News

  • On the occasion of the 50th anniversary of Pablo Picasso’s death in 2023, France and Spain will organize “The Picasso 1973–2023 Celebration,” an international event dedicated to the artist’s legacy that will see institutional exhibitions staged across Europe and in the U.S


    Neither the studies nor the finished picture contain a single allusion to a specific event, constituting instead a generic plea against the barbarity and terror of war. The huge picture is conceived as a giant poster, testimony to the horror that the Spanish Civil War was causing and a forewarning of what was to come in the Second World War.

    - Paloma Esteban Leal, Museo Reina Sofia, Madrid

    More information

    Pablo Picasso, Guernica, 1937
    Oil on canvas - 349 x 776 cm - 137 1/2 x 305 1/2 in
    Collection of the Museo Reina Sofia
    © Succession Picasso 2022

  • Almine Rech is pleased to announce that the painting Clinging unto the Lord by Genesis Tramaine has been acquired by the National Gallery of Art in Washington.


    Genesis Tramaine
    Clinging unto the Lord, 2021
    Acrylic, oil sticks, oil pastels, Puddy, and the Holy Spirit
    182,9 x 121,9 cm
    72 x 48 in

    More about Genesis Tramaine

    © Genesis Tramaine / Courtesy of the Artist and Almine Rech - Photo: Charles Roussel

  • Performative Formulas by Alice Anderson


    Almine Rech is pleased to announce Alice's Anderson performance at Almine Rech London

    The event will take place on Saturday 26th March at 3PM at Almine Rech London.

    Grosvenor Hill, Broadbent House,
    W1K 3JH London UK
    Saturday 26th March at 3PM 

    Percussionist
    Alexandre Yemaoua Dayo

    Dancers
    Alice Anderson
    Jonathan Caruana 
    Valerie Ebuwa
    James Olivo
    Eline Peres

    Alice Anderson, GEOMETRIC DANCES, USB HUB V, 2021 - Acrylic on canvas - 146 x 161 cm, 57 1/2 x 63 1/2 in

  • Oliver Beer ‘Little Gods (Chamber Organ)’, 2022 Part of the Collateral Event 'Uncombed, Unforeseen, Unconstrained'


    Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia
    Curated by Ziba Ardalan, Founder, Artistic and Executive Director of Parasol unit
    April 23 - November 27, 2022 | Conservatorio di Musica Benedetto Marcello

    Interactive sound installation
    24-hour live performance from 9 pm on April, 20, 2022 until 9 pm on April 21, 2022


    In this installation conceived for the chapel of the Palazzo of the Conservatory of Music in Venice for the Collateral Event Uncombed, Unforeseen, Unconstrained, organized by Parasol Unit at the Biennale Arte 2022, Oliver Beer builds on his exhibition with the Metropolitan Museum of Art to reveal the innate musicality of the material world. He has brought together a playful collection of vessels and hollow objects characterised by their animistic qualities. Arranged on plinths, each object represents or takes the form of an animal or human character. Beer has placed a tiny microphone within each of the vessels.

    The microphones are individually activated by the keys on a midi keyboard (the keyboard itself makes no sound). When a key is pressed the ambient sound inside the corresponding vessel is amplified and creates acoustic feedback at the exact note of the vessel. In this way we can hear the resonance of the vessels live, in real-time, and they can be played like an organ. The installation will be activated at the opening by Oliver Beer himself and the musicians of the Conservatorio for a 24h performance.

    Beer says of the piece: “Like a seashell or a wine glass, every empty vessel has its own musical note at which it resonates. Physical form and musical harmony are inseparable - it’s impossible to make a vessel or a hollow object without creating a musical note; and this has been true throughout the history of object-making. Some of these vessels in this installation have been singing the same note for hundreds of years. The note of a vessel is determined by the shape and size of the empty space inside it. I chose the 32 vessels for their animistic qualities as well as for their specific natural resonant frequencies: they resonate chromatically over two and a half octaves between the notes D2 and A4. During the course of the exhibition, visitors to the exhibition will be able to play and perform on the installation; and for me part of the excitement in this piece will be the friction between these ancient and universal sounds and the diverse music that comes out of them as they are activated by the most contemporary musicians”. 

