托马斯·豪斯雅戈 Thomas Houseago (超级资料）
Thomas Houseago
托马斯·豪斯雅戈
语桐听艺术
视频：纪录片
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作品
绘画
展览
户外
工作室
简介
Thomas Houseago
Born in Leeds, England, 1972
Jacob Kramer Foundation College, Leeds, England, 1990 – 1991
St. Martin’s School of Art, London, England, 1991 – 1994
De Ateliers, Amsterdam, Netherlands, 1994 – 1996
Lives and works in Los Angeles CA
Solo Exhibitions
2015
Xavier Hufkens, ‘Before the Toom’, Brussels, Belgium
Gagosian Gallery, ‘The Medusa and Other Heads’, New York NY
2014
Hauser & Wirth, ‘Moun Room,’ New York NY
Gemeentemuseum den Haag, ‘Thomas Houseago: Studies ’98 – ‘14’, The Hague, Netherlands
Yorkshire Sculpture Triangle (comprised of Henry Moore Institute, The Hepworth Wakefield, Leeds Art Gallery, and Yorkshire Sculpture Park), Yorkshire, UK.
2013
Galleria Borghese, ‘Striding Figure / Standing Figure’, Rome, Italy
Gagosian Gallery, ‘Roman Figures’, Rome, Italy
Southwood Garden, St. James’s Church, ‘Hauser & Wirth Outdoor Sculpture: Thomas Houseago’, London, England
Storm King Art Center, ‘As I went out one morning’, Mountainville NY
Xavier Hufkens, ‘My Genghis Khan Suit / Like A Circle Around the Sun’, Brussels, Belgium
2012
Hauser & Wirth, ‘I’ll be your sister’, London, England
Hauser & Wirth, ‘Special Brew’, London, England
Hauser & Wirth Outdoor Sculpture Southwood Garden, St.James’s Church, ‘Hauser & Wirth Outdoor Sculpture: Thomas Houseago’, London, England
Hauser & Wirth, ‘The mess I’m looking for’, Zurich, Switzerland
High Line, ‘Thomas Houseago, Lying Figure’, New York NY
Sainsbury Centre for Visual Arts, ‘Thomas Houseago: Hermaphrodite’, Norwich, England
Sainsbury Centre for Visual Arts, ‘Where The Wild Things Are’, Norwich, England
2011
The Centre International d’Art et du Paysage de l’Ile de Vassivière, ‘What Went Down’, Vassivière, France
Inverleith House, ‘The Beat of the Show (Indoor Sculpture)’, Edinburgh, Scotland
Inverleith House, ‘The Beat of the Show (Outdoor Sculpture)’, Edinburgh, Scotland
L & M Arts, ‘All Together Now’, Los Angeles CA
Museum Abteiberg, ‘What Went Down’, Mönchengladbach, Germany (Travelling exhibition)
2010
Galerie Michael Werner, ‘The Moon and the Stars and the Sun’, New York NY
Modern art Oxford and the Ashmolean Museum, ‘What Went Down’, Oxford, England (Travelling exhibition)
Rennie Collection, ‘Amy Bessone and Thomas Houseago’, Vancouver, Canada
2009
Ballroom Marfa, ‘Two Face’ (with Aaron Curry)’, Marfa TX
Contemporary Fine Arts, ‘There’s a Crack in Everything, That’s How the Light Gets In’, Berlin, Germany
Galleria Zero, ‘Ode’, Milan, Italy
Veneklasen/Werner, ‘TWOFACETWO: Aaron Curry & Thomas Houseago’, Berlin, Germany
2008
David Kordansky Gallery, ‘Serpent’, Los Angeles CA
Herald Street, ‘Bastards’, London, England
Xavier Hufkens, ‘When Earth Fucks with Space’, Brussels, Belgium
2007
The Modern Institute/Toby Webster Ltd, ‘A Million Miles Away’, Glasgow, Scotland
2003
S.M.A.K., ‘Thomas Houseago, I am Here, Selected Sculptures 1995 – 2003’, Ghent, Belgium
2002
Xavier Hufkens, ‘Thomas Houseago, Amy Bessone’, Brussels, Belgium
