Giuseppe Penone is regarded as one of the most important artists of his generation; his career spans over 40 years, beginning in the late 1960s as he emerged as a key exponent of the Italian art movement, Arte Povera. This exhibition at Haunch of Venison, London focuses on Penone’s exploration of drawing, presenting works made in the last ten years in a variety of mediums, including new drawings that are closely related to his major sculptural commission for the Whitechapel Gallery in London, opening on the 5th September.
Behind a slightly run-down high-street, weathered and dented, is a too little known London landmark: a Victorian corrugated-iron chapel (one of the last surviving in England) known simply as The Tin Tabernacle. Housed within this modest but spectacular building is Lindsay Seers’ most recent installation, Nowhere Less Now.
Berlinde De Bruyckere, Hauser & Wirth Outdoor Sculpture In Collaboration With St James’s Church, London
Overlooked by the steeple of St. James’s Church, a deer lies on a stone slab, supported by a wooden pedestal in the otherwise tranquil setting of Southwood Garden. The sculpture, Rodt, 6 Januari, 2012, is a work by Berlinde De Bruyckere, a Belgian artist known for her frank portrayals of the inherent human qualities of fragility, vulnerability and imperfection. De Bruyckere grapples with these universal themes and translates them using a contemporary sensibility that combines poetic beauty with a brutal realism. De Bruyckere’s new sculpture, one of the artist’s first works will be publically displayed outdoors as the next exhibition of Hauser & Wirth Outdoor Sculpture.
The Hepworth stands on the banks of the river Calder. It is adjacent to a rushing weir. The cascading energy of this ebullient, artificial diversion of a natural phenomenon is enough to inspire an ancient sense of animism. A visual survey of the weir and gallery from the adjoining bridge requires of the viewer a sort of hypnotic pilgrimage. The brief walk feels a little like an ancient rite with the attendant sense of mesmerism. It is this almost spiritual perambulation that prepares the viewer for the works of Richard Long.
Louisiana Museum of Modern Art‘s big autumn exhibition Self-Portrait turns the focus on the self-portrait as a genre throughout the 20th and 21st century, as shown by 150 works by a wide variety of international artists from early modernism until today. How does one represent oneself? What are the connections between self-portraiture and self-representation? Can a self-portrait be an objective, neutral representation, or should it depict the complex mind, personality and life-conditions of the artist? Can a self-portrait at all portray a person’s composite identity? These are some of the questions that the exhibition raises, questions that extend beyond the artist’s own universe into the life of the viewer, and this is exactly the source of the fascination exerted by the multiplicity of works shown in the exhibition.