Mike Kelley At Gagosian Beverly Hills

Mike Kelley, Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket), 2004–05, mixed media with video projections, 7 feet 6 inches × 16 feet 8 inches × 18 feet 6 inches (228.6 × 508 × 563.9 cm) © Mike Kelley Foundation for the Arts. All rights reserved/Licensed by VAGA at Artists Rights Society (ARS), New York. Photo: Fredrik Nilsen
Mike Kelley, Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket), 2004–05, mixed media with video projections, 7 feet 6 inches × 16 feet 8 inches × 18 feet 6 inches (228.6 × 508 × 563.9 cm) © Mike Kelley Foundation for the Arts. All rights reserved/Licensed by VAGA at Artists Rights Society (ARS), New York. Photo: Fredrik Nilsen

The multimedia installation Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket) (2004–05) comprises an illuminated movie sign, projected videos of a gospel choir, and a huge black rocket dressed in a lengthened version of the choir’s silky yellow vestments. It is one chapter of Kelley’s ambitious project Day Is Done, an expansion of the Extracurricular Activity Projective Reconstructions: 365 video narratives based on photographs from high school yearbooks. Presented at Gagosian West 24th Street in New York in 2005, Day Is Done included twenty-five discrete yet related sculptural installations that incorporated the set pieces and props from the videos. Gospel Rocket, with its glowing sign announcing a ceremonial rocket launch, attests to Kelley’s interest in the aspects of organized social behavior that merge spectacle, science, and belief.

Two of the nineteen Lenticular works are also on view. In the late 1990s, Kelley was invited to participate in a group show at the Kunstmuseum Bonn, Germany, that would focus on the then-upcoming millennial change. The exhibition examined the ways in which people have imagined the future throughout history. Kelley turned to Superman comics, specifically the superhero’s birthplace, Kandor. Though Kandor was assumed to have been destroyed, it was actually shrunk and bottled by the villain Brainiac, then later rescued by Superman, who kept it inside a bell jar in his Fortress of Solitude. Fascinated by the tiny futuristic city, a symbol for Superman’s feelings of alienation, Kelley collected hundreds of different comic-book images of Kandor and produced large-scale glass and resin sculptures that show hybrid versions of the city, merging Bauhaus or Art Deco styles with simple boxy drawings or ambiguous scribbles. The graphically altered images of Kandor were then blown up to the same scale as the sculptures and placed in lenticular light boxes, so that the viewer’s movement could affect the appearance of the city. In Lenticular 15 (2007), the bell jar and city are visible from one angle, then disappear from another, and in Lenticular 4 (2007), Kandor can be seen from above, but then seems to vaporize beneath a warm yellow glow.

Mike Kelley was born in 1954 in Detroit, and died in 2012 in Los Angeles.

Exhibition Dates: September 5–28, 2018

456 North Camden Drive
Beverly Hills

Romuald Hazoumè At Gagosian New York

Romuald Hazoumè, Algoma, 2016, plastic and raffia, 21 5/8 × 15 3/4 × 7 7/8 inches (55 × 40 × 20 cm) © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Zarko Vijatovic
Romuald Hazoumè, Algoma, 2016, plastic and raffia, 21 5/8 × 15 3/4 × 7 7/8 inches (55 × 40 × 20 cm) © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Zarko Vijatovic

I send back to the West that which belongs to them, which is to say, the refuse of consumer society that invades us every day. — Romuald Hazoumè

Hazoumè’s art—which ranges across sculpture, photography, film, and sound—absorbs and confronts the complex realities of contemporary life in Benin and the broader ramifications of Pan-African politics. A bricoleur whose formal currency is often found in recycled materials—for example, the fifty-liter plastic bidon, or jerrycan, a local staple for the illegal purchase of cheap gasoline from Nigeria—Hazoumè uses strategies of repetition and recombination to create works of elegant potency whose effects are intensified by the wordplay of his titles.

Masks are perhaps the best-known aspect of Hazoumè’s art. In Yoruba culture, masks have long had ceremonial and symbolic importance, as the head and the face are often regarded as the locus of a person’s destiny. Highly valued by European markets, African masks became recurring motifs in the artwork of the twentieth-century European avant-gardes. Freed from ritual or sociological purpose, Hazoumè’s masks consciously adapt the signifiers of African-European exchange to contemporary realities. Composed of plastic gasoline containers and other discarded materials, the masks are freighted with subtext, bringing to mind the Beninese men and women who, unable to find legal employment, are forced to ferry contraband gasoline between Nigerian sources and their Beninese consumers in order to survive.

