Allo! Tuymans's interest in this topic has to do with a general negation of modernism and Hollywood's longstanding idealization of the artist as a romantic savage.
David Zwirner is pleased to present an exhibition of new paintings by
Luc Tuymans, which will inaugurate the gallery’s first European location on
24 Grafton Street in Mayfair, London.
The Belgian artist joined David Zwirner in 1994 and this marks his ninth solo
show with the gallery and the first in London since his 2004 retrospective
at the Tate Modern. A forthcoming catalogue published on the occasion
of Tuymans’s tenth show, The Summer is Over (opening in New York on
November 1 this year), will present a detailed overview of each gallery
exhibition as well as a conversation between the artist and David Zwirner.
Tuymans is widely credited with having contributed to the revival of
painting in the 1990s. His sparsely colored, figurative works speak in a
quiet, restrained, and at times unsettling voice, and are typically painted
from pre-existing imagery which includes photographs and video stills. His
canvases, in turn, become third-degree abstractions from reality and often
appear slightly out-of-focus, as if covered by a thin veil or painted from a
failing memory. There is almost always a darker undercurrent to what at
first appear to be innocuous subjects: Tuymans has, in this way, explored
diverse and sensitive topics including the Holocaust, the effects of images
from 9/11, the ambiguous utopia of the Disney empire, the colonial history of his native Belgium, and the phenomenon
of the corporation.
The present exhibition comprises a series of paintings entitled Allo! While an initial source of inspiration was Joseph
Conrad’s Heart of Darkness (1899), the visual reference for the works was the final scene in the 1942 film The Moon and
Sixpence, which itself is an adaptation of W. Somerset Maugham’s eponymous novel from 1919. The plot is loosely based
upon the life of Paul Gauguin and revolves around a stockbroker who leaves his job and family to become an artist,
eventually settling in Tahiti. Following his death several years later, his doctor travels to the primitive studio he left behind
and discovers his paintings—swirly, colorful landscapes and nudes—moments before the late artist’s Tahitian widow sets
fire to everything.
Tuymans’s interest in this topic has to do with a general negation of modernism and Hollywood’s longstanding idealization
of the artist as a romantic savage. Along with the colonial context of Heart of Darkness, which is based in the Belgian
Congo, the indirect reference to Gauguin evokes recent critiques of the early avant-garde’s fascination with lesser
industrially developed civilizations as the “other.” The works are titled after a talking parrot’s greeting to patrons of an
Antwerp bar near the city’s red light district, a tongue-in-cheek reference, perhaps, to modernist artists’ fascination with
the exotic.
Yet Tuymans’s presentation of the film stills complicates a straightforward reading of the subject matter. His works
successively depict the doctor in the darkened interior with the partially illuminated artworks, which in original screenings
of the black-and-white film were dramatically rendered in Technicolor, a now obsolete process that was widely used in
Hollywood until the early 1950s. The doctor becomes merged with the background narrative, while a further presence is
subtly indicated by a dark shadowy outline—that of Tuymans himself, whose reflection was visible in the photographs he
took of the stills.
While the sequential series is reminiscent of graphic illustrations or cartoons, the multiple layers of representations
featured within a single composition draws attention to the medium and exercise of painting itself. By exposing the formal
construction of his works—paintings of facsimile paintings reproduced on film and in turn photographed from a computer
screen—Tuymans at once creates a trompe l’oeil effect in which all media appear simulated, while also exaggerating their
technical differences.
Other works in the exhibition likewise engage with issues of copying, reproduction, and layering. The source material
for two paintings—Peaches and Technicolor (both 2012)—was an early commercial shot in Technicolor, and their almost
fluorescent glow was produced with the same color palette as the Allo! works. Two further paintings—10 PM and Social
Housing (both 2012)—stand out from the brighter works and present shadowy views of a city garden and a social housing
project, respectively. While the former is Tuymans’s own backyard, the latter has more sinister undertones and was inspired
by a documentary on a self-contained community scheme developed by the Nazis in wartime Germany. Also painted from
photographs (and in the case of the latter, a photograph of a television screen), they appear both figurative and abstract,
as if turning a longstanding dialectic about surface and depth into a new painterly challenge that concerns/affirms the
medium’s uniqueness in the mass media age.
Born in 1958 in Morstel, near Antwerp, Belgium, Luc Tuymans was one of the first artists to be represented by David
Zwirner. He joined the gallery in 1994 and had his first American solo exhibition that same year. Tuymans’s work was
recently the subject of a retrospective co-organized by the Wexner Center for the Arts, Columbus, Ohio, and the San
Francisco Museum of Modern Art. It traveled from 2010 to 2011 to the Dallas Museum of Art; Museum of Contemporary
Art Chicago; and the Palais des Beaux-Arts, Brussels. Previous major solo exhibitions include those organized by the
Moderna Museet Malmö, Sweden, in 2009, and the Tate Modern, London, in 2004. Other recent solo exhibitions include
the Centro de Arte Contemporáneo de Málaga, Spain (2011); Haus der Kunst, Munich; Zacheta National Gallery of Art,
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Warsaw (both 2008); Mucsarnok Kunsthalle, Budapest (2007); Museu Serralves, Porto, Portugal; and the Musée d’art
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moderne et contemporain, Geneva (both 2006).
In 2009, Tuymans was the curator of The State of Things: Brussels/Beijing at the Palais des Beaux-Arts, Brussels, which
traveled to the National Art Museum of China, Beijing, and A Vision of Central Europe at the Brugge Centraal, Bruges,
Belgium, in 2010. A catalogue raisonné of the artist’s paintings is currently being prepared by David Zwirner in collaboration
with Studio Luc Tuymans. Compiled and edited by art historian Eva Meyer-Hermann, the catalogue raisonné will illustrate
and document approximately 500 paintings by the artist from 1975 to the present day.
The artist represented Belgium at the 49th Venice Biennale (2001) and his works are featured in museum collections
worldwide, including The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art;
The Museum of Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York;
and the Tate Gallery, London. Tuymans recently donated his portrait of Her Majesty Queen Beatrix of The Netherlands to
the Stedelijk Museum, Amsterdam. He lives and works in Antwerp.
For all press inquiries, please contact
New York: Julia Joern at David Zwirner 1-212-727-2070 julia@davidzwirner.com
London: Sophie Campos at Pelham Communications 44-020-8969-3959 sophie@pelhamcommunications.com
Image: Peaches, 2012. Oil on canvas, 68 1⁄2 x 46 1⁄2 inches (173.8 x 118.1 cm)
Opening reception: Friday, 5 October, 6 – 8 PM
Press preview with the artist: Friday, 5 October, 9:30 AM
David Zwirner
24 Grafton Street London
Admission free