Sarah Morris
dal 12/5/2011 al 24/6/2011
Segnalato da
12/5/2011
Sarah Morris
Air de Paris, Paris
The exhibition title Personal Best is a reference to the 1986 movie by Robert Towne, to whom Morris devoted a film in 2006. She has used the film poster as the support for one of the drawings in the exhibition. Artist's current work comprises imposing series of abstract paintings, together with films investigating the psychological and symbolic aspects of architecture as a locus of power.
We are delighted to announce the upcoming solo exhibition by Sarah MORRIS, the third by this internationally recognised artist at Air de Paris. The exhibition title Personal Best is a reference to the 1986 movie written by Robert Towne, to whom Sarah Morris devoted a film in 2006. She has used the film poster as the support for one of the drawings in the exhibition.
Sarah MORRIS’s current work comprises imposing series of abstract paintings, together with films investigating the psychological and symbolic aspects of architecture as a locus of power.
In this exhibition she is presenting paintings from her last two series, Knots and Clips. After the building facades of Miami and Las Vegas, the abstract symbols of Rings and the cultural forms of Origami, she has turned to simple office items and their capacity to symbolise such demanding mental operations as establishing connections, liaising and unifying. Devoid of all function, these purely combinatory forms are used to generate intricate motifs in which – despite the pictures' quasi-analytical clarity – form and content are indistinguishable and the colour orchestration heightens the overall complexity.
This notion of rapprochement also sums up marvellously well the similarly discursive approach of Morris's films. Points on a Line, for example, focuses principally on such modernist architectural icons as Philip Johnson's Glass House in Connecticut and Mies van der Rohe's Farnsworth House in Illinois. Scrutinising the surface effects their misleading transparency pretends to deny them, Morris turns today's tediously conventional exercises in critical reassessment of the history of modernism into an icily hypnotic visual contemplation free of any apogee. The same is true of Liam Gillick's sound track: pure flux, precise focus on points of detail without losing sight of the line they form, as signalled by the Kandinsky-sounding title. A title that also, in turn, speaks to us of her paintings.
Morris lives and works in New York and London. She received the Joan Mitchell Foundation Painting Award in 2001, and in 1999–2000 was an American Academy Award, Berlin Prize Fellow. She has widely exhibited internationally, with solo exhibitions including the Museum für Moderne Kunst, Frankfurt (2009), Museo d'Arte Moderna, Bologna (2009), Fondation Beyeler, Riehen⁄Basel (2008), the Museum Boijmans van Beuningen, Rotterdam (2006), Moderna Museet, Stockholm (2005), Palais de Tokyo, Paris (2005), Kestner Gesellschaft, Hannover (2005), Kunstforeningen, Copenhagen (2004), Miami MOCA (2002), Hirshhorn Museum, Washington D.C. (2002), and Nationalgalerie im Hamburger Bahnhof, Berlin (2001). She will be realizing two permanent site–specific artworks in 2010 at the Gateway School of Science in Queens with the architectural firm Pei Cobb Freed and Partners and another at K20 Kunstsammlung Nordrhein–Westfalen Museum in Düsseldorf, Germany, which opened on July 9th, 2010.
opening on Friday 13 May from 6 to 9 PM
Air de Paris
32 rue Louise Weiss - Paris
Gallery open: from tuesday to saturday from 11 am to 7 pm