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Rhe: everything flows;

January 7 – February 13, 2021

Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Installation view at Galerie Lelong & Co., New York
Petah Coyne Untitled #884 (Stream Monk, Monk Series), 1997 Silver gelatin print 20 x 24 inches (50.8 x 61 cm) Unique AP2 (GP2664)
Petah Coyne Untitled #1459 (Yōko Ogawa: The Memory Police), 2019 Black sand from pig iron casting, artificial feathers, acrylic polymer, paint, chicken-wire fencing, barbed wire, annealed wire, steel, cable, cable nuts, cable thimbles, quick-link shackles, jaw-to-jaw swivel, 3/8" Grade 30 proof coil chain, silk/rayon velvet, Velcro, thread, plastic 40 x 35 x 37 inches (101.6 x 88.9 x 94 cm) (GL14191)
Ficre Ghebreyesus Untitled, 2011 Signed lower right Acrylic on canvas 36 x 24 inches (91.4 x 61 cm) Framed: 38.5 x 26.5 x 2 inches (97.8 x 67.3 x 5.1 cm) (GL13520)
Andy Goldsworthy Red river rock Dumfriesshire, Scotland 19 August 2016, 2016 Digital video. Colour, sound Running time: 9:44 Edition of 6 with 1 AP (GP2354)
Jane Hammond Nine Days Later, 2015 Selenium toned silver gelatin print 16 x 20 inches (40.6 x 50.8 cm) Framed: 24.1 x 28.1 x 1.6 inches (61.3 x 71.4 x 4.1 cm) Edition 2 of 8 (#2/8) (GP2076)
Alfredo Jaar Untitled (Water) E, 1990 Double-sided lightbox with two color transparencies, five mirrors Lightbox: 43.5 x 43 x 9.5 inches (110.5 x 109 x 24 cm) Mirrors, each: 12 x 12 x 2 inches (30.5 x 30.5 x 5 cm) Overall dimensions variable (GL8906)
Rosemary Laing Wildflower, 2017 Archival pigment print 39 x 79 inches (100 x 200 cm) Framed: 40 x 79.5 x 3 inches (101.6 x 201.9 x 7.6 cm) Edition of 8 (GP2247)
Cildo Meireles Aquaurum, 2015 Two crystal glasses, titanium, gold, and water Each cup: 6 11/16 inches (17 cm) high
Ana Mendieta Silueta de Arena, 1978 Super-8mm film transferred to high-definition digital media, color, silent Running time: 1:33 minutes Edition 2 of 8 with 3 AP (#2/8) (GP1930)
Jaume Plensa Freud's Children VII, 2001 Mixed media, water pump and water 29 x 52 x 46 cm (GL14862)
Carolee Schneemann Water Light / Water Needle I, 1966 / 2014 Hand-colored giclee prints on Hahnemuhle paper 27 15/16 x 40 15/16 inches (71 x 104 cm) Framed: 34 1/2 x 47 1/2 inches (87.5 x 120.5 cm) (GP2195)
Kate Shepherd Car Wash, 2020 Screen printed enamel on panel 50 x 42.5 inches (GL14872)
Michelle Stuart Dream Collector Carpinteria, 2003/2012 Wood, paint, metal, beeswax, canvas, muslin-mounted rag paper, pencil, and string 8.5 x 24 x 36 inches (21.6 x 60.9 x 91.4 cm) (GL14873)
Michelle Stuart Mysterious Tidal Fault, 2019 Suite of thirty-five photographs Approximately: 78 x 80 inches (GL14863)
Juan Uslé Soñé que revelabas (Liard), 2019-20 Vinyl dispersion and dry pigment on canvas 108.3 x 79.9 inches (275 x 203 cm) (GL14565)
Catherine Yass Lighthouse (North), 2011 Photographic transparency, lightbox 50 3/4 x 40 3/4 x 6 1/2 inches

Press Release

Galerie Lelong & Co., New York, is pleased to present Rhe: everything flows; a group exhibition held in collaboration with Galleries Curate: RHE, an international contemporary art platform initiated by 21 galleries as a response to the ongoing challenges of the pandemic. “Rhe,” from Greek for that which flows, centers on the theme of water: its essential significance to life, as a bridge between people and cultures, and its status under threat from climate change. A platform with ongoing projects through May 2021, RHE is coordinated by Clément Delépine, independent curator, writer, and co-director of Paris Internationale.

For its contribution, Galerie Lelong will present works by Petah Coyne, Ficre Ghebreyesus, Andy Goldsworthy, Jane Hammond, Alfredo Jaar, Rosemary Laing, Cildo Meireles, Ana Mendieta, Jaume Plensa, Carolee Schneemann, Kate Shepherd, Michelle Stuart, Juan Uslé and Catherine Yass. The exhibition will encompass artworks in a myriad of media that reflect the contextual underpinnings of water through film, painting, photography, and performance art pieces, including the actual physical presence of water in mixed-media works.

Water is a resource with geo-political dimensions. In Alfredo Jaar’s Untitled (Water) E (1990), an image of a turbulent ocean conceals the face of a Vietnamese refugee on the other side, revealed through five strategically placed mirrors that implicate the viewer in the global refugee crisis. 

Laing’s photograph of a cascade comprising discarded refugees’ clothes on an actual dried riverbed speaks to the dual climate and refugee crisis in Australia. The use of gold as a precious metal in Meireles’s Aquaruum (2015) references the scarcity of water for the population in Brazil, a country that supplies 12% of the world’s freshwater. 

The performative and immersive aspects of Mendieta and Schneemann’s practices are expressed within their documentational photography and works on paper. Mendieta made her silueta (silhouette) in diverse natural landscapes “to establish her ties to the universe” as in her film Silueta de Arena (1978) where her body, portrayed in sand, is gently ebbed away by the water. 

A contemporary pioneer of performance art, Schneemann sought to depict a weightlessness of the body through the group performance Water Light/Water Needle (1966), with men and women interacting on suspended ropes in a gesture of collective dependency, a response to social and gender norms of the time.

Land artists Andy Goldsworthy and Michelle Stuart have dedicated decades of their career to meticulous observations of nature in situ. Goldsworthy has often investigated earth’s remarkable staining qualities and has worked for years with the iron-rich red earth and stone found near his home and studio. In Goldsworthy’s nine-minute film, a river stone that he has rubbed with red earth “bleeds” color into the water. Stuart’s suite of thirty-five photographs Mysterious Tidal Fault (2019) investigates the traces of humanity’s effects on nature through the change in tides. In the small gallery, Goldsworthy’s and Mendieta’s films are accompanied by the sound of an ongoing, rhythmic drip from Jaume Plensa’s intimate sculpture. Plensa’s Freud’s Children VII is part of a 25-component installation work where vessels of various sizes affixed with a sculpture of a body part (such as faces and hands) are connected by the drip of a pump that supplies and fills it with water, an arrangement akin to closed-blood circulation.

Displayed together in this exhibition, all of the artists dwell on the physical and at times politicized qualities of water, reflecting humanity’s unity in our need for the life-giving source yet our division in its care and distribution.

Visit the Galleries Curate website for information about the platform

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