Paul Kasmin Gallery is pleased to announce its upcoming participation in three sections of Art Basel Hong Kong, 2018.
In addition to the main gallery booth (3D18) in the core section of the fair, Paul Kasmin presents Iván Navarro in Encounters and Mark Ryden in the Kabinett section. Ryden, having designed the costumes and set for the American Ballet Theatre’s Whipped Cream (on view at the Hong Kong Cultural Centre March 22 - 25) will also present his new sculpture Quintessence 132 - Macro Dodecahedron off-site at Hong Kong’s PMQ in the Hollywood Garden (March 26 - April 5). An exhibition of Robert Indiana’s work, LOVE Long, is on view at the Asia Society, Hong Kong, throughout the fair’s duration and on until July 15.
Art Basel Hong Kong, Booth 3D19
Returning to the fair for its 8th edition, Paul Kasmin Gallery presents a group exhibition showcasing highlights such as Constantin Brancusi’s Torse de Jeune Homme, Robert Indiana’s October is in the Wind (2000) and Morris Louis’ Alpha Kappa (1960). Works by Milton Avery, Walton Ford, David Hockney, Claude Lalanne, Roxy Paine, Robert Motherwell, Robert Polidori, Iván Navarro, and Bosco Sodi will also be on view.
Iván Navarro in Encounters
Chilean artist Iván Navarro is known internationally for his socio-politically charged sculptures of neon, fluorescent and incandescent light. The artist’s presentation in Encounters - Art Basel Hong Kong’s section dedicated to large-scale sculpture and installation - is titled Compression and consists of two works: Flatlands (2018) and Tuning (2015.)
Flatlands is composed of two elements: the map of the world and a wooden cube. The original world map image from which the work is derived is an abstraction of the continents shaped by dots in a grid. It remains impossible to make a perfectly accurate measurement of the globe, and there are many images, from geographical to political, that put into question which is real. Metaphorically and ironically, Flatlands is another abstract representation of the world.
Tuning is comprised of a towering pyramid of six drums with the words HIGH, TONE, TUNE, BASS, MUTE, and DEAF embedded in LED lights. This monumental work produces a visual representation of sound whilst it negates the original function of the instruments; ‘playing a song,’ in the absence of sound. The inherent silence and stillness of the artwork create an uncanny perception of audio and movement, probing the relationship between sight and sound.
Mark Ryden in Kabinett
Mark Ryden’s works will be displayed in Art Basel Hong Kong’s Kabinett section, in a separately curated, delineated space, acting as a part of the gallery’s main art fair booth (3D18). This annexed section brings together the aesthetic and playful atmosphere of Whipped Cream with bespoke walls.
The works presented in the Kabinett section (approximately 16 in total) feature characters from Whipped Cream and include both preparatory drawings and new paintings of varying size. A medium-scale edition of his new sculpture, Quintessence 132 - Mezzo Dodecahedron, will sit at the center of the space, available as an edition of 6 + 2 AP + 1 PP. The enigmatic figures depicted in paintings such as Swirl Girl (#130) and Whipped Cream Girl (#131) offer a continuation of the artist’s unique perspective on the beauty of childhood innocence presented amid an underlying sense of disquiet.
Mark Ryden at PMQ, Hong Kong
Quintessence 132 - Macro Dodecahedron, is a new sculptural work that continues Mark Ryden’s exploration of the dodecahedron as a unique geometric form with significant mathematical and philosophical resonance. The dodecahedron belongs to a small group of five geometric solids that share a simple set of parameters: the same polygon on every face, and the same number of faces at each vertex.
Following its installation at the Hong Kong Cultural Centre during the Hong Kong premiere of the American Ballet Theatre’s Whipped Cream, the sculpture will be on public display from March 26 to April 4 at PMQ in Central Hong Kong. Quintessence 132 - Macro Dodecahedron includes an array of brightly-colored icons, figures, and symbols on each of the pentagonal panels that form the solid. These symbols are dominated by the “all-seeing eye”, a recurring motif in the work of the artist.
For more information, please contact [email protected]
Private View (by invitation only)
Tuesday, March 27, 2018
Wednesday, March 28, 2018
Wednesday, March 28, 2018, 5pm to 9pm
Thursday, March 29, 2018, 1pm to 9pm
Friday, March 30, 2018, 1pm to 8pm
Saturday, March 31, 2018, 11am to 6pm