Galerie Eva Presenhuber is proud to announce the representation of Vienna-based artist Liesl Raff. Liesl Raff's sculptures explore the nuances of physical and social interactions through a profound appreciation of diverse materials and persistent experimentation. Her work features a semiotics of materials that begins where words fail. Recently, she has used natural rubber to showcase its adaptable and shape-shifting properties. Standing near or within Raff's pieces, you experience a transition into a warm, cozy, and calm state, feeling a sense of dependability and safety. Her sculptures integrate seamlessly with their surroundings, promoting contact and interaction.
Daniel Palmer, chief curator at the SCAD Museum of Art in Savannah, Georgia, spoke with painter Shara Hughes about her Zurich exhibition, Tree Farm, which features Hughes's new horizontal tree paintings and ceramics. They also discussed her upbringing in Georgia and her invitation to her father to display his work in a cabinet next to the gallery.
It's snowing, the sun is setting, a storm is brewing – Ugo Rondinone's expansive exhibition cry me a river at Kunstmuseum Luzern invites viewers to immerse themselves in both his art and the elements. At the heart of the artist's work is the overwhelming beauty of the landscape and the power of nature. Rondinone, who lives in New York, grew up in Brunnen on Lake Lucerne and is now returning to his home country to present a major retrospective.
Josh Smith is a multi-talented artist: he is not just a painter. Since the pandemic, he has appeared on Instagram as an ambassador for the art world. He also hosts a regular series on YouTube called "Studio News". During the broadcasts, he sometimes talks about his artistic creative process - in some editions, he simply remains silent. Now Smith is presenting a series of 16 new canvases with his first eponymous exhibition in Vienna.
At her pop-up in the Melina Merkouri Art & Concert Hall, sponsored by the Pappas Family Collection and Galerie Eva Presenhuber, the industrious Tschabalala Self drew crowds of tourists and locals to The Bigger Picture. This triple-screen video (until 2 July) revisits, rather than documents, Sounding Board, the play with music (by Boney M) that she contributed to the 2021 Performa Biennial.
Louis Gagliardi captivates collectors with her unique paintings that explore the tension between online and real-life existence. Her works feature slick, serene yet uneasy scenes with avatars that evoke a sense of ennui. Using a laborious digital process, she prints sketches on glossy PVC surfaces, creating a surreal, sci-fi allure. Gagliardi's background in graphic design influences her industrial technique, and her works reflect themes of hyperconnectivity and isolation. Influenced by artists like Fernand Léger, her art combines reflections and trompe l'oeil effects, aiming to immerse viewers in otherworldly, dream-like realms.
Drawing from nuanced forms of joy, Black artists, whether residing in Africa or within the vast African diaspora, have pursued a spectrum of visual vocabularies that encompass the experiences of Blackness – of being Black; of living within Black cultures and navigating the complexities of representation and visibility. In doing so, they have intentionally explored the poetics of Blackness in a way that subverts reductive tropes. They explore Black subjectivity and Black consciousness through figurative painting as part of a historical continuum. Join curator Koyo Kouoh as she discusses these vocabularies and histories – surveyed and celebrated in the exhibition When We See Us, A Century of Black Figuration in Painting, currently on show at Kunstmuseum Basel – with artists Kudzanai-Violet Hwami and Tschabalala Self.
Amidst a world rapidly changing under the weight of climate change, the exhibition I Feel the Earth Whisper at Museum Frieder Burda invites us to contemplate the fragile beauty of the natural world and our profound interconnectedness with it. Through the installations of Bianca Bondi, Julian Charrière, Sam Falls and Ernesto Neto – including sculpture, painting, video and photography – the show curated by Patricia Kamp and Jérôme Sans, invites us to reflect upon our relationship with the forests and unique ecosystems of the planet, and to rekindle our historically rooted role as guardians of these vibrant living spaces.
