Simon Lee Gallery is delighted to present new and historic works by gallery artists Sonia Boyce, Sarah Crowner, Josephine Pryde and Erin Shirreff at this year’s iteration of Frieze London. Although each artist’s practice is compellingly diverse from the next, each one dismantles formal convention in pursuit of new connections, via their distinct interpretations of collage, montage and assemblage.
Simon Lee Gallery Hong Kong is proud to present German painter Georg Karl Pfahler’s first solo exhibition in Asia, coming ahead of a comprehensive survey at the gallery’s London location in Spring 2022. The exhibition explores work made between 1965 and 1975, in a concise presentation that traces the evolution of Pfahler’s works from his Tex and Metro series, begun in the early 1960s, to his later Ost-West Transit and Espan series that define Pfahler’s practice during the 1970s.
Time Without End presents video works, multimedia installations, and site-specific pieces that are dedicated to the textures of time, history, and narrative, asking how time-based media generates memories. The exhibition features Valerie Snobeck’s video Go Soft, 2014.
In a new series inspired by Mexico, Dalwood unites observations from his time spent in the country (whilst on a residency at Casa Wabi, Oaxaca, in late 2017) with his personal brand of ‘contemporary history painting’, which weaves together visual quotations to express a space or a place that is more an abstracted mental image than a representation of the real.
Michael Müller is devoting himself to one topic for the first time. “Mensch, der / Körper, der die, das” illuminates various facets of physicality and our feeling for the body - a highly virulent question in times of genetic reproductions and operative optimization of the body, which leads to interesting insights.
You’ll Find Your Peace with Me is a screening programme of videos from the Mudam collection, organised to accompany Enfin seules. Photographs from the Archive of Modern Conflict. An atmosphere of anxiety towards the natural world is cultivated by João Penalva in Kitsune (2000), which depicts fog clearing across a desolate landscape as two men trade disquieting stories about a shapeshifting fox spirit.
In No Thing is Waiting there are no clocks. The visitor is encouraged to consider time outside of minutes and hours, and instead in relation to object(ive) experiences. The past year has fundamentally changed how we perceive time, becoming ever more quantified by 40-minute video calls, 5pm press conferences and beer garden booking systems. But this is just our perspective. Bringing together 17 multi-generational artists, No Thing is Waiting proposes our experience of time could be reconstructed through engaging with artworks that embody processes and continuation. The exhibition aims to disrupt our habitual perception of time by rewinding bodily rhythms through the use of colour, shifting daylight, changeable sonic tempos and multiple viewpoints. Here, time is stretched, contracted, and relative.
The exhibition Cangiante – Based on the Caixa Geral de Depósitos Collection, curated by Antonia Gaeta, brings these elements together and promotes a dialogue between the various works, techniques and materials of the artists represented in the Collection. The exhibition’s curatorship is an open one and permeable to the work of the guest artists Ana Manso and Dayana Lucas about something that already exists, but which now has the possibility of being different.
The Foundation’s virtual exhibition series invites artists and curators to select 10–15 works from The Hill Collection that activate each other in new and unexpected ways. Without the usual obstacles of installation, these exhibitions give us the opportunity to see the collection in a new light.
Sarah Staton’s SupaStore is a trading platform for artists and ideas. Works by emerging and well-known artists are presented in the SupaStore series – an ever-changing display that has been hosted intermittently by public and private galleries, museums, and independent art spaces across the world.
Simon Lee Gallery is proud to announce The Axis of the World, a permanent installation at Houghton Hall by Italian artist Claudio Parmiggiani.
The Axis of the World is a column made from Ombra di Caravaggio marble, anchored in the garden of the 18th century Palladian house. This seemingly infinite pillar penetrates the Earth, piercing its core, while simultaneously climbing over 16 metres in height to touch the sky, caressing the sun and the clouds during the day and embracing the moon and the stars at night. It represents an eternal column that connects the World and the Cosmos, Earth and Heaven; in the artist’s words, ‘A twisting tower, a work that raises high, that aspires to great heights, spinning around itself in its ascent without end’.
The London Calling exhibition . British art today. From David Hockney to Idris Khan brings together the recent work of some twenty British artists of different generations for whom the city of London has played a very important role in their artistic careers.
With new editions by Donna Huddleston (b. 1970, Belfast, lives in London) and Dorota Jurczak (b. 1978, Warsaw, lives in Brussels), Province are introducing two artists whose works often seem to exceed boundaries, adding theatrical, literary and cinematic aspects to their art, for example.
