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MGG现场｜托尼 · 克拉格对材料的无限变形与想象
玛丽安 · 古德曼纽约画廊很高兴举办托尼 · 克拉格的全新雕塑展“事件”，展出艺术家从2021年至2022年的新作品。这些采用石头、青铜、钢、木材、玻璃为材料的雕塑，展示了克拉格在雕塑实践上的最新进展和对形式的创新。
在过去的三十年里，克拉格对多晶形态的复杂探索拓宽并改变了我们对雕塑可能性的理解，并展示了如何超越日常及实用的界定去展开想象。他不仅挖掘了材料在艺术表现上的潜力，并综合性地诠释了其中蕴含的能量。他的整个创作生涯致力于研究物质世界——例如材料如何打动、影响及塑造我们——其对世界的重新解读不断演变并充满洞察力。
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 《面具》，2021 / 雕刻石 / 110 x 86 x 36cm
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 《镂空的头》，2021 / 青铜 / 70 x 56 x 65cm
托尼 · 克拉格 / 《瞬间》，2018 / 青铜 / 140 x 107 x 67cm
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 《事件（起源）》，2022 / 耐候钢 / 74 x 20 x 20cm
托尼 · 克拉格 / 《事件（垂直）》，2022 / 耐候钢 / 230 x 84 x 94cm
托尼 · 克拉格 / 《事件（上升）》，2022 / 不锈钢 / 125 x 32 x 37cm
托尼 · 克拉格 / 《事件（独奏）》，2022 / 不锈钢 / 125 x 35 x 53cm
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022
托尼 · 克拉格 / 个展“事件”现场，玛丽安 · 古德曼纽约画廊，2022关于艺术家
托尼 · 克拉格 / 摄影：大卫 · 卡鲁扎
他曾于1988年代表英国参加第43届威尼斯双年展，同年获伦敦泰特美术馆特纳奖。他自1978年起担任杜塞尔多夫美术学院的导师和教授后，还曾担任学院院长。
克拉格的作品曾在世界范围内多次举办重要展览。他近年个展举办地包括奥地利维也纳的阿尔贝蒂娜博物馆（2022）；Heart/海宁当代艺术博物馆，丹麦（2022）；佛罗伦萨二十世纪博物馆（2022）；威尼斯玻璃博物馆（2021）；Haus am Waldsee，德国柏林（2021）；英国诺福克郡霍顿城堡（2021）；佛罗伦萨波波里花园（2019）；卢森堡大公国现代艺术博物馆（2017）；英国约克郡雕塑公园（2017）；古巴哈瓦那国家博物馆（2017）；Von der Heydt博物馆，德国伍珀塔尔（2016）；俄罗斯圣彼得堡冬宫博物馆（2016）；希腊雅典贝纳基博物馆（2015）；纽约麦迪逊广场公园（2014）；盖达尔阿利耶夫中心，阿塞拜疆巴库（2014）；勒姆布鲁克博物馆，德国杜伊斯堡（2013）；北京中央美术学院美术馆（2012）；纳西尔雕塑中心，美国达拉斯（2011）；苏格兰国立现代艺术美术馆，爱丁堡（2011）；巴黎卢浮宫（2011）。
Until 20 December 2022
Marian Goodman Gallery is delighted to present Incidents, an exhibition of new sculptures by Tony Cragg. The exhibition presents the latest developments and formal innovations in Cragg’s sculptural practice with new works from 2021-2022 in stone, bronze, steel, wood, and glass.
Throughout his career Cragg has experimented with a range of forms, often working in groups or ‘families’ of works. From found objects and assemblages, to cumulative and sedimented forms, to vessels and mathematical structures, and from stacks and striations to human profiles and open structures, Cragg’s varied approaches investigate body, material, object, and space and the relationship between them. Summoning ideas and emotions in the viewer, he challenges us to look beyond the imitation of nature—to dream beyond the nascent and imagine meaningful forms that have not yet been made. Often these dreams begin in the daily practice of drawing, visualizing the unseen, unearthing the interstices of a new reality.