Born and raised in Harlem, New York, Tschabalala Self (b. 1990) pushes the traditional boundaries of painting with her innovative use of pigments, textiles and printmaking methods. Infusing her work with her experiences as a Black American woman, Self deconstructs and reimagines Western portrayals of the Black body. In the video, Self discusses her artistic practice and her solo exhibition, Around the Way, which opened at EMMA in May 2024. The colourful displays in the exhibition evoke the metropolitan landscapes of Harlem and the atmosphere of its domestic interiors. Tschabalala Self is the seventh artist to join InCollection series of exhibitions co-produced by EMMA and Saastamoinen Foundation.
With sixteen new works at Galerie Presenhuber, Vienna, American artist Josh Smith on treating his paintings like puzzles and his Instagram channel as a work of art.
"The plants in Shara Hughes’s mind-bending paintings export the viewer far from reality. The American artist’s forms seem to be plundered from the depths of her imagination. Towering trees are depicted in spidery strokes of yellow, green and orange (Wits End (2024)), or with vibrant, fluffy blue dots embellishing their branches (What Nerve (2024)). Her works are often so loaded with energetic marks and organic forms that the background and foreground converge, leading to a rich tangle of dynamic visual material."
Shara Hughes is an American painter based in Brooklyn, and is known for her lush, vibrant, imaginative landscapes. These do not root in any outside reference, but rather in her exploration of shape, form and light. The narrative in her work is subtle; it is open to interpretation, but ultimately deals with the nature of her actions, reactions and emotions. Hughes calls her mostly large and vertical canvases invented or psychological landscapes – offering a colorful, kaleidoscopic vision of a painter’s interior.
Premiering in Zurich this week at Galerie Eva Presenhuber, Tobias Pils: Happy Days marks the seventh solo show the artist has had with the gallery and presents a new body of work that highlights his signature style. On view June 7–July 20, 2024, the exhibition is comprised of two large-scale triptychs, a suite of eight paintings, and a bronze sculpture.
"Doug Aitken is an American artist known for installations that span a wide spectrum of media and genres; they may include video, print media, photography, sculpture, sound, and performance. Aitken wants to make the traditional definition of art more accessible to a much more comprehensive and connecting meaning. The viewer is invited to move through his large-scale works, either by walking around huge screens, stepping on a train, or even swimming through mirrored sculptures – to name but a few of his immersive projects."
Fresh out of the shower from Vienna, Josh Smith introduces his solo exhibition Studio News (24 May–20 July 2024). Fish, palm trees, and the Grim Reaper ('I mean that was a really bad one') have all graced the New Yorker's gestural and colour-rich canvases over his 20-year career. This time, it's bats: 'They're like birds, just way cooler.'
For their second instalment of ReCollect! at the Kunsthaus Zürich, Oslo based artists Matias Faldbakken and Ida Ekblad have hung one of their favourite works from the collection, Francis Picabia’s Cure-dents (Toothpicks, c. 1924), opposite four painted bronze sculptures by Ekblad. Faldbakken has then ‘measured’ the distance between Picabia and Ekblad using a VHS-copy of the 1983 splatter film1 Stage Fright. The second installation is on view in the Chipperfield building of the Kunsthaus.
John Giorno's Dial-A-Poem and Wall Paintings are on view at Art Busan as part of the Connect program which allows space for curated exhibitions that are not part of a commercial gallery. This Connect booth was curated by Henna Joo and is "connecting the past and present, New York and Busan, poets and performers."
Around the Way features multi-material paintings and sculptures by Tschabalala Self, whose works will together form colourful spatial displays in EMMA’s concrete-dominated exhibition space. Self’s art often deals with the intersections of race and gender. The artist draws from her personal experiences as a Black American woman. She depicts bodies that are both exalted and objectified in Western imagery and art history. Through repetition, deconstruction and distortion of this imagery, she creates a new kind of narrative about the Black body.
Nick Byrne from King Kong Magazine interviewed Torbjørn Rødland, whose photographic works are a moveable feast for the eyes. The subject matter is caught in the moment, but starts to alter in the imagination. Changing and warping, sneakily shapeshifting, his photographs give the illusion of reality, when in fact the realism of the images are just a shudder away from the surreal.
