大注目を浴びた池田亮司（アーティストたちによって裸にされたアート・バーゼル、さえも）2021年度 IKEDA Ryoji attracted considerable attention (ART BASEL Stripped Bare by Her Artists, Even) 2021 version

アート・バーゼル2021年度の人気アーティスト、注目を浴びた池田亮司 IKEDA Ryoji

Art Basel 2021 got even its post-pandemic groove. The talk of the town became Japanese artist and composer 池田亮司 IKEDA Ryoji’s performative work which set retinas on fire with a spectacular light-and-sound installation inside the Church Elisabethen. The queue in front of his Art Basel Unlimited installation box, showing the latest work “data verse 3”, was the longest in the art fair.
IKEDA considers the trilogy “data-verse 1+2+3” to be his ultimate project, after 20 years of research and execution.
Fortunately most internationally practicing Japanese artists’s works could be found in the venue. Three galleries from Japan, despite the tremendously difficult Corona-related obstacles, had wonderful booths, too. Art dealers from “Taka Ishii Gallery” and “TAKE NINAGAWA” happily showed up in person, whereas “Tokyo Gallery + BTAP” asked the organiser for a proxy, who represented the gallery with bravour, see the attached pics.

About the latest ART BASEL editions, please check the attached links 前回のアート・バーゼルについて：

アーティストたちによって裸にされたアート・バーゼル、さえも*
ART BASEL Stripped Bare by Her Artists, Even*
https://art-culture.world/articles/art-basel-stripped-bare-by-her-artists-even/

最高かつ最も重要な絵画@アート・バーゼル（アーティストたちによって裸にされたアート・バーゼル、さえも*）2019年度
The best and most important painting @ ART BASEL (… Stripped Bare by Her Artists, Even*) 2019 version
https://art-culture.world/articles/art-basel-2019/

バーゼルのアート + カルチャー 2018
Art + Culture from Basel 2018
https://art-culture.world/articles/art-culture-from-basel-2018/

バーゼルのアート + カルチャー 2018（続報）
Art + Culture from Basel 2018 (follow-up)
https://art-culture.world/articles/art-culture-from-basel-2018-follow-up/

日本のポスト・ムラカミ世代：名和晃平と占部史人。長谷川祐子のとんでもないアーティストトーク@アートバーゼル2014年
Japan’s Post Murakami Generation – NAWA Kohei and URABE Fumito. An Absurd Artist Talk With HASEGAWA Yuko @ ART BASEL 2014
https://art-culture.world/articles/japans-post-murakami-generation-日本のポスト・ムラカミ世代/

アート・バーゼル2021c — Covid-19 Certification Center during Art Basel 2021

参照、check:
よそ者 outsider
https://art-culture.world/articles/outsider/

IKEDA Ryoji 池田亮司 data-verse 3 @ Art Basel Unlimited 2021 — IKEDA Ryoji 池田亮司 “data-verse 3” @ Art Basel Unlimited 2021

IKEDA Ryoji 池田亮司 data-verse 3 explanation board — IKEDA Ryoji 池田亮司 “data-verse 3” explanation board

IKEDA Ryoji 池田亮司 data-verse 3 @ Art Basel 2021 — IKEDA Ryoji 池田亮司 “data-verse 3”

Artist and composer IKEDA Ryoji 池田亮司 considers the trilogy “data-verse 1+2+3” to be his ultimate project, after 20 years of research and execution.
The “data verse 3” premiered at Art Basel 2021 and became a popular visiting spot.

IKEDA Ryoji 池田亮司 in London 2021

Check, learn more via:
原産のデジタル式。池田亮司の非代替性トークン作の直接販売 @ サザビーズ
Origins of Digital Formula. IKEDA Ryoji’s direct sale of NFT @ Sotheby’s
https://art-culture.world/articles/ikeda-ryoji-池田亮司/

川俣正 KAWAMATA Tadashi “Destruction” 2019, Balsa wood and acrylic paint on plywood; 4 parts, detail

VALIE EXPORT “Die Doppelgängerin” 2010, Bronze, 460 x 200 x 200 cm, Edition of 5

Albert Oehlen blech_betty 2017, Sound installation in ten parts by Albert Oehlen, detail — Albert Oehlen “blech_betty” 2017, Sound installation in ten parts by Albert Oehlen, detail

