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We proudly present the first exhibition in Europe of work by the artist Xiao Jiang (b. 1977, Jinggangshan, Jiangxi Province, China). This exhibition spans a broad selection of works from different periods and formats, focusing on two subjects central to his artistic production: landscapes and interiors. In these scenes, which are at once far and near and real and imaginary, human presence is occasional, mostly implied, insinuated by the emptiness left in the spaces people inhabit or pass through. These atmospheric paintings portray unhurried and silent environments, inviting reflection and the viewer’s own interpretation.
This exhibition traced four decades of the career of American artist Alex Katz (b. New York, 1927), who is recognized as one of the great names of his generation.
This carefully chosen selection explored Katz’s personal interpretation of portrait and landscape, genres central to the tradition of Western painting, where his renewed vision has earned him international renown.
This retrospective survey of the New York painter’s creative work took us back to the mid-1970s, and brought us up to the first decade of this century. The exhibition included some outstanding examples of his monumental group portraits from the 1980s, which appeared in dialogue with major landscapes from different periods.
Phil Frost. The Lion Approaches
This project spanned the American artist work of the last two decades, with a special focus on his latest works.
The exhibition showed these recent works, produced over the course of the six years from 2016 to 2021, alongside some of his most emblematic pieces, so that viewers could appreciate more deeply some of the characteristics of his unique creative process.
Frost’s style combines the sharpness and fluidity of urban art, incorporating found materials, with the elegance of a pictorial aesthetic in which geometric schemes dominate and lend dynamism to his complex compositions.
Peter Halley. The Early Paintings
This show was made up of a careful selection of paintings from the second half of the 1980s, a foundational period in Peter Halley’s career.
Halley’s work is characterized by chromatic intensity and uses of the language of geometric abstraction, in his case always with a figurative referent, as he has explained in his own writings on art.
These early paintings establish his characteristic iconography of prisons and cells linked by straight lines that he calls “conduits”. His large-scale canvases with pure colours combine the recurrent use of cell and circuit patterns with flat and relief elements, employing a reduced formal vocabulary that plays with variations of scale and combination or repetition.
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