Cologne17 highlights pack (1) (1)

ART COLOGNE

MATERIALITY & SURFACE

26 – 29 APRIL 2017 MESSEPLATZ 1 50679 KÖLN

ART COLOGNE 2017 For Art Cologne 2017 Hauser & Wirth’s presentation focuses on four artists united by a shared interest in the crude materiality of the work they make: Phyllida Barlow, Elisabeth Frink, Josephsohn and Philippe Vandenberg. Each of these artists apply paint or manipulate materials in a coarse fashion to draw attention to the physicality and surface texture of their work, as a means of highlighting both its formal characteristics and emotive potential.

PHYLLIDA BARLOW

PHYLLIDA BARLOW (b. 1944, Newcastle upon Tyne, England) was chosen to represent Great Britain at the 57th La Biennale de Venezia this year. Barlow creates anti-monumental sculptures from inexpensive, lowgrade materials such as cardboard, fabric, plywood, polystyrene, scrim, and cement. Her practice is centered on her experimentation with these materials and the process of re-contextualising them to create large-scale, three-dimensional collages. Her constructions are often crudely painted in industrial or synthetic colours, resulting in abstract, seemingly unstable forms: the seams of their construction are left completely visible, revealing the dynamics of their making. Among the Barlow works on view at the fair, three are being shown for the first time.

PHYLLIDA BARLOW untitled: jamb; 2016 2016 Plywood, timber, paint, sand, plaster, PVA, steel 172.5 x 40 x 30 cm / 67 7/8 x 15 3/4 x 11 3/4 in Š Phyllida Barlow. Courtesy the artist and Hauser & Wirth Photo: Alex Delfanne

PHYLLIDA BARLOW untitled: drill; 2016 2016 Cardboard, wire mesh, cement, paint, paper, PVA, spray paint 61 x 71 x 72 cm / 24 x 28 x 28 3/8 in Š Phyllida Barlow. Courtesy the artist and Hauser & Wirth Photo: Alex Delfanne

PHYLLIDA BARLOW untitled: offcuts; 2016 2016 Timber, plywood, wire, cement, sand, hessian scrim, cardboard, wool, polyurethane board, paint, PVA 185 x 82 x 80 cm / 72 7/8 x 32 1/4 x 31 1/2 in Š Phyllida Barlow. Courtesy the artist and Hauser & Wirth Photo: Alex Delfanne

PHYLLIDA BARLOW untitled: openshutyellowrust 2016 Acrylic on watercolour paper 56 x 76.5 cm / 22 x 30 1/8 in © Phyllida Barlow. Courtesy the artist and Hauser & Wirth

PHYLLIDA BARLOW untitled: greypink 2016 Acrylic on watercolour paper 56 x 76 cm / 22 x 29 7/8 in © Phyllida Barlow. Courtesy the artist and Hauser & Wirth

ELISABETH FRINK

Celebrated modern sculptor ELISABETH FRINK (1930, Suffolk, England – 1993, Dorset, England) was distinct in her refusal to follow stylistic fashion. As those around her began to favour assemblage, she continued with modelling and carving in traditional materials, and remained true to her deeply personal and sensitive approach to figurative form. Her work was always extremely tactile, giving physicality to emotion and idea.

The selection of Frink works at Art Cologne all belong to her bronze period of the late 1950s and 1960s. The artist worked unassisted, modelling with wet plaster onto an armature of metal rods and chicken wire, which she would then shape and chisel, sometimes adding more plaster and distressing it further, to create a pitted surface which would then be cast in bronze. It was a method which allowed for spontaneity, rapid corrections and the development of ideas, giving her work a raw immediacy.

ELISABETH FRINK Maquette for Torso 1956 Bronze 11 x 26 x 10 cm / 4 3/8 x 10 1/4 x 3 7/8 in © The Frink Estate. Courtesy the Estate and Hauser & Wirth Photo: Ken Adlard

ELISABETH FRINK Spinning Man II 1960/cast 2017 Bronze 47 x 180 x 55 cm / 18 1/2 x 70 7/8 x 21 5/8 in © The Frink Estate. Courtesy the Estate and Hauser & Wirth Photo:Todd-White

JOSEPHSOHN

For over six decades, JOSEPHSOHN (1920, Königsberg, East Prussia – 2012, Zurich, Switzerland) devoted his practice to the human figure. His highly personal artistic language – the distinctive weight, mass, and force he achieved through a bold, immediate, and highly physical way of working – conveys deep understanding of both classical sculpture and Modernist principles.

Josephsohn’s rough surfaces possess their own unique beauty, derived from the application and profuse buildup of material. Time and time again, the artist added and subtracted fragments of plaster, traces of which still remain visible and enliven the corporeality and astonishing fragility of the human figure.

