• Liliana Motta,Dehors, 2017. Installation paysagère sur l'Ile de Vassivière. Commande du Cnap en dépôt au Ciap. © Liliana Motta / Cnap / Photo : Aurélie Mole
  • Rachel Whiteread, Chicken Shed, 2017, béton, 2160 x 2290 x 2780 mm. Courtesy l'artiste © Rachel Whiteread. Photo: © Tate
  • Installation image: Toby Ziegler, Slave, 2017 © New Art Centre
  • Robert Irwin, untitled (dawn to dusk), 2016. installation exterior, 2016. Collection permanente, The Chinati Foundation, Marfa, Texas. Photo by © Philipp Scholz Rittermann, courtesy of the Chinati Foundation. © 2017 Robert Irwin / Artists Rights Society (ARS), New York. © Adagp, Paris, 2017
  • Loris Cecchini, Waterbones (Sensitive Chaos), 2016 - Courtesy GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana © Oak Taylor Smith
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October’s picks

News - 10/10/2017 - Article : Barbara Fecchio

Colloque : L’art dans l’espace rural
Centre international d’Art et du Paysage (Île de Vassivière, France)
October 13th- 15th, 2017
In the context of the exhibition Transhumance, the CIAP is organizing a three-day conference on the question of contemporary art creation in rural space. Here are some of the topics to be discussed during the weekend: renewing the sculpture park model, create with the challenges faced by today’s rural world and identify the specificities of art in the rural space.

Rachel Whiteread
Tate Britain (London, England)
Until January 21st, 2018
Tate Britain is honoring British artist Rachel Whiteread with an exhibition retracing her career, from her most famous sculptures dating back to 1988 to Chicken Shed, a new monumental concrete installation located outside the museum. This is a good opportunity to discover the work of one of Britain’s major contemporary sculptors, who also was the first woman to obtain the famous Turner Prize in 1993.


Vision. Creation. Obsession
Henry Moore
Arp Museum (Remagen, Germany)
Until January 7th, 2018
“Everything I do I intend to make on large scale.” Henry Moore
The Arp Museum celebrates its ten-year anniversary with an exhibition on British artist Henry Moore. The project unfolds outside the museum — on the banks of the Rhine as well as in the park along the river — and expands to the rooms of the museum where some of his monumental sculptures will be displayed.

Toby Ziegler
New Art Centre (Salisbury, England)
Until November 26th, 2017
Painter and sculptor Toby Ziegler’s artistic work stands between classical form and a digital manipulation of the image. With software, he works, transforms and manipulates images until they lose their original aspect and become something else. For his sculptures, he starts his research with 3D digital reproductions and then creates a maquette, most often made of cardboard, wood or aluminum. The corpus of works presented in Slave illustrates this modus operandi thanks to 3D printers. Born from three years of research, the pieces are openly referring to the work of Henri Matisse.

Bridget Riley
Chinati Foundation (Marfa, Texas, United States)
Opening October until the end of 2019
Since her first wall painting in the corridors of the Royal Liverpool Hospital back in 1983, Bridget Riley has kept exploring this technique on the walls of numerous museums and galleries in Europe and the United States. The mural, which almost entirely covers the Foundation, is her largest work to date. As referenced in the title, Wall Painting, Royal Liverpool Hospital 1983-2017, this new work establishes a continuity with her first wall painting.

Continua Sphères ENSEMBLE
Le 104 (Paris, France)
Until November 19th, 2017
One of the main goals of Le 104 and Galleria Continua is to make contemporary art accessible to the largest audience possible. To celebrate both the ten-year anniversary of the Moulins gallery (located near Paris) and of the annual exhibition Sphères — Le 104 collaborated with galleries and foundations to offer a selection of international artists and works rarely presented in France. José-Manuel Gonçalvès, director of Le 104 and exhibition curator comments: “The collaboration of participating galleries and foundations proves how a close partnership can break down wavering positions and create an alliance based on a friendship and an impetus that start with art.”

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