Leslie Rankow Fine Arts


Airport, please! A triumph of art and fashion: Doug Aitken’s experiential Green Lens in Venice, Italy

Green Lens
Doug Aitken
Venice, Italy

This summer of activity marks a significant return to the city of Venice for Doug Aitken, who was awarded the prestigious Golden Lion for his electric earth installation at the 48th Venice Biennale in 1999.

GREEN LENS, a site-specific installation
‘Green Lens is a living artwork. It is simultaneously an artwork, installation and stage. It’s like a lighthouse that one can journey to and have a very personal experience, while it also transmits light, ideas and questions. A focal point that allows all of us to share our ideas and visions for the future post Covid… a celebration and inquiry into the future.’ – Doug Aitken

Located on the island of Isola della Certosa, Green Lens is a living experiential artwork and destination. From the exterior it creates a choreography of changing reflections of clouds, mist and wild green vegetation. As day turns to night Green Lens glows and becomes a kinetic light sculpture and sound composition.

Green Lens will be activated with a sequence of performances and conversations that are thought-provoking and provocative, focusing on the future as interpreted by musicians, speakers and dancers. These activations will be filmed by Aitken and released for the public to have access to this living artwork and stage for voices and culture.

Green Lens is an artwork by Doug Aitken, commissioned by Anthony Vaccarello in partnership with Saint Laurent.

Doug Aitken, Green Lens, Isola Dela Certosa, Venice, July 16 – 30, 2021

Doug Aitken

Born in 1968, Doug Aitken currently lives and works in Los Angeles. Major exhibitions for 2021 include a solo exhibition at Museum of Contemporary Art Australia, Sydney. Previous major solo presentations of the artist’s work have been staged at institutional venues including Faurschou Foundation, Beijing (2019); Copenhagen Contemporary (2018); Modern Art Museum of Fort Worth (2017); The Geffen Contemporary at MOCA, Los Angeles (2016); Schirn Kunsthalle, Frankfurt (2015); Nam June Paik Art Center, South Korea (2013); Seattle Art Museum (2013); Tate Liverpool (2012); LUMA Foundation, Arles, France (2012); Deste Foundation, Hydra, Greece (2011); Cincinnati Art Museum (2010); Museo d’Art Contemporanea Roma, Rome (2009); Museum of Modern Art, New York (2007); Aspen Art Museum (2006); Musée d’Art Moderne de la Ville de Paris (2005); The Fabric Museum and Workshop, Philadelphia (2002) and Serpentine Gallery, London (2001).

Doug Aitken
Victoria Miro Venice

The artist was awarded the prestigious Golden Lion at the Venice Biennale in 1999; he has been the recipient of the 2012 Nam June Paik Art Center Prize, the 2013 Smithsonian Magazine American Ingenuity Award: Visual Arts, and the 2016 Americans for the Arts National Arts Award: Outstanding Contributions to the Arts. Aitken is the inaugural recipient of the Frontier Art Prize, a new contemporary art award that supports an artist of international stature pursuing bold projects that challenge the boundaries of knowledge and experience to reimagine the future of humanity.




Doug Aitken’s works, at their core, invite us to consider the nature of our present and signal possibilities for the future. His latest textiles are a continuation of a body of work generated over the past year and take as their starting point clothing and other everyday found materials that the artist was able to access within his home. Cutting fragments and reassembling them into abstract visual fields, Aitken has created elaborate wall hangings, patterns emerging and disappearing within their collaged layers.

Discussing the work the artist says, ‘For the last few months I’ve been working a new body of art, Microcosmos. Initially I was inspired by Béla Bartók’s 1926–36 stunning piano works, which are made as 153 progressively complex piano lessons from the very easy beginner études to very difficult technical displays. In total, according to Bartók, the piece “appears as a synthesis of all the musical and technical problems.”

