Exhibitions

Subterms

    More stories

    • 250 Shares99 Views

      in Exhibitions

      Tomás Saraceno Convinced His New Art Gallery to Shorten Its Hours and Switch to Renewable Energy for His Debut Exhibition

      by

      For Argentine artist Tomás Saraceno, air is not light matter. It carries symbolic and sociological weight, and is a major consideration in the suspended interactive web installations and landscapes he builds (which are in fact created and occupied by living spiders).
      Now, the artist is embarking on a new project with a new gallery. “We Do Not All Breathe the Same Air”—which will open on September 17 at Neugerriemschneider in Berlin and is spurred by the pandemic and the climate crisis—is dedicated to a more intimate aspect of air: breath.
      “We know exactly what the cure to [bad air quality] is,” Saraceno told Artnet News. “We know that if we stop burning fossil fuels, mortality rates will drop. Why were we able to respond so actively to the immediacy of the coronavirus, but can do nothing against a collective threat that is three times more deadly?”
      The show considers the inequalities inherent in the way oxygen flows around the earth: different parts of the world, namely the Global South, experience the pandemic and the climate crisis in a different and more extreme way the many Western nations. A 2018 work, Printed Matter(s), uses ink the artist made from black carbon pollution extracted from Mumbai’s air. His beloved spiderwebs will also feature in the show, but their webs are laced with pollution, changing their color. Another installation will render the air in the room, and all its particulate matter, visible.
      Tomás Saraceno. Particular Matter(s) (2021). Courtesy the artist and neugerriemschneider, Berlin © Tomás Saraceno. Photo: Tomás Saraceno studio.
      In keeping with Saraceno’s ongoing environmental concerns, the gallery will switch over to 100 percent renewable energy, and shift its hours to correspond with darkening days in October, so that less lighting will be needed during opening times.
      The exhibition is even more pertinent given the landmark report published this week, approved by 234 scientists from more than 60 nations, suggesting that the climate is in a more dire state than we even knew.
      “The capitalist, colonial, and patriarchal structures many of us are entrenched in throw up huge roadblocks to normalized problems, including climate change,” Saraceno said. “What could happen if the climate crisis was treated with the same sense of urgency as the pandemic?”
      Tomás Saraceno, Part icular Matter(s) (2021). Courtesy the artist Nnd neugerriemschneider, Berlin. © Tomás Saraceno
      The artist has been working to make his Berlin studio, a brick-built former factory, more sustainable by regenerating its grounds into a garden to feed his employees. He is also collecting rainwater from the roof and installing solar panels come September. The studio will also shift its working hours to accommodate darker winter days.
      “This last year has refined my approach, and challenged me towards new aspirations,” the artist said. “I have decided that a shift in my environment and reconnection with my first supporters will bring a positive influence to my work, though I remain grateful to fruitful past relationships and stay close with many artists there.” (The Spanish artist and his longtime dealer in Berlin, Esther Schipper, parted amicably in late 2019.)
      Tim Neuger of Neugerriemschneider, which will represent the gallery with Tanya Bonakdar in New York, described Saraceno as “an artist of radical imagination, visionary creativity, and extraordinary insight.”
      “Working with us, Saraceno is amongst many friends and peers, and having known him well since the beginning of his career, we couldn’t be happier for this opportunity to expand our relationship, and step forward together toward new horizons,” Neuger added.
      After the Berlin exhibition, Saraceno will continue on a similar research path for an upcoming exhibition at the Shed in New York planned for 2022. 
      “I was very much inspired and moved by the research of [U.S. author and medical ethicist] Harriet A. Washington on the uneven distribution of pollution along geopolitical and racial lines,” he said. “What is floating in the air today? What are we breathing in? And who has the capacity and possibility to breathe at all? These are important questions we can’t stop asking ourselves in the age of the anthropocene.”
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 250 Shares159 Views

      in Exhibitions

      In Her First Major U.S. Exhibition, French-American Sculptor Niki de Saint Phalle’s Vision of the World Shines at MoMA PS1