2000
Galerie Fons Welters, ‘Something to Be’, Brussels, Belgium
1996
Si en La, ‘Mum’s tattoo’ (with Matthew Monahan and guest curator Luc Tuymans), Antwerp, Belgium
Stedelijk Museum Bureau, ‘Thomas Houseago’, Amsterdam, Netherlands
Group Exhibitions
2016
Nasher Museum of Art at Duke University, ‘A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art’, Durham NC
Miriam and Ira D. Wallach Art Gallery at Columbia University, ‘Open This End: Contemporary Art from the Collection of Blake Byrne’, New York NY (Traveling Exhibition)
Ronna and Eric Hoffman Gallery of Contemporary Art at Lewis & Clark College, ‘Open This End: Contemporary Art from the Collection of Blake Byrne’, Portland OR (Traveling Exhibition)
2015
Nasher Museum of Art at Duke University, ‘Open This End: Contemporary Art from the Collection of Blake Byrne’, Durham NC (Traveling Exhibition)
Urban Arts Space at Ohio State University, ‘Open This End: Contemporary Art from the Collection of Blake Byrne’, Columbus OH (Traveling Exhibition)
Jesus College, ‘Biennial – Curated by Roderick Mengham’, Cambridge, England
‘ArtZuid 2015 Amsterdam, The Netherlands
Museum of Contemporary Art, ‘Selections from the Permanent Collection’, Los Angeles CA
Kettle’s Yard – University of Cambridge, ‘Display – Contemporary Drawings’, Cambridge, England
Grand Palais, ‘Picasso.Mania,’ Paris, France
2014
Gagosian Gallery, ‘Group Show’, Paris, France
JGM Galerie, ‘Masks’, Paris, France
Montreal Museum of Fine Arts, ’1 + 1 = 1’, Montreal, Canada
Museum of Contemporary Art, ‘Unbound: Contemporary Art After Frida Kahlo’, Chicago IL
Slewe Galerie, ‘Broken Gods Broken Heroes: Thomas Houseago, Jonathan Meese, Matthew Monahan’, Amsterdam, Netherlands
David Achenbach Projects, ‘I may be wrong but I think you are beautiful’, Düsseldorf, Germany
2013
Le Consortium, ‘L’art à l’endroit. Parcours d’art contemporain à Aix-en-Provence’, Aix-en-Provence, France
MATE, ‘Somos Libres. The world of contemporary art through the eyes of Mario Testino’, Lima, Peru
Palm Springs Art Museum, ‘Beg, Borrow and Steal’, Palm Springs CA
CAB Art Center, ‘Contemporary Future’, Brussels, Belgium
2012
Centre for Contemporary Art Ujazdowksi Castle, ‘Figures from the New World’, Warsaw, Poland
David Roberts Art Foundation, ‘A House of Leaves’, London, England
Sigi-Feigel-Terrasse, ‘Art and the City’ (with Martin Creed, Subodh Gupta, and Paul McCarthy), Zurich, Switzerland
The Hepworth, ‘To Hope, To Tremble, To Love: Works from the David Roberts Art Foundation’, Wakefield, England
Rubell Family Collection / Contemporary Arts Foundation, ‘Alone Together’, Miami FL
L&M Arts, ‘For the Martian Chronicles“, Venice, CA
Rosenblum Collection, ‘Crossing Mirrors’, Paris, France
St Helen’s Square, ‘Great St Helen’s: Sculpture Space’, London, England
Xavier Hufkens, ‘Group Show 2012’, Brussels, Belgium
2011
The Granary, ‘Not on Your List and Not Present’, Litchfield County CT
Musée des Augustins / Musée de Beaux – Arts de Toulouse, Cour de l’Hôtel Saint – Jean (DRAC Midi – Pyrénées), ‘Le Printemps de Septembre à Toulouse’, Toulouse, France