Liam Gillick The Lights are no Brighter at the Centre 2017, Edition of 2 + 1 AP — Liam Gillick “The Lights are no Brighter at the Centre” 2017, Edition of 2 + 1 AP

Urs Fischer Untitled (Bread House), 2004–2006 — Urs Fischer “Untitled (Bread House)”, detail, 2004–2006, bread, bread crumbs, wood, polyurethane foam, silicone, acrylic paint, screws, tape, rugs

Urs Fischer Untitled (Bread House), 2004–2006, detail — Urs Fischer “Untitled (Bread House)” 2004–2006, detail

About Urs Fischer, learn more via:

ルドルフ・スティンゲルが焼け落ちる
Burning Down Rudolf Stingel
https://art-culture.world/articles/burning-down-rudolf-stingel/

現代美術コレクター、兼オークションハウス・クリスティーズ社長フランソワ・ピノー氏のコレクション展 in モナコ公国
Contemporary Art Collector, Christie’s Auction House Owner François Pinault Shows His Collection In The Principality of Monaco
https://art-culture.world/articles/pinault-collection-ピノー・コレクション/

ダーム・パトロネスマヤ・ホフマン氏の新建物「LUMAアルル」
Dame Patronesse Maja Hoffmann’s New Building “LUMA Arles”
https://art-culture.world/articles/dame-patronesse-maja-hoffmann/

フランソワ・ピノーの三番目の刺激的な現代美術館、再建築 by 安藤忠雄
Exciting 3rd Contemporary Art Museum for François Pinault, rebuild by ANDO Tadao
https://art-culture.world/articles/francois-pinault-art-museum/

村上隆とNFT：芸術家は、死ぬまでの短い数十年間で、その後何百年も対応可能な作品を作らねばなりません。
MURAKAMI Takashi thinks, to be remembered hundreds of years later, he has to join shitty NFT: “Murakami Flowers” for dumb NFT digital money speculators
https://art-culture.world/articles/murakami-takashi-村上隆-nft-murakami-flowers/

David Hockney Pictures at an Exhibition 2018-2021 Photographic drawing printed on paper; 478 x 1524 cm overall — David Hockney “Pictures at an Exhibition” 2018/2021 Photographic drawing printed on paper; 478 x 1524 cm overall, detail

David Hockney Pictures at an Exhibition 2018-2021 Photographic drawing printed on paper; 478 x 1524 cm overall, detail — David Hockney “Pictures at an Exhibition” 2018/2021 Photographic drawing printed on paper; 478 x 1524 cm overall, detail

Roni Horn Mother, Wonder 2010-2012:2019, 40 units; Edition 1 of 2 + 2 AP — Roni Horn “Mother, Wonder” 2010-2012/2019, 40 units; Edition 1 of 2 + 2 AP @ Art Basel Unlimited 2021

Roni Horn Mother, Wonder 2010-2012:2019, 40 units; Edition 1 of 2 + 2 AP, detail 1 — Roni Horn “Mother, Wonder” 2010-2012/2019, 40 units; Edition 1 of 2 + 2 AP, detail

see also:
roni horn〜hydrosphère féminin ロニ・ホーン
https://art-culture.world/articles/roni-horn〜hydrosphere-feminin/

Roni Horn Mother, Wonder 2010-2012:2019, 40 units; Edition 1 of 2 + 2 AP, detail 2 — Roni Horn “Mother, Wonder” 2010-2012/2019, 40 units; Edition 1 of 2 + 2 AP, detail

Robert Rauschenberg Rollings (Salvage) 1984, Acrylic, collage, and graphite on canvas; 386 x 395 cm — Robert Rauschenberg “Rollings (Salvage)” 1984, Acrylic, collage, and graphite on canvas; 386 x 395 cm

Thaddaeus Ropac:
The ’Salvage’ series (1983 – 1985), Robert Rauschenberg’s last series on canvas, consists of canvases painted and silkscreened with photographs either collected from magazines or taken by himself.

