Noticias de interés

Anyone empathetic toward canines will feel contagious joy walking through Emilie Gossiaux’s exhibition at Norway’s Kunsthall Trondheim. Before you even enter, you notice Kongs—those rounded rubber cones dogs shove their tongues into, slowing their devouring of peanut butter, turning it into a game. And you never stop noticing the Kongs as you traverse the Kunsthall’s two floors. There are over 100 ceramic Kongs here, all handmade by Gossiaux. They are painted in almost every color—safety orange, metallic gold, deep purple—and are highly visible against the concrete floor, the omnipresent Norwegian gray. Gossiaux made this show, titled “Kinship,” as an homage to her guide dog London, who recently retired after over a decade of caring for the artist. Now Gossiaux, who is blind, is dedicated to taking care of London. The result is her best exhibition to date. At a recent talk at New York’s Canal Projects, the artist described the exhibition by saying that she wanted to create a “wet dream” for London, a “pleasure palace.” The drawings focus on moments of reciprocal care. One shows a naked Gossiaux, her skin close in tone to her yellow lab’s fur, crouching down to hug her dog. She is g

In 1952, Niki de Saint Phalle moved from the United States to France with her husband Harry Mathews and her infant daughter. Dark childhood memories, including ones involving her incestuous father, started to resurface, moving her to commit herself to a mental institution, where she received electroshock treatment. Her short stay there inspired a major life change. No longer would she be a model and an actress. Now, she would become a full-time artist. The de Saint Phalle that most people know is a tortured, tempestuous sculptor of big-breasted women known as “Nanas.” But with her film Niki, director Céline Sallette has complicated this perception, showing that she was resilient well before she even became an artist. “I wanted to tell the story before history, to show how a young mother from an aristocratic background was destined to become one of the most powerful artists of her century,” said Salette, an actress known for appearances in films such as House of Tolerance and Rust and Bone who is here making her directorial debut. The film spans about 10 years of de Saint Phalle’s career, showcasing the period just before she started exploring oppression, violence, and joy in era-de

DÜSSELDORF, Germany — Sheila Hicks is a master colorist, capable of suggesting depth and movement in abstraction and seducing with figure and landscape all without straying from formalist rigor. Indeed, an invigorating survey of mostly recent works by the American artist at Kunsthalle Düsseldorf is a feast of rhythmic form and pulsating color. Set against the museum’s austere architecture, Hicks’s rich array of regal blues and canary yellows is sensually offset by deep burgundies and creamy and ashy whites. In “Amsterdam” (2014), a free-standing work, the volumetric body and verticality of a cerulean blue fabric uncannily suggest a standing figure, adorned with braided gray yarn that cascades down as if luxuriant hair. Yet the work may also be Hicks’s take on Amsterdam’s wintry color palette, suggesting the flow of the city’s numerous canals constricted by frost. In this sense, while Hicks builds out the textile sculpturally, she also evokes landscape painting in three dimensions. Organic forms more broadly permeate the show, from the exuberant flow of the mop-like fringes in “Wishful Volcano” (2024); to the lumpy fibers in “Saffron Sentinel” (2017), imitating flowers; to the more

LOS ANGELES — During the Cold War, the CIA secretly bankrolled cultural initiatives promoting Abstract Expressionism as a shining example of American freedom and democracy. Meanwhile, it backed a coup that toppled the democratic government of Iran, artist Farshid Bazmandegan’s home country. These incongruent actions by our government in the mid-20th century form the starting point for Bazmandegan’s solo exhibition, Drifting in Between, at Track 16 Gallery. The artist focuses on a few key materials: emergency blankets, tar, and steel oil barrels. These materials reference the displacement and human cost of our government’s actions across the globe, as well as the natural resources that drive so much of our foreign policy. Indeed, one of the major reasons for the 1953 coup was to protect British oil interests in Iran.  Get the latest art news, reviews and opinions from Hyperallergic. “Landscape of Exile” (2024), like many works in this exhibition, starts with a gold-coated emergency blanket that has been adhered to a tar-covered wood panel. Bazmandegan burned parts of the piece, melting the shimmering gold of the blanket so the tar bubbles up to reveal a deep black, painterly surface

From installation and catalogue presentation to intangible factors like "aura," tiny details can make or break success. Every month in The Hammer, art-industry veteran Simon de Pury lifts the curtain on his life as the ultimate art-world insider, his brushes with celebrity, and his invaluable insight into the inner workings of the art market. As an art market professional I am regularly asked to physically inspect works of art in preparation for valuations and inventories. This requires me to spend a fair amount of time in warehouses, storage facilities or freeports. There, more often than not, I experience art in the worst possible conditions. Under harsh, artificial lighting, you sometimes see piles of unframed paintings stacked against each other and you witness works being unpacked and repacked in front of your eyes. Of course this doesn’t alter the objectivity of my exceptional eye, and of my razor-sharp artistic judgement! At least, so I like to think, but I have to admit that presentation and context have a not insignificant subliminal impact on one’s assessment. In 1979, I became the curator of the Thyssen-Bornemisza Collection, which was then the largest private collection