      by

      A legendary figure who fought against and transformed the rigidity of the art world, French-American sculptor Niki de Saint Phalle has finally received a well-earned U.S. reception honoring her trailblazing artwork at MoMA PS1.
      During her five decade-long career, the French-born, New York City-raised artist fearlessly defied categorical constraints to explore a boundless artistic practice. And the MoMA PS1 exhibition, underwritten by Swiss luxury skincare house La Prairie and entitled “Niki de Saint Phalle: Structures for Life,” over 200 works spanning sculpture, drawings, video, and more reveal the vast expanse of Saint Phalle’s imagination and a steadfast dedication to her craft.
      Niki de Saint Phalle, L’Estrella Carta No. XVII (The Star) (1997). © 2021 Niki Charitable Art Foundation.
      As a child, Saint Phalle was subjected to a violent and tumultuous household. Deeply rooted trauma stemming from emotional and physical abuse would remain with Saint Phalle throughout her entire life. But rather than letting it swallow her, Saint Phalle channeled tragedy into an artistic practice.
      At her psychiatrist’s recommendation, she began to translate the lingering pain of her early life into paintings. With the intention of creating joy, she began to adopt a visual vocabulary of almost childlike iconography, using a distinct palette of primary colors to build worlds of optimism and hope. 
      From the onset, Saint Phalle’s practice explored human complexities. She welcomed hard-hitting subject matter, closely analyzing, for example, the treatment of women in society, and sought to transform and transcend these themes into a utopian existence.
      In this way, Saint Phalle gifted herself a form of escapism from the sadness she carried. Play would also remain at the heart of Saint Phalle’s work throughout the entirety of her career, something she acknowledged kept her from falling into the pitfalls of depression. Though many in the mainstream art world would reject inviting in such a concept, for fear of not being taken seriously, Saint Phalle brilliantly adopted frivolity as a mechanism by which to connect with audiences around the world. 
      Niki de Saint Phalle, La fontaine Stravinsky (c. 1983). Photo: Green Moon Marketing. © 2021 Niki Charitable Art Foundation.
      From the onset of her public life, Saint Phalle was unafraid to rebel against the expectations placed upon women. Called by Gloria Steinem “the first free woman I have ever seen,” her practice was purposefully loud and unapologetic. Carving out a lane for herself during the 1950s was no easy feat. Women at this time were both explicitly and implicitly instructed to take up little space, remain submissive to their male counterparts, marry young and live for the sole purpose of producing children and taking care of the home.
      Though Saint Phalle began her adult life entering into the roles of wife and mother, she would reclaim her life through her artistic practice. She soon found herself part of a close-knit artist community made up of almost entirely men, including Robert Rauschenberg, Jasper Johns, and Jean Tinguely, who would become her second husband. 
      Though Saint Phalle first began garnering attention for “Tirs,” a body of paintings produced by firing a gun at plaster reliefs that released pockets of paint, her work would be cemented into the iconography of art history via the “Nanas” series. As female-inspired figures with curvy, exaggerated bodies, Saint Phalle’s “Nanas” looked toward art history and the ways in which women have been depicted since ancient times, and additionally looked to dismantle notions of the female form as a kind of object. The “Nanas” were eye-catching, bold, and highly memorable, nurturing an ongoing dialogue.
      Niki de Saint Phalle, “Mini Nana maison” (c. 1968). © 2021 Niki Charitable Art Foundation.
      A key aspect of the “Nanas” that existed elsewhere in Saint Phalle’s practice is a “disarming simplicity,” a term coined by Ruba Katrib, curator of “Niki de Saint Phalle: Structures for Life.” The undertones of the artist’s work were always far more complex than what the visual language might offer. Saint Phalle did not want to isolate audiences with complexities; rather, she invited the masses to enjoy her work as a shared human experience. “Her Nanas confront Western standards of femininity and decorum: they are brash, ecstatic, and embrace sexuality,” noted Katrib, in a statement from La Prairie. “She created her Nanas at such a large scale specifically so that they could dominate – literally tower over – men. Saint Phalle was also an iconoclast in her personal style and way of life.”
      Though always intrinsically a part of Saint Phalle’s work, political and social issues would become more obviously woven into the artist’s work toward the latter part of her career. 
      Niki de Saint Phalle, book cover of AIDS, You Can’t Catch It Holding Hands (1986). Photo: NCAF Archives. © 2021 Niki Charitable Art Foundation.
      During the 1980s, as AIDS enveloped her community, Saint Phalle used her established platform to create work that directly called out the systems at play for insufficiently addressing the crisis.
      Much of the work she would create at this time and in the decades until her death in 2002 feel astoundingly contemporary, especially as climate change, inadequate social and political leadership, and corruption remain crucial issues. 
      La Prairie’s Nighttime Oil from the Skin Caviar collection. Photo courtesy La Prairie.
      La Prairie’s involvement in “Niki de Saint Phalle: Structures for Life” is a seamless fit for the brand, which has  taken inspiration from Niki de Saint Phalle’s monumental career since 1982, when the La Prairie team first encountered her work—and her compelling use of cobalt blue, which she once described as “the color of joy and luck”—in a shared New York design studio.
      With an oeuvre of work that welcomed many forms of creating as a means to self-fund her more ambitious projects, Saint Phalle was, at the time, working on producing her own perfume, Flacon de Parfum. From then on, the cobalt blue of Saint Phalle’s perfume bottle would go on to serve as the direct inspiration for the color of La Prairie’s iconic Skin Caviar Collection. This Fall, the iconic collection goes beyond lifting and firming, and journeys into the depths of the Cobalt Night with the Skin Caviar Nighttime Oil, imbued with Caviar Retinol. An innovative, Bauhaus-inspired, double-glass encasement houses and protects an elusive and powerful new ingredient—Caviar Retinol—derived from La Prairie’s legendary Swiss caviar extract. Niki de Saint Phalle committed her life toward progressivism, so too has La Prairie demonstrated an unwavering duty to pioneering discoveries. 
      For more content, see the below links. 
      Art Basel x NikiLa Prairie x MoMA PS1: “Encountering Niki” Art TalkLA Prairie on Niki de Saint Phalle
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 188 Shares139 Views