Ha Chong-Hyun Conjunction 18-201 & Conjunction 18-202 2018 Oil on hemp cloth; 260 x 776 cm — HA Chong-Hyun 河鍾賢 “Conjunction 18-201 & Conjunction 18-202” 2018 Oil on hemp cloth; 260 x 776 cm

Kukje:
HA Chong-Hyun 河鍾賢 (born 1935 in Sancheong, South Korea) is a leading member of the movement known as Dansaekhwa (‘monochrome painting’). His use of non-traditional materials and the unique process called bae-ap-bup (‘back pressure method’) broke ground with Korean traditional painting. Ha Chong-Hyun lives and works in Seoul.

See also:
単色と抽象：白髪一雄、河鍾賢、ゲルハルト・リヒター、ベルナール・フリズ
Monochrome and Abstraction: SHIRAGA Kazuo, HA Chong-hyun, Gerhard Richter, Bernard Frize
https://art-culture.world/articles/shiraga-kazuo-ha-chong-hyun-gerhard-richter-bernard-frize-白髪一雄-ゲルハルト・リヒター/

Francesco Clemente “The Senses (Sight, Taste and Hearing)” 2000, Wool tapestry; 3 parts, 238 x 233 cm each
Lévy Gorvy in collaboration with Vito Schnabel

Philipp Timischl (born 1989 in Graz) combines image-based media with text, often culminating in site-specific installations. Recurring themes in his work are (institutional) power dynamics, accessibility, and exclusion – generally in relation to social classes, queerness, heritage, and the art world. Timischl lives and works in Paris.

Philipp Timischl “The embedded mentality of self-sufficiency” 2021 mixed media, 120.000 Euro

Roberto Matta “L’homme descend du signe” 1975, oil on canvas 410.8 x 833.1 cm

Pace Gallery, New York:
“Painted in 1975, a year after the Pinochet dictatorship stripped Roberto Matta of his Chilean citizenship for his opposition to its regime, L’homme descend du signe questions the possibility of progress in a modern world rent by conflict.”

Roberto Matta “L’homme descend du signe” 1975, oil on canvas 410.8 x 833.1 cm, detail

Pace Gallery booth, in the back Roberto Matta Les Semences et les Oeufs 1995 No 76164 — Pace Gallery booth, in the back: Roberto Matta “Les Semences et les Oeufs” 1995 (No. 76164)

Chuck Close Cecily 2013 No 57367 — Chuck Close “Cecily” 2013 (No. 57367)

Cecily (2013) is presented in loving memory of Chuck Close, who died in August at age 81, and as a tribute to Close’s long relationship with the gallery and his friendship with Pace’s founder, Arne Glitchier. This painting depicts Close’s fellow artist, Cecily Brown. Over the course of his career, Close painted multifarious images of himself, friends, and family members, pushing the boundaries of conventional portraiture for more than 50 years.
Best known for his large-scale canvases containing gridded colours, shapes, and forms that give way to legible portraits, Close is widely considered a great innovator in image making. The artist’s practice spanned painting, printmaking, drawing, collage, daguerreotype and Polaroid photography, and finer works, and his experimentations and accomplishments loom large in the history of art.
“Chuck extended the perception of society through his magnificent works and found an inextricable place in the history of 20th- and 21st-century art,” Arne Glitchier has said of the artist. “I feel honoured to have been a part of his life.”

Chuck Close Cecily 2013, detail 1 — Chuck Close “Cecily” 2013, detail

check this one, too:
チャック・クロース、安らかに眠れ Chuck Close, Requiescat In Pace
https://art-culture.world/articles/chuck-close/

Chuck Close Cecily 2013, detail 2 — Chuck Close “Cecily” 2013, detail

Robert Longo Study of January 6th 2021 No 78659 — Robert Longo “Study of January 6th” 2021 (Pace No. 78659)

Robert Longo Untitled Kurosawa Wave 2021 Charcoal on mounted paper 101.6 x 139.7 cm (RLO 1837) (Thaddaeus Ropac) — Robert Longo “Untitled (Kurosawa Wave)” 2021, Charcoal on mounted paper. 101.6 x 139.7 cm (RLO 1837) (Thaddaeus Ropac)

杉本博司 SUGIMOTO Hiroshi Opticks 067 2018 — 杉本博司 SUGIMOTO Hiroshi “Opticks 067” 2018 @ Fraenkel Gallery booth

