69, avenue du Général Leclerc
FÜR ANDREA EMO
11 February – 31 May 2018
Five years after Anselm Kiefer’s exhibition for the inauguration of our gallery in Pantin, and following his retrospective at the Centre Pompidou in 2016, Galerie Thaddaeus Ropac is pleased to announce the presentation of a new series of works by the artist in Paris. The exhibition titled Für Andrea Emo brings together a selection of over 20 mid-size and monumental paintings along with three sculptures, which reflect the sedimentation of memory cherished by the artist. The vitrines encapsulate a spiritual connection between several elements. They appear as many fossils or artefacts to unearth, as many micro-fictions to decipher. With an unprecedented formal inventiveness, the paintings reflect the artist's longstanding interest in ideas of destruction and regeneration. By pouring hot lead on recent paintings, Kiefer obliterates the original image and brings to life his own work in a radically iconoclastic gesture.
Philosophical and literary references have always been instrumental to understand Anselm Kiefer’s practice. The exhibition is dedicated to Andrea Emo (1901-1983), an Italian philosopher whose nihilist thinking has fuelled the development of his work. A solitary thinker who has chosen the path of reclusion and self-exclusion from the academic world, Andrea Emo is an important figure in new metaphysics. From his singular writing, which takes the form of fragments and notes, emerges a form of theology in negation. Andrea Emo’s preferred approach to time is memory: “there is nothing new except in recollection ... the new arises out of us, ourselves the future if we can relinquish it.” This is how Anselm Kiefer finds in Andrea Emo's philosophy an echo to his own questions. When Andrea Emo writes: “the deed is the destruction of pictures, their death, their sleep, their burial place, that they require in order to rise again”, Anselm Kiefer answers : “you’ve come to realize that a picture always erases the immediately preceding one, that it’s a matter of constant disposal and rebirth”.
would the result be any different, would the lead flow any differently if the destructive act were performed in rage and not deliberately? ” If on some paintings the layer of solidified lead lets parts of the original landscape visible, on others it imprisons the pictorial elements rejected by the carbonized surface. The painting then becomes its own sedimentation, a palimpsest. In his diary, Anselm Kiefer notes: « this heavy lead bandage that can no longer be detached from the paint skin, these festering sores welling out from the still boiling lead when the pigment beneath it is not bone dry, the little straws on a field that I painted years ago and that appear as charred leavings on the solidified lead - all this reminds me of the Baudelaire poems I reread last year. »
Image on top: Anselm Kiefer, Am Grunde der Moldau, da wandern die Steine, 2008-2017. Oil, emulsion, acrylic, shellac, lead, metal and stone on canvas on wood. 190 x 380 x 47 cm (74,8 x 149,61 x 18,5 in). Photo: Georges Poncet © Anselm Kiefer
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