![]() For the most part they are represented alone, engrossed in their own thoughts or activities. In Olowska’s latest series of paintings female figures are captured posing, working or acting in diverse backgrounds. With this exhibition Olowska invites us to thoroughly re-contemplate representations of women, particularly within an art historical context, and to redefine the purpose of their portraiture how, she asks, can we reformulate tradition to encompass what has been destroyed and what needs to be invented? Spanning the gallery’s three floors, Destroyed Woman puts forward a visual and emotional landscape through which to contemplate the self and the other, provoking our consideration of themes such as womanhood, ageing, the power of tradition and the spectator’s gaze. Paulina Olowska’s exhibition at Simon Lee Gallery, London, constitutes the latest chapter in the artist’s continuous and fertile research into image-making, exploring the ways in which she interprets painting as a vehicle for her idiosyncratic visions and as a facilitator for the exchange of feelings and sensations with the viewer. Mack, Robert Morris, Robert Rauschenberg, and Michael E. Among the artists on view are Anna Betbeze, Elaine Cameron-Weir, Verena Dengler, ektor garcia, Mike Kelley, Eric N. With works dating from the 1970s to the present, the show reflects eclectic material sensibilities generated from production methods that are alternatively virtuosic and hand-crafted, on the one hand, or industrial and ad hoc, on the other. Blurring boundaries between painting and sculpture as well as between craft and fine art forms, artists from three generations are put in discussion with one another, as they transform found and commonplace objects into new works, alternatively reflecting uncanny sensibilities or an embrace of cultural or gendered embodied identities. Since Last We Met centers around an imagined set of metaphorical conversations among artists who experiment with notions of materiality. Simon Lee Gallery, New York, is pleased to present Since Last We Met, an intergenerational group exhibition organized by Debra Singer in collaboration with Simon Lee Gallery. Like Morris’ News from Nowhere, Perret’s project engages with the promise of an ideological agenda that promotes egalitarian human relationships. The Crystal Frontier explores the lives of an autonomous community who have abandoned Western neoliberal society for the remote desert of South Western Mexico, envisaged by the artist as a refuge from the ills of capitalism and patriarchal convention. Perret’s practice directly references Morris, whose vision of a utopian future reflects the fictionalised women-only commune that has been central to her work for the past two decades. Yet just as quickly as he finds himself in this paradise, Guest is transplanted back to the nineteenth century where he resolves to make his dream of the future a reality of the Victorian social order. Following revolutionary upheaval, England, now called ‘Nowhere’, has become a humane socialist society in which all people live in equality. Blending utopian socialism with science fiction, the narrative follows William Guest who, after returning home from a meeting of the Socialist League, wakes the next morning to find himself catapulted into the twenty-first century and into a world beyond all recognition. The exhibition’s title derives from British polymath and socialist activist, William Morris’ 1890 novel of the same name, in which he imagines a utopian future liberated from systems of capitalism. This will be her second solo exhibition at the Hong Kong gallery. Simon Lee Gallery is pleased to present News from Nowhere, an exhibition of new works by Swiss artist Mai-Thu Perret. As an icon of the artist’s most renowned series, Blah, Blah, Blah invites the viewer to experience a total immersion into Bochner’s central doctrine: the intersection of linguistic and visual representation. Blah, Blah, Blah is infused with a sense of ritual and drama inherent to many forms of worship and that invokes connotations of artistic pilgrimage, bringing to mind seminal destinations including Bochner’s contemporary Robert Smithson’s Spiral Jetty in Utah’s Salt Lake. The painting acts as an altarpiece in the darkened exhibition space, as though a chapel of Blah Blah Blah, inspiring such spiritual associations as the 15th-century polyptych Ghent Altarpiece painted by brothers Hubert and Jan van Eyck, or the more contemporary Rothko Chapel in Houston. On the occasion of its second exhibition at Blanc Art Space’s pop-up project space in Beijing, Simon Lee Gallery is proud to present Mel Bochner’s Blah, Blah, Blah (2011), a monumental eight-part canvas that represents the apex of his eponymous body of work.
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