杉本博司 SUGIMOTO Hiroshi “Opticks 124” 2018, Chromogenic print, Neg. # 27.124-L, Image: 119.4 x 119.4 cm Frame: 152.4 x 152.4 cm. Edition of 1 plus 1 artist’s proof (#1/1) (Marian Goodman Gallery booth, No. 24597)

see also:
クリスティーズ香港のジョージナ・ヒルトン氏：杉本博司の東京オークション後、オークショニアとしての輝きを放つ
After SUGIMOTO Hiroshi’s auction in Tokyo, Georgina Hilton shines as brilliant auctioneer @ Christie’s Hong Kong
https://art-culture.world/articles/georgina-hilton/

Ragnar Kjartansson Me and My Mother 2020 2020 Single-channel video with sound. 10 min. 38 sec. — Ragnar Kjartansson “Me and My Mother 2020” 2020. Single-channel video with sound. 10 min. 38 sec.

See also:
リステ・アートフェア・バーゼル、クール＆トップ、日本から参加した、説得力のあるアーティスト五月女哲平と田口行弘
LISTE – Art Fair Basel, cool & top, with strong + convincing artists from Japan: SOUTOME Teppei + TAGUCHI Yukihiro
https://art-culture.world/articles/liste-art-fair-basel-2019/

Rachel Whiteread Doorway I 2011 Resin — Rachel Whiteread “Doorway I” 2011, Resin

See also:

レイチェル・ホワイトリード「Wardrobe」2019年とバルテュス「Passage du Commerce-Saint-André」1952-1954年 @ バイエラー財団 2020年1月まで
Rachel Whiteread “Wardrobe” 2019 & Balthus “Passage du Commerce-Saint-André” 1952-1954 @ Fondation Beyeler, until Jan. 2020
https://art-culture.world/articles/rachel-whiteread-balthus-fondation-beyeler-バルテュス-バイエラー財団/

Check also:

単色と抽象：白髪一雄、河鍾賢、ゲルハルト・リヒター、ベルナール・フリズ
Monochrome and Abstraction: SHIRAGA Kazuo, HA Chong-hyun, Gerhard Richter, Bernard Frise
https://art-culture.world/articles/shiraga-kazuo-ha-chong-hyun-gerhard-richter-bernard-frize-白髪一雄-ゲルハルト・リヒター/

Lee Ufan From Line 1981 Oil and mineral pigment on canvas 116 x 91 cm — 이우환 李禹煥 LEE Ufan “From Line” 1981, Oil and mineral pigment on canvas, 116 x 91 cm (Kukje Gallery)

Roni Horn “Remembered Words – (Pigtails)” 2012-2013, Watercolor, graphite, and gum arabic on paper, 38.1 x 27.9 cm, each. Overall framed and installed DIMS 140.97 x 109.2 cm (Kukje Gallery)

Roni Horn 2 — Roni Horn “Remembered Words – (Pigtails)” 2012-2013, detail 1

Roni Horn 3 — Roni Horn “Remembered Words – (Pigtails)” 2012-2013, detail 2

Roni Horn 4 — Roni Horn “Remembered Words – (Pigtails)” 2012-2013, detail 3

See also:
roni horn～hydrosphère féminin ロニ・ホーン
https://art-culture.world/articles/roni-horn〜hydrosphere-feminin/

Marian Goodman Gallery booth, center Maurizio Cattelan — Marian Goodman Gallery booth, center: Maurizio Cattelan

Details of Cattelan’s new works, see:

Maurizio Cattelan is dead / Maurizio Cattelan, a former leading figure in the world of contemporary art, died of cardiac infarction last Sunday at his home in New York, his family said.
Gavin Brown office@mauriziocattelan.net
https://art-culture.world/articles/maurizio-cattelan-is-dead/

Caro Maurizio, you did it again …fai il bravo
https://art-culture.world/articles/caro-maurizio-you-did-it-again/

Danh Vo “Cathedral Block Prayer Stage Gun Stock” 2020-2022, American flag made from walnut wood with metal clamps; sold with accompanying object in walnut wood. Flag: 110 x 151.5 x 13 cm (Marian Goodman Gallery No. 23281)

Niele Toroni “Empreintes de pinceau N°50 à intervalles réguliers de 30 cm” June 2019
Acrylic on canvas, 73 x 50 x 2.5 cm (Marian Goodman Gallery No. 24105)

