Follow us to see #AntonyGormley’s cast iron figures 'Another Time' (1999-2013) in Folkestone, Kent! 'Another Time' is a series of one hundred solid cast-iron figures, destined by Antony Gormley to be dispersed around the world. Gormley intends the sculptures to 'bear witness to what it is like to be alive and alone in space and time' and to 'celebrate the still and silent nature of sculpture. The work is designed to be placed within the flow of lived time.' The movement of the tides is a primordial figures here stand within the ebb and flow of the tide, and at times are partly inundated. Featured here is Antony Gormley’s work at the half tide loading platform on Folkestone’s Harbour Arm, where the figure is immersed or revealed depending on high or low tide. Images: (1) Antony Gormley, 'Another Time’, 1999-2013. Photo: Thierry Bal. (2) Antony Gormley, 'Another Time’, 1999-2013. All images ©the artist. #ThaddaeusRopac @creativefstone @fstonetriennial

A sneak peek behind the scenes of our new gallery space in Seoul, which is currently under renovation ahead of its opening in October. Located in the heart of the thriving Hannam-dong neighbourhood, the gallery will occupy the first floor of the award-winning architectural landmark the Fort Hill building, designed by SAI architects and led by the celebrated architect Juhwan Park. Measuring close to 750sqm, the bespoke interior was designed by the acclaimed interior designer Teo Yang Studio (@teoyang) and will offer a unique setting for forthcoming gallery shows - stay tuned for the announcement of our inaugural exhibition in this beautiful space! Learn more about our Seoul new gallery via link in bio. #ThaddaeusRopac #ThaddaeusRopacSeoul

Today marks the birth of #EmilioVedova, one of the most influential Italian artists of the second half of the 20th century. Vedova's expressive strokes and smears of paint convey a raw and violent reaction to the political reality of the post-war period. He pushed painting into new territories with his visceral and gestural works that engage the viewer and redefine the space they inhabit. Largely self-taught, Emilio Vedova learned to draw and paint by sketching Venetian churches and frescoes, particularly those of Tintoretto who was a key inspiration to the artist throughout his career. Although Vedova split his time between Venice and Berlin for many years, his work remained anchored in the city of his birth and its painting traditions. Do not miss Vedova’s exhibition currently on view at the Haus für Mozart during this year’s Salzburg Summer Festival (@salzburgerfestspiele). The exhibition offers insights into Vedova’s working process and his engagement with music. Alongside his large scale paintings, archival material and photographs related to the first production of Intolleranza will be displayed throughout the foyer, as well as the entrance and the gallery leading to the to the Karl Böhm Hall. Learn more via link in bio. Images: (1) Emilio Vedova portrait, 1962. Photo by Maria Teresa Muraro. (2) Emilio Vedova, Da Dove (1983-11), 1983. Paint on canvas, 230 x 300 cm. © Emilio Vedova Foundation. #ThaddaeusRopac @fondazionevedova #salzburgfestival

Robert Longo’s exhibition ‘A History of the Present’ opens today at Guild Hall, East Hampton in New York. 'A History of the Present' is a celebration of and a critical investigation into the span of American history bookended by Abstract Expressionism and the current moment in which we live. In two adjacent galleries, Robert Longo juxtaposes America’s past with its present through 17 monumental, highly labour-intensive charcoal drawings that act as mirrors into history. Considered the most advanced American art at the time, Abstract Expressionism was championed for being monumental in scale, romantic in mood, expressive of freedom and uniquely American in spirit. These works embody America’s willful rise out of the ashes after the world tried to destroy itself during WWII. Longo’s personal fascination with this era is no coincidence: he was born around the beginning of it and bore witness to the assassination of President John F. Kennedy, an event which took place as the Abstract Expressionist influence was beginning to wane. Featured here is Longo's 2019 work 'Untitled (Field of Cotton, Alabama)' – displayed in the exhibition alongside a drawing of a closely cropped Native American headdress, the seeming innocuousness of the natural imagery begins to unravel to expose a more provocative narrative. Longo presents us with captivating images both of our American crimes and answered calls to action, unleashing an urgency to acknowledge our shared burdens and therefore shared responsibilities. Image: Robert Longo, Untitled (Field of Cotton, Alabama), 2019. Charcoal on mounted paper, 239.4 x 193.2 x 8.3 cm. #ThaddaeusRopac @robert_longo_studio @guild_hall

