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We are pleased to announce the second iteration of Fragile Crossings, an exhibition jointly organised by Goodman Gallery and Marianne Boesky Gallery opening this summer across New York and London. This is the galleries’ second major collaboration following a pop-up exhibition in the Miami Design District in 2020. Fragile Crossings is a group show featuring works by artists from both galleries. The exhibition focuses on the fragility of the human condition and reflects each galleries’ interest in foregrounding artists who address critical issues of migration, social justice and environmental responsibility. This iteration includes work by Dor Guez, Nicholas Hlobo, Grada Kilomba, Kapwani Kiwanga and William Kentridge in collaboration with Marguerite Stephens from Goodman Gallery’s roster as well as Pier Paolo Calzolari, Suzanne McClelland and Donald Moffett from Marianne Boesky Gallery.

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Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

Installation view | Marian Boesky Gallery x Goodman Gallery, Fragile Crossings, 2022. Image: Alexander James Edwards

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Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, glass, oil candle, iron, lead

75 x 70 x 14.5 cm / 29 1/2 x 27 1/2 x 5 3/4 in.

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Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, glass, oil candle, iron, lead

75 x 70 x 14.5 cm / 29 1/2 x 27 1/2 x 5 3/4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, feather, iron, lead

75 x 70 x 10 cm / 29 1/2 x 27 1/2 x 4 in.

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Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, feather, iron, lead

75 x 70 x 10 cm / 29 1/2 x 27 1/2 x 4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, lead

75 x 70 x 6 cm / 29 1/2 x 27 1/2 x 2 3/8 in.

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Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, lead

75 x 70 x 6 cm / 29 1/2 x 27 1/2 x 2 3/8 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, glass, oil candle, iron, lead

75 x 70 x 14.5 cm / 29 1/2 x 27 1/2 x 5 3/4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, glass, oil candle, iron, lead

75 x 70 x 14.5 cm / 29 1/2 x 27 1/2 x 5 3/4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, feather, iron, lead

75 x 70 x 10 cm / 29 1/2 x 27 1/2 x 4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, feather, iron, lead

75 x 70 x 10 cm / 29 1/2 x 27 1/2 x 4 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, lead

75 x 70 x 6 cm / 29 1/2 x 27 1/2 x 2 3/8 in.

Enquire

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, lead

75 x 70 x 6 cm / 29 1/2 x 27 1/2 x 2 3/8 in.

Enquire

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Pier Paolo Calzolari 

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, pottery, iron, lead

75 x 70 x 16.5 cm / 29 1/2 x 27 1/2 x 6 1/2 in.

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PIER PAOLO CALZOLARI

These new works continue Calzolari’s decades-long poetic fascination with the alchemical. While the artist continues to incorporate sculptural elements made of organic matter such as salt, wood, lead, feathers, and glass, it is his striking new use of raw black pigment powder and pastel that imbue these new paintings with an exuberance both radiant and sensorial. The luminous canvases include fields of intense blacks with varying surfaces and textures that call to mind nature in the form of a night sky.

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Pier Paolo Calzolari

Untitled, 2021
Pigmented salt, oil pastels, pastels à l’écu, pottery, iron, lead

75 x 70 x 16.5 cm / 29 1/2 x 27 1/2 x 6 1/2 in.

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The artist has said, “painting should be about getting lost finding oneself or finding oneself getting lost. But for me painting has always been, above all, a lover: I have a bond with it that comes from a fascination of the senses and, at the same time, the loss of the senses. Painting is the gesture that comes before the decision, the insecurity brought to economy.” Calzolari currently lives and works in Lisbon, Portugal.

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Dor Guez

Samira, 2020
Archival inkjet print
145 x 112 cm / 57.1 x 44.1 in.

Edition of 5

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DOR GUEZ

Samira’s story is a starting point for Guez’s artwork and the Christian-Palestinian Archive project (CPA). Guez founded the CPA, 2006 after discovering a suitcase filled with old photographs and documents at his grandparent’s home in Lod. His family’s photographs were the first pillar of the archive. Today the CPA is an independent entity containing thousands of digital images from Christian-Palestinians across the world. The CPA gathers photographs through open calls.

Samira tells the story of Dor Guez's grandmother, Samira Monayer, using archival materials from 1938 and 1958 and manipulated to become what the artist calls “scanograms.” Each image documents significant events before the family was expelled from Jaffa, forced to relocate to Lod, Amman, Cyprus, Cairo, and London. Two of the scanograms depict Samira’s wedding in Lod’s ghetto, 1949. It was the first Palestinian wedding after the Palestinian exodus from land claimed by Israel (known as al-Nakba, “the catastrophe”). 

Alongside Samira in the exhibition is a studio photograph of Jacob, Samira’s future husband, Tel Aviv, 1942. Jacob is depicted in a highly stylised fashion that was the trend at the time. He wears American styled clothes and the set presents a fantasy scene, signalling the beginning of errosian to Palestinian culture. 

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Dor Guez

Jacob, 2019
Archival inkjet print
112 x 175 cm / 44.1 x 68.9 in.

Edition of 5

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MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Nicholas Hlobo

Ivulandlela, 2018
Ribbon and leather on canvas
120 x 180 x 20 cm / 47.2 x 70.8 x 7.8 in.

