Monday, August 26, 2019

Venice: Palazzo Grassi – Luc Tuymans – La Pelle

Palazzo Grassi
Luc Tuymans – La Pelle

At Palazzo Grassi, the first exhibition in Italy of Luc Tuymans, entitled La Pelle – The Skin - until January 6, is part of the cycle of monographic shows dedicated to major contemporary artists, alternating with thematic exhibitions of the Pinault Collection. Curated by Caroline Bourgeois in collaboration with the artist (Mortsel, Belgium, 1958), the show is entitled after Curzio Malaparte’s 1949 novel. It includes over 80 works from the Pinault Collection, international museums and private collections, and focuses on the artist’s paintings from 1986 to today and suggests dialogues and comparisons and rather insist on the spatialisation of the artworks.
Luc Tuymans – Schwarzheide – 2019
site-specific marble mosaic
The artwork painted in 1986 by the artist, the title Schwarzheide comes from a German forced-labor camp and it refers to the drawing by a prisoner in the course of his detention period during the Second World War. The mosaic is the only non-pictorial artwork presented in the exhibition.

Luc Tuymans is considered as one of the most influential painters of the international art scene, he has been dedicating himself to figurative painting since the mid 1980s and has contributed throughout his career to the rebirth of this medium in contemporary art. His works deals with questions connected to the past and to more recent history and address subjects of our daily lives through a set of images borrowed from the private and public spheres – the press, television, the Internet. The artist renders these images by dissolving them in an unusual and rarefied light; the slight anxiety that emanates from them is able to trigger – according to the artist himself – an ‘authentic forgery of reality.

Luc Tuymans – Me – 2011

Mountains – 2016
Body - 1990

Whilst taking inspiration from existing images, Luc Tuymans’ approach to painting has nothing to do with perfect representation, but rather with taking a risk. The artist claims that painting should entail a void, a flaw, and it is in this ‘absence' that the visitor should rewrite his own version of the story, its narrative. In this sense, his work could be better described as conceptual, rather than figurative. Another fascinating aspect of his work is its being silent: his paintings are often monochromes, with dull shades that range from warmer to colder, with a flattened perspective. He does not intend to take the visitor by the hand, he is asking him to make an effort to come closer; a reflection and a physicality instead”.
Caroline Bourgeois

Caroline Bourgeois and Luc Tuymans

Our New Quarters – 1986
A Flemish Intellectual – 1995
Disenchantment – 1990

K – 2017

Rearview Mirror - 1986

 Orange Red Brown - 2015
Isabel – 2015

 The Shore - 2014

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