Matthew Angelo Harrison was interviewed by Nick Byrne for King Kong Magazine on his new show American Ghost. The artist speaks about blending resin, 3D tech, and memorabilia to encapsulate personal and societal memories. He explores the connection between opposing elements in life, drawing from his African American upbringing in Detroit's industrial landscape. His pieces merge Fine Art and Industrial Design, conveying powerful messages about identity and society through carefully chosen objects and innovative techniques.
The High Line's Moynihan Connector Billboard features Loosie in the Park (2019) and Patience (2022) by Tschabalala Self. Loosie portrays a Black woman in a Harlem park, smoking a single cigarette ("loosie"), reflecting on bodegas' cultural significance in Black and Latino communities. Meanwhile, Patience depicts a Black woman blending into her domestic setting, exploring themes of home and gendered labor. Both artworks encapsulate Self's exploration of community pillars like bodegas and the psychological dimensions of domesticity, respectively, showcasing her distinctive style and thematic depth in capturing Black female experiences.
Museum SAN presents BURN TO SHINE, a solo exhibition of works by Swiss artist Ugo Rondinone. With over forty works of sculpture, painting, installation, and film featured in the museum’s three main galleries, as well as the Nam June Paik Hall and the outdoor stone garden, BURN TO SHINE offers the most comprehensive presentation of the artist’s oeuvre in Korea to date. In contrast to the broad spectrum of medium and visual language that individual works employ, however, the exhibition, as a whole, gravitates toward themes that remain at the core of Rondinone’ s artistic practice spanning over three decades – the cycle of life, and relationship to nature that fundamentally define our human condition and experience.
Ugo Rondinone grew up as a secondo in central Switzerland. As a gay man, he saw his life limited by the Aids crisis. But he became a world artist. NZZ conducted a big interview with the artist about his life, in which he said: "My self-confidence is like a fairy tale. One day you see yourself as a gilded carriage, the next you realize you're just a pumpkin after all"
Ugo Rondinone has created a screen print of The Sun and a series of 27 of his Mountain sculptures exclusively for the NZZ. Reminiscent of geological formations, these are crafted from stacked stone chunks, arranged in pairs to create abstract compositions. Originating with a monumental installation in Nevada in 2016, Rondinone's mountains have found homes in public spaces globally, as well as smaller interiors. Each stone in the series is painted in a vibrant Day-Glo color, adding to the visual impact of the pieces.
Louisa Gagliardi was in conversation with the Korean auction specialist MinHee Suh on the occasion of the opening of her solo exhibition Hard Feelings at Galerie Eva Presenhuber x Taxa in Seoul.
"Galerie Eva Presenhuber, Zurich, presents the eighth solo exhibition of the artist: bass+ (re)modification, on display until 18 May. In a large white room, a black horizontal line runs across three walls. Dotted above and below, we see a series of rectangular, monochrome MDF panels. These vary in size and palette – on one end we witness a vibrant neon green, on the other, a quiet, slim blue. There’s a sense of coolness and play at hand, invoked by geometric shapes that are constantly in conversation with each other. We feel an energy bounce off each board, reflecting and reverberating across the gallery in a way that suggests lyricality. You’d be forgiven for thinking that these panels represent bars of sound, as if to emulate a musical software application."
While in Paris for the installation of his Suddenly This Overview presented at the Bourse de Commerce, Peter Fischli gave an interview about this vast ensemble of clay sculptures conceived with David Weiss between 1981 and 2021.
Tschabalala Self’s work has been selected for the 2026 Fourth Plinth commission. The Fourth Plinth in Trafalgar Square is one of the most important art commissions worldwide, putting new work by internationally renowned artists into the heart of London. Self’s sculpture, titled Lady in Blue, pays homage to a contemporary woman, who could be one of many Londoners walking through Trafalgar Square. Made of bronze, she will reference the square’s existing monuments, but will be patinated with Lapis Lazuli, a refined blue pigment in use since antiquity.
Find out more about the Fourth Plinth Commission here.
