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Fergus McCaffrey

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Fergus McCaffrey

Official Fergus McCaffrey page. An internationally recognized post-war and contemporary art
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Founded in 2006, Fergus McCaffrey is internationally recognized for its groundbreaking role in promoting the work of postwar Japanese artists, as well as a quality roster of select contemporary European and American artists. Fergus McCaffrey’s rigorous, thoughtful approach is marked by a commitment to discovery, often presenting the work of artists previously unrepresented or misrepresented. Dubli

n-born founder Fergus McCaffrey has been instrumental in introducing postwar Japanese art to a Western market, including Natsuyuki Nakanishi, and Gutai artists Sadamasa Motonaga and Kazuo Shiraga. The gallery also exhibits the work of seminal Western artists, including Jack Early, Marcia Hafif, Birgit Jürgenssen, and Richard Nonas.

09/09/2024

Open through December, the 30th-anniversary edition of the gathers 72 artists from 30 countries in ‘PANSORI: A Soundscape of the 21st Century.’ Curated by Nicolas Bourriaud, ‘PANSORI’ attempts to map the complexity of the contemporary world, in an operatic exhibition about the space we inhabit, from our housing to the human occupation of the planet.

Fergus McCaffrey congratulates on her participation in the 15th Gwangju Biennale. Born in 1973 in Durango Colorado, Anna Conway’s stylistic development has emerged from spectacular and unpredicted encounters with natural forces beyond normal human experience, to a more anthropological and psychological exploration of the human condition. Conway’s paintings are a testament to the continued relevance and fascination of the centuries-old tradition of realist painting—an archaic practice, which seems to grow only stronger with every passing year.

Anna Conway, Flight, 2024
Oil on canvas
36 x 48 inches (92 cm x 122 cm)

‘PANSORI: a soundscape of the 21st century’ is on view from September 7, 2024 - December 1, 2024 in Gwangju, South Korea.

08/14/2024

Marcia Hafif: Roma 1961-1969 is on view until August 25, 2024 at MACRO — Museo d’Arte Contemporanea di Roma.

Hafif arrived in Italy in 1961 on a research trip to Florence, eventually settling in Rome where she remained almost continuously until 1969. Thanks to an avowedly naive approach to both the city and its art-historical tradition, Hafif was able to emancipate herself from some of the influences and constraints she had felt in California, pursuing with renewed freedom her abstract—or more accurately “concrete”—pictorial research, a term she used to refer to her own work.

Marcia Hafif, Roman windows, 1969
Courtesy Marcia Hafif Studio

Marcia Hafif, Roma 1961-1969
Exhibition view; MACRO, 2024
Ph. Michela Pedranti – DSL Studio

08/08/2024

We are pleased to announce an upcoming exhibition in Kyoto featuring new works by German contemporary artist Anselm Kiefer. This exhibition will take place at Nijo-jo (Kyoto) in Spring 2025.

It will be the largest solo exhibition of Anselm Kiefer ever held in Asia, set against the backdrop of the historic Nijo-jo, a World Heritage Site.
We invite you to witness this extraordinary event.
Leading up to the exhibition, we will be providing background information and insights about Anselm Kiefer and his work.
We hope you enjoy these updates as we prepare for this historic occasion.
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ドイツ現代美術作家であるアンゼルム・キーファー氏の新作による展覧会を来年の春から、京都の二条城を舞台として
開催することが決定いたしました。

本展覧会はキーファー氏のアジアで開催された個展としては過去最大規模となります。
世界遺産でもある二条城と、世界の現代美術家である
キーファー氏の作品とが融合する歴史的瞬間に、
どうぞお立会いください。
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07/31/2024

Wishing a Happy Birthday to Chiyu Uemae (1920-2018)

Chiyu Uemae was a founding member of the Gutai Art Association (1954–1972) and actively exhibited with the group until its dissolution. Unlike his contemporaries, Uemae’s works celebrated a repetition of painterly skills rather than the gestural, expressionistic works created by performance between the body and the canvas. Similar to his Gutai peers, Uemae studied under the tutelage of Jiro Yoshihara, who advocated for Gutai members to create a direct engagement with raw materials. Uemae’s dense and irregular surfaces solicit a close viewing experience that reveals paint’s visceral presence.