In the current exhibition, a new series of sculptures are shown here in the US for the first time. Beginning in the North Gallery, sculptures in wood, bronze and stone explore the unexpected interface between abstraction and figuration. Masks, made from stacked and rounded strata, allude to antecedents of striation and compression in Cragg’s work and summon ancient and contemporary forms. Integers, lush, sinuous forms in stone and bronze, are derived from an intimate series of compositions, and rendered here as a composite of fragments, a torso, for instance, devoid of anatomic elements.
Hollow Heads feature composite elliptical heads, each with hollowed forms that are subtracted from and rest inside one another. An intricate tête-à-tête of fragments in dialogue with one another, they articulate Cragg’s interest in interiors and fragmentation. In No Time, a bronze work, equates complex geological form with organic agglomerations such as bacteria colonies, plant cultures and human crowds.
Cragg’s original compositions in glass mark the return to a material which he experimented with in the nineties. Here, he interprets the form in novel ways, working with master glass makers to manipulate matter in its molten state into original hand-blown sculptures. Whereas the earlier glass works investigated found forms such as the glass bottle, which later prompted inquiry into the vessel itself, the new works, such as Curl or Processor, originate in singular compositions and around themes such as the mutability of totemic form, compound structures, and the axial rotation of an object.
In the South Gallery, Cragg advances his inquiry into open steel structures that he has been exploring for the last ten years in a series of works he then called Hedges, a reference to the thickets and plants he experienced as a child in the south of England. In the new series Incidents, Cragg exploits the innate physical strength of steel to look at the essence of gravity-resisting structures without resorting to industrially formatted materials, such as i-beams and the sheet materials that have dominated and dictated steel forms since the beginning of its historical usage in sculpture making. These upright formations pulse with positive and negative space and refute any proclivity of gravity or stasis. The works — Incident (Stance); Incident (Solo); Incident (Vertical); Incident (Upwards) and Incident (Seed) — cast in corten steel as well as stainless steel, release these strongest of materials from their stiff, jarring industrial components. Cragg’s Dreamsleepers, 2022, in steel, are based on an African headrest that fascinated him for its closeness to the original branch that it was carved from, with its animated form and its minimalist structural functionality: a combination of rationality and dream-like thought.
Important upcoming projects in 2023 include solo exhibitions at Graphische Sammlung Pinakothek der Moderne in Munich and The Twist at Kistefos in Norway.
About the artist
Tony Cragg was born in Liverpool, England in 1949. He has lived and worked in Wuppertal, Germany since 1977. He has been the recipient of numerous awards including the Order of Merit of North Rhine-Westphalia (2018); the Lifetime Achievement in Contemporary Sculpture Award, The International Sculpture Center (2017); the Barnett Newman Foundation Award (2016); the Commander of the Most Excellent Order of the British Empire, (CBE) (2016); the Rheinischer Kulturpreis, Sparkassen Kulturstiftung, Rhineland (2013); the Cologne Fine Art Award (2012); the prestigious Praemium Imperiale Award, Tokyo (2007).
He represented Britain at the 43rd Venice Biennale in 1988, and the same year was awarded the Turner Prize at the Tate Gallery, London. He served as Director of the Kunstakademie, Dusseldorf, after having been a Tutor and Professor there since 1978.
There have been many important solo exhibitions of Cragg’s work worldwide, most recently at Albertina Museum, Vienna, Austria (2022); Heart/ Herning Museum of Contemporary Art, Herning, Denmark (2022); Museo Novecento, Florence, Italy (2022); Museo del Vetro, Venice, Italy (2021); Haus am Waldsee, Berlin, Germany (2021); Houghton Hall, Norfolk, UK (2021); Boboli Gardens, Florence, Italy (2019); MUDAM Luxembourg (2017); Yorkshire Sculpture Park, UK (2017); Museo Nacional Havana, Cuba (2017); Von der Heydt, Wuppertal, Germany (2016); Hermitage Museum, St. Petersburg, Russia (2016); Benaki Museum, Athens (2015); Madison Square Park, New York (2014); Heydar Aliyev Center, Baku, Azerbaijan (2014); Lehmbruck Museum, Duisburg, Germany (2013); CAFA Art Museum, Central Academy of Fine Arts, Beijing (2012); The Nasher Sculpture Center, Dallas (2011); Scottish National Gallery of Modern Art, Edinburgh (2011); and the Musée du Louvre, Paris (2011).
&
GERARD KELLY
PANORAMA
Instagram：mariangoodmangallery
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