      in Exhibitions

      Marina Abramović’s Latest Immersive Installation Will Take You on a Journey Through Her Life Story

      by

      Rose of Jericho, Starry Night, essays by Susan Sontag. If Marina Abramović were to bury a time capsule today, those are some of the items she’d put in. 
      That’s the conceit of the performance art star’s upcoming show, “Traces,” a three-day experience in London that will take visitors on a journey through her life in five rooms.
      Conceived as an immersive installation, each room will be inspired by an object or idea that, like the aforementioned herb and Van Gogh painting, has proven to be a particular influence on her work. 
      The pop-up exhibition, set to go on view September 10 through 12 at Old Truman Brewery in London, will also showcase two of Abramović’s earlier works—Crystal Cinema (1991) and 10,000 stars (2015)—before concluding with a new interview she recently recorded herself.
      A still from WeTransfer’s presentation of Marina Abramović’s The Abramović Method. Courtesy of WeTransfer.
      “Traces” marks the culmination of Abramović’s year-long partnership with WePresent, the editorial arm of the file-sharing platform WeTransfer. Earlier this year, she inaugurated WePresent’s guest curator series, showcasing a handful of up-and-coming performing artists around the world on the site, and sharing a “digital manifestation” of her own participatory form of meditation, the Abramović Method.
      “Using WeTransfer’s knowledge of design and media, we have brought her practice to millions of people around the world in a variety of ways, adding something new to the cultural landscape,” the platform’s editor in chief, Holly Fraser, added. “We hope to inspire the general public and artists of tomorrow with the work and life of one of our most important living artists.”
      In a statement, Abramović said WePresent “have always been willing to look at new interpretations of my work and passions.”
      The show will be free, but advanced tickets are required for entry. They will be available from August 18 here.
      For the Abramović heads that can’t make it to London, Traces will also exist as a digital experience on the WePresent website.
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 288 Shares99 Views