Chiyu Uemae, Untitled, 1966
Oil on canvas
18 5/8 x 15 5/8 inches (47.3 x 39.8 cm)

07/25/2024

Wishing a Happy Birthday to Toshio Yoshida (1928-1997)

In 1954, Yoshida began work on a series of Burn Paintings, created by pressing a soldering iron or red-hot coals to plywood panels, leaving intricate patterns of searing and scarring marks. These works, shown here in “Toshio Yoshida: Sakuhin 1953–1963” at Fergus McCaffrey Tokyo in 2018, are remarkable for their complex but harmonious compositions, and recall ancient East Asian ink-wash paintings as well as psychoanalytic “automatic” drawings made by the French Surrealists. The Burn Paintings were central to Yoshida’s idea of “creative destruction”; like many Gutai members, the artist wanted to abandon traditional modes of artmaking in the wake of the Second World War, moving forward with renewed attention to forms of potential and possibility available in the aftermath of wartime violence.

Toshio Yoshida
BURN by CF No. 30, 1954
Burnt wood
14 7/8 x 17 7/8 inches (37.7 x 45.5 cm)

Toshio Yoshida
BURN by CF No. 23, 1954
Burnt wood
19 3/4 x 25 3/8 inches (50.2 x 64.4 cm)

Toshio Yoshida
BURN by CF No. 34, 1954
Burnt wood
14 7/8 x 23 3/4 inches (37.8 x 60.4 cm)

07/22/2024

Final week – Tatsuo Ikeda
Open until Friday, July 26th in New York.

Born in 1928, the course of Tatsuo Ikeda’s early life was dramatically altered by the ongoing intensity of World War II, culminating in his service as a kamikaze pilot at the age of fifteen. Spared by the ending of the war, in 1948, Ikeda made the decision to live a free and anti-authoritarian life, moving to Tokyo to attend Tama Art University. Ikeda’s six-decade-long career encompasses works that defy our bodily conceptions and challenge the metaphysical bonds underlying the tangible substance and perpetual time.

This fall, works by Ikeda will be featured in “Surrealism” at the Centre Pompidou, September 4 – January 13, 2025, and “L’Âge atomique: Les artistes à l’épreuve de l’histoire” at the Musée d’Art Moderne de Paris, October 11, 2024 – February 9, 2025.

07/17/2024

Anna Conway | Instructions: The Whale is on view until September 15, 2024 at Collezione Maramotti in Reggio Emilia, Italy.

This intimate new exhibition marks an emblematic stage in Conway’s artistic investigation, launching a series of works that explores the idea of animals and their trainers set against the backdrop of a green screen. The depiction of the screen, a device used in commercial film and television production which makes it possible to isolate a subject being filmed and reproduce it on a different background, reflects her ongoing fascination with the insignificance of human beings in relation to the environment around them, which is often both magnificent and terrifying.

Anna Conway, Instructions: The Whale, 2023
Exhibition view; Collezione Maramotti, Reggio Emilia
Ph. Bruno Cattani Photography

07/11/2024

アンセルム・キーファー「OPUS MAGNUM」展は今週7月13日（土）が最終日となります。
ギャラリー営業時間：午前11時～午後7時

現在、入場は人数制限となっておりまして、混んでいる時に外でお待ちいただく場合がございます。また、混雑時には15分～20分程度のご観覧のご協力をお願いいたします。
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Closing soon – Anselm Kiefer OPUS MAGNUM will be on view until Saturday this week, July 13 in our gallery in Tokyo. Opening hours: 11AM – 7PM
Please note that there might be a line for entry to the exhibition and you may have to wait outside. We also kindly like to ask you for a viewing time of 15-20 minutes during rush hours.
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Images:

Thor–Mjölnir, 2016
Steel, glass, lead, wood, fabric, plaster, h**p,
dried flower and ink
191 x 80 x 70 cm

Urd Werdandi Skuld - die Nornen
(Urd Werdandi Skuld – The Norns), 2014
Steel, glass, terracotta, plaster, copper, ceramic and acrylic paint
210 x 121 x 50 cm

Photo by Georges Poncet ©Anselm Kiefer
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#アンゼルムキーファー #ファーガスマカフリー

07/10/2024

アンゼルム・キーファー「OPUS MAGNUM」展覧会図録の在庫が少なくなっております。ご希望の方はお早めにギャラリーにてご購入ください。
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Our catalog for the ongoing Anslem Kiefer exhibition OPUS MAGNUM is almost sold out in our gallery in Tokyo. Feel free to pass by Fergus McCaffrey Tokyo until Saturday this week for purchasing one.