Doug Aitken


However, as I listened I started to imagine the similarity between these piano works and their simple to complex structures and how we’re experiencing life in the information era. ⁠⁠How we absorb images and information almost as “notes” and transform them into a larger and complex compositions.⁠⁠ Creating these works allowed me to slow down and to reflect on the structure and complexity of how we move forward. ⁠⁠

Foregrounded throughout these works are poetic tensions between the digital and the handmade, fast and slow media. Repeating elements within the works appear like handcrafted digital glitches, while the physical process of their creation suggests the slow-paced craft of quilting. Resembling flags and banners, mandalas and targets, they also bear connotations of protection, comfort or shelter – the very nature of cloth being at the same time intimate, personal and universal. These shifting symbolic qualities resonate with the dynamic abstractions of each composition: these are signs, devoid of text, that allow for open-ended investigations into our collective experience.

Victoria Miro Venice
San Marco

Victoria Miro Venice is housed in the former Galleria Il Capricorno in the San Marco district of the city at
San Marco 1994, Venice, Italy

Links to streaming platforms for STRONGER FOR LIFE!

Stronger for Life

Hi again,
Stronger for Life has been released!
Our social media pro has created a Link Tree!

Gravitas Ventures has verified the film is live on the following online platforms

I bought it on iTunes and on the 20th. Although I am clearly prejudiced, it is truly an inspiring and well-made documentary. Please support it and please pass this request along to friends, colleagues and family you think would enjoy it.

Thank you!

Leslie Rankow

Executive Producer


Stronger for Life, documentary on Ilaria Montagnani, July 20, on Apple/iTunes and VODs!


A message from Ilaria Montagnani, founder of Powerstrike, athlete, warrior, cancer survivor, documentary filmmaker!

It has taken a lot of commitment, support, team work and unwavering determination to complete this project.
I am proud of all the hard work and I want to thank everyone that has helped me in this challenging journey, even if I haven’t had a chance to thank you enough in person.
On July 20th the Stronger for Life documentary will be available on TVOD and Apple/iTunes. Special sale and offer coming up soon!
From Leslie Rankow, co-Executive Producer, Stronger for Life
I am so proud to be a part of this team and to see the long-awaited launch of this inspiring, beautiful crafted documentary that Ilaria was so determined to realize, to spread her message that Exercise Makes You Stronger for Life.
No one is a better symbol of strength, determination, grit, and generosity. Your support has made this possible and I hope you will all continue with one final step- take advantage of the special $6.99 Flash Sale on July 20th on Apple/iTunes and circulate this to all your friends, families and colleagues. The fate of this small independent film airing on streaming platforms in the fall depends on all of you.

Airport, please! A must see: Social Works curated by Antwaun Sargent at Gagosian Gallery NY

curated by Antwaun Sargent
Gagosian Gallery

If you are a resident of New York, this should read Taxi, please! but for everyone else who is nice enough to follow the LRFA blog the title applies. Social Works, curated by Antwaun Sargent, a recently appointed director at Gagosian Gallery,  is an important exhibition that reflects the major post-pandemic shift in the art market, tracking the change in the shift of interest at galleries, art fairs and auction from longtime icons such as Jeff Koons to NFT digital artists, ceramicists and historically ignored artists. This is not, in my opinion, temporary but reflects the fiercely political and social concerns of our times that result in a serious shift in what we choose to look at and to collect.  There is a mainstream reevaluation going on of what is important and compelling.

Rick Lowe
Black Wall Street

As Kelly Crow in the Wall Street Journal Magazine astutely observes, Some collectors are leaning further into technology by amassing digital artworks, while other sets of buyers are coping by prizing ceramics, with their fragile, lumpen tactility. Demand for dozens of artists has been upended and it’s compelling the art world’s power players to reckon with the fallout.


David Adjaye
Asaase, 2021

All the mega-galleries and smaller venues have added historically unrecognized black and women artists, and all those whose work confronts issues of black, gender and race and the material at auction houses, particularly Phillips, echoes these concerns. The auction houses have adopted new ways to reach new collectors with Non-fungible Tokens by digital artists. It is not an evolution, but a revolution!

