Croy Nielsen

Please note our ☀️ summer hours ☀️ Thursday- Friday 12-6 pm and Saturday 12-4 pm. Our current exhibitions are open until July 20th: GLITTERING PRIZE, solo by Joanna Woś and TOIL, a group show organized by Rob Tufnell

Images are online: Rob Tufnell presents TOIL Anthea Hamilton, Tom Humphreys, Matthew Peers, Hayley Tompkins with furniture by William Morris & Philip Webb On view until July 20th William Morris (1834−1896) occupies a strange place in our cultural history. His influence was significant inspiring successive generations of artists and designers, including the Wiener Werkstätte, but his legacy is more complicated. Recognised in his lifetime primarily as a poet and political radical, he is now mostly remembered for wallpaper and textile designs favoured by the bourgeoisie. His most prominent product is the ubiquitous white skirting boards found in most UK homes (although few are aware that this was his innovation). And then there’s the famous essay ​‘Useful Work versus Useless Toil’ (1884) where he made the assertion that if manual labour didn’t exercise ​“the energies of [the] mind and soul as well as of his body” and ​“the thoughts of the men of past ages” it was dehumanising. (….) This exhibition features works in wood, metal and ceramics–all materials that Morris and his associates used to create their artisanal, Medieval-inspired, applied art. But this is not an exhibition of that. Tom Humphreys’ (b. 1972) ceramic tiles are decorated with vermin. A work by Hayley Tompkins (b. 1971) repurposes a wooden mallet as a ground for abstract painting. Matthew Peers (b. 1991) literally tears up the floor of his studio to cast it in aluminium or adorn it with glitter. And Anthea Hamilton (b. 1978) offers an adapted Medieval cure for cataracts. These are accompanied by a pair of chairs. One warped, the other worm eaten, respectively commissioned from Morris by Liberty and by Morris from Philip Webb (1831−1915). - Rob Tufnell Photos by @kunstdokumentation.com @robttufnell.__ @hamiltonanthea @tom__humphreys @matprs1111 @hayley.tompkins #robtufnell #antheahamilton #tomhumphreys #matthewpeers #williammorris #philipwebb #croynielsen

⚡️Documentation of our 2nd solo by Joanna Woś is online⚡️ The exhibition is up until July 20th and is ccompanied by a text by Albert Løje: While Joanna was working on this show, I found out that the most prominent version of the Holy Lance relic–or the Lance of Longinus as it is also called–sits in Vienna. Materially speaking it is a medieval lance adorned with gold and silver but its value as a relic is legendary. Throughout time, emperors and other rulers have competed in possessing the most flashy and famous relics, trophies of the suffering of Christ, using them to back their divine right to rule over others. Longinus is the name later given to the Roman soldier who wounded Christ in his side and was covered with the blood from his heart (talk about an intense experience!) […] Certainly, no matter if he wanted it or not, it landed him a role in what is known as one of the greatest tales of all time. Fantasies of suffering and ecstasy, unconditional love and eternal life have always had a strong pull on most of us. Something that Joanna wasn’t late to recognize. In her paintings, she uses images that represent such fantasies, but through conflation, entanglements, and interpenetrations, she twists them into a hall of mirrors and invites us to go inside. Photos by @kunstdokumentationcom #joannawoś #joannawos #albertløje #croynielsen @wosjoanna

Opening today in Cologne: KÖLNSKULPTUR 11 curated by @nikola_dietrich Olga Balema LOOP 1A, LOOP 34A, LOOP 15A, LOOP 7A, 2024 The Skulpturenpark Köln is a museum for contemporary sculpture in the open air. The approximately 35,000 square meter park is an oasis of peace and contemplation in the hustle and bustle of the city and a place to experience contemporary art first-hand. It is located between Zoobrücke, Konrad-Adenauer-Ufer and Riehler Straße. Every two years, the Cologne Sculpture Park Foundation appoints an independent curator who then curates the following KölnSkulptur according to his or her own conceptual ideas. Each production redefines and reinterprets the Skulpturenpark Köln with current positions of contemporary outdoor sculpture. #olgabalema #kölnskulptur11 #kölnskulptur #skulpturparkköln #nikoladietrich

CHIARA & LUCA will be curating this year’s edition of @curatedby.at at the gallery ✨ looking much forward to having them in Vienna in September ✨ #chiarasiravo #lucalopinto @chiara_clarke @lucalopintoo #croynielsen

☀️ Summer opening ☀️ This Thursday 6-8 pm Joanna Woś GLITTERING PRIZE We are looking much forward to Joanna Woś’ second solo exhibition at the gallery. Join us for a beer on the balcony #joannawoś @wosjoanna #croynielsen

CN at ART BASEL BOOTH R24 Georgia Gardner Gray A MAGDALENE, 2024 Oil on canvas 130 x 90 cm Last chance to visit us in Basel tomorrow, Sunday 💫 @_g_g_g_ @artbasel #georgiagardnergray #croynielsen