Michael Werner Gallery, ‘Flowers for Summer’, New York NY
Nasher Sculpture Center, ‘Statuesque’, Dallas TX
Palazzo Grassi, ‘The World Belongs to You’, Venice, Italy
Park de Oude Warande, ‘Lustwarande (4th International Sculpture Exhibition) ‘, Tilburg, Netherlands
‘ArtZuid 2011’ Amsterdam, The Netherlands
Punta della Dogana, Francois Pinault Foundation, ‘In Praise of Doubt’, Venice, Italy
Rubell Family Collection / Contemporary Arts Foundation, ‘American Exuberance’, Miami FL
The Saatchi Gallery, ‘Shape of Things to Come: New Sculpture’, London, England
Zabludowicz Collection, ‘Well Will Live, We Will See’, London, England
2010
David Roberts Art Foundation, ‘More Pricks than Kicks’, London, England
MOCA, ‘The Artist’s Museum’, Los Angeles CA
Whitney Museum of American Art, ’2010 Whitney Biennial’, New York NY
Zabludowicz Collection, ‘The Library of Babel / In and Out of Place’, London, England
2009
‘Beaufort03:Art by the Sea’, Blankenberge, Belgium
Galerie Sabine Knust & Maximilian Verlag, ‘Construct and Dissolve: Works on paper from artists from Los Angeles’, Munich, Germany
Galleria Civica d’Arte Moderna e Contemporanea, ‘I giovani che visitano le nostre rovine non vi vedono che uno stile’, Turin, Italy
The Modern Institute/Toby Webster Ltd, ‘Thomas Houseago, Dieter Roth, André Thomkins’, Glasgow, Scotland
MuHKA Museum van Hedendaagse Kunst, ‘All That Is Solid Melts Into Air’, Antwerp, Belgium
Museum of Contemporary Art, ‘The Craft of Collecting’, Chicago IL
Nyehaus, ‘California Maximalism’, New York NY
Rubell Family Collection / Contemporary Arts Foundation, ‘Beg Borrow and Steal’, Miami FL
2008
Chapelle de l’Ecole Nationale Supérieure des Beaux-Arts, ‘Academia: Qui es-tu? ‘, Paris, France
Galleria Zero, ‘Kabul 3000 (Love among the cabbages)’, Milan, Italy
Isabella Bortolozzi Galerie, ‘Nobody Puts Baby in a Corner’, Berlin, Germany
Michael Werner Project Space, ‘Black Swan: A Sculpture Show’ (organized by Aaron Curry and Thomas Houseago), London, England
Museum for Modern Art, ‘Sonsbeek 2008: Grandeur’, Arnhem, Netherlands
2007
Angles Gallery, ‘Sculptor’s Drawings: Ideas, Studies, Sketches, Proposals, and More’, Los Angeles CA
Camden Arts Centre, ‘Strange Events Permit Themselves the Luxury of Occurring’, London, England
Galerie Sabine Knust & Maximilian Verlag, ‘Personal Belongings – Contemporary Sculptures from Los Angeles’, Munich, Germany
2006
Donna Beam Fine Art Gallery, University of Nevada, ‘Transformers’, Reno NV
The Foundation T-Life, ‘Making and finding’, Mount Kisco NY
Rubell Family Collection, ‘Red Eye: Los Angeles Artists from the Rubell Family Collection’, Miami FL
Vilma Gold Project Space, ‘The Glass Bead Game’, Berlin, Germany
2005
David Kordansky Gallery, ‘Both Ends burning’, Los Angeles CA
L.I.U., ‘Six Outdoor Projects’, New York NY
2003
Galerie Fons Welters, ‘Group Show’, Amsterdam, Netherlands
Maliebeeld, ‘Passie in Beeld, ruimtelijk werk uit de collectie van de Nederlandsche Bank’, Den Haag, Netherlands
2002