This summer MIMA celebrate one of Britain’s foremost artists, Sonia Boyce, through a sensory exhibition made through play and improvisation. A large sculpture by Boyce, based on the shape of Fool’s Gold, threads through the exhibition, interacting with artworks by 12 contemporary artists and selected pieces from MIMA’s Middlesbrough Collection.
How did we think about this 'Choreography of Attention'? How did we create a collective voice, from each other's perspectives? What ideas, negotiations and choices were made? In this guided tour, we will share the process of this collaborative curatorship project and introduce multiple ways of looking at the set of contemporary works of art that make up this exhibition.
Please join us for an exclusive conversation between Simon Lee and Andrew Renton on the work of Werner Büttner and view a selection of paintings by the artist on Tuesday 8th June at 4pm BST / 11am EDT on preview.art.
Simon Lee Gallery is pleased to announce its representation of New York-based conceptual artist Mika Tajima further to her recent exhibition in the London gallery.
The anthological exhibition at the Municipal Museum of Modern Art presents over 40 works, including paintings, mirror paintings , installations and rare archive images, from 1958 to 2021 . This is the artist 's most comprehensive solo exhibition ever made in Switzerland , with the significant title La Verità by Michelangelo Pistoletto. From the Mirror to the Third Paradise .
Simon Lee Gallery is pleased to announce its representation of British Afro-Caribbean artist Sonia Boyce OBE RA. Boyce has been commissioned by the British Council to represent Britain with a major new exhibition at the 59th International Art Exhibition – La Biennale di Venezia 2022. Simon Lee Gallery’s inaugural exhibition with the artist will take place in London in Autumn 2022. Boyce is also represented by Apalazzogallery, Brescia, Italy.
Simon Lee Gallery is delighted to be participating in the inaugural edition of London Gallery Weekend, a collaboration between galleries across the city, held over the weekend of 4 - 6 June 2021. Alongside Werner Büttner’s ongoing exhibition No Scene from My Studio, the gallery presents Oh Adelaide, 2010, a video work by Sonia Boyce and sound artist Ain Bailey, which incorporates found film footage of the late jazz singer and entertainer, Adelaide Hall.
The gallery will be open for London Gallery Weekend as follows:
Friday: 9:30am - 8pm | Saturday: 10am - 6pm | Sunday: 11am - 5pm
The MEP is pleased to present a major exhibition bringing together two great masters of post-war Japanese photography.
The Moriyama - Tomatsu: Tokyo exhibition was conceived by artists Daido Moriyama and Shomei Tomatsu - before the latter's death in 2012 - as a way to celebrate their city around a first artistic collaboration.
France-Lise McGurn’s newly commissioned installation draws on her personal experiences of Kelvingrove Art Gallery and Museum; the hours she spent there as a child and then later as an adult, inhabiting but also observing. In particular, Albert Moore’s well-loved painting, Reading Aloud (1884), has provided a point of departure for McGurn: especially the very specific positioning and postures of the models, its textures and ambiguous lack of urgency or context.
Painting, along with sculpture, film, performance, and design, is a central component of the intermedia art of Heimo Zobernig. Since the beginning of his artistic practice in the early 1980s, the artist has built up a comprehensive painterly oeuvre, always based on his attempt to explore color like a “scientist.” Thus, in Zobernig’s work, painting has become a machine for the creation of insight. Characteristics of the artist’s method in this context are strategies of simplification, standardization, and systematization using predefined rules and the artistic appropriation of industrial norms and widespread samples (such as TV test patterns).
Donna Huanca presents a series of new work commissioned by Ballroom Marfa in her exhibition ESPEJO QUEMADA. Huanca creates experiential installations that incorporate paintings, sculptures, video, scent and sound. The profound experiences and memories of Huanca’s first visit to Marfa in 2005 inspired the work in the exhibition. The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon.
“Stop Painting” is an exhibition conceived by artist Peter Fischli on view at the historic palazzo of Ca’ Corner della Regina, Fondazione Prada’s Venetian venue, from 22 May to 21 November 2021. The press preview will take place on Wednesday 19 May.
Tree Teacher Tree resides along a public footpath in a secluded hollow, a stream runs close by, the works nestle on the dell floor or amongst the trees, such as Fiona Banner aka The Vanity Press’s Rear View Mirror 2020, a reference to what kind of review nature might give mankind. Banner has also placed a flagstone with its own ISBN, it is an official publication in and of itself. Flagstones are usually associated with the city to keep the earth and roots below and things smooth, even and mudless on top, here the woodland floor can grow and envelope the hand engraved stone. Is it a tomb or a tome, or a story about concrete or footsteps or roots or routes taken?