Each mask achieves a vivid quality of illusion as Hazoumè imbues inanimate objects with qualities that allude to a life story or history. Toupieman (2018), made of an orange plastic bottle and what could be a household cleaning brush, bears three hollowed-out openings, like two eyes and a mouth, that could signify laughter, speech, or a scream. Algoma (2016) is named after the Burmese who provided the artist with the horsehair broom that tops this mask, which pays homage to the Rohingya refugees chased out of Myanmar. The sculpture Alagbada (2018) takes its name from the Yoruba word meaning “the one wearing the dress” or “the dress holder.” The Alagbada spirit is a guide or pathfinder who signals the way with rapid movement of his dress; by showing only the Alagbada’s garment, Hazoumè evokes a presence, or being, in the same way that his masks do.

Hazoumè’s oeuvre, with its layered symbols, draws attention to the persistent consequences of corruption and subjugation throughout Africa. Immediate and arresting, his works embody the world order as an interdependent ecosystem, underscoring its interconnectedness and its asymmetry with wit and irreverence. Without providing prescriptive interpretations of the stories that he interweaves, Hazoumè’s works challenge the viewer to grapple with the assemblages on their own terms, resisting didacticism, while their dazzling precision speaks for itself.

Romuald Hazoumè was born in 1962 in Porto-Novo, Benin, and lives and works in Cotonou, Benin.

Exhibition Dates: SEPTEMBER 5 – OCTOBER 13, 2018
Opening Reception: Wednesday, September 5, 6pm – 8pm

821 Park Avenue
New York, NY 10021

Harmony Korine Book Signing at Gagosian Shop NYC

Harmony Korine Book Signing at Gagosian NYC
Harmony Korine Book Signing at Gagosian NYC

This is the first comprehensive monograph on the cinema, art, writing, and creative world of Korine, the boundary-breaking auteur of Kids (1995), Gummo (1997), Mister Lonely (2007), and Spring Breakers (2012).

Korine rose to prominence after penning the script for Larry Clark’s infamous Kids at the age of nineteen. In addition to the critically acclaimed cult classics he has written and directed since then, Korine’s creative practice extends to photography, drawing, and both figurative and abstract painting.

This monograph not only reflects on Korine’s work to date, but also examines his influence over the past twenty years, exploring the artist’s process and experimentation, as well as his expansive use of editing techniques. An interview by film critic Emmanuel Burdeau and an essay by curator Alicia Knock trace common themes through Korine’s films and artworks, considering the ways in which he has captured the surreal quality of contemporary life.

HARMONY KORINE: Book Signing at Gagosian Shop
When: Wednesday, September 12, 2018 from 5pm – 6pm

976 Madison Avenue
New York, New York 10075 USA

Gagosian Gallery Opens New Exhibition Space In San Francisco

 Gagosian San Francisco - © M-PROJECTS
Gagosian San Francisco – © M-PROJECTS

The Bay area is home to some of the greatest collectors and collections of contemporary art in the world. With the opening of Gagosian San Francisco, we are excited to participate more fully in this informed and lively art scene with our dynamic program of exhibitions and events. We salute SFMoMA’s key role in cultivating a vital context for contemporary art and its ideas, and we look forward to working in direct proximity to this most distinguished institution in its bold new era.
–Larry Gagosian

Gagosian Gallery has announced the opening of its new exhibition space in San Francisco, opening May 18, 2016, following the reopening of SFMoMA. The 4500 square-foot gallery, designed by Kulapat Yantrasast, founder of wHY, is located at 657 Howard Street, directly across the street from SFMoMA in the historic Crown Point Press Building that once housed the San Francisco Newspaper Company.

The inaugural exhibition at Gagosian San Francisco will focus on the relationship between drawing and sculpture, as embodied in the work of twentieth century artists, from Pablo Picasso to Joe Bradley. The exhibition will coincide with the reopening of SF MoMA.

Established by Larry Gagosian in 1980, Gagosian Gallery is a leading global network specializing in the exhibition and sale of modern and contemporary art, with sixteen galleries in nine major hotspots worldwide; a cosmopolitan team of art experts; and an unparalleled art program of contemporary art and landmark modern surveys, accompanied by scholarly books and catalogues. Gagosian participates in major art and book fairs around the world annually.

Gagosian Gallery
657 Howard Street
San Francisco, California