      in Exhibitions

      The Sistine Chapel (Experience) Is Coming to a City Near You, Letting You See Michelangelo’s Work (Or, Um, Images of It) Up Close

      by

      Michelangelo’s famed Sistine Chapel is coming to cities across the U.S. thanks to high-resolution, nearly full-scale reproductions of the artist’s famed frescoes.
      “Michelangelo’s Sistine Chapel: The Exhibition” has been touring the globe since 2015, and previously went on view in New York beneath the soaring ribbed ceiling of Santiago Calatrava’s Oculus at the World Trade Center in 2017, under the title “Up Close: Michelangelo’s Sistine Chapel.”
      The latest iteration of the show, which has opened in Chicago, San Antonio, and Charlotte, North Carolina, and will soon be back in New York, seems to have been retooled to capitalize on the newfound popularity of the runaway hit “Immersive Van Gogh.”
      The earlier chapel presentation struck a scholarly note, with detailed wall texts identifying the figures in the paintings. And despite the Oculus’s location inside a mall, the brightly lit space recalled the classic white cube gallery. More

    • 225 Shares99 Views

      in Exhibitions

      Grimes, Bon Iver, and Other Musicians Are Creating Immersive Art Experiences to Draw Attention to the Climate Crisis

      by

      Next month, Grimes, Bon Iver, The 1975, and other musicians will try their hands at art in the name of raising awareness around the climate crisis. Each act will lend their vision to a separate immersive multimedia experience for a pop-up exhibition opening September 9 in Brooklyn. “Undercurrent,” as the event is called, is the debut outing of a new event company of the same name. 
      Each of the event’s 11 installations will be developed in collaboration with one of three environmentally-focused nonprofits: Kiss the Ground, Ocean Conservancy, and Global Forest Generation. 
      A “portion of ticket sales” will be donated to the organizations, but a spokesperson for Undercurrent didn’t specify how much. The event’s organizers will also set up education modules dedicated to each of the three nonprofits.

      [embedded content]

      The art projects, meanwhile, will extend across 60,000 square feet of installation space, along with food and drink vendors and areas for special programming. 
      Most of the details regarding what the individual works will look like have yet to be made public, with the exception of Bon Iver frontman Justin Vernon’s contribution. His will take the form of an immersive three-channel video installation that mixes collaged video, audio, and an improvisational dance directed by artists Eric Timothy Carlson and Aaron Anderson. 
      “I just want somebody to walk out changed and to be thinking about things outside of the normal concepts that they’re usually worried about,” Vernon said in a statement. “We want them to walk out having a wider perspective on the meaning of life and what we can leave behind.” 

      [embedded content]

      Grimes also provided a little hint to what she’s thinking about in a statement about why she signed on: “If we don’t protect the environment, the future of consciousness will be artificial, not biological. Would mental health and wellness even be relevant in a world where emotions aren’t an evolutionary advantage?” 
      Her project, which she describes as “A.I. Meditations,” was made with a generative language program that’s initially fed human-made meditations and then makes its own. “Personally, I find beauty in this work, but it represents a distinct artistic shift from things written by humans,” she said. “This work isn’t critical of A. I., but rather a neutral depiction of what the wellness landscape might look like without us.” 
      The 1975. Courtesy of Undercurrent.
      Other musicians contributing to the event include Jorja Smith, Khruangbin, Miguel, Mount Kimbie, Actress, and Nosaj Thing. (Each will be paid for their contributions, according to the Undercurrent representative.)
      Undercurrent was created by business partners Steve Milton and Brett Volker, who previously founded Listen, a sound agency that designs audio and music for sonic branding.
      “We’re all hoping Undercurrent becomes something that moves people to search out to imagine, to create in ways that benefit not just humanity, but our earth and all the various finite ecosystems that rely upon each other to make sure that everything works and everything is in order,” said Miguel. “Because right now,” he added, “it’s obviously not in order.”
      Tickets for “Undercurrent” are on sale now. They cost $45 each.
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 188 Shares99 Views