Today marks the birth of the icon of Pop Art – Andy Warhol! #AndyWarhol: 'Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.' Born 93 years ago today, Andy Warhol used everyday commodities and celebrity portraits from mass media as his subject matter, creating enduring images that have come to define his era. To celebrate Warhol’s prolific career, we are sharing one of his silkscreen on paper works ‘Flowers’ (1970). Using a primarily commercial technique, silkscreen printing allowed an unlimited number of repetitions and variations on a chosen subject. As Warhol described, 'you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple – quick and chancy.' Strategies borrowed from printmaking, including multiplicity, mirroring and replication, became central to Warhol's practice. He distanced the artist's hand from the work itself, continuing the trajectory of Marcel Duchamp's readymades, and reimagined what art could be in an age of immense social, political and technological change. Learn more about Andy Warhol's exhibitions at Thaddaeus Ropac, and explore our Warhol publications via link in bio. Images: (1) Andy Warhol sits in front of several paintings in his 'Endangered Species' at his studio, the Factory, in Union Square, New York, New York, April 12, 1983. (Photo by Brownie Harris/Corbis via Getty Images) (2) Andy Warhol, Flowers, 1970. Silkscreen on White Paper. Framed: 117 x 117 x 4 cm (46.06 x 46.06 x 1.57 in). ©The Artist. #ThaddaeusRopac

We are thrilled to present Ali Banisadr’s (@simorgh3 ) first major monograph, now available on our website. Watch our video to delve into the painter's influences and practice. Preeminent Iranian-American artist Ali Banisadr's canvases depict a complex swirl of action and abstracted figuration across a stagelike picture plane. Varied histories inform these paintings, ranging from the artist's synesthesia, to Persian miniatures, to the multi-figure works of Brueghel and Bosch, and the gestural imaginations of Willem de Kooning and Max Ernst.  The publication ‘Ali Banisadr’ was created with the contribution of Negar Azimi, Robert Hobbs and Joe Lin-Hill and John Yau. #ThaddaeusRopac

Alex Katz's installation 'Park Avenue Departure' (2019) is currently on view in the garden of Voorlinden Museum in the Netherlands (@museumvoorlinden ). Coming of age as an artist in 1950s New York, Alex Katz developed his unique approach to contemporary representational painting at the height of Abstract Expressionism. Over the seven decades since his first exhibition in 1954, he has produced a celebrated body of work, including paintings, drawings, sculpture and prints. With 'Park Avenue Departure' (2019), Katz explores perception by cutting out three dimensional figures that seems directly extracted from his paintings and looks at the Piet Oudolf garden. His recognisable style of vivid colours can also be seen in this figure. Although he is best known for his paintings, Katz has produced a smaller but significant body of sculptures, which feature cut-out images reminiscent of his paintings mounted on poles or on stands. His “cutout sculptures” have been described by art historian Zdenek Felix as 'an intriguing fusion of painting and sculpture...hieratic, simplified and yet extremely lively, they function as iconic images in which an individual artist style and our concept of the human image mingle.' Image: Alex Katz, 'Park Avenue Departure' (2019), Installation at Voorlinden Museum. ©the artist. #ThaddaeusRopac @alex_katz_official

Erwin Wurm’s new series of works comprising marble sculptures of oversized sausages, bread rolls and gherkins are currently of view at our Salzburg gallery!   Watch the video to experience the exhibition ‘Dignity’, on view through 31 August. The humanisation of these food items blurs the boundary between the object and the body. The sausages and gherkins – recurring motifs in the artist’s works – become monuments to the domination of consumption over the human individual. In his works, Erwin Wurm repeatedly addresses the subject of social shells that serve to shape both our individual and our collective identity. The absurd pursuit of securing a social or even physical ‘fat cushion’ is often highlighted, while an insatiable desire for food or consumption can be interpreted as compensation for existential insecurity. The act of absorption is often a central concept in Wurm’s works, as is the relationship between the internal and the external.    #ThaddaeusRopac @erwinwurm