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Working with various found objects and materials — leather, rubber, bronze, ribbons, copper and brass —Nicholas Hlobo considers his artistic practice to be a kind of autobiography through which he articulates a sense of self. Through an obscured grammar within a language of abstraction, Hlobo explores his psychological, emotional and spiritual journey. “My work is about my journey, how I relate to myself and to the outside world. I’m very curious about the invisible, intangible and incomprehensible aspects of that journey and there is always a slipperiness to the process of figuring it out”, says Hlobo.

WILLIAM KENTRIDGE & MARGUERITE STEPHENS

The Porter series is a compilation of 15 tapestries designed by William Kentridge and woven in the Stephens Tapestry Studio. The overarching theme of the group is migration and ‘portage’ – literally to bear one’s cargo between seas and rivers. The tapestries show silhouetted figures laden with artefacts traversing continents as depicted by maps taken from an 18th century French school atlas.

Kentridge’s original maquettes, designed specifically for the amplified textured wall hangings, are collages of torn and cut paper attached to board. The limbs of the figures are pinned into position so that they are able to be moved like a puppet. These pins also form part of the design that is translated into the tapestry.

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

William Kentridge & Marguerite Stephens

Porter Series: Carte de L’Europe (Shower Woman) (Carte de L’Europe divisee en ses differents etats), 2006 - 2007
Mohair tapestry

Edition of 5

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GRADA KILOMBA

O Barco/The Boat is an installation, composed of 140 blocks (6 of which are exhibited in Fragile Crossings) which form the silhouette of the bottom of a ship and carefully draw the space created to accommodate the bodies of millions of Africans, enslaved by European empires. In the Western imaginary, a boat is easily associated with glory, freedom and maritime expansion, described as “discoveries” but, in the artist's view, “a continent with millions of people cannot be discovered” nor “one of the longest and most horrendous chapters of humanity – Slavery – can be erased”.

This first large-scale installation by Grada Kilomba, which in its first iteration stretches 32 meters along the Tagus river, invites the audience to enter a garden of memory, in which poems rest on burnt wooden blocks, recalling forgotten stories and identities. What stories are told? Where are they told? How are they told? And told by whom? These are questions that arise when entering this installation.
 

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Grada Kilomba

Untitled Poem (one boat, one cargo hold), 2022

Charcoal log with gold leaf engraving

30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

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Grada Kilomba

Untitled Poem (one boat, one cargo hold), 2022

Charcoal log with gold leaf engraving

30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

 

Grada Kilomba

Untitled Poem (one cargo hold, one load), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one cargo hold, one load), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one load one story), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one load one story), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one story, one piece), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one story, one piece), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one piece, one life), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one piece, one life), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one life, one body), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

Grada Kilomba

Untitled Poem (one life, one body), 2022

Charcoal log with gold leaf engraving
30 x 30 x 90 cm / 11.8 x 11.8 x 35.4 in.

Enquire

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Kapwani Kiwanga

Desire Paths: Soweto, 2017
Printed cotton fabric and galvanised reinforced steel

240 x 150 cm / 94.5 x 59 in.
Edition of 3

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KAPWANI KIWANGA

In Desire Paths research into town planning, aerial photography and other records relating specifically to Apartheid era townships results in a discovery of desire paths; routes carved out by human will and need that goes against the rigid grid of the installed infrastructure. Printed onto cotton fabric that undulates over the mesh grid, these graphics offer an aerial view on the movements of individuals through Soweto, Langa, District Six and the Cape Flats.

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Suzanne McClelland

Formula #1 with Barium and Krypton, 2019-20

Polymer and pastel and spray paint on canvas

215.9 x 190.5 cm / 85 x 75 in.

SUZANNE McCLELLAND

In her Formulas paintings, the artist brings together formulae used in mathematical equations (such as that for the atomic bomb) and those that “quantify” unnameable impulses–for example, our desire for love and companionship based on components of lust, attraction and attachment. In bringing invented formulae to bear on inchoate forces, McClelland questions the mechanisms by which we exchange information through shared coded systems. After visiting Hiroshima the summer of 2019, the artist pondered the huge gap between scientists’ ideas and their executions. Understanding a formula as a set of rules or instructions that we rely on for predictable behaviors, whether on the page or in the world at large, we may think of a formula functioning as a prescription. McClelland takes this idea further, and while a painting is neither formula nor prescription, she sees it as offering an example of the ways in which we might make use of them. Using these mathematical formulae as alternate forms of communication, the artist lets symbols and numbers emerge and dissolve on the surface as though they are visualized thoughts being conceived and forgotten simultaneously.


 

MBG X GG | Fragile Crossings - Goodman Gallery London - Viewing Room - Goodman Gallery Viewing Room

Donald Moffett

Lot 112217 (late biology), 2017
Pigmented epoxy resin on wood panel support, steel

182.9 x 116.8 x 13.3 cm / 72 x 46 x 5 1/4 in.

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DONALD MOFFETT

Both of these works are part of an ongoing body of resin paintings first exhibited in Donald Moffett’s show Any Fallow Field (2016) and in his most recent exhibition Ill (Nature Paintings) (2019)  at Marianne Boesky Gallery, New York. One of the new resin paintings in the first of these exhibitions was unique in that it resembled a biological spore. Since then, Donald has continued to experiment with this shape in his recent work.  In a continued examination of humanity’s occasionally destructive relationship with nature, Moffett in recent years has further explored his long-time interest in biology and, while his resin paintings evoke organic forms, their sharp edges and perforated surfaces also the works with an ominous, violent and political undercurrent.