past

cover-01-68e71621bbf85d82c400800abde644eb cover-02-55bbbabea9380aba436e10d7795d0d4c cover-03-e4a25b14226d083fe53df77139269f67 cover-04-e2668f28d0f808b198f83d17e2d38bc6 cover-05-1abd732505f5ca8c2c6f226e217742bb cover-06-5640aba3de83d216d0932a37d0266709 cover-07-1ee973444cc044f9c31df0e13f2fd5eb cover-08-316906cff1ae9e60048db539c08debb4 cover-09-8eee161e9e008a353f3d02cba88ec9f5 cover-10-fc406608a4bca0d4443e0b11dcb32b33 cover-11-79477167813a4c23e4dce3cace58688d cover-12-de05edde44f7bce3a5716393f79b018a cover-13-ebdc9e724e75718f2fce52bbe5f1dbd7 cover-14-5afcb1bdd6f72c616724b678bde4c1bb cover-15-b5f329ddf950b2e10d022a03306f1acb cover-16-f47ed32c26d32fe72f7110cbf35a05b2 cover-17-9ec770748f17ecba051675cc27a2b6d6 cover-18-718ac5034aa887056ea83c4199dd0de3
cover-01-c992908069c52c808805bd83e08c1a75 cover-02-ae884465a87a3268e33c07c97bdc7859 cover-03-9bb71df11470f11863fba512d1643dd7 cover-04-e9da43379ce0d31df7618351f9e5805b cover-05-58ba526a5f92e1a2813267de8e9562df cover-06-2b0813f8e02233996add9b159ad2bd31 cover-07-8580dfe956e20a520f87fe7c640dc594 cover-08-2216c0d22a447868dd98a016c35d0515 cover-09-ebe97b6eea6f2f73b339815933194fec cover-10-2cd999c71fe8a5285e93b512c062ecdc cover-11-25f96d47a05fbadadb1e0206548f5f60 cover-12-cb0ea502c2dbd103b24db6675f83ef88 cover-13-12a766ec0ec797e14520793ea3353c8d cover-14-4960ccb11f56da6a703b7ca3ab244dc2 cover-15-8c13629f6e283bce59d45d3db300c3b5 cover-16-8b3068f098f1fb5be4637e8095b77ca2 cover-17-5861235eafa4cd826552f4aa4f64cc18 cover-18-2c680c29b2124128122ba1b9b8be566f

Click image to enlarge

David Hammons Give Me A Moment

The George Economou Collection Space

13 JUN. —
30 SEP. 2016

GREECE
Press Release
EN GR

The George Economou Collection is proud to present an exhibition of rarely seen works by the American artist David Hammons, the first major show of his work in Greece and his first survey show in Europe. Hammons is one of the most significant artists of the last 50 years. This show includes work made in Los Angeles in the late 1960s and in his New York studio in the past year. With body prints, sculptures, paintings, and documents relating to Hammons’s performances and public projects, it will show the extraordinary range of his art. Materials include fried chicken, bottle tops, cigarettes, hooded sweatshirts, black hair, African masks, and mirrors.

Hammons was part of a generation of artists in Los Angeles responding to the aftermath of the Watts Riots and the Black Power movement. His earliest works, the Body Prints, represent the concerns of Black Americans in the late 1960s: this exhibition includes The Wine Leading the Wine, one of the masterpieces of the series. By the mid-1970s, Hammons would abandon this kind of work, beginning to create an abstract art from the materials of black culture. Beginning with greasy bags and barbeque bones, he soon began to use black hair, bottles, and broken records. He saw the work as deliberately unsaleable and reveals Hammons’s extraordinary way of creating beauty from free-to-use materials, and the wit with which he combined sculptures with punning titles.

Hammons has been based in New York since the late 1970s, but spent time in Rome and Japan. His contact with both places will be evident in other works in the exhibition. His scepticism about the role given to ancient Roman culture as the foundation place of history led to sculptural works such as Roman Homeless; much more admiring of Japanese culture, he has incorporated materials such as kimonos into his pieces.

The exhibition will reveal the very diverse sensibilities in Hammons’s work. Some pieces are witty and playful but reveal pointed social critique. For instance, while paying tribute to street culture, in works that deal with basketball Hammons also questions the values invested in athletic success, celebrity and consumerism in black American life. In other works, Hammons interests in rituals and spirits are apparent. Since the late 1970s, when he began to use hair and bottles, Hammons spoke about the way the spirits of other people remained in the objects he used. This led him to make works like altars or charms, and to create ritual-like performances. A sense of quietness and pose has remained, most recently in paintings and mirrors shrouded in tarpaulins and other cloths.

Alongside works from private collections never publicly exhibited, Give Me a Moment will include some of Hammons’s most iconic works: his UNIA Flag, in which the red, white, and blue stars and stripes are re-interpreted Marcus Garvey’s red-black and green; In the Hood, 1993, a simple sweatshirt hood, fixed to the wall, but speaking to the racist fears so often projected onto black youth; and Untitled, 1996 a work made by fastening together fake African masks and hanging them from the wall like a sporting trophy, and that indicates Hammons's scepticism about the trade in 'Afro-kitsch' and his desire to create a new kinds of sacred objects.

The exhibition is curated by Mark Godfrey, Senior Curator at Tate Modern, and Skarlet Smatana, Director of the GEC, and will be accompanied by a publication including a major new essay by Godfrey and a text by artist Jannis Kounellis, who worked alongside Hammons at the American Academy in Rome in 1993. Award-winning poet and author Ben Okri will also contribute his writings.