Giulio Paolini Senza titolo (Untitled) 2015 Pencil and collage on paper 35 x 50 cm (Marian Goodman Gallery No. 23689) — Giulio Paolini “Senza titolo (Untitled)” 2015, Pencil and collage on paper, 35 x 50 cm (Marian Goodman Gallery No. 23689)

Giulio Paolini Per Oscar Wilde (To Oscar Wilde) 2017 Signed and dated at the back Black pencil and collage on paper 50 x 50 cm (Marian Goodman Gallery No. 23694) — Giulio Paolini “Per Oscar Wilde (To Oscar Wilde)” 2017, Signed and dated at the back, Black pencil and collage on paper, 50 x 50 cm (Marian Goodman Gallery No. 23694)

Giulio Paolini Alla finestra (At the Window) 2010-2012 Signed and dated at the back of the last collage (black one) 3 parts; collage on paper, 34 x 25 cm (each) (Marian Goodman Gallery No. 23688) — Giulio Paolini “Alla finestra (At the Window)” 2010-2012, Signed and dated at the back of the last collage (black one), 3 parts; collage on paper, 34 x 25 cm (each) (Marian Goodman Gallery No. 23688)

Giulio Paolini Alla finestra (At the Window) 2010-2012, detail — Giulio Paolini “Alla finestra (At the Window)” 2010-2012, detail

Giulio Paolini Senza titolo (Untitled) 2018 Signed and dated at the back Black pencil and collage on paper 48 x 33 cm (Marian Goodman Gallery No. 23696) — Giulio Paolini “Senza titolo (Untitled)” 2018, Signed and dated at the back, Black pencil and collage on paper, 48 x 33 cm (Marian Goodman Gallery No. 23696)

Giulio Paolini Senza titolo (Untitled) 2018, detail — Giulio Paolini “Senza titolo (Untitled)” 2018, detail

Compare the above works with his works in the Pinault Collection!
現代美術コレクター、兼オークションハウス・クリスティーズ社長フランソワ・ピノー氏のコレクション展 in モナコ公国
Contemporary Art Collector, Christie’s Auction House Owner François Pinault Shows His Collection In The Principality of Monaco
https://art-culture.world/articles/pinault-collection-ピノー・コレクション/

川俣正　KAWAMATA Tadashi Corner piece no.84 2016 Bois, colle wood glue 33 x 48 x 40 cm (Inv no. TK719) (kamel mennour) — 川俣正 KAWAMATA Tadashi “Corner piece no.84” 2016, Bois, colle / Wood, glue. 33 x 48 x 40 cm (Inv no. TK719) (kamel mennour)

川俣正　KAWAMATA Tadashi Tree hut in Tremblay no.54 2020 Maquette en bois et peinture wooden model and paint 210 x 153 x 12 cm (Inv no. TK693) (kamel mennour) — 川俣正 KAWAMATA Tadashi “Tree hut in Tremblay no.54” 2020, Maquette en bois et peinture / Wooden model and paint. 210 x 153 x 12 cm (Inv no. TK693) (kamel mennour)

Alicja Kwade Siége du Monde 2021 Bronze, granit (vasa):: Bronze, granite (vasa) 75.5 x 52 x 46 cm, Stone sphere Ø 50 cm (kamel mennour) — Alicja Kwade “Siége du Monde” 2021, Bronze, granit (vasa) / Bronze, granite (vasa). 75.5 x 52 x 46 cm, Stone sphere Ø 50 cm (kamel mennour)

Alex Katz Vivien with Black Cap 1 (Smile) 2021 Oil on linen 121.9 x 182.9 cm (AKZ 1832) (Thaddaeus Ropac) — Alex Katz “Vivien with Black Cap 1 (Smile)” 2021, Oil on linen. 121.9 x 182.9 cm (AKZ 1832) (Thaddaeus Ropac)

Robert Rauschenberg Omoto Snare ROCI VENEZUELA 1985 Silkscreen ink, acrylic and graphite on canvas with object 177.2 x 199.1 cm (RR 1220)(Thaddaeus Ropac) — Robert Rauschenberg “Onoto Snare / ROCI VENEZUELA” 1985, Silkscreen ink, acrylic and graphite on canvas with object. 177.2 x 199.1 cm (RR 1220)(Thaddaeus Ropac)