07/05/2024

アンゼルム・キーファー展のレビューが6月28日東京新聞夕刊に掲載されました。（執筆者：椹木野衣）

展覧会は7月13日までの開催です。（日月休廊。５名までの入場制限）土曜日は来場者多数のため待ち時間が発生しています。平日は比較的空いていますので、よろしければ日程調整をご検討ください。
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Exhibition review on Anselm Kiefer: Opus Magnum by Noi Sawaragi was published on the evening edition of Tokyo Shimbun on June 28th.

The exhibition will run through July 13. (Closed on Sundays and Mondays,; admission limited to 5 people) Due to the large number of visitors, there is a waiting line on Saturdays. It’s relatively less crowded during the weekdays.
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07/04/2024

Happy Independence Day!
In observance of the holiday, Fergus McCaffrey New York will be closed Thursday and Friday. We will reopen Monday, July 8 with summer hours: Monday – Friday, 10am – 6pm.

Kathleen Jacobs
BLUES, 2021
Oil on linen
72 x 76 inches (182.9 x 193 cm)

06/26/2024

“Why tax reform is vital to the growth of Japan's art market. Fergus McCaffrey on bonded licences after his gallery got certified as a bonded area.“
Fergus McCaffrey’s interview is now online on Bijutsutecho web. (Available in Japanese only. Access to whole text is limited to Bijutsutecho Premium members.) https://bijutsutecho.com/magazine/series/s72/29061

「税制改革が日本のアートマーケットの成長に必須な理由。保税許可を受けたファーガス・マカフリーが語る」
ファーガス・マカフリーのインタビュー記事が美術手帖ウェブで公開されました。（全文閲覧には美術手帖Premium会員登録が必要です）https://bijutsutecho.com/magazine/series/s72/29061

#保税蔵置場

06/22/2024

On view in New York – Tatsuo Ikeda
May 6th - July 26th, 2024

Tatsuo Ikeda
Toy World: Walkie-Talkie, 1966-67
Ink, charcoal and watercolor on paper
15 3/4 x 12 5/8 inches (40 x 32 cm)

Hanger, 1967
Ink, watercolor and gouache on paper
17 1/8 x 13 3/8 inches (43.5 x 34 cm)

Toy World: Playing with Numbers, 1967
Mixed media
15 1/8 x 11 3/4 inches (38.5 x 30 cm)

Pistol, 1967
Ink, pencil and gouache on paper
13 3/16 x 16 3/4 inches (33.5 x 42.5 cm)

Toy World: Derabocchi, 1967
Ink and collage on paper
15 3/4 x 12 1/4 inches (39.9 x 31.2 cm)

“With the birth of Tetsu, Ikeda’s first son, in 1966, a growing number of colorful toys invaded his household. The series ‘The World of Toys’ was born in this context...However, toys figured much earlier in his career. In March 1954, he researched toy factories in the Kōto area with Sekine Hiroshi for a reportage project. This experience might have also informed the series. In the book ‘Iron: The World of Toys,’ for which Ikeda contributed the cover image and illustrations, Sekine states as follows: ‘Toys are a mere reflection of reality. Still, when seeing reality again with the eye that saw toys, reality begins to look like toys. [...] In our cognition, we must be able to understand reality as toys.’”

Ikeda Tatsuo: An Elliptical Visionary - The Present Tense of Postwar Art, Grambooks, Tokyo, 2018, pg. 88.

06/18/2024

In conjunction with the screening of the documentary film, books related to Anselm Kiefer will be featured at DAIKANYAMA T-Site starting on June 17.