Antwaun Sargent is one of the most interesting new curators has joined the ranks of Gagosian Gallery launching a group exhibition, Social Works. Participating artists include David Adjaye, Theaster Gates, Titus Kaphar, and Carrie Mae Weems, to name a few.  In Social Works, Sargent considers the relationship between different kinds of space- personal, public, institutional, mental- and Black social practice. The works are united by their engagement with today’s cultural momentum in which numerous social factors have converged to produce an urgency for Black artists to utilize space often as a community building tool and always as a means of empowerment.


Antwaun Sargent
Gagosian Gallery



Antwaun Sargent is writer and critic living and working in New York City. His writing has appeared in the New York Times, The New Yorker, The Nation, W, Vice amongst others. He has recently contributed essays and interviews to museum and gallery publications for artists Ed Clark, Mickalene Thomas, Arthur Jafa and Yinka Shonibare. Sargent has lectured and been in conversation with artists at Studio Museum in Harlem, Brooklyn Museum, Museum of Contemporary Art, Denver, Art Gallery of Toronto and various other institutions. He curated the 2018 Aperture Summer open and is currently working on exhibitions at Jenkin Johnson Projects, Lehman College and Aperture. His first book “The New Black Vanguard: Photography between Art and Fashion” is out this fall from Aperture.

The New Black Vanguard
by Antwaun Sargent
Published by Aperture



DAVID ADJAYE approaches architecture as way to promote inclusive accessibility and reflect upon the legacies of the past. Asaase, 2021, is his first large-scale sculpture, a maze of nested earthen was referring to West African architecture such as the royal complex in Burkina Faso and the walled city of Agadez.

THEASTER GATES is the founder of the Rebuild Foundation, a non-profit organization that has transformed Chicago neighborhoods and focuses on art and cultural development. This work is dedicated to legendary DJ Frankie Knuckles, whose sound shaped the Black and queer 1980s music scene

LINDA GOOD BRYANT’s installation features an operational farm and video, bringing together her work as a filmmaker and gallerist, Just Above Midtown, launched in 1973 showing artists of color with the urban farming organization she founded, Project EATS.

LAURAN HALSEY constructs a radical version of urban life, incorporating signage, graffiti and community-based hieroglyphics that enliven her neighborhood of South Central Los Angeles.

TITUS KAPHAR, artist/activist, is the cofounder of NXTHVA, a nonprofit arts hub in New Haven, CT, His painting, A bitter trade, 2021, is a work  he whitewashed at a live NXTHVN event. Social Works includes five artworks by former NXTHVAN Studio Fellows.

RICK LOWE’s abstractions refers to “domino culture”, the sense of community that comes about through the game. A Houston artist, Lowe’s most recent series memorializes the 1921 Tulsa massacre.

CARRIE MAE WEEMS has included a powerful photographic series of self-portraits in which she appears at numerous sites: Roman palazzos, rustic settings and museum facades.

All of these artists are impressively engaged not only with the practice of art but with the communities that thrive because of their commitment to them and to their work.

Theaster Gates
A Song for Frankie



Follow the soon to be released documentary, Stronger for Life, on IG strongerforlife.film

Dear Friends and Donors:

Thank you for your support of STRONGER FOR LIFE, a soon to be released documentary on Ilaria Montagnani, athlete, warrior, survivor. For updates, follow the film on Instagram at strongerforlife.film and ask your friends and family to do the same. See images and memorable quotes, as we approach the launch date of July 20th!


For a small independent documentary, every pair of eyes counts! Without your support, this film never could have been  made.

So many thanks!

Executive Producer

Airport, please for the world premiere of a film by Wolfgang Laib at Florence’s Museo Novecento

Wolfgang Laib
Without Time, Without Place, Without Body, 2019-2021
Museo di San Marco, Florence

Museo Novecento, Florence, Italy

This evening, July 7th at 9:30pm, the Museo Novecento in Florence presents the culmination of a series of extraordinary exhibitions created by Wolfgang Laib over the last few years in musuems throughout the city. The world premiere, Without Time, Without Place, Without Body – a film by Wolfgang Laib, records the exhibition project by the German artist realized in a series of solo shows held in landmark cultural institutions throughout Florence.