Robert Rauschenberg Star Grass 1963 Oil and silkscreen ink on canvas, 150.5 x 104.8 x 5.1 cm (RR 1052)(Thaddaeus Ropac) — Robert Rauschenberg “Star Grass” 1963, Oil and silkscreen ink on canvas. 150.5 x 104.8 x 5.1 cm (RR 1052)(Thaddaeus Ropac)

Robert Rauschenberg Star Grass 1963 Oil and silkscreen ink on canvas, 150.5 x 104.8 x 5.1 cm, detail (RR 1052)(Thaddaeus Ropac) — Robert Rauschenberg “Star Grass” 1963, Oil and silkscreen ink on canvas. 150.5 x 104.8 x 5.1 cm, detail

Tom Sachs Mini VAB (working title) 2020 – 2021, Latex paint, plywood, mixed media. 65.4 x 71.1 x 57.2 cm (TSA 1350) (Thaddaeus Ropac, London, Paris, Salzburg, Seoul) — Tom Sachs “Mini VAB (working title)” 2020 – 2021, Latex paint, plywood, mixed media. 65.4 x 71.1 x 57.2 cm (TSA 1350) (Thaddaeus Ropac. London, Paris, Salzburg, Seoul)

Tom Sachs Mini VAB (working title) 2020 – 2021, detail — Tom Sachs “Mini VAB (working title)” 2020 – 2021, detail

Tom Sachs (left)
“95 Lozenge Composition with Yellow, Black, Blue, Red and Grey, 1921 (Mondrian)” 1996, Duct tape on plywood. 62.2 x 62.2 cm

Tom Sachs (right)
“Prada Double Cheeseburger” 1999, Ink on paper and thermal adhesive, in cardboard Prada box. Overall installation dimensions variable

up-date 2021/11/2

Tom Sachs broke the top 100 rankings on Opensea and I was curious what his NFTs were…no longer curious.
Link_https://twitter.com/Powhida/status/1455284903914975241/photo/1

久保田成子 KUBOTA Shigeko Duchampiana Bicycle Wheel One, Two, and Three, 1983 — 久保田成子 KUBOTA Shigeko “Duchampiana: Bicycle Wheel One, Two, and Three,” 1983/1990, 275.000 US$ (Iteration. Edition 1/3. From Shigeko Kubota Estate)

久保田成子 KUBOTA Shigeko Duchampiana Bicycle Wheel One, Two, and Three, 1983, detail 1 — 久保田成子 KUBOTA Shigeko “Duchampiana: Bicycle Wheel One, Two, and Three,” 1983/1990, detail

久保田成子 KUBOTA Shigeko Duchampiana Bicycle Wheel One, Two, and Three, 1983 detail 2 — 久保田成子 KUBOTA Shigeko “Duchampiana: Bicycle Wheel One, Two, and Three,” 1983/1990 detail

Bicycle wheels mounted on wooden stools with motors, six, three inch liquid crystal monitors, single-channel video (color, sound) Three figures, each: 147.3 x 63.5 x 38.1 cm) KUB-0003. Iteration work, edition 1/3. Directly coming from the Shigeko Kubota Estate. 275.000 US$
Art Basel booth Fergus McCaffrey

久保田成子 KUBOTA Shigeko Vagina Painting 1965 Fluxus Performance New York 4th of July 1965 — 久保田成子 KUBOTA Shigeko “Vagina Painting” 1965. Fluxus Performance New York 4th of July 1965

See also:
Viva Video! 久保田成子展 The Art and Life of Shigeko Kubota
Museum of Contemporary Art, Tokyo MOT
Sat. 13 Nov, 2021 – Wed. 23 Feb, 2022
https://www.mot-art-museum.jp/en/exhibitions/shigeko_kubota/
https://www.mot-art-museum.jp/exhibitions/shigeko_kubota/

Piero Manzoni Chrome 1961 – 1962 74.5 x 74.5 x 24 cm (MASSIMODECARLO) — Piero Manzoni “Chrome” 1961 – 1962, 74.5 x 74.5 x 24 cm (MASSIMODECARLO)

严培明 Yan Pei-Ming “Monna Lisa, le dernier sourire bleu de Prusse” 2019. Oil on canvas. Ø 110 x 2.5 cm
(MASSIMODECARLO)

