Hauser & Wirth at FIAC 2015

HAUSER & WIRTH AT

FIAC

22 – 25 OCTOBER 2015 BOOTH 0.C33 GRAND PALAIS, PARIS ORGANISED BY PAUL SCHIMMEL

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LIST OF ARTISTS RITA ACKERMANN PHYLLIDA BARLOW MARK BRADFORD GUNTER BRÜS CHRISTOPH BÜCHEL ELLEN GALLAGHER ISA GENZKEN LEON GOLUB ANDY HOPE 1930 MATTHEW DAY JACKSON RASHID JOHNSON MIKE KELLEY FABIO MAURI FAUSTO MELOTTI PAUL McCARTHY DJORDJE OZBOLT PIPILOTTI RIST WILHELM SASNAL PHILIPPE VANDENBERG

WITH PERFORMANCES INITIATED BY IDA APPLEBROOG ALLAN KAPROW / RASHID JOHNSON

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RITA ACKERMANN PURE WAR 2010 – 2011 ACRYLIC, RABBIT SKIN GLUE, ENAMEL, OIL AND BALLPOINT PEN ON CANVAS 137.2 x 86.4 CM / 54 x 34 IN

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CHRISTOPH BÜCHEL AMERICA WE STAND AS ONE 2005 DVD; COLOUR, SOUND, ARABIC SUBTITLES 00:03:51 (LOOP)

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ALLAN KAPROW SWEET WALL 1970 REINVENTION

BY RASHID JOHNSON 2015 ALLAN KAPROW, SWEET WALL ACTIVITY, NOVEMBER 1970 BERLIN, WEST GERMANY CONCRETE, STRAWBERRY JAM, BREAD RASHID JOHNSON, SHEA WALL PERFORMANCE, 21 OCTOBER 2015 PARIS, FRANCE SHEA BUTTER, CINDER BLOCKS

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Allan Kaprow’s ‘Sweet Wall’ took place in 1970 in Berlin, on wasteland close to the Berlin Wall among the skeletons and wreckage of buildings bombed during the Second World War. The intervention consisted of the construction of a concrete wall about 30 metres long and half a metre tall. The mortar used to join the blocks was made from strawberry jam spread onto slices of bread. Allan Kaprow constructed the wall with the cooperation of a dozen people and it took a whole afternoon to build.

Once finished, they knocked it

down. Several years later, Kaprow described this intervention as a ‘political parody’.

Rashid Johnson’s reinvention of this Activity, ‘Shea Wall’, takes place in front of the Petit Palais during the fair’s opening.

Together with art students, Johnson will be constructing a wall of shea butter blocks – a medium the artist associates with African-American culture. As with the original version in 1970, the wall will be knocked down after completion and the space will be left as it was.

‘Wall building is not inherently transgressive. Walls can be erected, composed and configured. Walls are not always a violation of accepted or imposed boundaries. Walls can feed you, keep you safe or hold you prisoner. Walls can be sweet, cold or built a 32nd of an inch off. Walls are constructed, labour intense and in the case of shea wall both homage and a chance to heal.’

– Rashid Johnson

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ISA GENZKEN UNTITLED 2012 MANNEQUIN AND MIXED MEDIA 185 x 73 x 45 CM / 72 7/8 x 28 3/4 x 17 3/4 IN

‘Untitled’ (2012) by Isa Genzken exemplifies the artist’s shift towards found object assemblages in the 1990s and 2000s, in which she employs motifs from the language of capitalism to explore themes of self- and socialexamination. The mannequin’s loud, fashionable and scruffy clothes encompass the many subcultures of metropolitan life; a scrap-metal grill conceals half of the model’s face, appearing almost as a shield. The figure acts as a pin board to display an image of riot police in action, provoking the viewer to consider issues relating to cultural conformity, prejudice and power.