The Ziggurat
Pazzi Chapel
Basilica of Santa Croce

The film, commissioned by the Museo Novecento and produced by MUS.E, was made at the time of the exhibition of the same name,  at the Museum of San Marco (Polo Museale della Toscana), the Chapel of the Magi (Palazzo Medici Riccardi), the Rucellai Chapel (church of San Pancrazio, Marino Marini Museum) and the Pazzi Chapel (Monumental Complex of Santa Croce).  The relationship of the visibility of art and the invisibility of the spirit, magically linked the magnificence of the Renaissance tradition with the unique innovation of material and space for which Laib’s contemporary art is celebrated.

Pollen from Hazelnut, 2019
Cappella Magi
Palazzo Medici Riccardi, Florence

The film, narrated by the artist himself, retraces the phases of preparation and development undertaken during this very ambitious project that has created a close dialogue between the city’s past and the contemporary aesthetic platform of the German master. The art of Brunelleschi, Leon Battista Alberti, Benozzo Gozzoli and Beato Angelico forms a dialogue with Laib’s minimalist symbolic works.  Made with natural elements such as pollen and beeswax, Laib explores the relationship between sculpture, architecture and nature, uniting East with West in his daily life and in his creative practice.

Pollen from Dandelion, 2019
Museo di San Marco, Florence

In a time such as ours, in which the whole of humanity is looking for ways to overcome the pandemic and the difficult relationship between man and nature, Laib’s art provides a new perspective on the redefinition of humanism.



Wolfgang Laib was born in Metzingen in southern Germany in 1950. After studying medicine, he turned to the practice of art and in 1975 created his first work, Milkstone, a now iconic white marble slab covered with milk. In 1977, Laib began to collect pollen in the fields around his residence, starting a “practice” that would become a milestone in his artistic production. In the following years, between 1978 and 1981, he presented his famous pollen squares in several solo exhibitions in Germany, Italy, Switzerland and the United States. In 1982 he participated in Documenta 7 curated by Rudi Fuchs and in the Venice Biennale. Following a long trip that he made during those years in India, he included rice in his works, creating The Rice Meals for the Nine Planets and, later, the first Rice Houses. His exhibitions have been held in museums, exhibitions and art institutions around the world including: the ARC in Paris, the CAPC Musée d’Art Contemporain in Bordeaux, the Sidney Biennial, the Toyota Municipal Museum, the National Museum of Modern Art in Tokyo, the National Museum of Contemporary Art in Seoul, the Fondation Beyeler in Basel, the Macro in Rome, the Sant’Apollinare in Classe complex in Ravenna, the Kunstmuseum in Bonn, the Reina Sofia in Madrid, the Musée de Grenoble, the MoMA in New York, and the Centre Pompidou in Paris. He is represented internationally by Thaddaeus Ropac in Europe and Sperone Westwater in New York.


Pollen from Hazelnut, 2019
Installation View
Cappella Magi, Palazzo Medici Riccardi, Florence

Airport, please! heads to the Jennifer Guidi installation at Massimo de Carlo, Paris


Colors charge us externally and internally. I translate these colors into works every day. On an intuitive level, I am guided by the colors in nature.
—Jennifer Guidi

On February 9th, 2021, Massimo De Carlo bravely opened an intriguing new space in Paris in the middle of the quarantine: MASSIMODECARLO Pièce Unique. The gallery’s sixth space to date (two in Milan, one in London, one in Hong Kong, and one virtual – VSpace), MASSIMODECARLO Pièce Unique is on the ground floor of a historic building at 57 Rue de Turenne renovated by the acclaimed Japanese architect, Kengo Kuma, in collaboration with PiM.studio Architects.