Nieuwe Kerk , ‘Stedelijk Museum in De Nieuwe Kerk, Beelden/Sculpture 1947-2002’ curated by Rudi Fuchs, Amsterdam, Netherlands
2001
Museum Boijmans Van Beuningen, ‘Rondom Jheronimous Bosch’, Rotterdam, Netherlands
1999
Archipel, ‘Werk boven de bank’, Apeldoorn, Netherlands
Stedelijk Museum, ‘Glad IJs’, Amsterdam, Netherlands
1998
De Ateliers, ‘Morning Glory’, Amsterdam, Netherlands
De Nederlandsche Bank, ‘Acquisitions 1997’, Amsterdam, Netherlands
Xavier Hufkens, ‘Summer Show’, Brussels, Belgium
1997
Stedelijk Museum, ‘New Acquisitions’, Amsterdam, Netherlands
Public and Special Projects
2015
Public Art Fund/Rockefeller Center, ‘Masks (Pentagon)’, New York NY
2010
City Hall Park / Public Art Fund, ‘Statuesque’, New York NY
2004
Public Commission for Hoofdorp, Haarlemmermeer, The Netherlands
2002
Commission for the City of Harderwijk, The Netherlands
Commission for the Briljantlaan, City of Utrecht, The Netherlands
1998
Sculpture Commission, Almere, The Netherlands (Mondriaan Stichting, Praktijkbureau)
1997
Commission for De Nederlandsche Bank Library, The Netherlands
Contemporary Fine Arts freut sich, die erste Einzelausstellung von Thomas Houseago in Deutschland bekannt geben zu dürfen. There is a crack in everything – That’s how the light gets in vereint neue Skulpturen, Masken, Gipspanele und Papierarbeiten des 1972 in Leeds geborenen Künstlers.
Seine monumentalen figurativen Skulpturen inszeniert Houseago in kraftvollen Posen. Ihre übermenschlich großen Leiber stehen dem Betrachter konfrontativ gegenüber, sie erscheinen wie grobschlächtige, lauernde und animalische Heroen. Der bearbeitete Gips und die impulsiven Zeichnungen auf den Gipsplatten, die die Konturen der Leiber hervorheben, machen Houseagos dynamische Arbeitsweise deutlich. Die Skelette aus Eisenstangen, die der Künstler deutlich unter dem Gips hervorstechen lässt, öffnen die Körper und heben ihre Konstruktion hervor. Eine Umrundung der Plastiken verdeutlicht, dass Houseago bewusst Flächigkeit und Dreidimensionalität der einzelnen Körperteile gleichzeitig erfasst und ausarbeitet.
Rein formal macht der Künstler folgendes: Er formt aus Eisenstreben Trägerwerke, die – dem menschlichen Skelett nachempfunden – den Körpern inneren Halt geben. Weitere Werkmittel sind Holz, Gipsplatten und Hanf. Um bzw. auf dieses Moniereisenwerk werden mit Gips Körperteile geformt. Dort, wo der Gips nicht zum Zuge kommt, wann bzw. wo immer sich also der Künstler entscheidet, zwei- statt dreidimensional zu arbeiten, werden Holz- oder Gipsplatten eingesetzt. Die 3,60 Meter hohe Skulptur Monumental Figure beispielsweise, die in unserer Ausstellung ihren ersten Auftritt hat, ist von den Füßen bis zur Hüfte dreidimensional realistisch aus Gips geformt. Der Oberkörper wiederum besteht aus einer Gipsplatte, aus der schablonenartig Schultern, Bauch und in die Hüften gestemmte Arme herausgeschnitten sind. Skizzenartig sind Muskeln auf den Oberkörper gedruckt. Hinter der den Oberkörper darstellenden Platte wird das Bewehrungseisen sichtbar, welches Beine und Kopf miteinander verbindet und stützt. Der Kopf wiederum ist aus Gips.