CN at ART BASEL BOOTH Kabinett ERNST YOHJI JAEGER Influenced by various Western and Eastern traditions as well as his own Japanese-German heritage, Ernst Yohji Jaeger draws as much on the history of classical painting as on countercultural currents, video games, manga, and the anime of Yoshitaka Amano. Often depicting androgynous figures that seem caught within their own internal worlds, his works convey a powerful sense of solitude. While Jaeger has arrived at his visual imagery through careful study of Cézanne, Degas, Redon, the Magical Realism of Felice Casorati and the stylized Modernism of Helene Schjerfbeck, his own work moves on an impenetrable border of Figuration and Abstraction and remains intentionally non-historic. Each painting starts with a long preparation process of layering, applying glue and pigments, but also of scratching and erasing. His colors are at once rich and delicate, making the subtly layered paintings glow like twilight scenes. – Stéphanie Moisdon Photos by Dawn Blackman @e_yohji @artbasel #ernstyohjijaeger #croynielsen

CN at ART BASEL BOOTH R24 NINA BEIER GEORGIA GARDNER GRAY SOSHIRO MATSUBARA SANDRA MUJINGA + Kabinett presentation of ERNST YOHJI JAEGER Photos by Dawn Blackman #ninabeier #georgiagardnergray #soshiromatsubara #sandramujinga #artbasel #artbasel24 @nina_beier_ @_g_g_g_ @soshiro_matsubara @iamsandramujinga @artbasel

CN at ART BASEL BOOTH R24 Solo presentation ERNST YOHJI JAEGER as part of the Kabinett section Ernst Yohji Jaeger UNTITLED 1917, STUDY FOR AN ANGEL / TEAR THROUGH TIME, 2024 Oil on canvas 82 × 72 × 3.5 cm (framed) Influenced by various Western and Eastern traditions as well as his own Japanese-German heritage, Ernst Yohji Jaeger draws as much on the history of classical painting as on countercultural currents, video games, manga, and the anime of Yoshitaka Amano. Often depicting androgynous figures that seem caught within their own internal worlds, his works convey a powerful sense of solitude. While Jaeger has arrived at his visual imagery through careful study of Cézanne, Degas, Redon, the Magical Realism of Felice Casorati and the stylized Modernism of Helene Schjerfbeck, his own work moves on an impenetrable border of Figuration and Abstraction and remains intentionally non-historic. Each painting starts with a long preparation process of layering, applying glue and pigments, but also of scratching and erasing. His colors are at once rich and delicate, making the subtly layered paintings glow like twilight scenes. – Stéphanie Moisdon @e_yohji @artbasel #ernstyohjijaeger #croynielsen #artbasel #artbasel24

CN at ART BASEL BOOTH R24 Nina Beier FEMALE NUDE, 2015- Lodoicea seed, fertilized dirt Dimensions variable Installationview @smkmuseum 2021 Nina Beier’s FEMALE NUDE (2015 –) comprises a coco fesse perched atop a mound of fertilized dirt. The coco fesse (French for “coconut buttock”) is the nut of an endangered palm tree native to the Seychelles. The coco fesse is the largest plant seed on earth, and a remarkable representative of island gigantism (a single one can weigh up to 30 kilograms). The fertility that we project onto this seed, through how it looks akin to birthing hips, vaginas, and buttocks, has superseded the coco fesse’s own ability to procreate, as the seeds are more frequently collected than germinated and allowed to grow to maturation.
Throughout her work, Beier similarly posits that our image-world is one in which meaning never matures or comes to fruition. It is not inherent to images or objects but is instead both infinitely deferred and projected onto images and objects from the outside, often from the gendered realm of the social unconscious. Whether tactically filling up emptiness with loaded signifiers, or turning the emptiness itself into a loaded signifier, Nina Beier’s work speaks to the complexities of a world that is pregnant with meaning. #ninabeier #artbasel24 #artbasel #croynielsen @nina_beier_

CN at ART BASEL BOOTH R24 Soshiro Matsubara LAST NIGHT (LX), 2024 and LAST NIGHT (XLIX), 2023 Glazed ceramics, light bulbs, cable 31 × 41 × 7 cm / 43 × 36 × 8 cm Installation views FRAC, Lorraine, 2024 This year our booth features a corridor adorned with works from Matsubara’s series LAST NIGHT, from which some are also included in his current show at Frac Lorraine. The works take up Fernand Khnopff’s well-known Medusa motive while translating it into a new, rougher formal language. Matsubara’s approach to the works of the Belgian symbolist cannot be adequately described with terms such as quotation or homage. His works, in which Khnopff’s motifs and stylistic characteristics can be found quite clearly, are too close and at the same time too little interested in accuracy. Filled with ambiguity and eeriness, Matsubara’s works become emblems of the forces of attraction – from mad obsession to sensuous unions with the beloved. #soshiromatsubara @soshiro_matsubara #artbasel #artbasel2024 #croynielsen