ドキュメンタリー映画の上映に併せ、6月17日からDAIKANYAMA T-Siteでアンゼルム・キーファー関連書籍が展開されます。
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#アンゼルムキーファー #ファーガスマカフリー

06/18/2024

On view in Tokyo – Due to the overwhelmingly positive response, Anselm Kiefer: Opus Magnum at Fergus McCaffrey, Tokyo has been extended through July 13, 2024

Please note that a maximum of six visitors are allowed in the gallery at one time.
It may be necessary to wait for admission to the gallery, and we thank you in advance for your cooperation and understanding.
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会期延長のお知らせ
アンゼルム・キーファー展: Opus Magnum
ファーガス・マカフリー東京

ファーガス・マカフリー東京で開催中の「アンゼルム・キーファー展：Opus Magnum」は会期を2024年7月13日まで延長致します。

なお、展示スペースの都合により、一度の入場者数を最大6名様までと制限させていただきます。入場待ちが生じる可能性がございますので、予めご了承ください。皆様のご協力とご理解をお願い申し上げます。
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Images:
Hexenwaage (Witch Scale), 2015
Steel, glass, lead, galvanized steel, rust debris, watercolour on paper and ink
59 7/8 x 70 7/8 x 27 1/2 inches (152 x 180 x 70 cm)

Johannis: et lux in tenebris lucet et tenebrae eam non comprehenderunt (John: The Light Shineth in Darkness, and the Darkness Comprehended It Not), 2016
Steel, glass, lead, copper, ash, paper, lightbulb and ink
63 3/4 x 66 7/8 x 29 1/2 inches (162 x 170 x 75 cm)

Bermuda-Dreieck (Bermuda Triangle), 2017
Steel, glass, lead, clay, oil, acrylic, linen canvas, wood and ink
59 7/8 x 70 7/8 x 66 7/8 inches (152 x 180 x 170 cm)

Photo by Georges Poncet ©Anselm Kiefer
Courtesy Fergus McCaffrey
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#アンゼルムキーファー #ファーガスマカフリー

06/14/2024

We are happy to return to this year with a selection of post-war and contemporary artists including Leiko Ikemura, Kathleen Jacobs, Akira Kanayama, Sadamasa Motonaga, Reinhard Pods, Park Seo-bo, Shozo Shimamoto, Kazuo Shiraga, Chiyu Uemae, Paul Wallach, Co Westerik, Toshio Yoshida, and Jiro Yoshihara.

Visit us at Booth C4 through Sunday, June 16, 2024. For availability and price inquiries, please contact [email protected]

06/10/2024

Remembering Sigmar Polke (1941-2010)

Sigmar Polke
Der erste Schnitt, 1995
6 manipulated photocopies
Each: 16 1/2 x 23 inches (41.9 x 58.4 cm)

Born in Oels, Germany, in 1941, Sigmar Polke began his artistic career in 1963, cofounding the Capitalist Realism movement with Gerhard Richter and Konrad Lueg. Capitalist Realism reflected the poverty and aspirations of everyday Germans in the early postwar years and was a gritty and humorous response to the glamour and frivolity of American Pop Art. Developing a homemade aesthetic that used raster dots, found fabrics, ballpoint pens, and household paint, Polke made works of provocative simplicity that upended traditional artistic hierarchies, attacked abstraction, and playfully undermined conceptualism.

In the early 1970s, photography came to dominate Polke’s creative pursuit, the alchemical side of which would prove significant in his paintings in the later 1970s and beyond. Thereafter, his signature style mashed together representation and abstraction, which he further complicated with the introduction of unstable pigments that changed color with temperature and humidity. Images from newspapers and magazines were appropriated, enlarged, and distorted, before being hand-painted onto canvases made up of translucent materials and found fabrics.

06/06/2024

Fergus McCaffrey is pleased to announce participation in the 2024 edition of Art Basel. Open to the public Thursday, June 13 through Sunday, June 16, 2024, we are located at Booth C4.

We are delighted to present a selection of works by Leiko Ikemura, Kathleen Jacobs, Akira Kanayama, Sadamasa Motonaga, Reinhard Pods, Park Seo-bo, Shozo Shimamoto, Kazuo Shiraga, Chiyu Uemae, Paul Wallach, Co Westerik, Toshio Yoshida, and Jiro Yoshihara.

