Together they travelled to the United States and to Asia, where Soulages was struck by the grace of traditional calligraphy. As a young artist in the 1950s, Soulages was close with Zao Wou-Ki, who had just moved from China to Paris.
Courtesy Fondazione Enrico Castellani.Īnother highlight of the booth is Pierre Soulages’ Peinture 202 x 143 cm, 14 aout 2015. Enrico Castellani, Superficie argento, 2008. Castellani is the first Italian artist to win the Praemium Imperiale awarded by the Emperor of Japan. Concurrent with Art Basel Hong Kong, Dominique Lévy Gallery will present the first solo exhibition by the artist in London (February – March 2016). In the late 1950s, Castellani co- founded the gallery Azimut and related journal Azimuth with Piero Manzoni, and also formed part of the ZERO network with Klein and Günther Uecker among other artists. Although Castellani has stressed the importance of the colour silver in his oeuvre, he has created few works in this hue. Comprising geometric patterns of protrusions and depressions created by a framework of nails, Castellani’s Superfici (Surfaces) explore and manipulate the movement of light across the canvas and evoke the infinite. © 2016 Chung Sang-Hwa.Įnrico Castellani will also be represented in the gallery’s booth with Superficie argento (2008), one of the artist’s iconic monochrome shaped canvases. Also included in the booth will be Lee Ufan, another prominent member of the Tansaekhwa school, whose work focuses on the subtleties of and variations between negative and positive space, exemplified in the work on view, From Line (1979). Dominique Lévy New York is organising a joint exhibition of Chung’s works with Green Naftali from May to August 2016. Chung has continued to employ this highly disciplined artistic method for over forty years, creating a sustained body of work reflecting on the notions of temporality and universality. The artist then fills the exposed areas in acrylic, often with several layers of paint. During the 1970s, Chung developed his ‘rip and fill’ technique, a repetitive, detailed, and deeply meditative process by which the canvas is covered in kaolin clay, scored with a grid, and individual squares are removed. During that time, he became associated with the Korean Tansaekhwa movement, which incorporated the notion of spiritual and aesthetic ‘oneness’ through the use of the monochrome (Tansaekhwa literally translates as ‘one colour’). Chung moved to Paris in the 1960s to study Western art and settled in Japan in the 1970s. Korean painter Chung Sang-Hwa,whose Untitled 83-12-15 (1983) is included in the booth, sustained a career-long investigation into the monochrome format. In exhibiting a wide variety of artists working in the mid-twentieth century, Dominique Lévy’s booth will examine the various concerns and tendencies that arose throughout the world, variegated by individual artists’ sociopolitical backgrounds and commitments, in the postwar generation. For others, overseas scholars and curators provided a platform for international recognition. Many of these artists travelled extensively throughout their careers and drew inspiration from the aesthetic and cultural traditions of foreign nations. Featuring works by Enrico Castellani, Chung Sang-Hwa, Kazuo Shiraga, Pierre Soulages, Frank Stella, and Cy Twombly, as well as Tsuyoshi Maekawa, Rudolf Stingel, and Lee Ufan, Dominique Lévy’s booth weaves a cross-cultural narrative, placing together a diverse group of artists in dialogue in their sensibility and approach to the language of abstraction. Dominique Lévy is pleased to participate in Art Basel Hong Kong with a booth that bridges parallel movements in Europe, America, and Asia and explores global tendencies in modern and contemporary art.
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