Isa Genzken: Beware Wet Paint
This fall Fondazione Sandretto Re Rebaudengo presents three exhibitions devoted to painting. Beware Wet Paint (29 October 鈥 1 February 2015) is a group show that explores the latest trends in international painting. The exhibition is produced in collaboration with the Institute of Contemporary Arts 鈥 ICA London, and is curated by ICA Director Gregor Muir.
Beware Wet Paint consists of works by artists for whom painting forms a single strand within a multidisciplinary practice. The exhibition title comes from Richard Hamilton鈥檚 account of Marcel Duchamp repeating the words slowly with blood-curdling emphasis placed on the word 鈥榖eware鈥, underlining the disruptive nature of this supposedly traditional form.
The exhibition also alludes to the role of the conceptual artist in painting and those who might be said to be 鈥榩racticing without a license鈥; a term once applied by the American artist Richard Prince to his practice of re-photographing original photographs. Such an expression might equally apply to how painting has become, historically speaking, less elitist and increasingly accessible to all. The exhibition also positions Christopher Wool as an exemplar for younger generations of artists who share a fascination with conceptual processes and digital technologies. Whereas earlier generations of modern and contemporary artists turned to photographs as source material, as found in newspapers and scientific textbooks, the sourcing of images from the Internet and other forms of digital communication has come to the fore. Accordingly, the lineage of artists working with analogue photography 鈥 connecting Luc Tuymans to Gerhard Richter to Francis Bacon 鈥 has been disrupted as we enter into a relationship with what Jeff Elrod refers to as 鈥渇rictionless鈥 digital media.
La exhibition includes works by Korakrit Arunanondchai (Tailandia/USA, 1986) 鈥 Isabelle Cornaro (Francia, 1974) 鈥 Jeff Elrod (USA, 1966) 鈥 Nikolas Gambaroff (Germania/USA, 1979) 鈥 Nathan Hylden (USA, 1978) 鈥 Parker Ito (USA, 1986) 鈥 Oscar Murillo (Colombia/UK, 1986) 鈥 Diogo Pimentao (Portogallo/UK, 1973) 鈥 Pamela Rosenkranz (Svizzera, 1979) 鈥 Ned Vena (Usa, 1982) 鈥 Christopher Wool (USA; 1955).
The main exhibition will have two satellite events, focusing on the work of a young painter, David Ostrowski, and of a long-established artist, Isa Genzken. The work of David Ostrowski (Germany 1982) comes about through an analysis of the very nature of painting. He consistently strives to undermine received conventions in painting, such as composition, style and 鈥渢ypical gestures鈥, often experimenting with speed and imperfection to bring about play between accidents and mistakes.
The show about Isa Genzken (Germany, 1948) presents, for the first time in Italy, a series from the late 1980s, a corpus of painting works that is less known than the sculptures and installations, for which Genzken is famous. They are monochrome oil paintings whose very name, Basic Research, suggests the start of an exploration and interaction with the environment. The frottages the artist made of her studio floor are half-way between painting and sculpture, and seek to establish nonverbal communication with the surrounding space and the public.
This fall Fondazione Sandretto Re Rebaudengo presents three exhibitions devoted to painting. Beware Wet Paint (29 October 鈥 1 February 2015) is a group show that explores the latest trends in international painting. The exhibition is produced in collaboration with the Institute of Contemporary Arts 鈥 ICA London, and is curated by ICA Director Gregor Muir.
Beware Wet Paint consists of works by artists for whom painting forms a single strand within a multidisciplinary practice. The exhibition title comes from Richard Hamilton鈥檚 account of Marcel Duchamp repeating the words slowly with blood-curdling emphasis placed on the word 鈥榖eware鈥, underlining the disruptive nature of this supposedly traditional form.
The exhibition also alludes to the role of the conceptual artist in painting and those who might be said to be 鈥榩racticing without a license鈥; a term once applied by the American artist Richard Prince to his practice of re-photographing original photographs. Such an expression might equally apply to how painting has become, historically speaking, less elitist and increasingly accessible to all. The exhibition also positions Christopher Wool as an exemplar for younger generations of artists who share a fascination with conceptual processes and digital technologies. Whereas earlier generations of modern and contemporary artists turned to photographs as source material, as found in newspapers and scientific textbooks, the sourcing of images from the Internet and other forms of digital communication has come to the fore. Accordingly, the lineage of artists working with analogue photography 鈥 connecting Luc Tuymans to Gerhard Richter to Francis Bacon 鈥 has been disrupted as we enter into a relationship with what Jeff Elrod refers to as 鈥渇rictionless鈥 digital media.
La exhibition includes works by Korakrit Arunanondchai (Tailandia/USA, 1986) 鈥 Isabelle Cornaro (Francia, 1974) 鈥 Jeff Elrod (USA, 1966) 鈥 Nikolas Gambaroff (Germania/USA, 1979) 鈥 Nathan Hylden (USA, 1978) 鈥 Parker Ito (USA, 1986) 鈥 Oscar Murillo (Colombia/UK, 1986) 鈥 Diogo Pimentao (Portogallo/UK, 1973) 鈥 Pamela Rosenkranz (Svizzera, 1979) 鈥 Ned Vena (Usa, 1982) 鈥 Christopher Wool (USA; 1955).
The main exhibition will have two satellite events, focusing on the work of a young painter, David Ostrowski, and of a long-established artist, Isa Genzken. The work of David Ostrowski (Germany 1982) comes about through an analysis of the very nature of painting. He consistently strives to undermine received conventions in painting, such as composition, style and 鈥渢ypical gestures鈥, often experimenting with speed and imperfection to bring about play between accidents and mistakes.
The show about Isa Genzken (Germany, 1948) presents, for the first time in Italy, a series from the late 1980s, a corpus of painting works that is less known than the sculptures and installations, for which Genzken is famous. They are monochrome oil paintings whose very name, Basic Research, suggests the start of an exploration and interaction with the environment. The frottages the artist made of her studio floor are half-way between painting and sculpture, and seek to establish nonverbal communication with the surrounding space and the public.
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