Ocula spoke to Louisa Gagliardi about her unconventional painting methods and her upcoming show at Galerie Eva Presenhuber x Taxa, Seoul. Her work often explores feelings of awkwardness and alienation, earning her the nickname Digital Dali. Oculat states: "Gagliardi is one of very few artists who has found representation at a leading gallery for her digital paintings, which she augments with ink and nail polish."
Spanning Fruitmarket's Exhibition Galleries and Warehouse, the exhibition starts with an architectural installation showcasing wall-based works, transitions to a room displaying Martin Boyce’s history with Jan and Joël Martel’s 1925 concrete ‘trees’, and reimagines Fruitmarket’s Upper Gallery with an atmospheric blend of works. In the Warehouse, sculptures are presented in unconventional ways, questioning notions of storage and memory. This comprehensive showcase, spanning from 1992 to the present, offers a rare opportunity to contemplate the artistic essence and sculptural language of one of the UK’s foremost artists.
CC Strombeek presents the first institutional exhibition of Swiss artist Louisa Gagliardi. Her practice mainly revolves around alienation, and dislocation as essential features of our current, global existence. Gagliardi’s strongly pronounced, figurative paintings form not only technically, but also visually a complex game denoting delirium or delusion. For this show, the artist will conceive a new series of paintings and sculptures within a maze-like scenography. Deep Breaths builds upon her ongoing interest in the liminal space. In our highly technological and hyper connected world the borders between reality and fiction are becoming more and more blurry. We get tricked into thinking that our flesh self and virtual self might become one.
Apropos Hodler - Current Perspectives on an Icon, a new exhibition at the Kunsthaus Zürich, offers a deep dive into the enduring legacy of Hodler's art, examining its contemporary relevance through four key themes: landscapes, corporeality, belonging, and enigma/transcendence. Among the artworks, Ugo Rondinone's mesmerizing glass horses, forged from fire into cast glass, represent the earth through the animal's physicality. They are named after the oceans and captivate viewers with their fusion of themes surrounding natural elements, exploration, and romance.
Brooklyn-based Austin Eddy’s paintings call on the viewer to create their own stories out of the ones he proposes. He might use autobiographical events and abstract them to birds, but never imposes his own interpretation. His birds are more form than animal: they are stand-ins for the very human desire for personal freedom, framed by its equally strong wish for stability and structure. As his work toes the line between figurative and abstract, it recalls the cubist forms of the 20th century, while being firmly anchored in Austin’s present.
"The title of Steven Shearer’s exhibition “Sleep, Death’s Own Brother” reverberates from the almost seven-meter-wide wall piece Sleep II, 2015, a collage of hundreds of small photos depicting slumbering individuals. Some seem to be peacefully resting, while others appear lifeless, resembling corpses. This lurking presence of death pervades the entire exhibition, evident in thirty-seven small drawings and thirteen prominent paintings like The Sickly Fauve, 2014, which shows a pale androgynous figure whose dark under-eye circles suggest they haven’t seen sunlight for weeks."
The Schirn Kunsthalle presents THE CULTURE, an exhibition commemorating the 50th anniversary of Hip Hop. Originating in the Bronx during the 1970s, Hip Hop emerged as a powerful platform for cultural expression and critique. In collaboration with the Baltimore Museum of Art and the Saint Louis Art Museum, this exhibition sheds light on Hip Hop's profound global influence spanning music, fashion, technology, and the arts over the past five decades. Showcasing over 100 works by acclaimed artists like Adam Pendleton and Tschabalala Self, the exhibition delves into themes such as identity, racism, appropriation, and empowerment.
Madeleine Pollard from Elephant Magazine reported on Sofia Mitsola's recent gallery show: "When it came to her latest body of work, Villa Venus: An Organised Dream, which recently showed at Zurich’s Galerie Eva Presenhuber, her focus expanded from the bodies themselves to their surroundings. “I’d been concentrating on my characters for some years, so then I was trying to imagine a place to put them. Where do they sprout from? Where do they live?” she explains. “In 2022, I was on the Greek island of Paros in the Cyclades and it got me thinking about fantastical places. I wanted to create an island of my own.”"
