News

  • TEFAF New York 2022


    May 5 - 10, 2022
    Booth 322

    On the occasion of the TEFAF New York 2022, Almine Rech proposes a group exhibition featuring artists, of different generations and multiple horizons, geographic as much as stylistic. The artists included in our presentation are George CondoGünther FörgLucio FontanaJorge GalindoMichael HilsmanMinjung KimErik Lindman,Tomokazu MatsuyamaPablo PicassoKenny ScharfClaire TabouretDe Wain ValentineOuattara WattsTom WesselmannChloe WiseJi Xin, and Zio Ziegler.

    Private Day (by invitation only):
    Thursday, May 5, 2022, 1 pm to 8 pm

    Public Days:
    Friday, May 6, 2022, 12 pm to 8 pm
    Saturday, May 7, 2022, 12 pm to 8 pm
    Sunday, May 8, 2022, 12 pm to 6 pm
    Monday, May 9, 2022, 12 pm to 8 pm
    Tuesday, May 10, 2022, 12 pm to 6 pm

    Park Avenue Armory
    643 Park Avenue
    New York, NY 10065

  • Ouattara Watts joins Almine Rech


    Almine Rech is very pleased to announce that Ouattara Watts has joined the gallery.


    Almine Rech will feature Ouattara Watts' work at TEFAF New York 2022, at Art Basel Unlimited 2022 and in a solo show at Frieze London 2022. Ouattara Watts will also have his first solo exhibition at Almine Rech Brussels in 2023.

    In his works, Ouattara Watts summons imaginary worlds and mystical visions, from ancestral to contemporary, to observe the metaphysical relationship between creatures. Vibrant colors, mysterious figures, and allusions to spiritual rites in the form of equations and cryptic symbols are apparent, and the interrelationship of these elements creates a dimension unique to Watts. His source material is colorful and varied, from traditional fabrics and paint to cut-out photographs and digital prints. The added layers forge a sense of his multicultural identity and reflect upon an increasingly multicultural society. Regardless of the origin of these elements, the discernable spiritual power of his works conveys another world that is both instantaneous and timeless.

    Born in the Ivory Coast in 1957, Watts lives and works in New York and considers himself an American artist. He was persuaded to move to the city in the late '80s by Jean-Michel Basquiat, after meeting the artist at an opening in Paris. Lifelong friends, a thematic similarity is evident in their art, both of which highlight African culture, philosophy, and spirituality.

    Ouattara Watts is represented by Karma and Almine Rech.

    Ouattara Watts has been exhibited at the Whitney Biennial, the National Museum of African Art, Smithsonian Institute, the Venice Biennale, and MoMA. His work can be found in the collections of the Museum of Modern Art, New York, New York; Smithsonian National Museum of African American Art, Washington, D.C.; The Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Collection Mohammed IV, Morocco; Fondation Dapper, Paris, France; Tang Teaching Museum and Art Gallery, Saratoga Springs, New York; and the UC Berkeley Museum of Art and Film Archive, Berkeley, California, among others.

    Portrait of Ouattara Watts, 2022 / Courtesy of the Artist and Almine Rech - Photo: © James Fischetti

    More information

  • Farah Atassi: Resting Dancers


    April 29 - May 14, 2022


    EXPLORE ONLINE! 

    Almine Rech Shanghai is pleased to present Farah Atassi's third solo exhibition, on view from April 29 to May 14, 2022. Given the current health situation in Shanghai, the exhibition is currently visible via the gallery’s online viewing room.

    The society of the spectacle. The performance is over, or perhaps it is yet to begin. Farah Atassi's dancers are at rest, sometimes even asleep, on a stage with a half-open curtain, not for some ballet but for other art forms. Indeed, in the center of a space lined entirely with an impeccable grid that plays almost hypnotically with the reclining dancer's striped costume, striped paintings emerge from the decor, while on the ground a frame seems to be waiting to become an abstraction. These intersecting lines in Sleeping dancer 3 reveal other crossings, other encounters — those of painting, dance, and theater. This singular dialogue occurs again on the stage of Dancer on stage 2: next to some striped paintings strewn on the floor, the dancer, revealing her intimacy — she only wears a blouse and some slippers — lounges in the stage area, exposing an abstract, undulating decor that merges with the stage curtains. 