MASSIMODECARLO Pièce Unique offers a flexible, dynamic, and upbeat program of single-work installations, visible day and night through its glass window. In honor of the legendary Napolitan gallerist, Lucio Amelio, Massimo De Carlo’s Piece Unique is modeled after Amelio’s concept for an experimental exhibition space that opened in Paris in 1989, designed in conjunction with Cy Twombly.  MASSIMODECARLO Pièce Unique respects and reconfigures the legacy of this historical project, renewing its original idea while infusing it with a 21st Century perspective. It offers an alternative model to the contemporary art system that is the norm. Appropriately, the gallery exhibition from May 4 – June 4, 2021, was an Homage to the dealer, Lucio Amelio, featuring Andy Warhol’s portrait of this iconic art world influence.

Andy Warhol
Portrait of Lucio Amelio


MASSIMODECARLO Piece Unique is an event-free gallery – no openings, no dinners, no VIP’s – creating a new balance between a physical project and a digital initiative through an innovative website.  The space has a dedicated Instagram account: @massimodecarlopieceunique and offers a new and alternative exhibition format. Very much a product of the post-pandemic world.



The current exhibition is an installation by the American artist, Jennifer Guidi: Points of Harmony, June 6 – July 7, 2021, whose meditative mandalas evoke the light and beaches of Guidi’s childhood, while rooted in the scientific theories of Goethe’s color triangle. The installation is composed of bronze, sand and oil, a floor piece entitled Mass Energy and a wall painting created using her fascinating signature technique of blending pigment, sand and acrylic polymers and working the wet surface of the canvas  making hundreds of small indentations in repetitive circular patterns. The exhibition is accompanied by a text by Heidi Zuckerman.

What if we ask ourselves in every moment of every hour of every day for the rest of our lives, “What would I love?” What if we allow ourselves the incredible gift of connecting with our truest and deepest desires?

What if we believe we are not just able or entitled to do so, but that we know that by granting ourselves this gift of connection that we make the world better. Better for ourselves, for our partners, for our children, for the planet. What if the space of art encourages and reinforces this notion? What if the artist by living fully and outwardly and inspiringly and generously shares this notion as an artist, a woman, a mother, a partner, a Yogi, a generator, a friend, a community member? What if paintings and sculptures and installations can become incantations, prayers, experiences? What if all things are not just what they are but are also more? What if the entire universe can be not just captured but encompassed both in the work of art and also in the experience of it? This is not just what I believe, but rather what I know. This is how I know Jen Guidi. This is how I know her work. This is how I am inspired. This is how I practice. This is how I learn. This is how I love. This is how I am. Amen.

—Heidi Zuckerman

Jennifer Guidi


Jennifer Guidi (b. 1972, Redondo Beach, California) draws from several lineages, including the visionary Modernism of the American Southwest, process-oriented minimalism, Light and Space, lyrical West Coast abstraction, and the many strains of art throughout the globe in which intense optical patterning is a driving force. Her work is also inspired by––and generates––meditative states of looking in which boundaries between the outside world and internally visualized spaces break down. Guidi makes images of what it means and feels like to see, whether this is understood to be a physical or metaphysical phenomenon. Rather than rely on the eye alone, she produces tactile surfaces in which sand, acrylic and oil mediums, and pigment are combined. The particulate nature of this mixture is reflected in her imagery, often comprised of boundless arrays of small marks arranged in radiating systems.

Jennifer Guidi

Jennifer Guidi has been the subject of solo exhibitions at Museo Villa Croce, Genoa, Italy (2017) and LAXART, Los Angeles (2014). Recent group exhibitions include A Possible Horizon, de la Cruz Collection, Miami (2020); One Day at a Time: Manny Farber and Termite Art, Museum of Contemporary Art, Los Angeles (2018); Generations: Female Artists in Dialogue, Part I, Sammlung Goetz, Munich (2018); No Man’s Land: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C. (2016) and Rubell Family Collection, Miami (2015); and The Afghan Carpet Project, Hammer Museum, Los Angeles (2015). Her work is in the permanent collections of San Francisco Museum of Modern Art; Dallas Museum of Art; Los Angeles County Museum of Art; and Guggenheim Museum, New York, among other institutions. Guidi’s handbound book 11:11, documenting the artist’s 2019 solo presentation at FIAC (Foire Internationale d’Art Contemporain), was published in 2020 by David Kordansky Gallery. Guidi lives and works in Los Angeles.


