong
tara@hauserwirth.com
Captions and courtesy
Philip Guston
Untitled
1979
Oil on canvas
122 x 107 cm / 48 x 42 1/8 in
126 x 111 x 5.5 cm / 49 5/8 x 43 3/4 x 2 1/8 in (framed)
© The Estate of Philip Guston
Courtesy the Estate of Philip Guston and Hauser & Wirth
Photo: EPW Studio - Ellen Page Wilson
Philip Guston in his Woodstock studio, 1970. Photograph by F. K. Lloyd. Image courtesy of The Guston Foundation and Hauser & Wirth
Portrait of Nairy Baghramian
© Nairy Baghramian and Christian Werner
Nairy Baghramian, S’accrochant (bai foncé), 2024
© Nairy Baghramian
Vilhelm Hammershøi
Interior with the Artist's Wife, Seen from Behind
1901
Oil on canvas
45 x 39 cm / 17 3/4 x 15 3/8 in
Courtesy Private Collection
Photo: Annik Wetter Photographie
Vilhelm Hammershøi
Interior in London, Brunswick Square
1912
Oil on canvas
53 x 76 cm / 20 7/8 x 29 7/8 in
Courtesy Private Collection
Photo: Annik Wetter Photographie
Roni Horn
Black Asphere
1988/2006
Solid copper, glass shot peened and patinated
30.5 x 32.2 cm / 12 x 12 5/8 in
© Roni Horn
Courtesy the artist and Hauser & Wirth
Roni Horn
Double Mobius, v. 2
2009/2018
Two pure gold ribbons and two plastic pegs
76.2 x 6.4 x 5 cm / 30 x 2 1/2 x 2 in
© Roni Horn
Courtesy the artist and Hauser & Wirth
Photo: Marc Domage
Eduardo Chillida
Homenaje a la mar IV (Homage to the Sea IV) 1998
Stone, alabaster
64 x 154 x 150 cm / 25 1/4 x 60 5/8 x 59 in
© Zabalaga Leku, San Sebastián, VEGAP, 2024
Courtesy of the Estate of Eduardo Chillida and Hauser & Wirth
Photo: Stefan Alternburger Photography Zurich
Eduardo Chillida working in his Menorca studio
© Zabalaga Leku, San Sebastián, VEGAP, 2024
Courtesy of the Estate of Eduardo Chillida and Hauser & Wirth
Photo: Hans Spinner
Nicole Eisenman
The Artist at Work
2023
Oil on canvas, diptych
148 x 223.5 x 3.2 cm / 58 1/4 x 88 x 1 1/4 in (overall)
148 x 111.75 x 3.2 cm / 58 1/4 x 44 x 1 ¼ in (each panel)
© Nicole Eisenman
Courtesy the artist and Hauser & Wirth
Photo: Sarah Muehlbauer
Portrait of Nicole Eisenman
© Nicole Eisenman
Courtesy the artist and Hauser & Wirth
Photo: Nathan Perkel
Phyllida Barlow
untitled: folly; awnings; 2016/2017 (detail)
2016 – 2017
Timber, plywood, paint, cement, PVA, pigment, polystyrene, polyurethane foam, spray paint, steel
666 x 387 x 603 cm / 262 1/4 x 152 3/8 x 237 3/8 in
Installation view, ‘Phyllida Barlow. folly,’ British Pavilion, 57th Venice Biennale, Italy, 2017. © Phyllida Barlow Estate / British Council. Photo: Ruth Clark
Portrait of Phyllida Barlow
© Phyllida Barlow Estate
Courtesy the Phyllida Barlow Estate and Hauser & Wirth
Photo: Emma Louise Swanson
Harmony Korine
Drift XI
2023
Oil on canvas
156.2 x 182.9 x 3.8 cm / 61 1/2 x 72 x 1 1/2 in
©Harmony Korine
Courtesy the artist and Hauser & Wirth
Photo: Sarah Muehlbauer
Isa Genzken
Wasserspeier and Angels
2004
Mixed media installation on 42 aluminium panels; 18 parts
Dimensions variable
Installation view, Isa Genzken, ‘Wasserspeier and Angels’ (detail), 2004, Art Basel Unlimited, Switzerland, 2016. © Isa Genzken. All Rights Reserved, DACS 2024. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger Photography Zürich
Isa Genzken
Wasserspeier and Angels
2004
Mixed media installation on 42 aluminium panels; 18 parts
Dimensions variable
Installation view, ‘Isa Genzken. Wasserspeier and Angels’ at Hauser & Wirth Piccadilly, London, UK, 2004. © Isa Genzken. All Rights Reserved, DACS 2024. Courtesy the artist and Hauser & Wirth
Interior view of Hauser & Wirth Publishers Headquarters and Bookshop, Zurich, Switzerland
Courtesy Hauser & Wirth Publishers
Photo: Sim Canetty Clarke
Interior view of Hauser & Wirth New York, 18th Street featuring ‘Crack Between the Floorboards’ (2014) by Mark Bradford
© Mark Bradford
Courtesy the artist and Hauser & Wirth
Photo: Kyle Knodell