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LEON GOLUB KISSINGER 1978 ACRYLIC ON LINEN 48.5 x 43.5 x 2.1 CM / 19 1/8 x 17 1/8 X 7/8 IN

Leon Golub’s ‘Kissinger’ (1978), is a portrait of Nobel Peace Prize-winning Henry Kissinger who received the prize in 1973 under controversial circumstances – it was awarded for his role in negotiating a ceasefire in the Vietnam War, although hostilities in the region were continuing at the time of the announcement. Additionally, Kissinger’s professional history included a number of morally questionable government initiatives, including a secret bombing campaign against the Khmer Rouge and North Vietnamese Army troops in Cambodia (1969 – 1975), and the alleged US participation in Operation Condor.

Golub’s Kissinger belongs to a group of portraits of public figures and politicians that followed his raw and provocative Napalm and Vietnam series in the late 1970s. The painting’s close focus creates an uncomfortable intimacy, placing the subject’s political conscience under intense scrutiny.

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MATTHEW DAY JACKSON LIFE, DECEMBER 1, 1967 (RUST) 2013 SILKSCREEN ON CORTEN STEEL PANEL, SCORCHED WOOD, RUSTED 88.9 x 68.6 x 4.4 CM / 35 x 27 x 1 3/4 IN

Matthew Day Jackson’s ‘LIFE, December 1, 1967 (rust)’ (2013) belongs to the artist’s ongoing LIFE Magazine series, which he began as a way to explore the motivations that underpin dominant American ideologies. A predecessor to the lifestyle and news magazines, LIFE served as the nation’s foremost authority on cultural trends and the state of ‘the American experience’. ‘LIFE, December 1, 1967 (rust)’, a silkscreen on corten steel, depicts a Native American referred to as ‘The Red Man’, on a psychedelic background typical of the 1960s. In reproducing this now very dated piece of journalism, Jackson asks us to draw comparisons with today’s media culture and its treatment of contemporary zeitgeist.

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IDA APPLEBROOG WHAT IS LOVELY NEVER DIES 2012 SCREEN PRINT ON GESSOED ART BOARD, VELCRO; 20 BOARDS (10 PAIRS) EACH 50.8 x 40.6 x 0.3 CM / 20 x 16 x 1/8 IN

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On the occasion of FIAC 2015, Ida Applebroog re-stages her performance piece ‘What is lovely never dies’ (2012). The work was first shown at documenta (13) as part of Applebroog’s participation, which included a room-size installation at the Fridericianum.

A pioneering artist of the feminist movement, Applebroog explores themes of violence and power, gender politics, women’s sexuality and domestic space. ‘Chaos is Useful’, ‘First Enslave Mankind’ and ‘Everyone is Eating Human Flesh’ are some of the phrases that she read, overheard and

recorded in her journal between 1969 and 1981. ‘What is lovely never dies’ comprises ten double-sided sandwich boards presenting such phrases, which are worn by performers as they travel through the fair. The boards are then casually left against the booth walls for the rest of the day – symbolic of how the voice of the oppressed is so often met with apathy.

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WILHELM SASNAL UNTITLED (ATHLETES) 2001 OIL ON CANVAS, 5 PARTS 25.5 x 21 CM / 10 x 8 1/4 IN, EACH

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PHILIPPE VANDENBERG LA MUSELIÈRE 1999 – 2001 OIL ON WOOD 21 x 40 CM / 8 1/4 x 15 3/4 IN

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All works for sale.

Prices available on request.

Copyright and courtesy information Unless otherwise stated, all images: © the artist Courtesy the artist and Hauser & Wirth Cover, pp. 6 – 7 © Allan Kaprow Courtesy Hauser & Wirth and Hannah Higgins Photo: Dick Higgins Inside cover Wilhelm Sasnal, ‘Untitled (Athletes)’ (detail), 2001 p. 14, 15, 21 Serpentine Gallery, London, 14 October 2012 Photo: © 2012 Plastiques Photography p. 18 Photo: Joke Floreal

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www.hauserwirth.com

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