Sadamasa Motonaga
From Black Lines, 1981
Acrylic on canvas
51 1/8 x 63 3/4 inches (130 x 162 cm)
© The Estate of Sadamasa Motonaga, Courtesy Fergus McCaffrey

For availability and price inquiries, please contact [email protected]

06/05/2024

Currently on view in New York – Tatsuo Ikeda
May 6th - July 26th, 2024

Tatsuo Ikeda
Untitled, 1957
Ink and watercolor on paper
14 3/8 x 10 1/4 inches (36.4 x 26.2 cm)

From the One Hundred Masks series, 1960-61
Pen, Conté, and watercolor on paper, mounted on board
16 1/8 x 12 5/8 x 7/8 inches (41 x 32 x 2.3 cm)

From the One Hundred Masks series, 1959
Pen, Conté, and watercolor on paper, mounted on board
14 3/4 x 11 1/4 x 7/8 inches (37.5 x 28.7 x 2.3 cm)

Birds and Beasts Chronicle, an Extra Edition: Mask Bird, 1958
Pen, Conté and watercolor on paper
15 1/8 x 10 1/4 inches (38.5 x 26 cm)

05/31/2024

Currently on view in New York – Tatsuo Ikeda
May 6th - July 26th, 2024

Tatsuo Ikeda
Embrasure, 2005
Pen, Conté, and watercolor on paper
13 7/8 x 9 5/8 inches (35.2 x 24.3 cm)

Falling Things, 1987
Ink and watercolor on paper
18 x 12 1/4 inches (45.9 x 31.1 cm)

Field Phase: Waftage No. 4, 2006
Acrylic on paper
15 3/4 x 12 1/8 inches (40 x 30.8 cm)

“In 1960, the struggle against the renewal on Anpo (U.S.-Japan Security Treaty) reached a historic scale, supported by a majority of the Japanese people. Yet, the movement failed to stop the treaty’s renewal. Ikeda, who ardently supported the protest, had to contend with this setback. He later recounted that this failure ‘decisively expanded the distance between art and politics within me.’ The setback in both art and politics caused in Ikeda a fatal, irreconcilable fissure between society and himself, making it difficult for him to continue to create works with social themes as before...Ikeda’s gaze, by then outwardly directed, now shifted to examine the human existence and his interiority.”

Ikeda Tatsuo: An Elliptical Visionary - The Present Tense of Postwar Art, Grambooks, Tokyo, 2018, pg. 74.

09/07/2023

Opening Today – Kathleen Jacobs “LUMEN” at Galerie Karsten Greve in Paris. The show will open on September 7, 2023 from 6 - 8 pm.

"My work is born from the collaboration between the trees, the natural environment, and myself, but it’s not about trees; they are abstract paintings. The lines and patterns are important, nothing more, nothing less."

Image: Kathleen Jacobs, LUMEN, 2021, oil on linen. Photo: Lisa Vollmer

09/05/2023

Opening tomorrow – Tatsuo Ikeda Retrospective, Asobi Tatakau Artist (The artist who fights and plays)
Saga Prefectural Museum
September 6 – October 29, 2023
Further info under the link below and in our stories.
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あそび、たたかうアーティスト　池田龍雄
佐賀県立美術館
2023年9月6日（水）〜10月29日（日）
https://saga-museum.jp/museum/exhibition/limited/2023/07/004239.html
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Image: 池田龍雄 / Tatsuo Ikeda
1976年
BRAHMAN 第２章宇宙卵 / BRAHMAN Chapter 2: Cosmic Egg
紙、アクリル / Acrylic on paper
15 ½ x 16 inches (39.5 x 50.5 cm)
©Estate of Tatsuo Ikeda
Courtesy of Fergus McCaffrey
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#池田龍雄

08/08/2023

Starting from Friday, August 11, our gallery in Tokyo will be closed for summer holidays until August 17. Our current drawing exhibition “Seeing without a Seer” is on view until September 16, 2023.
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8月11日から8月17日まで東京のギャラリーは夏季休業とさせていただきます。現在開催中の「Seeing without a Seer」ドローイング展は9月16日までやっております。
―

07/28/2023

On view in New York – Anna Conway, Rao Fu, Leiko Ikemura, Demarco Mosby and Patrick Hall on display at Fergus McCaffrey New York.
The exhibition will be held until August 11, 2023. Opening hours: Tuesday – Saturday, 10AM – 6PM
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Images: Installation view of Anna Conway, Rao Fu, Leiko Ikemura, Demarco Mosby, Patrick Hall at Fergus McCaffrey , July 2023
Courtesy of Fergus McCaffrey
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07/11/2023

Kazuo Shiraga featured in – The ARTnews Guide to Performance Art, Part 2: 1950s to the Present
Between 1900 and 2000, performance art evolved from a fringe practice to a global divertissement. Its history divides into two periods: the first half of the 20th century, when performative practices by the avant-garde weren’t formally categorized as art, and the postwar era, when they eventually were. Moreover, these activities were confined largely to Europe and America before spreading worldwide after 1950.