The Bourse de Commerce exhibits a portion of Peter Fischli David Weiss's Suddenly this Overview (1981-2012) installation. This clay-based work humorously explores human history through hand-modeled sculptures, accompanied by the film The Least Resistance (1981). The duo's first sculptural epic utilizes raw clay to create 76 figurines with captions serving as punchlines, offering a playful and thought-provoking blend of absurdity and universality. In the Auditorium, the experimental film The Way Things Go (1987) is screened.
Unravel: The Power and Politics of Textiles in Art featuring work by Tschabalala Self is on view at London’s Barbican Gallery, where it can be seen through May 26, 2024. The major exhibition shines a light on 50 artists from the 1960s to today who have explored the transformative and subversive potential of textiles, harnessing the medium to ask charged questions about power: who holds it, and how can it be challenged and reclaimed?
The Spotlight series includes a new or never-before-exhibited artwork paired with a commissioned piece of writing, creating focused and thoughtful conversations between the visual arts and authors, critics, poets, scholars, and beyond. In this iteration, the Spotlight features Tschabalala Self’s Hear No, 2023, presented in dialogue with Faith Ringgold’s fabric work Coming to Jones Road Part 2 #2: We Here Aunt Emmy Got Us Now, 2010. A text by the artist accompanies the presentation.
Expansive in their collecting habits, the Deans, both born and raised in New York, champion a philosophy of “artists supporting artists.” The first major exhibition of the Dean Collection, Giants showcases a focused selection from the couple’s world-class holdings, including a work by Tschabalala Self. The Brooklyn Museum’s presentation spotlights works by Black diasporic artists, part of our ongoing efforts to expand the art-historical narrative.
Wyatt Kahn presents a new solo exhibition titled Fantasmas at Museo Anahuacalli Mexico City from February 6 through May 19, 2024. The show includes over twenty sculptural paintings that move between painting and sculpture, between the abstract and the figurative, and between the flat and the three-dimensional. With more than thirty works in total and spanning thirteen years of Kahn’s career, the exhibition is his largest and most diverse to date, including works in bronze, lead, canvas, and stuffed animals and some of his first unprimed multi-panel works from 2011.
The Sydney AIDS Memorial, a poignant bluestone and stainless steel sculpture titled 'the remembered‘ (2018) by Ugo Rondinone, serves as a solemn tribute to those lives lost to HIV/AIDS.
Jerry Saltz reviewed Tschabalala Self's exhibition Bodega Run at the Swiss Institute in New York: "Were the dusty bodegas of old superior to the anonymous, flattened spaces where many of us now buy our food? Yes and no. Self’s pop-up show was a milestone in a project that testifies that, especially in this city, there’s no such thing as a love that’s uncomplicated."
Fondazione Prada presents the installation Suddenly This Overview (1981-2012) by Peter Fischli David Weiss at the Torre’s fifth floor as part of the exhibition project Atlas. This work’s version combines 157 medium- and small-scale raw clay sculptures arranged on plinths of different heights, representing the world through a seemingly arbitrary selection of events, objects, phrases, and historical or invented notions.
Heinz Schütz interviewed Matthew Angelo Harrison for KUNSTFORUM International, stating: "The encapsulation of traditional African sculptures plays a central role in Matthew Angelo Harrison's work. Transparent, futuristic-looking plastic boxes preserve what has been encapsulated. With their purist minimalist aesthetics, they act like "coolers" that contain and dim down the once cultic-magical and highly expressive in a modernist way. What began as an exploration of Harrison's African-American roots points beyond and becomes a commentary on the present."
For his group of works Sunrise. East, Rondinone assigned a head with characteristic, highly reduced facial features to represent each calendar month. Larger than life and cast in shiny silver aluminium, the massive sculptural heads are reduced to their facial expressions: With mouths agape, they gaze from small eyes, from friendly and naïve to sceptical, from surprised to eerie. They trigger the most diverse associations, evoking ritual masks and ghosts, as well as the visual language of comics, emoticons, and memes. Visitors to the Städel Garden are invited to come face-to-face with all twelve creatures – and thus every month of the year – and experience the various joys, adversities, and emotions of an entire year in fast forward.