Zeng Fanzhi Untitled (Yellow) 2021 Oil on canvas 230 x 230 x 5 cm (ZENG 109274)(Hauser & Wirth) — 曾梵志 Zeng Fanzhi “Untitled (Yellow)” 2021, Oil on canvas, 230 x 230 x 5 cm (ZENG 109274)(Hauser & Wirth)

松谷武判 MATSUTANI Takesada Circle – 21.6 2021 Vinyl adhesive, acrylic, graphite pencil on Japanese paper and canvas 185 x 185 x 13 cm (MATSU111825)(Hauser & Wirth) — 松谷武判 MATSUTANI Takesada “Circle – 21.6” 2021. Vinyl adhesive, acrylic, graphite pencil on Japanese paper and canvas. 185 x 185 x 13 cm (MATSU111825)(Hauser & Wirth)

松谷武判 MATSUTANI Takesada Circle – 21.6 2021, detail. Vinyl adhesive, acrylic, graphite pencil on Japanese paper and canvas 185 x 185 x 13 cm (MATSU111825)(Hauser & Wirth) — 松谷武判 MATSUTANI Takesada “Circle – 21.6” 2021, detail. Vinyl adhesive, acrylic, graphite pencil on Japanese paper and canvas. 185 x 185 x 13 cm (MATSU111825)(Hauser & Wirth)

Paul McCarthy “A&E, EXXA, Santa Anita session” 2020, upcoming exhibition planned at the Musée d’Orsay (Hauser & Wirth) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020, upcoming exhibition planned at the Musée d’Orsay through Hauser & Wirth. Powered by United Nations Foundation, Swiss Philanthropy Foundation, in support of the WORLD HEALTH ORGANISATION

A&E’ is an acronym for Adolf & Eva, Adam & Eve and Arts & Entertainment. ‘A&E’ finds McCarthy transformed into Adolf Hitler, Adam and Stangenberg as Eva Braun, Eve. The project at this point takes the form of one, a feature film series and two, multiple drawing sessions. Adolf is depicted as the epitome of predatory toxic masculinity and buffoonery, while Eva is at once the lover, mother, and daughter. In these works, crude, expressionistic marks from these unrehearsed performance drawing sessions are captured on paper.

Paul McCarthy “A&E, EXXA, Santa Anita session” 2020 (1) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020

Paul McCarthy “A&E, EXXA, Santa Anita session” 2020 (2) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020

Paul McCarthy “A&E, EXXA, Santa Anita session” 2020 (3) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020

Paul McCarthy “A&E, EXXA, Santa Anita session” 2020 (4) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020

Paul McCarthy A&E, EXXA, Santa Anita session 2020 Charcoal, pastel, and collage on paper 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth) — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020. Charcoal, pastel, and collage on paper. 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth)

Paul McCarthy A&E, EXXA, Santa Anita session 2020 Charcoal, pastel, and collage on paper 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth) detail1 — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020. Charcoal, pastel, and collage on paper. 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth) detail

Paul McCarthy A&E, EXXA, Santa Anita session 2020 Charcoal, pastel, and collage on paper 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth), detail2 — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020. Charcoal, pastel, and collage on paper. 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth), detail

Paul McCarthy A&E, EXXA, Santa Anita session 2020 Charcoal, pastel, and collage on paper 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth), detail3 — Paul McCarthy “A&E, EXXA, Santa Anita session” 2020. Charcoal, pastel, and collage on paper. 245.1 x 182.9 cm (McCAR106115)(Hauser & Wirth), detail

吉増剛造 YOSHIMASU Gozo “Wunderkammer” @ TAKE NINAGAWA

Text by the gallery:
“Take Ninagawa is pleased to present a solo exhibition by Gozo Yoshimasu. Launched in the wake of the Tohoku earthquake, tsunami, and nuclear disaster of 2011, “Dear Monster” comprises mixed-media manuscripts composed through the obsessive enumeration of characters and words that have been repeatedly broken up and rearranged into new units of meaning and nonmeaning. Commemorating those who lost their lives in the disaster, the series turns the destruction of language into creative engine. Eleven works from “Dear Monster” are presented here alongside audio recordings of Yoshimasu reading his manuscripts.”