In Japan, the artists of the Gutai Art Association (founded in 1954) made physicality central to their art, as evinced by the movement’s name, a contraction of the Japanese words for “tool” and “body.” Two notable Gutai figures worked with canvases on the floor: Kazuo Shiraga, who swung from a rope to apply thick swirls of pigment with his feet; and Shimamoto Shozo, who fired paintballs with a handmade cannon and threw pigment-filled bottles to create explosive splatter patterns. Another member of the group, Atsuko Tanaka, fashioned one of Gutai’s best-known works: Electric Dress (1956), a wearable amalgam of light bulbs and fluorescent tubes painted in primary colors that resembled an Atomic Age kimono.

Read more on www.artnews.com click the link in our stories

07/06/2023

“ABSTRACTION – The Genesis and Evolution of Abstract Painting” at Artizon Museum, Tokyo features Rita Ackermann, Sadamasa Motonaga, Saburo Murakami, Fujiko Shiraga, Kazuo Shiraga and Jiro Yoshihara, among many other great abstract painters from 20th century to today. The show runs through August 20th. For more information visit www.artizon.museum.
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アーティゾン美術館（東京）で開催中「ABSTRACTION – 抽象絵画の覚醒と展開」展にて、リタ・アッカーマン、元永定正、村上三郎、白髪富士子、白髪一雄、吉原治良ほか、20世紀から現代までの重要な抽象画家による作品が一堂に公開中。8月20日まで。詳しい情報はこちら www.artizon.museum.
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Images: Exhibition view of ABSTRACTION - The Genesis and Evolution of Abstract Painting at Artizon Museum, 2023
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07/05/2023

Opening today in Tokyo ー is delighted to announce the opening of Seeing without a Seer, a drawing exhibition by 8 artists: Joe Bradley; Cecily Brown; Sam Francis Marcia Hafif; Natsuyuki Nakanishi; Brice Marden Cy Twombly; and Jiro Yoshihara.

The eminent Japanese philosopher Kitaro Nishida (1870 – 1945) devoted his career to exploring and expanding upon the Christian-infused Western metaphysical tradition by adopting a Buddhist perspective on explorations of consciousness. Nishida often spoke about the phenomenon of Seeing without a Seer to touch upon the ‘pure experience’ of nothingness, when rational thought and self-consciousness have been negated so that the creators’ authority submits to a new openness.

Drawing is often considered to be the most direct and unmediated expression of an artist’s hand and mind, and successive generations of Eastern and Western artists have adopted different mental strategies and physical practices to access unfamiliar creative territory. From Twombly’s left-handed drawings to Nakanishi’s two-meter-long drawing stick; Seeing without a Seer reflects upon three generations of artists stripping away at familiarity in the pursuit something new.
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本日オープンー東京は8人のアーティスト（ジョー・ブラッドリー、セシリー・ブラウン、サム・フランシス、マーシャ・ハフィフ、中西夏之、ブライス・マーデン、サイ・トゥオンブリー、吉原治良）によるドローイング展「Seeing without a Seer」を開催致します。

日本の重要な哲学者である西田幾多郎(1870 – 1945)は仏教の視点を取り入れて自我を考察しながら、キリスト教に根付いた西洋の形而上学的伝統の探求と拡張に生涯を捧げました。西田は度々、合理的思考と自意識を取り払うことで作家の権威が新たな境地に服従し、無の純粋経験に到達する「見るものなくして見る(Seeing without a Seer)」という現象について語っています。

ドローイングはしばしば、作家の手と意識が最も直接的に繋がる表現と考えられ、西東洋を問わず、世代を超えアーティスト達は様々な意識と物理的な手法を用い、未開の創造的な領域に足を踏み入れようとしてきました。サイ・トゥオンブリーの左手のドローイング、2メートルの柄の筆で描かれる中西のドローイングにも通ずるような、慣れ親しまれた方法を離れ、新たな地平を追求した3世代のアーティストを紹介します。
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Images: Exhibition views of ‘Seeing without a Seer’ at Fergus McCaffrey Tokyo, 2023.
Courtesy of Fergus McCaffrey
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06/26/2023

