Yossi Milo Gallery is pleased to announce an exhibition of South African artist Pieter Hugo’s most recent body of work, 1994, on view from January 26 – March 11, with a reception for the artist and book signing on Thursday, January 26 from 6:00 – 8:00pm.
Pieter Hugo’s fifth exhibition at the gallery will feature color photographs taken of children born in Rwanda and South Africa after the year 1994, the year of the Rwandan genocides and of the end of Apartheid in South Africa. Wearing often fanciful clothes and posed in nature, each child symbolizes the budding hope of a life unladen by active oppression, yet is rooted inextricably in the landscape into which they were born.
Describing the project, Hugo states:
I happened to start the work in Rwanda but I’ve been thinking about the year 1994 in relation to both countries over a period of 10 or 20 years. I noticed how the kids, particularly in South Africa, don’t carry the same historical baggage as their parents. I find their engagement with the world to be very refreshing in that they are not burdened by the past, but at the same time you witness them growing up with these liberation narratives that are in some ways fabrications. It’s like you know something they don’t know about the potential failure or shortcomings of these narratives …
Most of the images were taken in villages around Rwanda and South Africa. There’s a thin line between nature being seen as idyllic and as a place where terrible things happen – permeated by genocide, a constantly contested space. Seen as a metaphor, it’s as if the further you leave the city and its systems of control, the more primal things become. At times the children appear conservative, existing in an orderly world; at other times there’s something feral about them, as in Lord of the Flies, a place devoid of rules. This is most noticeable in the Rwanda images where clothes donated from Europe, with particular cultural significations, are transposed into a completely different context.
Being a parent myself has shifted my way of looking at kids dramatically, so there is the challenge of photographing children unsentimentally. The act of photographing a child is so different – and in many ways more difficult – to making a portrait of an adult. The normal power dynamics between photographer and subject are subtly shifted. I searched for children who seemed already to have fully formed personalities. There is an honesty and a forthrightness which cannot otherwise be evoked.
Solo exhibitions of Pieter Hugo’s photographs will be on view at the Rijksmuseum, Amsterdam from February 17 – May 21, 2017 and at Kunstmuseum Wolfsburg, Germany from February 19 – July 23, 2017. Hugo’s works have been previously presented in solo exhibitions at the National Gallery of Art, London; Fondation Henri Cartier-Bresson, Paris; Ludwig Museum, Budapest; Fotografiska, Stockholm and Fundação Calouste Gulbenkian, Lisbon; Musée de l'Elysée, Lausanne, Switzerland; Hague Museum of Photography, The Netherlands; and MAXXI, Rome. His work is held in the permanent collections of The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; Centre Pompidou, Paris; Victoria & Albert Museum, London; Huis Marseille, Amsterdam; National Gallery of Victoria, Melbourne; the South African National Gallery, Cape Town, among others.
A book of the 1994 project was released in the USA by Prestel on December 1, 2016. The artist's previous books include Looking Aside: South African Studio Portraits 2003-2006 (2006), Messina/Musina (2007) both published by Punctum; The Hyena & Other Men (2007), Nollywood (2009), Permanent Error (2011) and This Must Be the Place (2012) published by Prestel; There’s a Place in Hell for Me and My Friends (2012) published by oodee, London and Kin (2015) by Aperture Foundation. Pieter Hugo was born in South Africa in 1976 and currently lives near Cape Town.
For more information, please contact Alissa Schoenfeld at 212.414.0370 or
firstname.lastname@example.org, or visit the gallery's website at www.yossimilo.com
Spanning work made from the 1950s to the end of the artist’s life, this survey traces Maria Lassnig’s
evolution from early experiments with abstraction to a richly inventive figuration and the refinement
of her ‘body awareness’ paintings, in which she captured physical sensation as felt from within.
Lassnig devoted much of her career to recording her physiological states through a direct and
unflinching style, believing that ‘truth resides in the emotions produced within the physical shell’. The
presentation will be a re-imagining of the exhibition on view at Hauser Wirth & Schimmel, Los Angeles
until 31 December 2016. It has been organised by Peter Pakesch, Chairman of the Maria Lassnig
Foundation, Vienna, and Paul Schimmel, Vice-President and Partner, Hauser & Wirth.
‘Homecoming', la nouvelle exposition de Mac Adams à gb agency raconte plusieurs histoires; la galerie devient le champ d’opération de toutes les stratégies pour construire des structures narratives ouvertes pour une lecture à plusieurs entrées.
La première installation, ‘The Homecoming’ (1976-2017) plante le décor: tableau vivant ou scène que des acteurs viennent de quitter, cadrage figé d’un appareil photo ou au contraire mouvement lent et régulier d’une caméra sur les détails d’une mise en scène? Le spectateur, à la fois témoin et voyeur s’introduit dans les interstices d’une forme narrative non linéaire et fragmentée.
'Circumstantial Evidence' (2016) est à l’origine le titre de la première photographie de la série des ‘Mysteries’ réalisée en 1974 par Mac Adams. Diptyque noir et blanc où figurent un chat et un verre de lait renversé, cette oeuvre annonce les principes de la photographie narrative. Une analyse pleine d’humour sur un sujet plus sérieux, la manière dont les stéréotypes et les préjugés influencent notre jugement. Pour la première fois dans sa pratique, l’artiste a choisi de mettre en trois dimensions cette oeuvre fondatrice.
Nous présenterons aussi un ensemble de photographies appartenant à la série des ‘Post Modern Tragedies’, commencée dans les années 80 et toujours en développement ainsi qu’une nouvelle production, qui pourrait en être sa suite.
Avec cette exposition, nous avons souhaité rendre compte des allers-retours et détours permanents de ce travail toujours aussi inventif et exigent: les années 70, avec des oeuvres originales comme le collage conceptuel intitulé 'Eight Small Sculptures’ de 1971, les re-créations d’installations des années 70 et une nouvelle réalisation inédite à partir d’une oeuvre en creux de 1974.