Olivier Renaud News

Rio de Janiero, Brazil...Beginning 8 October 2015, Centro Cultural Pac?o Imperial is pleased to present the first institutional solo exhibition in South America devoted to distinguished Swiss artist Not Vital (b. 1948). Now in his sixties, with a career spanning over four decades, Vital has emerged as a singular thinker whose artistic practice engages philosophies of habitat and material life and produces works that refuse categorization. An incessant traveler and curious explorer, Vital lives a nomadic life that has informed his art and made him a master of the liminal. His work draws inspiration from the many diverse and disparate places he has called home over the years. Raised in the small village of Sent among the soaring mountains of the Engadin valley in Switzerland, he has traveled across the globe, establishing himself first in New York during the 1980s and thereafter in far flung points. Across continents, he has set up studios and constructed architectural sculptures as transient residential dwellings in both urban settings and vast landscapes, from Cairo, Egypt, and Patagonia, Chile, to Agadez, Niger; Beijing, China; Flores, Indonesia; and Rio de Janeiro, Brazil.

Beginning 5 March 2015, Hauser & Wirth will present the first major New York exhibition devoted to renowned postwar Italian avant-garde artist Fabio Mauri. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, painting, sculpture, performance, film, and installation, to the theatre and theoretical writings that reflect upon the world at large, Fabio Mauri expressed through his art an unyielding critical exploration into the power of ideology and language associated with the Second World War, the rise of Fascism, and the Holocaust, and their lingering echoes in the modern world. His work recovers historical memory that is both individual and collective. Sobering, direct, and poetically reflective, Mauri's art addresses themes of communication and manipulation, and brings light to the 'political dimension of the image' as it is projected and proliferates throughout contemporary society.

Beginning 5 March 2015, Hauser & Wirth will present the first major New York exhibition devoted to renowned postwar Italian avant-garde artist Fabio Mauri. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, painting, sculpture, performance, film, and installation, to the theatre and theoretical writings that reflect upon the world at large, Fabio Mauri expressed through his art an unyielding critical exploration into the power of ideology and language associated with the Second World War, the rise of Fascism, and the Holocaust, and their lingering echoes in the modern world. His work recovers historical memory that is both individual and collective. Sobering, direct, and poetically reflective, Mauri's art addresses themes of communication and manipulation, and brings light to the 'political dimension of the image' as it is projected and proliferates throughout contemporary society.

Andrea Rosen Gallery is thrilled to announce Back Grounds: Impressions Photographiques II, a historically rooted exhibition organized with Olivier Renaud-Clement that traces a profound lineage of conceptual, process-based photography.

Andrea Rosen Gallery is thrilled to announce Back Grounds: Impressions Photographiques II, a historically rooted exhibition organized with Olivier Renaud-Clement that traces a profound lineage of conceptual, process-based photography.

New York NY... Beginning 26 June, Hauser & Wirth will present 'The Photographic Object, 1970', an ambitious historical exhibition exploring the legacy of Peter Bunnell's landmark 1970 show 'Photography into Sculpture', presented at the The Museum of Modern Art, New York.

Hauser & Wirth is proud to present Mira Schendel, the gallery's debut exhibition of works by one of the most significant Latin American artists of the 20th century. Spanning two decades of the artist's career, from the 1960s to the 1980s, works on view reveal the artistic, intellectual, and spiritual development of a woman who, with her contemporaries Lygia Clark and He?lio Oiticica, reinvented the language of European Modernism in Brazil. Through her pensive, delicate, and breathtaking art, Schendel – painter, poet, sculptor – created a new lexicon. Her work was described by late Brazilian poet Haroldo de Campos as 'an art of voids, where the utmost redundance begins to produce original information; an art of words and quasi-words where the graphic form veils and unveils, seals and unseals...a semiotic art of icons, indexes, symbols which print on the blank of the page their luminous foam'.

Hauser & Wirth is proud to present Mira Schendel, the gallery's debut exhibition of works by one of the most significant Latin American artists of the 20th century. Spanning two decades of the artist's career, from the 1960s to the 1980s, works on view reveal the artistic, intellectual, and spiritual development of a woman who, with her contemporaries Lygia Clark and He?lio Oiticica, reinvented the language of European Modernism in Brazil. Through her pensive, delicate, and breathtaking art, Schendel – painter, poet, sculptor – created a new lexicon. Her work was described by late Brazilian poet Haroldo de Campos as 'an art of voids, where the utmost redundance begins to produce original information; an art of words and quasi-words where the graphic form veils and unveils, seals and unseals...a semiotic art of icons, indexes, symbols which print on the blank of the page their luminous foam'.

Hauser & Wirth will present Mira Schendel, the gallery's debut exhibition of works by one of the most significant Latin American artists of the 20th century. Spanning two decades of the artist's career, from the 1960s to the 1980s, works on view reveal the artistic, intellectual, and spiritual development of a woman who, with her contemporaries Lygia Clark and He?lio Oiticica, reinvented the language of European Modernism in Brazil. Through her pensive, delicate, and breathtaking art, Schendel – painter, poet, sculptor – created a new lexicon. Her work was described by late Brazilian poet Haroldo de Campos as 'an art of voids, where the utmost redundance begins to produce original information; an art of words and quasi-words where the graphic form veils and unveils, seals and unseals...a semiotic art of icons, indexes, symbols which print on the blank of the page their luminous foam'.

In the years after World War II, Brazil found itself in a state of dramatic change. Economic prosperity, political democratization, and social reorganization marked the decade of the 1950s as one of the most expansive in Brazilian history. In the cultural realm, urban renewal propelled the construction of Brasilia and witnessed the creation of modern art museums in both Rio de Janeiro and São Paulo. The first São Paulo Biennale was held in 1951, signaling the advent of an artistic revolution that would capture the attention of both the Brazilian public and wider circles of artists, intellectuals, and critics abroad. Brazil in the mid-20th century was emerging as a dynamic cultural center of international significance.

In the years after World War II, Brazil found itself in a state of dramatic change. Economic prosperity, political democratization, and social reorganization marked the decade of the 1950s as one of the most expansive in Brazilian history. In the cultural realm, urban renewal propelled the construction of Brasilia and witnessed the creation of modern art museums in both Rio de Janeiro and São Paulo. The first São Paulo Biennale was held in 1951, signaling the advent of an artistic revolution that would capture the attention of both the Brazilian public and wider circles of artists, intellectuals, and critics abroad. Brazil in the mid-20th century was emerging as a dynamic cultural center of international significance.

After World War II, a devastated Japan processed the impact of the atomic bomb and faced a cultural void. It was in this atmosphere of existential alienation that the Gutai Art Association (Gutai Bijutsu Kyokai) - a group of about twenty young artists, rallying around the charismatic painter Jiro Yoshihara - emerged in the mid-1950s to challenge convention.