Hyperallergic discusses what is the first solo exhibition in New York of an artist who has a measure of recognition in France and is known for having stopped painting in 2011.
Artforum notes that in Baldo’s newest the canvas is transformed into a participating body, a seismograph that records movements, pressures, controlled accidents, and the steps—confident or uncertain—of the viewer, who sets the exhibition’s tempo.
With the current exhibition “88. malaktion” the Nitsch Foundation is showing brand new action paintings from the artist’s latest painting action (88th). The vibrant artworks were created this spring in preparation for the painting assistants who will accompany Hermann Nitsch at this year’s Bayreuth Festival in Germany. Inspired by the colorful, broadly expansive music of Richard Wagner, Hermann Nitsch demonstrates both his lyrical and radical approach to “color as substance.”
Travis Jeppesen’s 2019 essay “Queer Abstraction (Or How to Be a Pervert with No Body). Some Notes Toward a Probability” asked whether nonrepresentational art could ever be understood as queer or nonbinary. Curator Tomek Baran took Jeppesen’s question as the starting point for “WOW,” an exhibition that brings together works by Marta and Grzegorz. Both artists escape classification, making use of seemingly spontaneous and yet exacting gestures that situate their paintings, textiles, and installations somewhere between construction and destruction.
Olivier Mosset’s was the “M” in BMPT, and his career could almost be seen as a grand Fluxus-style gesture of quiet provocation. Combining a zero sum approach to painting with Situationist-style tactics, BMPT turned formalist reduction into a political statement, which is why it remains relevant today. The group was highly controversial when it emerged, and it dissolved rapidly over predictable disagreements between its members after the withdrawal of Michel Parmentier in 1968. It is generally seen as a direct predecessor to the Supports/Surfaces group (1968–72).
Saw below in the NCMA permanent collection recently- the artist was new to me.
Neither is an abstractionist- I chose this juxtaposition partly for that reason (and also because they both exude dream-like qualities).
Artforum notes that The National Museum of Modern and Contemporary Art, Korea (MMCA, Director Youn Bummo) presents a large-scale solo exhibition of work by Chung, one of Korea’s representative monochrome-abstract artists. The exhibition Chung Sang Hwa intends to provide a retrospective of as well as a renewed look at the artist’s authentic body of work and contextualize it within the history of Korean abstract art.