      in Exhibitions

      An Artist Just Transformed Berlin’s Berghain Nightclub Into an Eerie, Immersive 3D Swamp—See Images Here

      by

      It feels familiar and alien at the same time. Many Berliners have stepped inside the towering walls of Berghain, the most famous nightclub in Germany, but it is different this summer. Its halls are not yet again filled with strobing lights and beating techno music. Instead, filling its empty dance floors is a glimmering, two-story art installation featuring an unusual soundscape of flora and fauna. The club has been re-wilded.
      Danish artist Jakob Kudsk Steensen’s ambitious installation, Berl-Berl, which opened this month, delicately transforms the notorious nightclub into a swampy 3D ecosystem using innovative technologies and gaming software. The artist, who is based in Berlin, stitched together masses of archival and original images to create a fluidly moving filmic landscape that twists and turns across vast and microscopic panorama.
      “Berl,” the first syllable of Berlin, is actually an old Slavic word for swamp, a testament to the Slavic populations that used to reside in the region (some still do), and to the landscape’s former state, before it was drained in the 18th century. All the moving imagery used for the show was culled from around the German capital’s traces of remaining wetlands, or from the Nature Museum’s extensive archives. It immerses viewers in a fictional world of nature that feels impossible and infinite, but very much stems from the real—a realization that feels particularly harrowing in a summer of back-to-back climate emergencies, including Germany’s worst-in-a-century floods.
      Jakob Kudsk Steensen, Berl-Berl (2021). Live simulation (still). Courtesy of the artist.
      The sophisticated imagery is splashed across nearly a dozen screens over two levels, with reflective flooring creating a watery slick that doubles the vibrant imagery. It’s a unique take on immersive art that is tactile and contemplative—soothing, too, at a time when the theme of climate is wrought with anxiety.
      Steensen, a recent resident at the Luma Arles Foundation in France, often focuses on the environment and harnesses technology to achieve a supernatural result. He tapped the acclaimed musical artist Arca to collaborate on the soundscape. She will have a performance at the exhibition in September.
      Jakob Kudsk Steensen’s installation Berl-Berl is on view until September 26 at Halle am Berghain in Berlin.
      Jakob Kudsk Steensen, Berl-Berl, Halle am Berghain, 2021. © Timo Ohler
      Jakob Kudsk Steensen, Berl-Berl (2021). Live simulation (still). Courtesy of the artist.
      Jakob Kudsk Steensen, Berl-Berl (2021). Live simulation (still). Courtesy of the artist.
      Jakob Kudsk Steensen, Berl-Berl (2021). Live simulation (still). Courtesy of the artist.
      Jakob Kudsk Steensen, Berl-Berl, Halle am Berghain, 2021. © Timo Ohler
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 238 Shares199 Views

      in Exhibitions

      In Pictures: See Inside the Italian Futurist Painter Giacomo Balla’s Apartment, and Works From His Long-Awaited Retrospective in Rome

      by

      Born in Turin in 1871, artist Giacomo Balla went on to become one of the world’s best-known Modernist artists. Associated with the Italian Futurists, he left an indelible mark on the history of painting, uniting elements of fantasy with close studies of light, space, and movement.
      Inspired by Eadweard Muybridge’s dynamic photographs, and along with peers Umberto Boccioni, Gino Severini, and Mario Sironi, Balla infused his works with the Futurist ethos that pervaded Italy in his day. It was not without controversy: members of the movement, including the poet Filippo Tommaso Marinetti, who wrote the Futurist Manifesto, were closely aligned with Italian Fascism. Those ties are what led Balla to break with the group.
      Alex Cecchetti’s Come la luna si vede a volte in pieno giorno at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Balla’s work is on view now at the Fondazione MAXXI in Rome, the city in which he lived for more than 30 years. The show, titled “Casa Balla: From the House to the Universe and Back,” also includes a thematic exhibition of works inspired by Balla and his home.
      The apartment where the artist and his family lived until his death in 1858, Casa Balla, is a kaleidoscopic space filled with cloud-scapes and mosaics, where each object, utensil, and article of clothing is a work of art unto itself. According to curators Bartolomeo Pietromarchi and Domitilla Dardi, the apartment is a true gesamtkunstwerk.
      See more images from the exhibition and Balla’s home below.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

