Leandro Erlich, Swimming Pool, 2004, The 21st Century of Art of Kanazawa, Permanent Collection.

Leandro Erlich,
a Swimming Pool,
defying Laws
of Physics

Leandro Erlich is known for installations that seem to defy the basic laws of physics and befuddle the viewer, who is introduced into jarring environments that momentarily threaten a sense of balance or space. For this exhibition, Erlich presents one of his most well-known and critically acclaimed pieces, Swimming Pool. Speaking about the project, Erlich says: “When I first visited P.S.1, I remember thinking how perfect the Duplex space would be for the installation of Swimming Pool. This space divided the experience of seeing the work perfectly, and in the correct order. Almost ten years since its creation, Swimming Pool is finally in the exhibition space for which I have always felt is so perfectly suited.”

P.S.1 Contemporary Art Center presents Leandro Erlich: Swimming Pool, an extraordinary and visually confounding installation by the Argentine artist Leandro Erlich. Leandro Erlich: Swimming Pool is on view in P.S.1’s unique, double-height Duplex gallery from October 19, 2008 through March, 2009.

Erlich has constructed a full-size pool, complete with all its trappings, including a deck and a ladder. When approached from the first floor, visitors are confronted with a surreal scene: people, fully clothed, can be seen standing, walking, and breathing beneath the surface of the water. It is only when visitors enter the Duplex gallery from the basement that they recognize that the pool is empty, its construction a visual trick fashioned by the artist. A large, continuous piece of acrylic spans the pool and suspends water above it, creating the illusion of a standard swimming pool that is both disorienting and humorous.

Leandro Erlich (b. 1973, Buenos Aires) has been exhibiting internationally for over ten years. He has had solo shows at the Centre d’Art Santa Mònica, Barcelona (2003); MACRO Museo d’Arte Contemporanea Roma (2006), and Le Grand Café, Centre d’Art Contemporain de Saint-Nazaire (2005). He represented Argentina at the 49th Venice Biennale (2001), where he showed Swimming Pool, and was also featured in the Singapore Biennale (2008), the Liverpool Biennial (2008), 7th Havana Biennale (2001), the 7th Istanbul Biennial (2001), the 3rd Shanghai Biennale (2002), the 1st Busan Biennale (2002), and the 26th Bienal de São Paulo (2004). His work was shown in Prospect.1 New Orleans Biennial in 2008. He lives and works in Buenos Aires.

Swimming Pool >

Leandro Erlich, Swimming Pool, 2004, The 21st Century of Art of Kanazawa, Permanent Collection.

 

Paulina Olowska (*1976), from: Edition 46, 2009, detail.

Paulina Olowska's Reorchestration of History
The Süddeutsche Zeitung Magazin issued in week 46 every year always comes from the hands of an international contemporary artist. The magazine project has prompted an exhibition of the artist’s work at the Pinakothek der Moderne.

Paulina Olowska >>

Robert Bergman, Untitled. 2009, C-print. 37 x 25”, © Robert Bergman, detail.

Robert Bergman, American Portraits New Millennium
Bergman explores both the poignant expressions of each individual and the formal structures of their surroundings. Robert Bergman: Selected Portraits includes 24 large-scale color portraits of everyday people the artist photographed on the streets of various American cities from 1985 to 1997.

Robert Bergman >>

Lily van der Stokker, In the Embellishment, Plug In # 5.

The Friendly, Ugly, Critical Work of Lily van der Stokker
Lily Van der Stokker’s works are essentially friendly and optimistic. However, all the frivolity of the colourful pctures conceals a critical attitude. In the short texts that form part of her works she responds to the events in her life and to topical themes in the art world.

Ugly Art >>

Stuart Haygarth, Aladdin, Amber, 2006, Sprayed MDF lightbox, detail.

Stuart Haygarth, Beauty in the Discarded and Everyday
In his first exhibition at Haunch of Venison London, British artist and designer Stuart Haygarth examines his ongoing relationship with abandoned objects and his fascination with taxonomy through a series of new furniture works, lamps and chandeliers.

Stuart Haygarth >>

Francisco
de la Goya's Works for the Count of Altamira

By special arrangement with the Banco de España, from April 22 through August 3, The Metropolitan Museum of Art will reunite for the first time four portraits painted by Francisco de Goya (1746-1828) that were commissioned by the Count of Altamira, who was a director of the bank. Goya and the Altamira Family will consist of Banco de España’s portrait of the Count of Altamira; the Metropolitan’s beloved Manuel Osorio Manrique de Zuñiga, the so-called “Red Boy;” the beautiful portrait of Manuel’s mother and sister, Condesa de Altamira and Her Daughter, María Agustina, from the Metropolitan Museum’s Robert Lehman Collection; and a portrait of Manuel Osorio’s brother Vicente Joaquin de Toledo, from a private collection. All four portraits were painted between 1786 and 1788 when Goya was beginning to experiment with aristocratic portraiture. A fifth portrait depicting Count Altamira’s middle son, Juan María Osorio, was painted around the same time by Agustín Esteve, one of Goya’s pupils, and will be lent by the Cleveland Museum of Art. 

It was organized by The Metropolitan Museum of Art with the assistance of the Consulate of Spain in New York.

The Banco de San Carlos (the present-day Banco de España) commissioned Goya to
create a series of portraits of the directors of the bank in Madrid, including the full-length depiction of Vicente Joaquín Osorio Moscoso y Guzmán, Count of Altamira. It was the success of this portrait that led to the subsequent commission to Goya for three portraits of members of the count’s family. 

Exhibition Credits The exhibition is organized by Xavier F. Salomon, Peter Jay Sharp Chief Curator, The Frick Collection, New York.

Publication The exhibition will be accompanied by a Metropolitan Museum of Art Bulletin written by Xavier F. Salomon. Based on new research, it will examine Goya’s relationship with the Altamira family and chart the history of the paintings. It will be published in April in conjunction with the opening of the exhibition.

The publication is made possible through the generosity of the Lila Acheson Wallace Fund for The Metropolitan Museum of Art, established by the cofounder of Reader’s Digest

Francisco de la Goya >

Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux), Manuel Osorio Manrique de Zuñiga, detail, 1787-88, Oil on canvas, 127 x 101.6 cm, The Metropolitan Museum of Art The Jules Bache Collection, 1949, 49.7.41.