Somerset House 

1-54 Contemporary African Art Fair

4 October 2018 - 7 October 2018

Over the past six years 1-54 has established itself as a leading voice in the global discussion on contemporary African art. 1-54 brings together a diverse set of perspectives from around the world, and has carefully selected 42 leading galleries specialising in contemporary art from 21 countries across Europe, Africa, the Middle East and North America: Angola, Belgium, Côte d'Ivoire, Denmark, Egypt, Ethiopia, France, Germany, Ghana, Italy, Kenya, Morocco, Nigeria, Senegal, South Africa, Spain, Switzerland, Tunisia, the United Kingdom, the United Arab Emirates and the United States .The fair will showcase the work of more than 130 emerging and established artists, working in a wide variety of mediums and from a range of geographical backgrounds comprising 33 countries: Algeria, Angola, Belgium, Benin, Botswana, Burkina Faso, Cameroon, Côte d’Ivoire, the Democratic Republic of Congo, Egypt, Ethiopia, France, Gabon, Germany, Ghana, Haiti, Italy, Kenya, Madagascar, Mali, Morocco, Mozambique, Nigeria, Senegal, South Africa, Sudan, Togo, Tunisia, Uganda, the United Kingdom, the Unites States and Zimbabwe.

Hauser & Wirth

Zeng Fanzhi

10 September 2018 - 10 November 2018


Hauser & Wirth is delighted to present a comprehensive exhibition by renowned artist Zeng Fanzhi this autumn across three of the gallery’s spaces in Zurich, London and Hong Kong. The new form of presentation will reveal recent bodies of work, shown with important paintings. The unifying theme of these presentations is Zeng Fanzhi’s investigations into the possibilities of painting in the contemporary era which the artist continues to explore throughout his oeuvre. While united by this shared concept, each site demonstrates a diverse approach to subject matter: in Zurich the exhibition features new abstract landscapes; in London the focus is figuration; and in Hong Kong paintings and drawings deftly draw on Chinese and Western representation and gesture, reflecting Zeng Fanzhi’s research process and experimental approach. The distinct genres are interwoven and influence one another to create a compelling context in which to view the works. The exhibition will allow viewers the opportunity to gain an unprecedented and in-depth understanding of the future development of Zeng Fanzhi’s contemporary practice. Zeng Fanzhi was born in Wuhan, China in 1964 and graduated from the Hubei Institute of Fine Arts in Wuhan in 1991. One of the most celebrated artists working today, Zeng is lauded across the globe for his technical mastery and ability to conjure emotion from his subject matter.

Witte De With

Ana María Millán A solo exhibition

09 September 2018 - 06 January 2019

Curators: Sofía Hernández Chong Cuy, Rosa de Graaf This exhibition centers on Ana María Millán’s artistic research on the relations between digital cultures, gender and performativity. It premieres her animation Wanderlust (2017), commissioned by inSite/Casa Gallina and developed in Mexico City, as well as two other animations by Millán, one created in her native Colombia and another in Germany, where the artist currently lives and works. The exhibition also features a new series of watercolor paintings where Millán portrays the people and their invented gaming characters that were involved and are ultimately featured in her animations. Creating her work in close collaboration with video gamers and Live Action Role Play (LARP) communities, Millán approaches animation as a tool to invent, and at times simply claim, a meaningful space in this world. When taking on the medium of watercolor painting, she explores the fluid identity of these characters within the genre of fantasy, characteristic of gaming culture. This is Ana María Millán’s first solo-exhibition in the Netherlands.


Tracing Obsolescence organized by Evelyn Owen

08 September - 27 October 2018

Featuring work by: Tahir Karmali Sto Len Selasi Awusi Sosu Dana Whabira Obsolescence sometimes seems an unavoidable part of modern life. Consumer goods become outdated and are replaced, while factories and mines close as their activities are outsourced, offshored, or become redundant. Despite efforts to 'reduce, reuse, recycle,' throwaway culture is entrenched. In America's current political moment, industrial decline is a familiar concept, and the social and environmental problems it causes are typically discussed in the context of the Rust Belt and deprived former mining towns. Such places have rightly become the object of intense public scrutiny, in an effort to diagnose their social ills and political leanings. But what does obsolescence mean in a world that is characterized by renewal, transformation, and interconnection' Obsolete objects do not cease to exist once they are replaced by a shiny new model; their stories continue, albeit in sometimes unobtrusive or unknown ways. The impacts of declining industrial-scale manufacturing and extraction do not end in their immediate communities, but are widespread and intertwined. These transformations contain surprising historical layers and feedback loops, reaching into corners near and far andd creating unexpected points of contact between apparently disparate places and people. From an abandoned factory on another continent to the discarded cell phone at the back of your bottom drawer, these sites of encounter may appear remote or mundane, yet they contain meaning and beauty that reward greater attention.


Laurent Grasso Solo Show

06 September 2018 - 06 October 2018’



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