Until recently, contemporary art has been seriously outgunned in this battle of appearances. It was just a few years ago that only the most highly capitalized artists—the Hirsts, Murakamis, and Koonses of the world—had the means to create truly convincing digitally fabricated objects, and they generally acted as cheerleaders for the unfolding spectacle. Their sculptures actually required extensive and expensive handwork to perfect, but they seemed to have popped right off a screen. To behold them was to confront a new technological sublime, to be forcibly suspended in a state of disbelief. This art was genuinely amazing, but honestly, it didn’t really give a damn if you thought it was any good. It asserted itself through superior production values, as indifferent to critique as Marvel or Louis Vuitton. But something happened on the way to the simulacrum. Digital production got gradually cheaper and more accessible, putting it in the hands of more and more artists. At the same time, and with impressive speed, audiences became jaded about the latest computer-generated wonders. Last year, when the Swedish company Sandvik Machining unveiled what it claimed was the first sculpture ever

This year, exhibitions around the globe highlighted Blackness, celebrating the Black artistic vanguard and featuring established artists next to those early in their careers. From Switzerland and Cape Town to Fort Worth and Philadelphia, they walked us through the Black art-historical canon, providing context and inserting new characters into modern and contemporary art histories. By exhibiting the range and diversity of Blackness as narrative in a variety of forms, from collage to figuration to video and installation, these shows helped us understand that Blackness is not a monolith. Looking closely at Black art in this way develops scholarship and aptly recognizes the contributions of Black art to the larger canon, positioning it prominently on the world stage. The title for this exhibition comes from a James Baldwin quote, “There is never a time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.” The exhibition, currently on view at the Philadelphia Museum of Art (through February 9, 2025), aims to depict the richness of Black contemporary life through a visual art lens. With more than 60 contemporary works by 22 Britis

Editor’s Note: This story is part of Newsmakers, a new ARTnews series where we interview the movers and shakers who are making change in the art world. Artist Kathryn Andrews has long been interested in disrupting established systems by inviting viewers of her wide-ranging practice to join in actively interrogating common subjects of the American zeitgeist. The Judith Center, her latest project, however, extends beyond a traditional studio practice and even art-making itself. The nonprofit assembles experts in their respective fields to research topics that prod gender equality across the United States. Artists are then invited to create posters based on the research that are exhibited together in museums. The Judith Center is also establishing a physical location in Los Angeles in January 2025 that will host conversations and events open to the community. ARTnews spoke with Andrews about her approach to the Judith Center, goals for research, and the rich history of posters. Our very first initiative is called the Judith Center Poster Project. It will consist of 50 posters produced by 50 contemporary artists, including women, non-binary persons, and men who either are American or h

The situation is doubly awkward for Christie’s because immediately after Cut Melon sold, the house announced that the sale represented several records. They included “a world record for a Chardin,” “the most expensive 18th-century work of art ever sold in France,” and “the most expensive Old Master painting ever sold in France.” TAN reported that the work’s under-bidder was reportedly the Kimbell Museum in Fort Worth, Texas. The bidding on Cut Melon may have been fueled by the sale of another Chardin painting at Artcurial in Paris in March last year. Then, Basket of Wild Strawberries (1761) sold to the Louvre for more than $25 million, setting the artist’s record.Antivari, 39, is registered as a real estate investor in Saint Moritz, Switzerland, he’s not known within the Old Masters market, and his father is Luca Bassani Antivari, the founder of a luxury yacht company. However, Bloomberg reported last week that Antivari owes millions to his former business partner, Andrea Pignataro, who is the founder and CEO of London-based financial tech firm ION Group.

In 2024, the chickens came home to roost, so to speak, for the art world. After a series of ruptures and scandals last year, 2024 was a year of restructuring, “correction,” and redress. The art market suffered its worst performance in years amid geopolitical strife, uncertainty over the US presidential election, and high interest rates. Layoffs swept through the industry, from blue-chip galleries to auction houses, and economic challenges hit small and mid-size galleries hard, with many closing. In Germany and the US, and the UK, the cultural sphere became a constant site of activism over Israel’s wars in Gaza and Lebanon. For the latest edition of PST ART (né Pacific Standard Time), the Getty Foundation wanted to launch its sprawling, $20 million exhibition initiative at some 70 museums and art spaces in Southern California with a bang. The Foundation commissioned artist Cai Guo-Qiang to create a fireworks display, titled WE ARE: Explosion Event for PST ART. There’s some logic to this thinking: this year’s PST ART carries the title “Art & Science Collide” and Cai, who famously produced a fireworks show for the 2008 Olympics opening ceremony, has pushed this pyrotechnic science int

Max Levai is now suing to keep a trust set up by Pierre from disbursing funds to Levine. According to the lawsuit, there is more than $1 million in that trust, which is allegedly being represented by trustee Hanno Mott, an art lawyer who is named as a defendant alongside Levine.

At a value of more than $186,600, the stolen collection includes 10 paintings and one photograph by such notable artists as Damien Hirst, Banksy, and Takashi Murakami.