Guillermo Kuitca
22 Sep - 06 Nov 2010
GUILLERMO KUITCA
Paintings 2008 - 2010, Le Sacre 1992
22 September 2010 through 6 November 2010
For its inaugural exhibition at 257 Bowery, Sperone Westwater is pleased to announce an exhibition of new paintings by Guillermo Kuitca. This is Kuitca’s eighth solo show with Sperone Westwater.
Kuitca’s new paintings developed from a series he first showed in 2007, when he represented Argentina at the Venice Biennale. While the subject of the canvases in Venice was by and large abstraction itself, in this new group Kuitca mixes the abstract with compositional motifs of his own past series. Alongside his pictorial explorations of light and shadow, color and construction, and the transparency of planes, Kuitca incorporates elements of past series such as fragmented maps, architectural floor plans, and thorns. Some works, such as Untitled (2009), are monumental in scale, while others like Philosophy for Princes I (2009) are small, emphasizing the dramatic and shifting height of the new gallery spaces. Kuitca says these paintings “emerged from an anonymous way of accessing modernism. The result is a sort of explosion of chronology, in which all references almost cancel each other out.”
Paintings 2008 - 2010, Le Sacre 1992
22 September 2010 through 6 November 2010
For its inaugural exhibition at 257 Bowery, Sperone Westwater is pleased to announce an exhibition of new paintings by Guillermo Kuitca. This is Kuitca’s eighth solo show with Sperone Westwater.
Kuitca’s new paintings developed from a series he first showed in 2007, when he represented Argentina at the Venice Biennale. While the subject of the canvases in Venice was by and large abstraction itself, in this new group Kuitca mixes the abstract with compositional motifs of his own past series. Alongside his pictorial explorations of light and shadow, color and construction, and the transparency of planes, Kuitca incorporates elements of past series such as fragmented maps, architectural floor plans, and thorns. Some works, such as Untitled (2009), are monumental in scale, while others like Philosophy for Princes I (2009) are small, emphasizing the dramatic and shifting height of the new gallery spaces. Kuitca says these paintings “emerged from an anonymous way of accessing modernism. The result is a sort of explosion of chronology, in which all references almost cancel each other out.”