Houseago spielt also mit der Welt der Zeichen, der Repräsentation - und das auf verschiedenen Ebenen. Teile der Werke sind fast realistisch abbildend gearbeitet. Andere deuten Körperteile nur an, verweisen zeichenhaft auf das, was der Figur fehlt, um eine vollständig dreidimensional mimetisch den menschlichen Körper darstellende Skulptur zu sein. So changieren die Skulpturen oft zwischen diesen verschiedenen Ebenen der Repräsentation.
Skulpturenensembles auf klassischen oder barocken Bauten haben oft eine Schauseite und eine für den Betrachter nicht sichtbare Seite. Von unten hat der Betrachter den Eindruck, es mit vollfigurigen Skulpturen zu tun zu haben. Hat man jedoch die Möglichkeit, solche Werke von nahem zu betrachten, so erkennt man ihren Fassadencharakter. Sie sind nur nach vorne gearbeitet, von innen hohl und darüber hinaus von Eisenträgern gestützt. Auch hier ist man, mit der Rückseite konfrontiert, über die Fragilität und das Fragmentarische erstaunt. Houseago verbindet Schau- und Rückseite in einem und macht sich den verwirrenden Effekt dieses Changier-Spieles zu Nutzen.
There is a crack in everything – That’s how the light gets in ist die erste Einzelpräsentation von Thomas Houseago bei Contemporary Fine Arts.
Thomas Houseago lebt und arbeitet in Los Angeles.
Contemporary Fine Arts is pleased to announce the first solo exhibition by Thomas Houseago in Germany. ‘There is a crack in everything – That’s how the light gets in’ brings together new sculptures, masks, plaster panels, and works on paper by the artist, who was born in 1972 in Leeds.
Houseago creates monumental figurative sculptures in powerful poses. Their larger-than-life bodies confront the beholder aggressively; they seem like rather coarse, lurking, and animalistic heroes. The sculpted plaster and the impulsive drawings on the plaster panels that underline the bodies’ contours make Houseago’s dynamic working method clear. The skeletons of iron bars that remain clearly visible underneath the plaster open up the bodies and reveal how they are constructed. When we walk around the sculptures, we see how Houseago consciously grasps and develops the flatness as well as the three-dimensionality of individual body parts.
Formally, the artist proceeds as follows: he builds support structures (modelled on the human skeleton) that give the bodies inner support. Additional materials include wood, plaster panels, and hemp. Around and on top of this structure, body parts are formed with plaster. Wherever plaster is not used, or wherever the artist decides to work two-dimensionally instead of three-dimensionally, wooden or plaster panels are being used. The sculpture Monumental Figure, measuring 3.6 metres, for example, which is making its first appearance in this exhibition, is modelled realistically in three dimensions from the feet to the hip. The upper body, on the other hand, consists of a plaster panel, from which the shoulders, stomach and the arms (akimbo) are cut out like stencils. The way the muscles are printed onto the upper body is reminiscent of a sketch. Behind the panel representing the upper body, the reinforcement steel connecting and supporting the head and the legs is visible. The head is once again made of plaster.
Houseago thus plays with the world of signs, of representation – on several levels. Parts of the works are modelled almost realistically, while other parts merely allude to body parts, symbolically pointing towards what keeps the figure from being a completely three dimensional sculpture mimetically representing the human body. In this way, the sculptures oscillate between these various levels of representation.
Sculpture ensembles on classical or baroque buildings often have a show-side and a side that is not visible to the beholder. From below, the beholder gets the impression that he is looking at fully modelled figures. However, given the opportunity to look at these sculptures closely, their façade-character reveals itself. They are only modelled in the front, hollow inside, and also have iron supports. Here, looking at the back, we are surprised by their fragility and their fragmentary character. Houseago combines the show and back sides and takes advantage of the confusing effect of this interplay.
‘There is a crack in everything – That’s how the light gets in’ is Thomas Houseago’s first solo exhibition at Contemporary Fine Arts.
Thomas Houseago lives and works in Los Angeles.
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