“Alice Neel: Six Decades” opens next week for Art Basel OVR:20c. Six paintings from six different decades in the life of Alice Neel (1900-1984) are brought together in this presentation that highlights not just the evolution of Neel’s career, but also the immense range and depth of her oeuvre. Beginning with Victor Policheki (pictured), a rare early portrait from 1934 and ending with an intimate study of a father and son painted in 1980, the presentation chronicles Neel’s rise from relative obscurity to her position as one of America’s most celebrated painters. Online 28-31 October, 2020 @artbasel #aliceneel #artbaselOVR #xavierhufkens

Paul McCarthy, CSSC Luncheon on the Grass (2015-2018). This work a surprising reinterpreation of Manet's Déjeuner sur l'herbe (1853) and a multimedia tour de force. From a distance it looks like a crate decorated with plants, but as we get closer, we notice the small characters within... As in Manet's masterpiece, busty young people rub shoulders with elegantly dressed men. The viewer must really look into the work to discover all the details of this microscopic country scene. ​ ​#paulmccarthy #edouardmanet #xavierhufkens

Danh Vō, Come to where the flavor is (2015) gold on 52 cardboard boxes ​dimensions variable ​ ​Vō stacked cardboard boxes previously used to transport cartons of various brands of cigarettes, whose logos were painted in gold leaf. The installation depicts the discontinues circulation of goods within one economic system, and their gold additions mark their entry into a new one: namely, their circulation as art objects. The global brands remind us of the erosion of political boundaries in favor of endless economic growth and accessibility of goods.  ​ ​The installation was included in Vō's 2015 exhibition at @museumludwig in Cologne, which is renowned for its extraordinary Pop Art collection. As such, it can also be read as a reference to Andy Warhol's Brillo boxes or Robert Rauschenberg's cardboard assemblages, wherein the icons of the consumer world take on a new meaning when framed as art objects.  ​ ​#danhvo #xavierhufkens

In the late 1960s, Daniel Buren put up alternating vertical stripes of paper over billboards around Paris, calling them "Affichages sauvages". These 'wild' posters impose, amid various political slogans, alluring advertisements and catchy messages, their neutrality, their lack of signature and their apparent lack of meaning, until they are in turn covered up. With these displays in the street, Buren reminds us of his commitment to the inseparability of work and place/site. For Buren, the city offered itself as the ideal site for a potentially limitless exhibition.  ​ ​Pictured: Daniel Buren installing "Affichages sauvages recouvrant cinq panneaux publicitaires", work in situ, Paris, May 1969 ​ #danielburen #publicart #insitu #xavierhufkens

On #ZhangEnli, Hou Handra writes: "While painters today are increasingly seduced by big subjects and technological spectacles, Zhang Enli has chosen to focus on the forgotten corners of the everyday...he seeks to render them vivid through "writing". At first glance, his paintings may look unfinished and embracing accidental transformation. Eventually, they suggest a kind of infinite openness... Brushworks, lines, colours and tonalities come together to build a self-sufficient being: the painting's own world." ​ ​A Writer (2019) is included in our presentation for Frieze London, which ends tomorrow at 7pm, CET! ​ ​@friezeartfair ​#friezeovr #friezelondon #xavierhufkens

After a decade of primarily making reclining figures, Huma Bhabha began making standing ones in the early 2000s. Her more recent experiments with cork—now a signature material of the artist—have produced an astonishing and potent body of upright totemic figures. Cork has a prehistoric, eroded appearance that resembles stone. The figures she creates appear scorched or burned, yet they stand tall and resilient, as if they have been looming over us for centuries.  ​ ​Huma Bhabha's Comeback, 2020 (pictured) is included in our Frieze London Online Viewing Room, until Friday 7pm, CET.  @friezeartfair #friezeovr #friezelondon ​#humabhabha #xavierhufkens

The artist discusses his latest work, “These rabbit sculptures are the expressions of the transition from the outside, the physical material works, to the inner space, and finally, to the non-space of pure consciousness. This transition is represented as dematerialisation and even as a fragmentation of meaning, which can be scary.” ​ ​Join us for the final days of "Rabbits", on view at our Van Eyck location until this Saturday. ​ ​#davidaltmejd #exhibitionwalkthrough #xavierhufkens

Thomas Houseago’s Large Walking Figure I (Leeds), 2013 has found a new home in the courtyard of ​Zuzeum Art Centre in Riga 🇱🇻  ​ ​@zuzeum #zuzanscollections #permanentcollection #thomashouseago #xavierhufkens

Revisiting Ken Price's retrospective at Nasher Sculpture Center in Dallas, Texas (2013), a remarkable survey organised by LACMA in Los Angeles, that also traveled to the Metropolitan Museum of Art in New York.  ​ A rich selection of work from 1959 to 2011 highlighted each of the major styles of Price's prolific career including slumps, rocks, geometrics, cups, eggs, and mounds. While he tended to progress in loose series, the exhibition reviewed his career in a broader and yet more integrated way, establishing connections and linkages across the years, rather than within individual series. Working almost exclusively on an intimate scale with shapes that were suggestive, sexy, mysterious, and sly, he achieved a mastery of colour, form, and surface that commanded a unique position between sculpture and painting. Price’s sculptures were built around voids, and their meaning was often disturbingly ambiguous. ​ ​ ​@nashersculpturecenter ​#kenprice #tbt #retrospective #xavierhufkens

New works by Sayre Gomez as part of our presentation for Frieze London — Open to the public until 16 October, 7pm CET 📲 ​ Executed in a wide range of techniques, including trompe l’oeil, airbrushing, stencilling and those used to paint Hollywood sets, Gomez' paintings, including Sunrise over Sunset, 2020 (pictured) are inspired by the urban landscape of Los Angeles. In his sculptures and installations, Gomez synthesizes his observations of city life and infrastructure into hyperreal objects that challenge our ability to differentiate between authenticity and simulation. Flawlessly executed, Little Boy, 2020, (pictured) simulates a weathered road barrier—it’s locks and chains hang to the ground, no longer in use. Metaphors such as this one are recurrent in his oeuvre, suggesting that Los Angeles is a city of promise and freedom, but also one of broken dreams and destitution.  ​ @_sayre_gomez_ @friezeartfair #sayregomez ​#friezelondon #xavierhufkens

ICA Boston is welcoming visitors again and Sterling Ruby's retrospective is on view until the end of the week! Don't miss the opportunity to visit the artist's first comprehensive museum survey and delve into more than two decades of his career. The exhibition looks to the origins and development of Ruby's practice, through mediums ranging from lesser-known drawings and sculptures to his renowned ceramics and paintings. ​ ​Plan your visit to @icaboston and receive free admission on Monday October 12 in honour of #IndigenousPeoplesDay. Click on the link in our bio to reserve your timed ticket.  ​ #sterlingruby #icaboston #xavierhufkens

The preview for Frieze London Online Viewing Room is now open. See Walter Swennen's White House (with Fire), 2019, as well as other works by leading artists and estates including Lynda Benglis, Huma Bhabha, Louise Bourgeois, Thierry De Cordier, Tracey Emin, Michel François, Sayre Gomez, Roni Horn, Thomas Houseago, Joseph Kosuth, Kenneth Noland, Alessandro Pessoli, Sterling Ruby  and Zhang Enli. ​ Public days run from 9 - 16 October, register via the link in our bio.  ​ ​​@friezeartfair ​#friezelondon #friezeovr #walterswennen ​#xavierhufkens