Airport, please! To Marfa: to see the new Agave Garden and Judd’s Chinati Foundation

Marfa, Texas
Chinati Foundation/Donald Judd

Marfa, Texas is an iconic town, a cultural stronghold of vitality and vision. Thanks to the artist, Donald Judd, the small desert city in west Texas is known as an arts hub. The Chinati Foundation, founded by Judd, displays huge indoor and outdoor installations on an old army base. The Ballroom Marfa Arts Center hosts exhibitions, concerts and the Marfa Myths cultural festival. Outside the town, a viewing platform from which the mysterious orbs known as the “Marfa Lights” is a phenomenon worth experiencing.

Unlike other towns that have tried to reinvent themselves as art destinations, Marfa is a town that grew organically. It all started when the acclaimed minimalist artist left New York City in the 1970s for this dusty dot of a town. He wanted to escape an art scene that he claimed to disdain. With the help of the DIA Foundation, Judd acquired an entire Army base, and before he died in 1994, he filled it with art, including light installations by Dan Flavin and Judd’s own signature boxes. Ironically, now this once tiny town perched on the high plains of the Chihuahua desert is nothing less than an art world station of the cross, like Art Basel in Miami, or Documenta in Germany.

Agave Franzosini

The most recent addition is a reflection of the renewed awareness and appreciation, triggered by the pandemic, for the outdoors,  for nature and for the environment. “The Agave Garden is a space for the community of Marfa and a celebration of the biodiversity of our region,” said Rainer Judd, President of Judd Foundation. “Don(ald Judd) wrote, ‘my first and largest interest is my relation to the natural world, all of it, all the way out.’ This thinking is central to the work of the Judd Foundation and supports Judd’s interest in the region and his commitment to the city of Marfa. The garden is open to the public and incorporates  Donald Judd Furniture into the setting.


Rainer Judd


The garden was designed and planted in partnership with Jim Martinez, principle of a Marfa landscape design company that specializes in native plants of Texas and the Southwest. Martinez selected more than twenty agave species native to the Trans-Pecos region including: Agave ferox (Giant Agave), Agave havardiana (Harvard Agave), Agave lechuguilla (Chihuahua Agave), Agave parryi neomexicana (New Mexico Agave), Agave parryi truncata (Artichoke Agave), Agave ovatifolia (Whale’s Tongue Agave), and Agave victoria reginae (Queen Victoria Agave).

Agave plants

The selection of the agave species was based on those local to the Chihuahuan Desert that have had historical use for food, beverage, fiber, cultural ceremony, and beauty for the indigenous tribes of the surrounding regions. Martinez also considered the evolution of the agave species as well as their use and importance to the insects, birds, and mammals.


The garden is situated outside of the Cobb House, Whyte Building, and Gatehouse, three buildings on five and a half lots of property purchased by Donald Judd in 1989. Judd intended that these three buildings and the neighboring structures, which house his Art Studio and Architecture Studio, to be united as a complex enclosed by an adobe wall that was to run the length of Oak Street.  The two benches installed in the garden were originally designed by Judd  for his residence in Marfa. The benches are intended to provide a contemplative place for visitors to spend time in the garden.

http://2021 Judd Foundation press release

Donald Judd Furniture


“Most art is fragile and some should be placed and never moved again.” So wrote American minimalist sculptor Donald Judd, founder of the Chinati Foundation. Located on a 340-acre tract of desert land that includes abandoned US Army buildings, Chinati is a contemporary art museum that embodies Judd’s belief that art and the surrounding landscape are inextricably linked. It opened in 1986 with the specific intention to present permanent large-scale installations by a limited number of artists, including Judd himself. Each artist has work installed in a separate building on the museum’s grounds, while temporary exhibitions showcase modern and contemporary work in diverse media. The collection includes iconic examples of the work of Carl Andre, John Chamberlain, Dan Flavin, Roni Horn and Robert Irwin and a limited number of other artists who share Judd’s sensibility.



