Summer 2016

[hauserwirthsummer2016-blog]

Art Basel 2016

Anri Sala, Screening, '1395 Days Without Red' (2011) Stadtkino Basel, Klostergasse 5, Basel, Switzerland Tuesday 14 June 2016, 10 pm

Part of Art Basel's Short Film program, ‘Sound Spaces of Trauma’ looks at how sites of historical trauma are revisited, and sublimated by means of classical music compositions. '1395 Days Without Red' (2011) explores the streets of Sarajevo, set during the seige of of the city between 1992 – 1996.

Image: Anri Sala, 1395 Days Without Red (still), 2011

[hauserwirthsummer2016-blog]

‘Roni Horn. The Selected Gifts’ Foundation Beyeler, Basel, Switzerland 11 June 2016 – 1 January 2017 'The Selected Gifts, 1974 – 2015' will showcase 67 individual photographs documenting the history of gifts received over the course of the artist’s life. Collected together in this book they constitute a kind of self-portrait through objects. Gifts include books, a love letter, drawings and photographs of artist friends, the fossilised egg of a dinosaur, a stuffed swan.

Image: Roni Horn, The Selected Gifts (1974 – 2015) (detail), 2015 – 2016

[hauserwirthsummer2016-blog]

Manifesta 11

Pierre Huyghe in 'The Historical Exhibition: Sites Under Construction' Various locations, Zürich, Switzerland 9 June – 18 September 2016 Pierre Huyghe presents ‘L’Association des Temps Libérés’ (5 July 1995) in ‘The Historical Exhibition: Sites Under Construction’.  The show, curated by Christian Jankowski and Francesca Gavin, gathers artworks and non-art-specific materials from the past 50 years and is divided into 11 chambers. These are inspired by the intersections between private and public, the personal and the professional, and examine how and why artists portray the working process and relations that they face and engage in. 

Image: Pierre Huyghe, L’Association des Temps Libérés 5 July 1995

[hauserwirthsummer2016-blog]

Art Basel 2016: Unlimited

Dieter Roth, Flacher Abfall / Flat Waste, 1975 – 1976 / 1992

Many of Dieter Roth’s works can be understood as kinds of diaries. In the mid-1970s, he attempted to record a year of his life by collecting and preserving all items of waste less than 5 mm thick. The resulting work, ‘Flacher Abfall / Flat Waste’ (1975 – 1976), celebrates and subverts the ordering principle of a diary while addressing Roth’s artistic role as collector, cataloguer and archivist.

[hauserwirthsummer2016-blog]

Art Basel 2016: Unlimited

Isa Genzken, Wasserspeier and Angels, 2004

The complex assemblage ‘Wasserspeier and Angels’ shows Genzken at the height of her imaginative, witty and inventive powers. The piece almost acts as a miniretrospective combining the various threads of her practice, from her Social Facades to her portrayals of American cityscapes and her use of reflective materials, to the Schauspieler or mannequin sculptures she has produced in recent years.

[hauserwirthsummer2016-blog]

Art Basel 2016: Unlimited

Paul McCarthy, Tomato Head (Green), 1994

McCarthy disinters the perversions inherent in American ‘values’ through cherished emblems of childhood, re-envisioning them in adulterated contexts with an unsettling blend of humour and horror. His life-size human figure, A play on the children’s toy Mr Potato Head, transforms a children’s toy into a sinister and disturbing work of art that questions several aspects of American culture. 

[hauserwirthsummer2016-blog]

Art Basel 2016: Parcours

Josephsohn. A display of 16 bronzes On the central Münsterplatz, Basel, Switzerland 13 – 19 June 2016 Hans Josephsohn’s work focuses exclusively on the human figure. Within the repertoire of classical sculpture his sculptures make direct reference to the physical presence and dimensions of human beings. The scale of the 16 sculptures on view is derived from the human body and its proportions, and span 55 years of the artist’s career – the earliest work was created in 1951 and the latest was made in 2006. The rhythmically arranged group is organically embedded within the baroque architecture and setting of the Münsterplatz.

Image: Installation view, Josephsohn in ‘The Encyclopedic Palace’, 55th International Art Exhibition, La Biennale di Venezia, Venice, Italy, 2013. Photo: Felix Lehner

[hauserwirthsummer2016-blog]

Lee Lozano, No title, c.a. 1962 Oil on canvas in original frame 33.6 x 38.7 cm / 13 1/4 x 15 1/4 in © The Estate of Lee Lozano

[hauserwirthsummer2016-blog]

Maria Lassnig, Das Traumpaar (The Dream Couple), 2004 Oil on canvas 150 x 200 cm / 59 x 78 3/4 in © Maria Lassnig Foundation

[hauserwirthsummer2016-blog]

Philip Guston, Lower Level, 1975 Oil on canvas 187.96 x 250.19 cm / 74 x 98 1/2 in © The Estate of Philip Guston Photo: Genevieve Hanson

[hauserwirthsummer2016-blog]

Vija Celmins, Sea Drawing with Whale, 1969 Graphite on paper 33.2 x 45.3 cm / 13 1/8 x 17 7/8 in © Vija Celmins

[hauserwirthsummer2016-blog]

David Smith, Anchorhead, 1952 Steel, painted 194.9 x 78.7 x 58.4 cm / 76 3/4 x 31 x 23 in © The Estate of David Smith Photo: Jerry L Thompson

[hauserwirthsummer2016-blog]

Paul McCarthy, Picabia Idol, Black, 2016 Silicone 162.6 x 76.2 x 58.4 cm / 64 x 30 x 23 in