Hauser & Wirth is an internationally acclaimed gallery of contemporary and modern art.
The first gallery was founded in Zurich in 1992.
Hauser & Wirth opened its first London gallery on Piccadilly in 2003 with an installation by Los Angeles-based artist Paul McCarthy and, in 2010, the gallery opened a second permanent space on London’s Savile Row. The Savile Row gallery’s inaugural exhibition was the critically acclaimed ‘Louise Bourgeois: The Fabric Works’ curated by Germano Celant.
Hauser & Wirth has been a major presence in the London art scene: with three spaces in the city over time—Hauser & Wirth Piccadilly, Hauser & Wirth Old Bond Street and Hauser & Wirth Savile Row. In addition to these permanent spaces, Hauser & Wirth also opened an enormous temporary project space in London’s East End in 2005. Hauser & Wirth Coppermill showed exhibitions by Martin Kippenberger and Dieter and Björn Roth, Christoph Büchel, and Martin Creed before it closed in July 2007.
In October 2010, Hauser & Wirth London opened their new gallery, designed by Selldorf Architects, at 23 Savile Row with the exhibition, ‘Louise Bourgeois: The Fabric Works’.The new gallery offers 15,000 square feet (1,400 m2) of exhibition space and an additional 7,000 square feet (650 m2) on the first floor for new offices and an extensive library and archive. In December 2013, Hauser & Wirth closed their Piccadilly gallery permanently.
Diana Thater’s ‘Delphine’ (1999) features in the exhibition ‘Auto Vision. Media Art from Nam June Paik to Pipilotti Rist’ at Kunsthalle Bremen (@kunsthalle.bremen), Bremen, Germany, on view through 3 September 2017. –
The extensive exhibition presents an overview of film, video and electronic media art since the 1960s, from early single-channel videos to immersive video installations. Works from the Kunsthalle Bremen collection on view include John Cage's ‘Writing Through the Duty of Civil Disobedience’ (1985/91), Pipilotti Rist's 'Enlight my Space' (2008), 'The Space for One Color’ (1998) by Olafur Eliasson and Diana Thater’s ‘Delphine’ (1999), alongside numerous works by the father of video art Nam June Paik such as ‘Video Synthesizer’ (1969/92) and ‘Three Camera Participation/Participation TV’ (1969/2001).
‘When we talk about nature, we are talking about ourselves really. Nature is a screen where we project ourselves. Nature is the ultimate other.’ Diana Thater’s four-projector installation ’Delphine’ immerses viewers in an underwater world of swimming dolphins – with the viewer taking the position of both the diver behind the camera and the perspective of the ocean dwellers. It is the interplay of the viewer and the viewed, of subject and object, which Thater repeatedly tackles, and always on multiple levels.
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Image: Diana Thater, ‘Delphine (detail), 1999, Installation view, Kunsthalle Bremen, 2017 Photo: Roman Mensing
Each of Durslade Farmhouse’s bedrooms has its own unique character and style, featuring artwork and locally sourced furniture. Martin Creed’s ‘Work No. 436’ (2005), a five-part set of monochrome drawings made with different bright-to-fluorescent colored highlighter pens on paper, hangs above the bed in the attic bedroom. –
Durslade Farmhouse is located on the site of Hauser & Wirth Somerset and forms part of a group of Grade II listed farm buildings that date back from as early as 1760. Renovated by Argentinian architect Luis Laplace, the six bedroom farmhouse celebrates the natural antiquity of the building featuring its original fittings and surfaces. A specially commissioned painted mural by Guillermo Kuitca covers the walls of the dining room, while a mesmerising video installation by Pipilotti Rist plays in the sitting room.
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Visit @dursladefarmhouse for more information and to book.
Matthew Day Jackson’s ‘Magnificent Desolation’ (2013) at Yorkshire Sculpture Park, Wakefield, England, (@yspsculpture) through 1 July 2018. ‘Magnificent Desolation’ directly references one of Auguste Rodin’s most famous sculptures 'Les Burghers de Calais’ (1884-85), which pays homage to the Hundred Years’ War, when the French port of Calais was taken under seige by England for over a year. According to history, King Edward III offered to spare the town if they sacrificed six of its most powerful leaders. Rodin chose to capture the heroic expressions of the six volunteers who were to be executed to save their people.
Day Jackson has taken these figures of heroic self-sacrifice and placed them on a moonscape as substitute astronauts. Named after Buzz Aldren’s autobiography and first-hand account of landing on the Moon, ‘Magnificent Desolation’ combines the fated heroism of both Les Burghers de Calais and the risks of space travel.
#MatthewDayJackson #MagnificentDesolation #Sculpture #Rodin #LesBurghersdeCalais #Calais #BuzzAldren #MoonLanding #Bronze #Astronaut #Heroic #Sacrifice #YorkshireSculpturePark #Yorkshire #England
Images: Matthew Day Jackson, Magnificent Desolation, 2013 Photo: Jonty Wilde
A visit to the studio of Takesada Matsutani in Paris. A former cabinet-maker's atelier in the Bastille area of the French capital, the Osaka-born artist has worked here for more than 20 years. ‘It is important to have your own space. In it, I try to be honest.’ –
Natural light and shelves of books surround large open tables on which Matsutani’s simple materials take center stage – large pots of Elmer’s glue, paint, assorted graphite pencils and ink accompany stacks of drawings and canvases alongside gathered materials from local workshops including wooden spindles, planks, rope, cotton bedding, and wool stuffing. –
Matsutani’s major solo exhibition at Hauser & Wirth Los Angeles ‘Takesada Matsutani’ is on view through 17 September 2017. From the early 1960s to the early 1970s, Matsutani was a key member of the ‘second generation’ of the Gutai Art Association (1954 – 1972), Japan’s innovative and influential art collective of the post-war era. One of the most important Japanese artists still working today, Matsutani continues to demonstrate the spirit of Gutai throughout his practice, conveying the reciprocity between pure gesture and raw material.
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Photo: Elizabeth Portonova (@elizabeth_portanova)
Richard Jackson talks about his first Hauser & Wirth exhibition in 1998 entitled ‘Deer Beer’. To celebrate Hauser & Wirth's 25th anniversary, we have launched a digital chronology tracing the journey of the gallery and the artists who have shaped our story.
Discover more at www.hauserwirth.art
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