- Information
-
’Maisons Fragiles’ is on view until 6 February. For more information visit Hauser & Wirth’s website
Photography courtesy the artists and Hauser & Wirth
- Address
Hauser & Wirth London
23 Savile Row
London, W1S 2ET- Telephone
- 44.207 287 2300
Louise Bourgeois’ precariously balanced series of sculptures give the illusion of frailty, but on closer inspection a steel construction provides them with a hidden strength. Appearing like empty houses, the ‘Maisons Fragiles’ are a commentary on the solitude of domestic life, confronting the deeply repressed issues that conditioned her youth.
Now, the title of these poignant works has given birth to a new exhibition of the same name, currently on show at Hauser & Wirth London. Led by Bourgeois’ steel houses, the exhibition encompasses the work of nine artists united by themes of fragility, vulnerability and protection.
Slightly bowed like glossy rose-tinted pools of liquid or blocks of ice, Roni Horn’s translucent glass sculptures Two Pink Tons, 2008, sit in the centre of the smaller gallery space, appearing as if suspended in time and space. On the adjacent wall, Richard Serra’s flat corten wall sculpture, Untitled, 1975, with its time-work patina, is a manifestation of the artist’s interest in the collision of matter and space.
Elsewhere, Robert Gober’s Untitled (Bent Door), 1988 – a door which appears to be folding in on itself – is a disarming piece that triangulates with the floor, presenting itself to the viewer as an obstacle that they must traverse around within the gallery space. In Gordon Matta-Clark’s Splitting, 1974, a suburban house in New Jersey is cut with a chainsaw and rearranged by Matta-Clark, creating unexpected apertures and incisions. On a smaller scale, Isa Genzken’s rough-hewn concrete forms appear like crumbling brutalist architectural models.
Also on show are two delicate papier-mâche sculptures by Eva Hesse that explore containment in connection with the psychological experience of domestic space, while sculptures by Alexander Calder and Fausto Melotti are exercises in articulating space.
Encompassing work spanning 60 years of artistic practice, the exhibition includes pieces by Louise Bourgeois, Alexander Calder, Isa Genzken, Robert Gober, Eva Hesse, Roni Horn, Gordon Matta-Clark, Fausto Melotti and Richard Serra
Encompassing work spanning 60 years of artistic practice, the exhibition includes pieces by Louise Bourgeois, Alexander Calder, Isa Genzken, Robert Gober, Eva Hesse, Roni Horn, Gordon Matta-Clark, Fausto Melotti and Richard Serra
Louise Bourgeois’ Maisons Fragiles, 1978, a precariously balanced series of sculptures that lends its name to the title of the exhibition, confronts the deeply repressed issues that conditioned the artist’s youth
Louise Bourgeois’ Maisons Fragiles, 1978, a precariously balanced series of sculptures that lends its name to the title of the exhibition, confronts the deeply repressed issues that conditioned the artist’s youth
Slightly bowed like glossy rose-tinted pools of liquid or blocks of ice, Roni Horn’s translucent glass sculptures Two Pink Tons, 2008, sit in the centre of the smaller gallery space
Slightly bowed like glossy rose-tinted pools of liquid or blocks of ice, Roni Horn’s translucent glass sculptures Two Pink Tons, 2008, sit in the centre of the smaller gallery space
On the adjacent wall, Richard Serra’s flat corten wall sculpture, Untitled, 1975, is a manifestation of the artist’s interest in the collision of matter and space
On the adjacent wall, Richard Serra’s flat corten wall sculpture, Untitled, 1975, is a manifestation of the artist’s interest in the collision of matter and space
Isa Genzken’s rough-hewn concrete forms appear like crumbling brutalist architectural models (pictured left), while Fausto Melotti’s I lavandai (The Launderers), 1969, encapsulates the artist’s lyrical approach to sculpture, drawing on the lightness and tactility of the delicate materials from which it is crafted (pictured right)
Isa Genzken’s rough-hewn concrete forms appear like crumbling brutalist architectural models (pictured left), while Fausto Melotti’s I lavandai (The Launderers), 1969, encapsulates the artist’s lyrical approach to sculpture, drawing on the lightness and tactility of the delicate materials from which it is crafted (pictured right)