JOSEPHSOHN Untitled 1971 Brass 45 x 108 x 26 cm / 17 3/4 x 42 1/2 x 10 1/4 in © Josephsohn. Courtesy Josephsohn Estate, Kesselhaus Josephsohn / Galerie Felix Lehner and Hauser & Wirth

JOSEPHSOHN Untitled 2002 Brass 151 x 84 x 62 cm / 59 1/2 x 33 1/8 x 24 3/8 in © Josephsohn. Courtesy Josephsohn Estate, Kesselhaus Josephsohn / Galerie Felix Lehner and Hauser & Wirth

JOSEPHSOHN 2000 Brass 61.5 x 35 x 23 cm / 24 1/4 x 13 3/4 x 9 in © Josephsohn. Courtesy Josephsohn Estate, Kesselhaus Josephsohn / Galerie Felix Lehner and Hauser & Wirth

PHILIPPE VANDENBERG

In his lifetime PHILIPPE VANDENBERG (1952, Ghent, Belgium – 2009, Brussels, Belgium) was renowned in his native Belgium, but only in recent years has the artist’s powerful and existential body of drawings and paintings received the international recognition it deserves. Vandenberg’s work testifies to his quarrels with himself and the world; his paintings stand between the poles of destruction and creation. He tirelessly painted one layer after another and often fused oil and chalk to build a rough, almost angry canvas surface. An endless search for form became the main subject matter for Vandenberg’s late works in particular, in which letters and lines, both solid and broken, play an important role.

PHILIPPE VANDENBERG L’important c’est le kamikaze 1989 – 2005 Oil on canvas 200 x 201.2 x 3.6 cm / 78 3/4 x 79 1/4 x 1 3/8 in © The Estate Philippe Vandenberg. Courtesy the Estate and Hauser & Wirth

PHILIPPE VANDENBERG No title 2002 – 2003 Oil on canvas 50 x 40 cm / 19 5/8 x 15 3/4 in © The Estate Philippe Vandenberg. Courtesy the Estate and Hauser & Wirth

PHILIPPE VANDENBERG No title 1994 / 1995 / 2005 Oil on canvas 80 x 100 cm / 31 1/2 x 39 3/8 in © The Estate Philippe Vandenberg. Courtesy the Estate and Hauser & Wirth

PHILIPPE VANDENBERG No title 2002 – 2003 Oil on canvas 50 x 40 cm / 19 5/8 x 15 3/4 in © The Estate Philippe Vandenberg. Courtesy the Estate and Hauser & Wirth

OTHER HIGHLIGHTS STEFAN BRÃœGGEMANN MARTIN CREED ISA GENZKEN MARY HEILMANN ANDY HOPE 1930 MARIA LASSNIG FAUSTO MELOTTI DJORDJE OZBOLT JAKUB JULIAN ZIOLKOWSKI

STEFAN BRÜGGEMANN TIME PAINTING 2016 Vinyl and oil on mirror 142.2 x 100.3 x 4.6 cm / 56 x 39 1/2 x 1 3/4 in © Stefan Brüggemann. Courtesy the artist and Hauser & Wirth Photo: Matthew Kroening

MARTIN CREED Work No. 2087 2014 Acrylic on canvas 50.8 x 40.6 cm / 20 x 16 in © Martin Creed. Courtesy the artist and Hauser & Wirth Photo: Alex Delfanne

ISA GENZKEN Geldbild IV 2014 Bills, coins, flyer, spray paint and oil on canvas 100.3 x 50 x 3.5 cm / 39 1/2 x 19 5/8 x 1 3/8 in Š Isa Genzken.

Courtesy the artist, Hauser & Wirth and Galerie Buchholz, Cologne / Berlin / New York Photo: Alex Delfanne

MARY HEILMANN Pink Synergie 2011 Oil on wood panel 61 x 78.4 cm / 24 x 30 7/8 in © Mary Heilmann. Courtesy the artist and Hauser & Wirth

ANDY HOPE 1930 Impressions d’Amérique 2012 Acrylic on board 60 x 60 cm / 23 5/8 x 23 5/8 in © Andy Hope 1930. Courtesy the artist and Hauser & Wirth

MARIA LASSNIG Teddykuss (Teddykiss) ca. 1999 Oil on canvas 125 x 100 cm / 49 1/4 x 39 3/8 in © Maria Lassnig Foundation. Courtesy the Foundation and Hauser & Wirth

FAUSTO MELOTTI Senza titolo (No title) 1979 Plaster, mixed media and brass 59 x 42 x 3.3 cm / 23 1/4 x 16 1/2 x 1 1/4 in Š Fondazione Fausto Melotti, Milano. Courtesy the Foundation and Hauser & Wirth

DJORDJE OZBOLT Love Hurts 2016 Acrylic on canvas 100 x 89.5 cm / 39 3/8 x 35 1/4 in © Djordje Ozbolt. Courtesy the artist and Hauser & Wirth

JAKUB JULIAN ZIOLKOWSKI Caligula 2010 Oil on canvas 160 x 134 x 4.4 cm / 63 x 52 3/4 x 1 3/4 in © Jakub Julian Ziolkowski. Courtesy the artist and Hauser & Wirth

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