    — Marjolaine Lévy, art critic and curator

    For inquiries, please contact: inquiries@alminerech.com

    Photo: Farah Atassi, After the Show, 2021 - Glycero and oil on canvas - 200 x 160 cm, 78 1/2 x 63 in / © Farah Atassi - Courtesy of the Artist and Almine Rech - Photo: Matt Bohli

     

  • Art Brussels - Booth B43


    April 28 – May 1, 2022


    On the occasion of Art Brussels 2022, Almine Rech proposes two solo shows by César Piette and Jenny Brosinski as well as a group presentation featuring Alice AndersonJean-Baptiste BernadetSzablocs BozóJavier CallejaGordon CheungJohan CretenPaul de FlersGerasimos FloratosJorge GalindoMadelynn GreenAaron JohnsonMichael KaganTarik KiswansonAlexandre LenoirJohn McAllisterAlexis McGriggPeter PeriRyan SchneiderThu Van Tran and Brent Wadden

    César Piette, Still life with dead fish, lemon and pan, 2022 - Acrylic on board, 73 x 62.5 cm, 28 1/2 x 24 1/2 in

  • Almine Rech now represents Minjung Kim


    Almine Rech is pleased to announce the representation of Korean artist Minjung Kim in Shanghai, United Kingdom, France, Belgium, and New York.


    Her first collaboration with the gallery will be a solo exhibition at Almine Rech New York in 2023, and then a solo show at Almine Rech Paris, Matignon in 2024. Almine Rech will also feature Minjung Kim's work at TEFAF New York 2022 and Art Basel Basel 2022.

    Born in South Korea and working in Italy, Minjung Kim is well-known for her layered translucent ink works. Using traditional Korean Hanji paper in her paintings, the flow and perceived three-dimensionality of her works evoke a sense of serenity that embraces light and space. The pleasing color palette is subdued and gentle while maintaining a powerful representation of beauty and commentary on her vision of the world.

    Minjung Kim’s work connects deeply with the likes of James Turrell, the first artist exhibited by the gallery.

    A sense of abundant space and cosmos is a characteristic shared between Kim and Turrell. Interestingly, in its meditative gestures, Kim’s work depicts this sentiment through marking Hanji paper with water, inks made of smoke or natural pigments, and cut-paper collages.

    Kim's Korean heritage paired with her study of Western art while in Italy allows for her work to flourish through elements of both cultural spheres, and this successful coalescence is clearly brought forward in Kim’s captivating paintings.  

    Over the past two decades, she has presented her works in Italy, Switzerland, China, the UK, the US, and Israel, among other countries. She has been the subject of solo exhibitions at renowned museums around the world, including Macro (Museo d’Arte Contemporanea Roma), Rome, Italy (2012); Hermès Foundation, Singapore (2017); Langen Foundation, Neuss, Germany (2019); and Hill Art Foundation, New York, US (2020). 

    She introduced her works in Korea in the exhibition Traces (2015) at OCI Museum of Art, Seoul, South Korea; and the international invitational exhibition Making the Void, Filling the Void (2018) at Gwangju Museum of Art, Gwangju, Korea. Kim's presentation at The Light, The Shade, The Depth at Palazzo Caboto in Venice, Italy, curated by Jean-Christophe Ammann, received particularly enthusiastic international reviews. She has also participated in the Gwangju Biennale in 2004 and 2018. 

    Her works are included in the collections of major institutions such as the British Museum in London, UK; Hill Art Foundation and Herbert F. Johnson Museum of Art in New York, Princeton University Art Museum in New Jersey, Rhode Island School of Design Museum in Rhode Island, US, among others.

    Minjung Kim currently lives and works between New York and South France.
    Almine Rech will represent the artist in close collaboration with Gallery Hyundai.

    Portrait of Minjung Kim
    Courtesy of the Artist and Almine Rech

    More information

  • 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