They established some basic principles: white plus the black of India Ink, the paper would be on the floor, one would start and the other would riposte… Then, the paper would be mounted on canvas.
The experience is repeated in 1977. In 1978, twenty drawings are made in Appel’s studio in New York. To illustrate this group of artworks, Hugo Claus wrote twenty poems and eighteen rhymes. Dotremont prefaced the catalogue of the exhibitions that took place at the Galerie de France in Paris, at the Louisiana Museum in Copenhagen, at the Fondation Maeght in Saint-Paul de Vence among other places.
They established some basic principles: white plus the black of India Ink, the paper would be on the floor, one would start and the other would riposte… Then, the paper would be mounted on canvas.
The experience is repeated in 1977. In 1978, twenty drawings are made in Appel’s studio in New York. To illustrate this group of artworks, Hugo Claus wrote twenty poems and eighteen rhymes. Dotremont prefaced the catalogue of the exhibitions that took place at the Galerie de France in Paris, at the Louisiana Museum in Copenhagen, at the Fondation Maeght in Saint-Paul de Vence among other places.
This exhibition invites us to rediscover a number of these “two brushes” works, which also shows coloured paintings produced by Alechinsky and Appel in the same decade.
With his titles, Klapheck gives a completely new reading of the image. The accepted rules lead to a stylisation, a simplification, even a deliberate deformation of object, spaces and figures, creating the sort of magical realism that emanates from his work.
See the press release
With his titles, Klapheck gives a completely new reading of the image. The accepted rules lead to a stylisation, a simplification, even a deliberate deformation of object, spaces and figures, creating the sort of magical realism that emanates from his work.
Konrad Klapheck has been exhibiting at 13 rue de Téhéran for more than 40 years. To date, the gallery had never dedicated an exhibition only to his sketches. A retrospective was recently organised at the Musée de La Chaux de Fonds in Switzerland. Another is under preparation in a Dutch museum.
While American Pop Art celebrated gleaming publicity items, Tàpies preferred humble, used objects, and was thus a precursor of the Arte Povera movement. Whether it was representative or directly taken from reality, for Tàpies the object was most often simply shown for its shape, without metaphor or message. And it is from this sometimes brutal simplicity that he drew his plastic strength.
See the press release
While American Pop Art celebrated gleaming publicity items, Tàpies preferred humble, used objects, and was thus a precursor of the Arte Povera movement. Whether it was representative or directly taken from reality, for Tàpies the object was most often simply shown for its shape, without metaphor or message. And it is from this sometimes brutal simplicity that he drew his plastic strength.
His work has been exhibited in the world’s leading museums: the Solomon R. Guggenheim Museum in New York (1962), the Musée d’Art moderne de la Ville de Paris (1973), the Nationalgalerie in Berlin (1974), the Museo Nacional Centro de Arte Reina Sofia in Madrid (1990), the Contemporary Arts Center in Cincinnati (2010), the Palazzo Fortuny in Venise (2013) and the Guggenheim Museum in Bilbao (2013). He also took part in four Venice Biennal exhibitions, notably in 1993, the year he represented Spain and won the Golden Lion.
In addition to a number of exhibition catalogues, Galerie Lelong has published two volumes of writings by Antoni Tàpies, La réalité comme art and L’art et ses lieux.
The essence of Serra’s work as a sculptor is to transmit to the viewer a sensation of unstable equilibrium between a weight and its proportions. By constantly inventing, with his Californian printers, new procedures, new inks or mixtures and new methods of printing, he has brilliantly succeeded in transposing this research in the two dimensions of etching.
See the press release
The essence of Serra’s work as a sculptor is to transmit to the viewer a sensation of unstable equilibrium between a weight and its proportions. By constantly inventing, with his Californian printers, new procedures, new inks or mixtures and new methods of printing, he has brilliantly succeeded in transposing this research in the two dimensions of etching.
In Spring 2018, Galerie Lelong & Co. presented the immense and imposing Rift works. This new exhibition will present the recently completed Right Angle from 2019, among others.
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