Please check also:
Inaugural “Art Week Tokyo” News with NINAGAWA Atsuko @ The Art Newspaper
「アートウィーク東京」開幕と蜷川敦子のニュース @ ザ・アート・ニュースペーパー（ロンドン・ニューヨーク
https://art-culture.world/articles/art-week-tokyo-atsuko-ninagawa/

Wonderful, mesmerizing works by 吉増剛造 YOSHIMASU Gozo being appreciated, contemplated and valued

吉増剛造 YOSHIMASU Gozo (part of the body of work Dear Monster) — 吉増剛造 YOSHIMASU Gozo (part of the body of work “Dear Monster”)

白髪一雄 SHIRAGA Kazuo “Komai” 1988, Oil on canvas, 52.7 x 45.4 cm (SHI-0051)(Fergus McCaffrey)

Please check also:
白髪一雄・フット・ペインティング
SHIRAGA Kazuo – Foot Paintings
https://art-culture.world/articles/shiraga-kazuo-白髪一雄/

単色と抽象：白髪一雄、河鍾賢、ゲルハルト・リヒター、ベルナール・フリズ
Monochrome and Abstraction: SHIRAGA Kazuo, HA Chong-hyun, Gerhard Richter, Bernard Frize
https://art-culture.world/articles/shiraga-kazuo-ha-chong-hyun-gerhard-richter-bernard-frize-白髪一雄-ゲルハルト・リヒター/

石田徹也 ISHIDA Tetsuya @ Gagosian, no data had been displayed or being told by the gallery staff — 石田徹也 ISHIDA Tetsuya @ Gagosian, no data had been displayed or being told on my request by the gallery staff

John Currin @ Gagosian, no data had been displayed or being told by the gallery staff — John Currin @ Gagosian, no data had been displayed or being told to me by the gallery staff

五木田智央 GOKITA Tomoo “Slit” 2020, Acrylic paint on canvas, 162 x 130 cm (MASSIMODECARLO) — 五木田智央 GOKITA Tomoo “Slit” 2020, Acrylic paint on canvas, 162 x 130 cm, 165.000 Euro (MASSIMODECARLO)

Please check also:
展覧会の画像一覧：五木田智央と平子雄一 @ 東京オペラシティアートギャラリー
Exhibition Images: GOKITA Tomoo + HIRAKO Yuichi @ Tokyo Opera City Art Gallery
https://art-culture.world/articles/exhibition-images-gokita-tomoo-hirako-yuichi-tokyo-opera-city-art-gallery/

五木田智央の絵画が投機好きなアートとして @ ニューヨークタイムズ
GOKITA Tomoo’s Painting as Flip Art @ New York Times
https://art-culture.world/articles/gokita-tomoo-painting-as-flip-art-new-york-times/

五木田智央のニューヨークのアートディーラー、メアリー・ブーンは刑務所に30ヶ月間
GOKITA Tomoo’s New York Art Dealer Mary Boone sentenced to 30 Months in Prison
https://art-culture.world/articles/gokita-tomoos-new-york-art-dealer-mary-boone-sentenced-to-30-months-in-prison/

李禹煥リ・ウーファン LEE Ufan “Dialogue” 2019, Acrylic on canvas, 160 x 132 x 5 cm (UFAN190016)(LISSON GALLERY)

Please check also:
原口典之と関根伸夫のアート実践を考える
Thoughts on the artistic practice of HARAGUCHI Noriyuki and SEKINE Nobuo
https://art-culture.world/articles/haraguchi-noriyuki-sekine-nobuo-原口典之-関根伸夫/

アイ・ウェイウェイ Ai Weiwei “Bowl of Pearls” 2009, Porcelain and pearls (WEIW090023)(LISSON GALLERY)

アイ・ウェイウェイ Ai Weiwei “Bowl of Pearls” 2009, Porcelain and pearls, detail (WEIW090023)(LISSON GALLERY)

Please check also:
中国政府について：アイ・ウェイウェイ「過去70年間、彼らは自分たちのやり方、イデオロギーと慣習で行動した」
Ai Weiwei about the Chinese Government: “They have been acting in their own way, with their own set of ideologies and practices, for the past 70 years”
https://art-culture.world/articles/ai-weiwei/