5月20日まで東京スペースにて個展を開催していたテリー・ウィンタースのインタビュー記事が、美術手帖７月号に掲載されています。雑誌詳細はこちら　
https://bijutsu.press/books/5158/
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An interview article on Terry Winters whose solo exhibition at Fergus McCaffrey Tokyo just closed last month, is on the new July issue of Bijutsutecho magazine. For details https://bijutsu.press/books/5158/
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06/23/2023

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Opening tomorrow - Leiko Ikemura: Motion of Love
24 June - 24 Sep, 2023
Museum de Fundatie, Zwolle, Netherlands

Opening: Saturday, 24 June, 2023
16:00 pm Schouwburg Odeon, Blijmarkt 25, Zwolle
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個展「イケムラレイコ：モーション・オブ・ラブ」
会期：2023年6月24日ー9月24日
会場：デ・フンダーティ美術館（ズウォレ、オランダ）

オープニング：2023年6月24日（土）16時
会場：Schouwburg Odeon, Blijmarkt 25, Zwolle
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#イケムラレイコ

06/20/2023

On view now – Brian Maguire Law of the Land at KUNSTHALL 3,14 @ kunsthall314

The exhibition law of the land presents a selection of paintings from two of Brian Maguire’s recent bodies of work: Missing and Murdered Indigenous People (M&MIP), and The Remains, Arizona. Both series depict scenes of murdered or missing individuals, representing the voices of marginalized groups whose stories are not widely disseminated. Across the USA, indigenous peoples and immigrants struggle with high rates of assault, abduction, and murder. […] Brian Maguire reacts to this violence by memorializing the victims and sharing their fates with the public. His investment in social activism stems from his involvement in the civil rights movement of Northern Ireland in the 1970s. Since the very beginning of his artistic career, Maguire has approached painting as an act of solidarity, drawing him to marginalized people and alternative spaces such as prisons, women’s shelters, and psychiatric institutions.
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The exhibition will be on view until 27.08.2023 in Bergen, Norway.

Opening hours:
Tue-Sun: 12-17
Thursdays: 12-19
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Image: BRIAN MAGUIRE “Arizona 6” (2021), Acrylic on canvas, 140 x 200 x 5 cm
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Videos

Anselm (2023), an immersive 3D documentary directed by Wim Wenders, will have its Japan theatrical release in Tokyo on June 21, 2024. - ヴィム・ヴェンダース監督の没入型3Dドキュメンタリー映画『Anselm(2023)』が、2024年6月21日より東京で劇場公開されます（TOHOシネマズ日比谷ほか全国順次公開）。 - #anselmkiefer #fergusmccaffrey #fergusmccaffreytokyo #アンゼルムキーファー #ファーガスマカフリー

Final week—Kathleen Jacobs' inaugural exhibition in Asia will be closing this Saturday on July 16th at our Tokyo gallery. In conjunction with the show, please enjoy this beautiful interview we produced, offering an intimate glimpse into her dream-like canvas with idiosyncratic markings. 今週土曜日までーファーガス・マカフリー東京で開催中のキャスリーン・ジェイコブス展は7月16日（土）が最終日となります。アジアで初めてとなるジェイコブスの展示と合わせ来日した際のビデオインタビューでは、独特で幻想的な作品について語る本人の言葉を、映像とともにお聞きいただけます。 - Tap the link in our bio for more details and information on the FM Forward page. 詳しい作家・展覧会情報はプロフィールページのリンク、特設ページFM Forwardにてご覧ください。 - #kathleenjacobs #fergusmccaffrey #tokyoartexhibitions #paintings #tokyoartbeat

Marcia Hafif: From the Day a Woman...

In conjunction with 'Marcia Hafif: From the day a woman...' at #FergusMcCaffrey #NewYork, and the 2021 edition of Art Basel, we are delighted to share this short, yet highly intimate, film on #MarciaHafif (1929–2018)—narrated by Hanne Tierney. 'From the day a woman...' in on view through October 23, 2021. #ArtBasel is now open to the public through Sunday, September 26th—visit us at Booth C4!