Sean Scully’s dual exhibition with Liliane Tomasko ‘From The Real’ is now on view at Newlands House gallery (@newlands.house.gallery ) in West Sussex, UK. ‘From The Real: Liliane Tomasko and Sean Scully’ exhibits the two practices of the artist couple side by side for the first time in the UK. Liliane Tomasko and Sean Scully deal with Abstraction through distinctly different approaches despite sharing living spaces and environment. Where Scully draws on his personal biography to inform his art, Tomasko focuses on the universal experience of the domestic, both presenting an emotional journey of light and pigment. On view for the first time in the UK are Scully’s most recent works including his Black Square series (2020) and Madonna paintings (2018) that came out of a recent return to figuration. Also on view will be three sculptures by the artist. Over the past two decades Scully has revisited his sculptural practice, working predominantly in steel and stone to create powerful structures that assert their materiality. This exhibition will be the first opportunity to see Scully’s sculpture in Murano glass in the UK, affirming his prodigious artistic range. 'My paintings talk of relationships. How bodies come together. How they touch. How they separate. How they live together, in harmony or disharmony'. — Sean Scully (@seanscullystudio ) Images: ‘From The Real: Liliane Tomasko and Sean Scully’, 2021, Installation view at Newsland House gallery in West Sussex. Credit: Barney Hindle Photography. #ThaddaeusRopac #SeanScully #NewlandsHouseGallery

This summer, the widely acclaimed British sculptor #AntonyGormley is exhibiting ‘Field for the British Isles’(1993) - the largest single artwork in the Arts Council Collection - at the Northern Gallery for Contemporary Art in Sunderland, UK. 'Field for the British Isles' is an installation piece comprising around 40,000 individual terracotta figures. Each one is unique and is simply fashioned, with holes for eyes. The figures completely occupy the space in which they are installed, filling the space so the viewer can look at the figures, but cannot enter the space they occupy. Antony Gormely’s work investigates the relationship of the human body to space. It has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. A corresponding exhibition of Antony Gormley's 'Earth Drawings' is presented at Sunderland Musuem and Winter Gardens through 25 September. Images: Antony Gormley, 'Field for the British Isles’, 1993. Terracotta. Variable size: approx. 40,000 elements, each 8-26 cm tall. Arts Council Collection, Southbank Centre, London, England. Installation view, Northern Gallery for Contemporary Art, Sunderland, UK. Arts Council Collection, England. Photographer: Colin Davison. © the artist #ThaddaeusRopac @ngcasunderland1

Donald Judd’s solo exhibition is now open in our Salzburg gallery through 28 August. #FlavinJudd: 'Don's work is about existence. It's about time and space and existence. He was trying to make works that were only about themselves and only about those things. But at the same time the act of making art was to him a playful activity […] – flipping things, changing things and making variations of things.' This exhibition provides insight into the diversity of Donald Judd’s formal and material repertoire, highlighting his distinctive visual vocabulary and deliberate use of mathematical proportions. Spanning works in plywood, painted wood, plexiglass and aluminium – media through which he interrogated the relationship between form and colour – the exhibition features work that has never previously been exhibited, alongside seminal floor works which remain at the core of Judd’s practice. - Our London and Paris galleries will be closed for the summer throughout August and will reopen to the public in September. Stay connected with us on social media and visit ropac.net for information about our upcoming exhibitions. Image: Donald Judd, exhibition view, Thaddaeus Ropac, Salzburg, 2021. #ThaddaeusRopac @juddfoundation @flavinjudd

Tomorrow is the #lastday to visit Tom Sachs’ exhibition ‘Ritual’ at our London gallery. Recommended by @biancajagger and selected by @wallpapermag to be one of the best UK art exhibitions to visit, ‘Ritual’ emphasises the potential for a singular household object to be embedded within a variety of seemingly disparate everyday systems or rituals. Featured here is one of the works on view, 'Cat Carrier' (2020), a model of the one for Ellen Ripley's ginger pet Jonesy in the sci-fi movie ‘Alien' (1979). Originally brought on board the spaceship to catch mice and entertain the crew, the cat is rescued by Ripley, after half the crew have died trying to save it. Jonesy reappears in the 1986 sequel ‘Aliens', when the cat and Ripley are saved by a deep-space salvage crew and taken to Gateway Station. 'Cat Carrier' references Tom Sachs’s ongoing fascination with space exploration. Sachs has realised an entire body of space-related works, including models of various spacecraft, shoes made from materials developed for use in space, and his immersive Space Programs to the Moon, Mars and Europa. ‘Ritual’ is on view until tomorrow, 31 July at our London gallery. Follow link in bio to learn more. Image: Tom Sachs, 'Cat Carrier', 2020. Plywood, latex, paint, steel, hardware. 123.2 x 34.3 x 55.9 cm (48.5 x 13.5 x 22.01 in) #ThaddaeusRopac @TomSachs