LONDON.- Pace shared an overview of its European programming for autumn/winter 2024, including exhibitions across the gallery’s London and Geneva locations.

Alejandro Piñeiro Bello
4 – 28 September

Alejandro Piñeiro Bello’s upcoming exhibition will span the entirety of Pace’s London gallery and marks the artist’s first solo presentation in the UK. Entre El Día Y La Noche (Between Day and Night) will feature new paintings of varying scales and works on paper that symbolically and formally explore cyclical journeys through time, and within the self.

In his painting practice, the Havana-born, Miami-based artist often examines the sociocultural dimensions of the Caribbean and its diaspora. Using traditional materials such as oil on raw linen or burlap, he creates striking layers of colour in his paintings, evoking the natural landscapes and folkloric traditions of the Caribbean.

Reflecting the island’s rich intercultural heritage, Piñeiro Bello’s practice is equally informed by the fiction, poetry, and music of his birthplace. Just as in the literary genre of lo real maravilloso (the marvellous real), these paintings depict the fantastic through an amplification— rather than transcendence—of perceived reality.

Inhered in the layers of Piñeiro Bello’s compositions lie the metamorphic, expressive juxtapositions of Latin America.

Robert Longo
9 October – 9 November

In October, Robert Longo will present a two-part exhibition at Pace and Thaddaeus Ropac gallery, titled Searchers. Included in both exhibitions will be a large, five-panel multi-media Combine—sculptural wall works that return to the artist’s 1981-89 series of the same name.

Taking John Berger’s influential text Ways of Seeing (1972) as a starting point, the new works made for Searchers represent Longo’s desire for his iconic charcoal drawings to “be more than two-dimensional images”, and his long-standing investigation of the montage format as a tool in which to provide the viewer with more ways of seeing. Each work at Pace and Ropac is composed of a drawing, a sculpture, a print, a photograph, and a video; each part measures 88 x 55 inches (210.8 x 127 cm), totalling a length of nearly 24 feet (7.3 meters).

The exhibition, which will be staged across two spaces of Pace’s gallery, will also include a large-scale charcoal drawing, a small graphite drawing, and a black-and white, looped film of one day of international news: July 4, 2024.

Genesis Belanger
9 October – 9 November

Genesis Belanger stages psychologically charged mise-en-scènes composed of idiosyncratic versions of everyday objects. Working in a multitude of handcrafts
— welder, ceramicist, and seamstress — Belanger conjures installations of unresolved tension on the edge of a temporal collapse. Her vocabulary is lifted from the 1950s, specifically from the dawn of American advertising, and she infuses her tableaux with a sense of lobotomized capitalist productivity, choosing liminal spaces, such as hotel lobbies or office waiting rooms, as subject-matter. In Belanger’s practice, the body is absent, inviting the viewer to enter as purposeful actor. In her immersive scenes, objects become surrogate for the female body: pursed lips emerge from matching stoneware lamps, fingers sprout from a bouquet, and a hot dog wiggles itself into a wedge heel. Belanger’s three-dimensional work, although situated within the legacy of Claes Oldenburg and Robert Gober, is principally concerned with the manifestation of capitalist myths on a gendered psyche.

Hank Willis Thomas
20 November – 21 December

Working across various modes of art-making such as sculpture, screen-printing, neon, mixed media, and installation art, Hank Willis Thomas is a conceptual artist widely known for his investigation of themes relating to mass media, identity, popular culture, and perspective.

Kinship of the Soul will present a body of new retroreflective collages that speak to Thomas’ explorations of abstraction through the lenses of colonization, globalization, and appropriation. Imbued with art historical allusions, ranging from Matisse to the Harlem Renaissance to British Decorative Arts, these new pieces mine the complex origins and histories of modern art across three continents. The retroreflective artworks—which reveal latent images depending on the perspective and lighting of the viewer - continue Thomas’ practice of using wayfinding material to illuminate history and new perspectives.

Paulina Olowska
21 November, 2024 – 7 February, 2025

For her first solo exhibition at Pace’s Geneva gallery, Paulina Olowska will present new paintings drawing upon otherworldly images by American fashion photographer Deborah Turbeville, whose work is an enduring source of inspiration in the artist’s practice. Olowska recently visited the house in which Turbeville lived in Mexico City, restaging compositions there and in Krakow, where the photographer shot a body of work in 1989. “What I share with Deborah is a certain melancholia for fashion,” Olowska has said. “That fashion has a symbolic dimension also connected to womanhood. But what she did with fashion is like what she did with photography—she distressed it, distanced it, and used it, in a metaphorical sense, to revive historical figures and places.”

Lee Kun-Yong
28 August – 6 November

Lee Kun-Yong, who is known for his performances that reimagine the ways that the body and its movements can be understood across time, will present his first ever exhibition in Switzerland at Pace’s gallery in Geneva this fall.

The exhibition in Geneva will present recent paintings from one of his most well-known series, Bodyscape, whose method challenges conventional modes of painting and art making. He approaches the canvas from different angles and uses paint to record the motions of his limbs, creating spontaneous and expressive marks across the surface. The abstract works in this series reflect the artist’s interest in documenting the process and physicality of painting.