Peter Doig, Rain in the Port of Spain (White Oak) (2015), all photos by Sophie Kitching for Art Observed

Venetian Ettore Tito was one of the first stars of the Venice Biennale at its inception, presenting his work in almost every one of the early exhibitions through at 1920.  The artist’s colorful compositions often tinged with a slightly surreal, impressionist edge, were a prize of the Italian state in the early decades of the twentieth century, and often filled rooms during the first exhibitions in the city.

It’s a fitting parallel then, that the Scottish-born Peter Doig would be tapped for an exhibit at the former home of the artist, and current location of the Fondazione Bevilacqua La Masa.  Presenting a body of new works, including fourteen paintings and an additional six large-scale canvases, the exhibition’s intimate locale and rich history offers a strong parallel for Doig’s own interpretive and illusory meditations on modernity, memory and fantasy.

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The Guardian has published an article examining the comic sensibilities of René Magritte, and his deliberately succinct style of painting that some liken to its own brand of a visual punchline.  “Magritte always claimed he was against interpretation,” says Professor Elsa Adamowicz. “His images suggest narratives or meaning, but that meaning is suspended, as in our dreams.” (more…)

Cao Fei, HIP HOP NY (2006) via Art Observed

There’s few places in New York that one could find a small-scale show pushing the envelope the way that Brooklyn Rail’s Phong Bui is currently pushing it at Red Bull Studios.  Combining historically rich pieces with a number of young artists and many frequently outside the spotlight of New York’s blockbuster arts calendar, the exhibition is a dizzying combination of forms, spaces and images, from surrealist painting to bizarre installations and architecture and back. (more…)

Jim Shaw, The Deluge (2014), all images via Osman Can Yerebakan for Art Observed

With a humorous wit and sarcastic tone, Jim Shaw has been mining the deep archive of Americana for decades, uniting the supposedly separated elements of high and low culture into comic pieces that carry a deeply caustic undertone. The artist’s newest show at Metro Pictures, I Only Wanted You to Love Me, continues this trend, featuring acrylic on muslin works that pull from expansive investigations of visual representation through strong symbolism and appropriation. (more…)

Marcel Dzama, Une Danse des Bouffons (still) (2013), via Art Observed

Marcel Dzama’s latest film, Une Danse des Bouffons (A Jester’s Dance) (2013), is on view now at David Zwirner’s 525 and 533 West 19th Street spaces, marking the premier showing of the film in the United States.  The exhibition, featuring a number of collaborations and multi-media projects, includes a 7-inch vinyl release of the film’s soundtrack, with haunting, largely instrumental music by members of the band Arcade Fire.

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Roxy Paine, Checkpoint (2014), via Henry Murphy for Art Observed

Roxy Paine makes work that can perhaps only be described as a challenge: large-scale carved wood sculptures capturing the most banal and unimposing scenes of contemporary American life.  Executed with a painstaking hand, the intense verisimilitude of his scenes and objects takes on a surrealist edge, oscillating between stark realism and its material grounding. (more…)

The New York Times interviews Marcel Dzama this week, in the wake of the artist’s opening at David Zwirner, alongside his collaborators Kim Gordon and Tim Kingsbury (of Arcade Fire).  The trio worked together on Dzama’s newest film Une danse des bouffons (A jester’s dance), a fantastic film incorporating numerous Dadaist and Surrealist references into a work inspired by the affair between Marcel Duchamp and sculptor Maria Martins.  “It’s amazing how many things you can do when you’re just pretending,” says Gordon. (more…)

Zhang Xiaogang, The Prisoner of Book No. 5 (2014), Courtesy of Pace Gallery

One of the major artists tied to the recent boom of Chinese contemporary art, Zhang Xiaogang has gained some impressive recognition in the last decade, proven in particular by his recent auction record.  Referring to certain Western styles of Surrealism and German Expressionism, Ziaogang has been delivering a body of visually captivating figurative paintings, building a signature style from hybridized forms of the subliminal and the physical in human consciousness. (more…)

René Magritte (Belgium, 1898-1967). La clairvoyance (Clairvoyance). 1936. Oil on canvas. 21 1/4 x 25 9/16″ (54 x 65 cm). Mr. and Mrs. Wilbur Ross. © Charly Herscovici -– ADAGP – ARS, 2013

The work of René Magritte is nothing if not recognizable.  His subtle, often humorous subversions of painterly convention and semiotic understanding are foundational elements of the early 20th century avant-garde, from  to his classic piece of semantic self-destruction, The Treachery of Images to the dreamlike paintings of imagined worlds and pastiched approaches to conventional subjects.  It’s these iconic works that form the center of the artist’s exhibition at the Museum of Modern Art, examining his early works as the foundations of both his own career, and the vital lifeline of Surrealism in the twentieth century.

René Magritte (Belgium, 1898-1967). La durée poignardée (Time Transfixed). 1938. Oil on canvas. 57 7/8 x 39″ (147 x 99 cm). The Art Institute of Chicago, Chicago. Joseph Winterbotham Collection. © Charly Herscovici -– ADAGP – ARS, 2013 (more…)

The Wall Street Journal reports on a lost painting by Magritte, which researchers claim was cut up into separate pieces and painted over.  While the practice is relatively common, the work in question, The Enchanted Pose, was exhibited on its own in 1927 before being reused.  Several parts of the piece have already been located, and museums around the world are searching for other missing pieces. (more…)

Artist Lia Chavez and Surrealist-attired guests at A Surrealism Salon

On Monday July 29th, Performa presented A Surrealism Salon at the downtown loft of artist Lia Chavez, who presided over the event and moderated the eclectic panel discussion with speakers Dr. Megan Fleming, therapist Heide Banks, Performa 13 artist Shana Lutker, Peforma assistant curator Summer Guthery, and Marc Arthur, Performa research and archives. Modeled on the salon discussions among André Breton, Max Ernst and other early surrealists which helped to develop and continually reshape the 20th century artistic movement, the panel endeavored to “explore dreams and desires.” Addressing a diverse range of topics, the panel used their art historical subject as an unexpected but welcome entry point into more current subjects surrounding the “digital revolution,” such as Facebook and the dating app Tinder.

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Plans to replace 3,000 old masters with modern art in Berlin’s Gemäldegalerie have left many local fans of classical art, and art historians, incensed. The galleries will be filled with an extensive collection of surrealist and expressionist art donated by a billionaire industrialist named Heiner Pietzsch, who gave his collection under the condition that it be displayed in its entirety. The old masters collection–including works by Brueghel, Raphael, and Caravaggio–will be temporarily housed in the Bode Museum, with no plans announced for a permanent home.

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On May 6, a multidisciplinary art festival dedicated to Marchel Duchamp and the creation of his latest and most mysterious masterpiece Etant donnés: 1° la chute d’eau, 2° le gaz d’éclairage opened in Chexbres, Switzerland.  The festival is presented by the Association Kunsthalle Marcel Duchamp, in collaboration with the Philadelphia Museum of Art and ECAL/University of Art and Design, Lausanne.  The floor will be given to the internationally most renowned Duchamp experts who will speak about the Forestay, the Lavaux-Region, Etant donnés and the reception of Marcel Duchamp by contemporary artists.

Etant donnés: 1° la chute d’eau, 2° le gaz d’éclairage by Marcel Duchamp via Artdaily

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