Tate Liverpool presents the work of Yves Klein, Edward Krasinski and
Cécile B. Evans. the UK’s first solo museum show in 20 years of the French artist Yves Klein, the first UK retrospective of Polish artist Edward Krasinski, and Cécile B. Evans’s new multi-dimensional installation featuring two humanoid robots and a robot dog.
21 October 2016 – 5 March 2017
Sponsored by Edge Hill University and supported by Tate Liverpool Members
Tate Liverpool presents the UK’s first museum solo exhibition in more than 20 years
of the French artist Yves Klein (1928-1962). One of the most influential figures of the post-war era, Klein’s career was marked by extraordinary creativity and a bold attitude to art and life that was pivotal to later movements from pop to performance art and beyond. Presenting around 30 major works the exhibition throws fresh light on his artistic practice. Embracing painting, sculpture, performance, theatre, music, film and architecture, Klein pioneered new attitudes that took the European art world by storm before his untimely death at the age of 34 from a heart attack. At the age of 19 the artist symbolically signed the depthless blue sky using his finger, declaring it as his first artwork. This moment underpinned Klein’s interest in the relationship between infinite space and art that foreshadowed his short but startling career as one of the most original artistic thinkers.
Klein’s vision was to express absolute immateriality and infinite space through pure colour. The exhibition examines this through works from across Klein’s major series including paintings deploying his signature dazzling pure-pigment International Klein Blue (IKB), a distinctive ultramarine able to invoke a powerfully depthless sense of space on the surface of the work. Also displayed will be his Anthropometry paintings created by the artist choreographing nude models as living paint brushes to transfer blue pigment onto canvas and his pyrotechnic Fire Paintings, created using a flame thrower.
It further presents his sponge sculptures, planetary-reliefs and pure-colour
The exhibition brings together major works never before seen in the UK, complemented by
photography that reflects the breadth of his artistic vision. These images demonstrate how Klein managed his own image through personal and publicity photographs that present him as an artist, visionary showman and judo master, among many other guises.
Despite dying at an early age Klein created a powerful body of ground-breaking work. The
exhibition celebrates his practice and output that prefigured later movements including pop, conceptual, minimal, installation and performance art and influenced later generations of artists while infusing the languages of popular culture and design.
Katharina Fritsch’s Hahn/Cock, the latest installation on Trafalgar Square’s Fourth Plinth
Mick Brundle / courtesy of The Mayor’s Fourth Plinth Commissioning Programme
Inspired by Yves Klein’s bold use of pure colour, particularly his own invented colour, International Klein Blue (IKB), we celebrate blue-inspired work and explore artists’ use of the colour blue. Yves Klein is open at Tate Liverpool 21 October 2016 – 5 March 2017.
curated by Kasia Redzisz, Senior Curator, and Stephanie Straine,
Assistant Curator, Tate Liverpool, and tours to the Stedelijk Museum, Amsterdam.
Supported by The Ministry of Culture and National Heritage of the Republic of Poland
and Culture.pl, The Polish Cultural Institute in London and Tate Liverpool Members
Tate Liverpool presents the first UK retrospective by Edward Krasiński (1925–2004), one of
the most significant Eastern European artists of the 20th century.
The exhibition spans the artist’s career bringing together a range of his dynamic sculptures, Interventions and installations including a group of rarely exhibited early works from 1962-65.
Born in 1925 in Lutsk, now part of Ukraine, Krasiński studied in Kraków at the Arts and Crafts School and at the Academy of Fine Arts during the 1940s. In 1954 he moved to Warsaw where he met artists and critics inspired by avant-garde, including Henryk Stażewski and Tadeusz Kantor. Krasiński lived and worked there for the rest of his life, regularly exhibiting both in Poland and internationally.
From early sculptures made in the 1960s to installations made in the 2000s, the exhibition will emphasise his experimental approach to art and exhibition making along with the inspiration he took from the pre-war avant-gardes, particularly Polish constructivism. The exhibition will further explore the contribution Krasiński made to global tendencies of the 1960s including minimalism and conceptual art. The highlights of the show include his suspended sculptures from 1964-65 that often appear gravity defying in their combination of invisible wires, visual puns and trickery, together with re-stagings of a major groups of his Interventions from the 1970s, 1980s and 1990s.