Heading to Hauser & Wirth’s new gallery, in Monaco, with Airport, please!

Louise Bourgeois
Spider in Monaco

Over a nearly 30-year history, Hauser & Wirth has created physical spaces in locations where their artists and collectors reside—of course in the large urban cities of London, New York, and Los Angeles but also in legendary resort communities and seasonal gathering spots such as Southampton and St. Moritz. In July 2021, Hauser & Wirth will also open an extraordinary center for the arts on King’s Island, in the port of Mahon in Menorca. The artists and estates represented by the gallery has always been  its driving force for expanding in the areas of art, education, conservation and sustainable development. The impact of the events of the last year and one-half have acted as a compelling catalyst to accelerate Hauser & Wirth, and every major network of galleries, auction houses, and art fairs, in developing new and innovative, often technologically based, ways to present and sell works of art.


Hauser & Wirth
Gallery Interior

On June 19th, located in the heart of Monaco, near the historic Hôtel de Paris, Hauser & Wirth’s latest gallery features a spectacular main exhibition space, an impressive 350 square yards cube with 30 foot high walls, lit by a dramatic skylight. The conversion of the site has been conducted by Selldorf Architects, New York, which has collaborated with Hauser & Wirth on its spaces internationally since the founding of the gallery in 1992. In Monaco, Hauser & Wirth occupies the lower spaces of a building designed by Rogers Stirk Harbour + Partners and owned by the Société des Bains de Mer.


The inaugural exhibition ‘Louise Bourgeois. Maladie de l’Amour’ (Love Sickness although it sounds so much better in French!) runs from  June 19th until September 26th, 2021. A monumental public sculpture from the French American artist’s Spider series, a bronze arachnid over three meters tall, will be installed in the gardens adjacent to the gallery.

One Monte-Carlo
Gallery facade

‘When we were invited to play a part in the continuing revival of the art scene in Monaco,’ says Iwan Wirth, President, Hauser & Wirth, ‘we saw that it offered an exceptional opportunity to present our artists in the heart of city, engaging with the vibrant contemporary scene across the south of France, strengthening our European presence. In former times, Monaco was a destination for artists, writers, and filmmakers who were as captivated as we have been by the Côte d’Azur.

Louise Bourgeois
Hauser & Wirth Monaco


The works in the inaugural exhibition by Louise Bourgeois span a period between 1947-2008 and draw on recurring themes of anxiety and longing, emotions which the artist repeatedly evoked to create her personal visual vocabulary. Along with Bourgeois’ monumental Spider sculpture dating from 1996, one of the artist’s most enduring and iconic motifs, two further aluminium sculptures are suspended inside the gallery. ‘Untitled’ (2004) gently rotates, as a continuously morphing form. The abstract spiral belongs to an important series Bourgeois made during the 1990s and shares a particular affinity to a previous work entitled ‘Les Bienvenus’ (1996), commissioned by the French Government and installed in the Parc de la Mairie in the village of Choisy-le-Roi, France, where she grew up.

Louise Bourgeois


Bourgeois’s work is inextricably entwined with her life and experiences. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’  Employing motifs, dramatic colors, dense skeins of thread, and a vast diversity of media, Bourgeois’s distinctive symbolic code enmeshes the complexities of the human experience and individual introspection.

Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials – variously, fabric, plaster, latex, marble and bronze – with an endless repertoire of found objects. Although her work covers the range of painting, drawing, printmaking, and performance, Bourgeois remains best known for her sculpture.


Bourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York’s Fischbach Gallery in 1966. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York’s 1982 retrospective of her work; Bourgeois’s participation in Documenta IX in 1992; and her representation of the United States at the 45th Venice Biennale in 1993. In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris; The Guggenheim Museum in New York; The Museum of Contemporary Art in Los Angeles; and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost artist of late Modernism.


In response to the isolation and distancing of the pandemic, many of the major galleries have successfully opened branches in luxurious resort areas, Palm Beach and the Hamptons, on the East Coast. The debut of a new Hauser & Wirth gallery on the Cote d’Azur is a seductive destination and supports Monaco’s efforts to establish an active art scene with Monaco Art Week and the Monte-Carlo fair.

