The black fabric heads Louise Bourgeois created in her final decade are now on view at Hauser & Wirth’s new exhibition space in Switzerland.
LOUISE BOURGEOIS—PAPILLONS NOIRS
Through February 10.
Hauser & Wirth St. Moritz
Via Serlas 22, St. Moritz.
Top: Louise Bourgeois in New York City in 1998. Photograph by Mathias Johansson.
Above: Louise Bourgeois, Untitled, 2003. Fabric and stainless steel.
Below: Louise Bourgeois, Cell XXIV (Portrait), 2001. Steel, stainless steel, glass, wood, and fabric.
The collection of Sylvio Perlstein comprises twentieth-century art movements—from Dada and Surrealism to Abstraction, Land Art, Conceptual Art, Minimal Art, Pop Art, Op Art, Arte Povera, Nouveau Réalisme, Conceptualism, and Contemporary Art—as well as a “collection within the collection” of photography.
The catalogue A LUTA CONTINUA—THE PERLSTEIN COLLECTION is out now, and includes essays by Luc Sante, Matthieu Humery, and curator David Rosenberg.
A LUTA CONTINUA—THE PERLSTEIN COLLECTION: ART AND PHOTOGRAPHY FROM DADA TO NOW
(Zürich: Hauser & Wirth Publishers, 2018).
From top:
Barbara Kruger, Untitled (Busy going crazy), 1989. Courtesy the artist.
Vanessa Beecroft, Untitled (performance, detail, Solomon R. Gugghenheim Museum, New York), 1998.
Eugène Atget, Boulevard de la Villette 122, 1924 – 1925. Matte albumen silver print.
Man Ray, The Bald Patch, 1919. Silver Print. © 2018 Artists Rights Society (ARS), New York.
On the occasion of ZOE LEONARD—ANALOGUE, Hauser & Wirth presents an afternoon of performances and readings in response to Leonard’s 1992 text I WANT A PRESIDENT.
Participants include Lita Albuquerque, Edgar Arceneaux with performer Joana Knezevic, Nao Bustamante, Andy Campbell, Patrisse Cullors, Edgar Heap of Birds, Amy Gerstler, Kimberli Meyer, Helen Molesworth, Bidhan Roy, and Patrick Staff.
Saturday, November 3, at 1 pm.
Through January 20.
Hauser & Wirth, 901 East 3rd Street, downtown Los Angeles.
Zoe Leonard, I Want a President. Image courtesy the artist and Hauser & Wirth.
On the occasion of JULIAN ROSEFELDT—MANIFESTO—, the West Coast premiere of the work as a 13-channel film installation, Cate Blanchett and CAP UCLA director Kristy Edmunds will join the artist in conversation.
Drawing on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, and Dogme 95—including Yvonne Rainer, Claes Oldenburg, Wyndham Lewis, Kazimir Malevich, André Breton, Kurt Schwitters, Elaine Sturtevant, Sol LeWitt, and Werner Herzog—Rosefeldt directed Blanchett through her investigation of thirteen different personas, “from a factory worker to a television news anchor to a homeless man, performing various historical artists’ manifestos.
“The work pays homage to the long tradition and literary beauty of public statements made by artists, and serves to provoke reflection upon the role of the artist as an active citizen in society today.”*
JULIAN ROSEFELDT, CATE BLANCHETT, and KRISTY EDMUNDS IN CONVERSATION*
Saturday, October 27, at 3 pm.
Hauser & Wirth
901 East 3rd Street, downtown Los Angeles.
(In 2017, Manifesto was commercially released as a 95-minute film, and played locally at the Monica Film Center.)
Cate Blanchett in Manifesto (3). Image credit: Julian Rosefeldt.
The poet, journalist, novelist, and editor Stephen Spender is the subject of an exhibition at Frieze London, presented by Hauser & Wirth and Moretti Fine Art.
The project explores Spender’s progressive ideas and artistic friendships, and features work by artists he personally knew and/or collected, including Michael Andrews, Frank Auerbach, David Hockney, Lucian Freud, Leon Kossoff, Henry Moore, Giorgio Morandi, Pablo Picasso, Serge Poliakoff, and Yannis Tsarouchis.
A beautiful exhibition catalogue—edited by Ben Eastham and formatted in the style of Horizon, the journal Spender, Cyril Connolly, and Peter Watson founded in 1939—includes artwork reproductions, poems by Spender, and essays on his deep affinities with art, literature, and political activism in the 1930s. “On Censorship” by Caroline Moorehead addresses Spender’s connection with its subject through the journal he co-founded, Index on Censorship.
(In the early 1990s, Spender himself prevailed on the court system to prevent the publication of While England Sleeps, David Leavitt’s novel that appropriated stories from Spender’s autobiography World within World and added scenes of gay erotica, which he dismissed as “pornography.” Spender married twice—Natasha Spender was his widow and he was the father of Matthew and Elizabeth—but, as disclosed in his New Selected Journals and letters to Christopher Isherwood and others, Spender’s emotional and sexual life was marked by numerous same-sex relationships.)
Thursday, October 4 through Sunday, October 7.
Frieze London—Hauser & Wirth, Booth D01, Regents Park, London.
The Worlds of Stephen Spender catalogue.
From top: Henry Moore, Portrait of Stephen Spender, 1934. © Henry Moore Foundation. Image credit: Hauser & Wirth.
Exhibition catalogue image credit: Hauser & Wirth. Book design by Fraser Muggeridge studio.
A 1929 photograph of Spender’s German friend Franz Büchner on the cover of the novel The Temple, written in the late 1920s and finally published in 1988. Image credit: Faber and Faber.
Below: W.H. Auden (left), Stephen Spender, and Christopher Isherwood in 1931.
