Installation view featuring Barbara Kruger, Untitled, 2020, in 20/20, David Zwirner, New York, 2020
David Zwirner is pleased to present an exhibition of new work by artists from the gallery’s program at our 537 West 20th Street location in New York.
The world has never faced such uncertainty: everything from our understanding of public health and racial injustice to our geopolitical order and our social and environmental responsibilities is being challenged and rethought. 2020 may go down as the watershed year when the deck was reshuffled; and while we don’t know the future, our minds are busy speculating, anxiously rethinking and looking for a vision beyond.
Image: Toba Khedoori, Untitled, 2020 (detail)
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I WHO SLEEP IN A ILLUSION WORLD (2020) belongs to Kusama's ongoing series of My Eternal Soul paintings, begun in 2009. These compositions embody a highly personal, even confessional dimension for the artist. Vibrant, animated, and intense, they explore line and form and are at once abstract and figurative. Their use of minute details and repetition—in terms of both shapes and brushwork—reflects the history of obsession within Kusama's work, which derives from her desire for art that is at once autobiographical and seemingly created outside of the confines of the self.
"Its subject, with combo of a found-photograph and a chance connecton-of-pose with Rodin’s Small Dancers, was the direct outcome of extra, (and rambling), web-view-time since ‘isolation’.”
—Rose Wylie on Highschool Cheerleaders, 2020
Rose Wylie, Highschool Cheerleaders, 2020
Basic Trajectories belongs to a series of “Map” paintings that reflect Nate Lowman’s fascination with the representation of America. “My goal is to dislodge the illusion that the country we live in is a fixed thing,” he explains. “The country is not fixed. Borders are in flux. The way it is now is not even how it should be.”
“Memory, death, the human condition, and the absurdity and irony of life are all inspirations for the artist. Her work is ripe with emotion and contradictions—pathos and humor, melancholy and hope, raw and refined, hard and soft, aggressive and tender. It’s at times vulgar and political, poignant and wry, exotic and familiar.”
—Ali Subotnick, “Essay” for Hammer Projects: Andra Ursuta, 2014
36.2 x 29.8 cm
“Borremans strives for the timeless and universal, yet does so in sharply framed, hybrid images of today. He often reaches for a world of isolation, even for characters who are literally tied up in the fabric of their costumes, as Borremans elicited earlier this year: 'I now realize that I have made many corona works in the past.'”
—Geert Van der Speeten, De Standaard, 2020
Oscar Murillo, (untitled) catalyst, 2019 (detail)
Asked how the events of 2020 influenced the present work, which was done during the COVID-19 Pandemic, Raymond Pettibon replied, “B n' W means black and white, there is no color in it.’’
“This picture is relevant for me right now since it shows an indoor space and because the poor lighting [of] the stacked-up pillows nearly assumes a presumed presence in the room. Echoing childhood memories of fear due to the indecipherability of an image propelling the idea of uncertainty and a possible threat.’’
—Luc Tuymans, 2020
Luc Tuymans, The Queen's Room, 2020 (detail)
Untitled (Tepoztlán, Abril 2020) is a stark reminder of how the pandemic has impacted people everywhere. Executed on a small scale, this work plays on the historical genre of travel paintings, offering poignant commentary on the function of art during times of crisis. Alÿs, who was sheltering in place in Tepoztlán during the pandemic, painted the scene on a fraying piece of Mexican bandana, grounding it in the objects and materials of everyday life.
“I don’t experience portraits as separate from still lifes. Now I look at you and I see a portrait, now I look over there and I see a landscape. If I look over here I see a still life…. Everything has a potential to be extraordinary. That transformation of living in the moment, and then translating that into something of a larger meaning is not just talking about a specific moment or a specific item, but more generally about a human experience, that ideally can be shared by others and felt by others.’’
—Wolfgang Tillmans, “New Interview with Wolfgang Tillmans in His Studio in Berlin,’’ in Wolfgang Tillmans, 2014
“I've been at this for too long, know too much, have seen and witnessed so many things in the world, that what I strive for is much too important to be sidetracked by the fleeting sensations of a moment.”
—Kerry James Marshall, 2020
The intricate folds and turns of steel in Meteor operate in tension with its perceived lightness, exemplifying what Bove imagines as “A mirror effect on perception, where the material's plasticity acts on the imagination. What we know about the material is contradicted, so maybe our grip on reality should be a little lighter, too, enabling us to see what is in front of us rather than what we think we see.”
127 x 373.4 cm
Large wall: 148 1/2 x 209 inches
377.2 x 530.9 cm
Entry wall: 149 1/4 x 112 3/4 inches
379.1 x 286.4 cm
West wall: 71 x 129 inches
180.3 x 327.7 cm
North wall: 91 1/2 x 128 1/2 inches
232.4 x 326.4 cm
Overall dimensions vary with installation
36.2 x 29.8 cm