    • 213 Shares169 Views

      in Exhibitions

      LACMA’s Game-Changing Partnership With Mega-Collector Budi Tek Will Kick Off With a Show of Contemporary Chinese Art

      by

      In 2018, Chinese-Indonesian art collector Budi Tek announced an unprecedented partnership with the Los Angeles County Museum of Art (LACMA) that effectively granted the museum—vis-a-vis a dedicated foundation—co-ownership of his vaunted collection of contemporary Chinese art.
      Now, for the first time, a selection of art from that trove is on view at LACMA. Twenty pieces from Tek’s collection make up the new exhibition “Legacies of Exchange,” including works by Ai Weiwei, Xu Bing, and Qiu Anxiong, among others.
      The show “highlights works that relate to cross-cultural exchange, both recent and historical, between China and the West,” said Susanna Ferrell, LACMA’s assistant curator of Chinese Art who organized the show, in a statement.
      The first of the show’s two sections brings together examples of Chinese artists in conversation with historical European paintings. In a 2006 canvas, for instance, Zhou Tiehai reimagines Jacopo Palma’s Venus and Cupid with the mascot for Camel cigarettes standing in for the Roman Goddess. In a 1997 painting, Yue Minjun recreates the central young girl in Diego Velázquez’s Las Meninas as a hysterical pink man.
      The second half of the exhibition, meanwhile, looks at the ways in which artists have appropriated the language of commercial advertising in their work, such as in Huang Yong Ping’s 1997 installation Da Xian: The Doomsday. The piece comprises a trio of larger-than-life porcelain bowls filled with boxes of cereal that all give the same expiration date: July 1, 1997, the day of Hong Kong’s handover to China.
      Yue Minjun, Infanta (1997). © Yue Minjun. Courtesy of Pace Gallery.
      A prominent entrepreneur, Tek began collecting art in 2004. By 2014, he had amassed a personal collection of more than 1,000 pieces and founded a 9,000-square-foot private institution—the Yuz Museum in Shanghai—to house it all. Then came an unfortunate turn: The following year, Tek was diagnosed with pancreatic cancer.
      Just as quickly as his museum opened its doors, Tek was forced to decide its long-term future. After China denied attempts to make the Yuz Museum public, Tek turned to Michael Govan, LACMA’s CEO and director, with an alternative idea. Their eventual collaboration yielded a new foundation to oversee the collection, which would live in China but otherwise travel between LACMA and the Yuz museum for temporary exhibitions.
      Likewise, the foundation is governed by a board of trustees made up equally of representatives from LACMA and the Yuz Museum.
      “I said to Michael Govan, ‘Now we are like a husband and wife. You don’t vote by saying I’m one percent bigger than you—you can’t outvote someone,’” Tek told Artnet News in 2018.
      The first fruits of the partnership came in the form of “In Production: Art and the Studio System,” an exhibition of works from LACMA’s collection that brought in over 20,000 visitors to the Yuz Museum in 2019. 
      See more images from “Legacies of Exchange” below.
      Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
      Wang Guangyi, Joseph Beuys’ Dead Hare (1994). © Wang Guangyi. Photo: Arnold Lee, Dijon Yellow Imaging.
      Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
      Qiu Anxiong, The Doubter 2010). © Qiu Anxiong. Courtesy of the artist. Photo: Julian Wang.
      Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
      “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” is on view now through March 13, 2022 at the Los Angeles County Museum of Art.
      Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More