    In the exquisite chapel hidden at the heart of the Conservatorio and surrounded by musicians, the hope is that this installation will have a rich musical life throughout the six months of the Biennale Arte 2022 before moving on to allow these diverse objects to make new music in new contexts.

    — Oliver Beer, Little Gods (Chamber Organ), 2022

    Oliver Beer, Little Gods (Chamber Organ), 2022 - 32 vessels, 32 microphones, speakers, plinths, audio equipment - Variable dimensions. Courtesy of the Artist and Almine Rech © Oliver Beer

  • Almine Rech now represents Oliver Beer


    Almine Rech is pleased to announce the representation of British artist Oliver Beer in Brussels, New York and China.


    His first collaboration with the gallery will be a 24-hour performance and subsequent interactive installation at the Conservatorio di Musica for Parasol Unit and the 59th Venice Biennale.

    Oliver Beer trained in musical composition, before studying fine art and then cinematic theory. His diverse artistic practice reflects these studies through the intense sonic experiences he creates in many of his immersive live performances, vocal compositions, films and installations.

    His artwork extends from performative art to sculptures and paintings. While his relationship with musical composition is apparent in his powerful live performances and films, further musical elements can also be found in his visual art. We can see this in the sculptures that he makes by cutting through everyday objects ‘just like in an ultrasound scan’; or his Resonance Paintings, created by literally using ‘sound as his paintbrush'. His installations, such as his celebrated Vessel Orchestra exhibition at the Metropolitan Museum of Art in New York, play with notions of resonance and the innate musicality of the human experience. 

    Oliver Beer’s work has been exhibited internationally at museums including the Metropolitan Museum of Art and MoMA PS1, New York; Centre Pompidou, Palais de Tokyo and Palace of Versailles, France; and the Biennales of Sydney and Istanbul. 

    Oliver Beer lives and works between London and Paris.

    For inquiries, please contact: inquiries@alminerech.com

    Portrait of Oliver Beer in his studio, 2021 / Courtesy of the Artist and Almine Rech - Photo: © Jae Kim

  • Claire Tabouret: I am spacious, singing flesh


    Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia
    Curated by Kathryn Weir
    April 23 – November 27, 2022 | Palazzo Cavanis
    Opening Reception on Wednesday, April 20, 2022 from 6 pm to 9 pm


    ‘Claire Tabouret: I am spacious, singing flesh’ presents a new critical reading of key dimensions of the Los Angeles-based French artist’s work in a remarkable survey exhibition curated by Kathryn Weir that explores multiple transformations: of self, other, collective identities, struggle, release, refuge. A powerful and unexpected dialogue is created with a number of vernacular devotional objects drawn from archaeological and liturgical collections in Italy, invoking an ambivalent threshold in Tabouret’s practice, a portal into multiple temporalities andsubjectivities through which to consider alternative relationships amongst human beings, and between human beings and their environment, in theface of ecological and social crises and in communication with the supernatural.

    Across 25 works by Tabouret - the earliest from 2008 but drawn mostly from the last decade of the artist’s multifaceted practice - the exhibition articulates various structures and fluidities existing within subjectivity and constructed identities through paintings, sculpture, video and works on paper. Errant subjectivities and magical materialism constitute thematic axes of the exhibition. Gradually, a suspended potential and metaphysical friction inscribed in the works comes to the fore through associations interior and exterior, material and spiritual, visible and invisible.

    This exhibition is presented by FABA (Fundación Almine y Bernard Ruiz-Picasso para el Arte) in collaboration with Almine Rech. 

    — Kathryn Weir, Curator

    Palazzo Cavanis
    Dorsoduro 920
    30123 Venice

  • Ha Chong-Hyun


    Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia
    Curated by Sunjung Kim
    April 23 – August 24, 2022 | Palazzetto Tito (Istituzione Fondazione Bevilacqua La Masa)


    Kukje Art and Culture Foundation with the support of La Fondazione Bevilacqua La Masa, Venice; Kukje Gallery, Seoul; Tina Kim Gallery, New York; Almine Rech and Blum & Poe are pleased to present a solo exhibition of works by Ha Chong-Hyun, on view at Palazzetto Tito (Istituzione Fondazione Bevilacqua La Masa) as Collateral Event of the Biennale Arte 2022 from April 23. 

