Luxembourg + Co.

Luxembourg + Co. will be presenting works by Isamu Noguchi (1904-1988) and Katsumi Nakai (1927-2013), innovators in the field of sculpture, who shared an exceptional ability to translate their Japanese cultural heritage into new geographic contexts. The display will focus on the importance of concealment and revealing as artistic processes that underline both practitioners’ work.

The exhibition Art Handling: An Installation Play by Liz Magic Laser is conceived as a theater piece, revolving around a group of 20th century artworks that rely on unconventional installation protocols or links to performative enactments. With works by Robert Rauschenberg, Claes Oldenburg, Gino De Dominicis, Esperanza Mayobre and Liz Magic Laser.

Luxembourg + Co., New York, is pleased to present Plastic Revolution, an exhibition dedicated to material and technological innovation in the work of Carla Accardi (1924-2014) and Sue Fuller (1914-2006), with a short film by Alain Resnais (1922-2014). Installation view of Plastic Revolution, Luxembourg + Co., New York, February – March 2024. Photo: Alexa Hoyer.

The first of its kind, Man Ray: Other Objects invites visitors to experience in person the premise of an artist’s practice that relied on and relished in the absence of originals. The exhibition focuses primarily on the narrative of five key objects: Obstruction, Cadeau, Object to be Destroyed, Vénus Restaurée, and a series of works Man Ray referred to as his “monuments”. Loans to the exhibition include objects from The Museum of Modern Art, New York, the Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, and the Roland Penrose Collection, England. Image: Man Ray, Indestructible Object, 1959. The Roland Penrose Collection, England © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2023

"Torn" explores the radical uses of torn paper within the context of art since the turn of the twentieth century. The exhibition features works from the 1930s to the present day, from Jean Arp’s first experiments with torn paper collages, to Raymond Hain’s large-scale tearing of billboard ads in the 1950s; from Marcel Duchamp’s hand-torn self-portraits in silhouette to Daniel Buren’s film of torn sheets. Other artists on view will include Lee Krasner and Ellsworth Kelly as well as contemporary explorations of the torn edge by Christian Marclay and Piotr Uklanski.

In September 2022 Luxembourg + Co. will officially open its new gallery space in New York City at the Fuller Building (on the corner of 57th Street and Madison Avenue) with an exhibition of paintings and drawings by Joan Miró from the years 1924–36. Held on the site of the historical Pierre Matisse Gallery (1931–89), where Miró made his North American debut in 1932, the exhibition will dive into the most formative and experimental decade in the artist’s career. Miró’s unique exploration of painting, drawing, collage and writing during this moment in time would define his unique visual vocabulary and his ground-breaking regard to painting and poetry alike. The exhibition is held on the occasion of the fiftieth anniversary of Miró’s seminal retrospective Joan Miró: Magnetic Fields, which was organised by Rosalind Krauss and Margit Rowell at the Solomon R. Guggenheim Museum, New York, in 1972. In an attempt to rethink Miró’s legacy in art of the last century, the show at Luxembourg + Co. follows a new scholarly proposition outlined by expert Eric Robertson, who suggests that the key to Miró’s work of the 1920s begins with his fascination with ground – both as a subject that connects to his Catalan roots (the brown soil represented so often in his paintings from this period) and as a technical interest in constructing the background of his pictorial universe. The exhibition, alongside Robertson’s argument, then continues to explore the formal language developed by Miró during the 1920s and early 1930s and the emergence of his unique symbolic vocabulary, encompassing numbers, letters and a whole range of idiosyncratic signs. The exhibition Joan Miró: Feet on the Ground, Eyes on the Stars will include loans from several collections in Europe and the United States, including the Pierre and Tana Matisse Foundation in New York and a prominent private collection in Germany that gathers a rare suite of drawings from the period. The project will be accompanied by a new book co-published with Ridinghouse, London, including a preface by Miró expert Jean-Louis Prat and an essay by Eric Robertson, Professor of Modern French Literary and Visual Culture at Royal Holloway, University of London.