SINGAPORE, January 15, 2024—Gagosian is pleased to announce the gallery’s participation in the second edition of ART SG, opening in Singapore on January 19, with a selection of works
by international contemporary artists including Harold Ancart, Georg Baselitz, Ashley Bickerton, Amoako Boafo, Dan Colen, Edmund de Waal, Nan Goldin, Lauren Halsey, Hao Liang, Keith Haring, Damien Hirst, Tetsuya Ishida, Alex Israel, Donald Judd, Y.Z. Kami, Emily Kame Kngwarreye, Rick Lowe, Takashi Murakami, Takashi Murakami & Virgil Abloh, Nam June Paik, Ed Ruscha, Jim Shaw, Alexandria Smith, Spencer Sweeney, Stanley Whitney, Jonas Wood, and Zeng Fanzhi. The works on view, which embrace a wide variety of subjects and approaches, find artists infusing traditional genres such as history painting, portraiture, and landscape with new and surprising ideas that traverse cultural and temporal boundaries.
In From Zhaoye Bai to Jiufang Gao (2009), Hao Liang interprets “Jiufang Gao’s Skills in Horse Judging,” a famous story about the importance of seeing through superficial appearances, in a silkscreen print on plexiglass layered over an ink painting on silk. The work pictures a figure holding a replica of a historical portrait of Zhaoye Bai, Tang dynasty Emperor Xuanzong’s steed. In 99 99 99 (2023), Lauren Halsey refers to her own cultural heritage by combining the iconography of ancient Egypt with allusions to her contemporary South Central Los Angeles community. (Halsey will present new work in Paris this spring in her first solo exhibition with Gagosian since she joined the gallery in 2023; her first UK exhibition opens at London’s Serpentine in October.)
Tetsuya Ishida’s painting General Manager’s Chair in an Abandoned Building (1996) presents the surreal image of a besuited “salaryman” partially transformed into a piece of office furniture, a disturbing fusion of body and object that allegorizes the pressures on Japanese citizens during a period of rapid cultural and technological change. Keith Haring’s iconic post-Pop blend of linear pattern and stylized representation is evident in Untitled (1984), a bold acrylic painting on cotton tarp that pictures a group of figures intertwined in a dynamic, dancelike composition.
Rick Lowe’s Rift (2023), an acrylic painting with collaged paper, is derived in part from the artist’s use of dominoes to engage with residents of Houston’s Third Ward during the development of
his Project Row Houses venture. Its intricate linear patterns are based on aerial photographs of the game that evoke maps of urban districts and the reconfiguration of local communities. Jonas Wood’s painting Scholl Canyon (2007) shifts the scene away from an urban setting to depict a sprawling
golf course, its patchwork of greens and bunkers providing an ideal forum for the artist to represent expansive space with his customary visual economy and wit. Leaving populated landscapes behind altogether, Harold Ancart depicts a fiery red solar disk over a deep green ocean in his oilstick-and- pencil canvas Rising Sun Left (2023), the scene’s circular composition suggesting the view through a telescope. The work’s elemental subject also provides a stage for painterly improvisation on which Ancart uses atmospheric color and texture to blur the boundary between the observed and the imagined. And in 8.617302 S, 179.125536 E (2022–23), an entry in the Ocean Chunk series, Ashley Bickerton represents the sea sculpturally by using translucent resin and fiberglass to generate the impression of water teeming with aquatic plant life.
Gagosian is also participating in ART SG FILM: Embodied Presences, with Nam June Paik and Jud Yalkut’s video Waiting for Commercials, 1966–72 (1992). This uproarious compilation of Japanese TV ads is an early example of Paik’s use of appropriated broadcast imagery and was originally
produced to accompany a performance work of the same title featuring Charlotte Moorman. Curated by Sam I-shan and copresented with the ArtScience Museum, Embodied Presences gathers films and videos addressing the body’s expressive potential. Organized into four hour-long daily screenings— Movement in Space, Voice and Being, The Worldly and Otherworldly, and Future Shock: The End of Eternity—it plays at ArtScience Museum’s cinema.
#ARTSG
ART SG
January 19–21, 2024
Marina Bay Sands Expo and Convention Center, Singapore Booth BC06