Tracing his interest in the reduction of sculpture to mere line, the exhibition examines
Krasiński’s preoccupation with the use of blue adhesive tape, a material he introduced in 1969 and used until the end of his career to physically unify objects and space. He once remarked, ‘I place it horizontally at a height of 130cm everywhere and on everything. I encompass everything with it and go everywhere.’
The exhibition further presents Krasiński’s investigations into the fusion of sculpture and
photography that incorporate life-size photographs of himself and his studio within spatial installations. Recreations of Krasiński’s landmark exhibitions from across his career will also be displayed, such as his early solo shows and his contribution to the 1970 Tokyo Biennial. In addition the artist’s own living and working space, an important motif of many of his works, which since 1988 has been gradually transformed into a total work of art, will be represented by French-American filmmaker Babette Mangolte’s 2012 film Edward Krasiński’s Studio. Filmed in his apartment, which has been preserved as it was left at the time of the artist’s death, visitors to the exhibition will get a crucial insight into this important space. Krasiński developed a unique formal language and lightness of touch that was equally informed by his early relationship with constructivism, and the influence of surrealism’s embrace of humour, chance and playfulness.
The exhibition charts this development, arguing for Krasiński’s under-recognised contribution to global developments in art of the 1960s and beyond.
Edward Krasiński, supported by the Edward Krasiński Exhibition Supporters Group and Tate Liverpool Members, Tate Liverpool, 21 October 2016 – 5 March 2017. The show, which includes Babette Mangolte’s film Edward Krasiński’s Studio, is curated by Kasia Redzisz, Senior Curator, and Stephanie Straine, Assistant Curator, Tate Liverpool, and tours to the Stedelijk Museum, Amsterdam.
curated by Lauren Barnes, Assistant Curator, Tate Liverpool.
Supported by University of Liverpool and Tate Liverpool Commissioning Circle
Tate Liverpool presents the first solo exhibition in a UK public institution of
Cécile B. Evans (b. 1983, United States/Belgium). Sprung a Leak 2016 is a new
multi-dimensional work featuring two humanoid robots and a robot dog performing in the gallery. The new commission explores the movement of data, artificial intelligence, and the possibilities of collaboration between humans and machines. It examines the increasing influence that new technologies have on how people feel and act.
The installation invites visitors into a narrative loop that unfolds across multi-screen synched video, robots and a fountain, among other sculptural elements in the exhibition space. Through conversations between robots and human performers present in the space via monitors, a story is told that addresses the ways that emotions and vulnerabilities interact with our evolving digital world.
Evans’s new work, Sprung a Leak, draws on wide-ranging research in the fields of science,
technology, film and theatre. With reference points ranging from Shakespeare to science fiction, the work draws on the recent history of data and robotics. Exploring the polarity between the data leak (‘too much information’) and the information blackout, the work considers the close relationship between the digital and the physical.
Evans draws inspiration from moments in recent history when personal data has been leaked on a global scale and the impact of how data circulates through society.
A starting point for her is the idea that robots and humans might collaborate to combat external forces together, for example the failed attempt of a robot to fix the Fukushima reactor after 2011’s nuclear disaster. Evans comments, ‘The limitations of the machines we make give us an unparalleled view on our own limitations. In my opinion, these moments of joint failure create openings to imagine new possibilities and re-address old questions from an unstable but unique position.’
Cécile B. Evans’s recent projects include What the Heart Wants, 9th Berlin Biennale (2016), the group exhibitions CO-WORKERS– Network as Artist at Musée d’Art moderne de la Ville de Paris, (2015) Follow at FACT (Foundation for Art and Creative Technology), Liverpool (2015/16), Software, Hard Problem at Cubitt, London (2015), and AGNES, the Serpentine Galleries’ first digital commission (2014). She has also recently been shortlisted for The Film London Jarman Award 2016.
The exhibition is curated by Lauren Barnes, Assistant Curator, Tate Liverpool.
Cécile B. Evans, Sprung a Leak 2016.
Courtesy of the artist and Galerie Emanuel Layr, Vienna