See for yourself! Airport, please!

Airport, please! Staying local, visiting Miami’s Team Lab Superblue

Miami, Florida
Es Dezeen

Superblue is a groundbreaking enterprise dedicated to producing, presenting and engaging audiences with experiential art. One of the best results of the isolation of the pandemic has been the extraordinary strides in technology that the art world has incorporated. Previously content to focus on showing and seeing works of art in person, the art world was one of the last industry’s to allow the digital world to take priority over the physical one. Covid-19 has changed all that.  Art fairs went OVR, the mega-galleries and auction houses invested significant sums in developing new innovative technologically-oriented ways to expose art to collectors and galleries and to the global public. A new opportunity to collect art has emerged with cryptoart and nfts. Overall, a great deal of innovation in a very short time.



Located at 1101 NW 23rd Street, in Miami, Superblue’s inaugural program features the debut of a new immersive environment, Every Wall Is a Door, featuring a new project by British designer, Es Devlin, a transcendent digital world created by teamLab, and an enveloping light-based work from none other than James Turrell, represented by Pace Gallery, from his iconic Ganzfeld series. Bringing together new and recent projects by teamLab in one, all-encompassing experience, this suite of interconnected artworks takes audiences on an exploration of the ambiguity between living and nonliving states of being, and the relationship between humanity and the natural world.

http://Superblue miami teamlab


teamLab is an interdisciplinary community of artists, programmers, engineers, CG animators, mathematicians, and architects that aims to transcend boundaries of perception, explore time, and the interaction between the self and the world which is integral to the ultimate form of the work – underscoring their collective presence as a means of creation and where distinctive parts interact to become a unified whole. Superblue is an independent new concept that straddles the divide between art and entertainment.

Mollie Dent-Brocklehurst

Conceived by Marc Glimcher, president and CEO of Pace Gallery, and the legendary British Mollie Dent-Brockhurst whose professional experience ranges from establishing the Garage Museum of Contemporary in Moscow to working in the gallery and auction worlds, Gagosian and Sotheby’s and curating exhibitions at her family property in England, Sudeley Castle. She has now teamed up with her former boss at Pace Gallery, president and CEO Marc Glimcher, to found Superblue. Dent-Brocklehurst, who is the enterprise’s CEO, says Superblue is courting a “much wider audience” than the standard gallery or museum.

James Turrell
Ganzfeld Series


In this project, the artist is on a mission to manipulate the viewer’s perception and experience by just using light. Never known as one to hurry in person or work, Turrell even describes himself as a tortoise as opposed to considering himself as a hare. He is now past 70 years of age and sports white hair and a mustache. For the past 40 years, this artist has been involved in the Roden Crater, a project that requires movement of more than one million cubic feet of earth, but nothing can convince him that he should have been done by now. With such a long term project under his wings, how did the idea of light come about? Here, Turrell creates a similar experience of “Ganzfeld”: a German word to describe the phenomenon of the total loss of depth perception as in the experience of a white-out.



Superblue represents a radical business model: a for-profit venture that exhibits seriously respected artists who produce experiential works, rather than objects, and pays them a cut of ticket sales. Now projected to open in Miami in early spring (Covid has delayed its debut several times), Superblue will mount the kind of large-scale, immersive exhibitions that have become wildly popular in recent years: Think Random International’s Rain Room, which had thousands waiting for hours in sweltering heat to experience a tech-generated rainfall, or teamLab, represented by Pace Gallery,  a digital-heavy collective that opened its own Tokyo exhibition space in 2018 and drew over 2 million visitors in its first year.

http://Robb Report, Lifestyle News, December 27, 2020

After more than a year of long stretches at home, narrowed perspectives of the world, limited travel and virtually no adventure except virtual ones, experiencing SUPERBLUE’S EVERY WALL IS A DOOR, immersive environment will feel like the ultimate freedom!

Airport, please!