Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto are pleased to present the inaugural exhibition at their new shared space, The Campus, in Claverack, NY. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for dynamic cultural exchange. Organized by Timo Kappeller, the inaugural exhibition will run from June 29 through October 27, 2024.

Fondazione Giuliani is very pleased to present the first solo exhibition in Rome of renowned Canadian artist, Liz Magor. For over four decades Magor’s practice has primarily concentrated on sculpture, exploring our persistent and complicated relationship with things. Working with common, everyday objects that often go unnoticed, she uses various sculptural techniques to transform them into new forms, somewhere between still life and the uncanny. Things such as blankets, weathered clothing and discarded toys are found in relationships that generate a sense of meaning and care beyond their original use or need.

Liz Magor is one of Canada’s most influential artists. Her practice focuses on the possibilities of sculpture as a narrative form. Attentive to the physicality of an object, she casts and organizes found material so that intense narratives of dependency and desire can emerge. At once sarcastic and sympathetic, Magor’s sculptures spark questions about our belief and emotional investment in the material world.

The Douglas Hyde is delighted to present the first solo exhibition in Ireland by renowned Canadian artist Liz Magor. For over four decades Magor’s practice has primarily centred on sculpture, exploring our persistent and complicated relationship with things. Using various sculptural techniques Magor transforms ordinary objects into new forms which are located somewhere between still life and the uncanny. Things such as blankets, food containers, clothing and toys are found in unexpected relationships that generate a sense of care and meaning beyond their original use or function.

Organised in collaboration with the Contemporary Art Gallery, Vancouver, the exhibition will subsequently tour to The Douglas Hyde Gallery of Contemporary Art, Dublin (14 July-24 September 2023) and Fondazione Giuliani, Rome (26 October 2023 – January 2024).

‘The Rise and The Fall,’ by Liz Magor presents a focused selection of works from the last five years that explore our relationship with the material world. Working with ubiquitous, manufactured objects that often go unnoticed, she transforms them using inventive sculptural techniques that locate them on a spectrum between still life and the uncanny.  Things such as blankets, containers, clothing and toys are found in relationships that generate a sense of care and meaning beyond their original use or function.

Best known for sculptures made from both found and cast objects, Liz Magor is interested in the cyclical culture of production and consumption, how we assign value to things, the utilitarian and non-utilitarian functions of objects, and our emotional and psychological attachments to them. Her work addresses the latent qualities of ordinary things that influence our acquisition, use, and disposal of them and how, sometimes, the power that these objects hold can even supersede our human relationships.

For more than four decades, Liz Magor’s practice has quietly dramatized the relationships that develop among objects. Drawing on materials familiar from daily life, she carefully pairs elements of tenderness and exposure, often playing soft against hard, weak against strong, hand-made against mass-produced. Each artwork conjures broad social histories and is driven by intimate, contingent dynamics of power, desire, and vulnerability. Manipulating found objects much in the way an author gathers fragments of stories, the Canadian artist brings them together into a newly commissioned body of work that she describes as “a collection of tiny intense narratives.” Here, she uses Mylar to create clear plastic support forms recalling commercial packaging for a number of sculptural “agents”—stuffed toys that she alters in various ways. In another installation, thirty pairs of secondhand shoes line a low structure, each displayed within its own box amidst elaborate embellishments. Magor uses sculptural techniques like casting, containing, cutting, and reattaching to create these hybrids, which she arranges into sprawling vignettes.

Liz Magor’s sculpture quietly dramatizes the relationships that develop between objects. Often playing soft against hard, she pairs care with exposure. Adhering to exacting processes of casting, fabrication, and hand-made techniques, Magor raises questions around gender roles, memory, addiction, and the changing value of the objects that come in and out of our lives.  Featuring a newly commissioned body of work, this exhibition will be the Canadian artist’s first East Coast institutional solo exhibition.  A publication—the artist’s first US catalog in 15 years—will record this new work alongside newly commissioned texts by the exhibition’s curators and writers Sheila Heiti and Mitch Speed.