    The retrospective will feature a curated selection of more than twenty of Ha’s works from the past six decades, presenting the full breadth of his materials, methods, and creative experimentation. Sunjung Kim, the exhibition curator and Artistic Director of Art Sonje Center, shared:

    “Having lived through Korea’s turbulent modern history that encompasses the Korean War and the division of the peninsula, the postwar economic development policy, and the military regime–all within a period marked by Japanese Occupation, Liberation, and the Cold War, Ha is living proof that art and society are inseparable.”

    Palazzetto Tito (Istituzione Fondazione Bevilacqua La Masa)
    Dorsoduro, 2826 
    30123 Venice

  • Ronald Muchatuta 'I did not leave a sign?'


    Zimbabwe Pavilion at the 59th International Art Exhibition – La Biennale di Venezia
    Curated by Fadzai Veronica Muchemwa
    Commissioner: Raphael Chikukwa, National Gallery of Zimbabwe
    Exhibitors: Wallen Mapondera, Ronald Muchatuta, Kresiah Mukwazhi, Terrence Musekiwa
    April 23 - November 27, 2022 | Zimbabwe Pavilion


    'I did not leave a sign?' seeks to embrace different realms of knowledge and ways of knowing; recalling scientific and technical minds who rebelled against the cultic centers of faith, and brought in a new age through remembering how the twentieth-century disaster demonstrated that science and technology are not infallible, after all, and that modern faith in the objective ideal was an illusion. 

    'I did not leave a sign?' seeks to embrace different realms of knowledge and ways of knowing; recalling scientific and technical minds who rebelled against the cultic centers of faith, and brought in a new age through remembering how the twentieth-century disaster demonstrated that science and technology are not infallible, after all, and that modern faith in the objective ideal was an illusion. 

    The osmosed worlds of reality and technology in the face of new technological innovations, juxtaposed with the ubiquity of mortality in the face of a Global Pandemic, are ever eviscerated through the exhibiting quartet’s expressions. 

    The exhibition will have highly amphibious perspectives; tales of the dispersion, migration and the animated livelihood of being Zimbabwean while governed by invisible threats take center stage in this exposition.

    — Fadzai Veronica Muchemwa, Curator

    Zimbabwe Pavilion
    Santa Maria della Pieta (ground floor)
    Sestiere Castello, 30122, Venice

  • Antoni Clavé 'The spirit of the warrior'


    Curated by Aude Hendgen, Art Historian, Head of the Antoni Clavé Archives &
    Sitor Senghor, Independent curator and galerist
    April 22 – October 23, 2022 | Palazzo Cavalli-Franchetti


    Born in Barcelona in 1913, Antoni Clavé knew the experience of war as early as 1937 then the defeat of the republican army, exile and incarceration. The theme of the warrior is present in his art early on, in his drawings made in the camps. 

    His subject matter is clear: Kings and Warriors, transformed, transmuted even, as Pierre Daix described, thanks to the assemblage technique. This theme of the fighter holds a privileged place, particularly in relation to the statuary and African masks which he surrounds himself with in his parisian studio: his first bronze sculptures made in 1960 represent warriors. They are also present in his object-assemblages and his “armoires”, at the monumental scale, they are always the subjects with the kings in his “tapisseries- assemblage.” It is through the prism of memory of African masks that an original look on the art of Antoni Clavé will be presented.

    The exhibition “Spirit of the warrior” proposed by the ACP Palazzo Franchetti will celebrate the return of Antoni Clavé in Venice and some acclaimed works of art in 1984 will be presented again. It will then be hosted from the 23rd of March to the 27th of May 2023 at the Donwahi Foundation in Abidjan.

    Palazzo Cavalli-Franchetti
    S. Marco, 2847
    30124 Venice

  • Larry Ossei-Mensah and Otis Kwame Kye Quaicoe


    Almine Rech Brussels Thursday
    March 10, 2022 at 7 pm


    On the occasion of the opening of BLACK RODEO: Cowboys of the 21st Century, an in person discussion between curator Larry Ossei-Mensah and Otis Kwame Kye Quaicoe will take place during the opening reception starting at 7pm.


    For press requests, please contact:
    Nicolas de Chérisey: nicolas@alminerech.com

    For other inquiries, please contact: inquiries@alminerech.com