Rhe: everything flows
Petah Coyne, Ficre Ghebreyesus, Andy Goldsworthy, Jane Hammond, Alfredo Jaar, Rosemary Laing, Cildo Meireles, Ana Mendieta, Jaume Plensa, Carolee Schneemann, Kate Shepherd, Michelle Stuart, Juan Uslé and Catherine Yass
Jan. 7 until Feb. 13, 2021
Presented by Galerie Lelong & Co. in New York

  • Alfredo Jaar
  • Rosemary Laing
  • Cildo Meireles
  • Ana Mendieta
  • Carolee Schneemann
  • Andy Goldsworthy
  • Michelle Stuart
  • Jaume Plensa
  • Petah Coyne
  • Ficre Ghebreyesus
  • Jane Hammond
  • Kate Shepherd
  • Juan Uslé
  • Catherine Yass

For its contribution to Galleries Curate: RHE, Galerie Lelong & Co is pleased to present Rhe: everything flows; a group exhibition including works by Petah Coyne, Ficre Ghebreyesus, Andy Goldsworthy, Jane Hammond, Alfredo Jaar, Rosemary Laing, Cildo Meireles, Ana Mendieta, Jaume Plensa, Carolee Schneemann, Kate Shepherd, Michelle Stuart, Juan Uslé and Catherine Yass.

“Rhe,” from Greek for that which flows, centers on the theme of water: its essential significance to life, as a bridge between people and cultures, and its status under threat from climate change.

The exhibition will encompass artworks in a myriad of media that reflect the contextual underpinnings of water through film, painting, photography, and performance art pieces, including the actual physical presence of water in mixed-media works.

Installation view of Rhe: everything flows at Galerie Lelong and Co., New York.

Installation view of Rhe: everything flows at Galerie Lelong and Co., New York.

Installation view of Rhe: everything flows at Galerie Lelong and Co., New York.

Installation view of Rhe: everything flows at Galerie Lelong and Co., New York.

Alfredo Jaar

Water is a resource with geo-political dimensions. In Alfredo Jaar’s Untitled (Water) E (1990), an image of a turbulent ocean conceals the face of a Vietnamese refugee on the other side, revealed through five strategically placed mirrors that implicate the viewer in the global refugee crisis.

Alfredo Jaar, Untitled (Water) E, 1990
Double-sided lightbox with two color transparencies, five mirrors
Lightbox: 43.5 x 43 x 9.5 inches (110.5 x 109 x 24 cm)
Mirrors, each: 12 x 12 x 2 inches (30.5 x 30.5 x 5 cm)
Overall dimensions variable
©Alfredo Jaar
CourtesyGalerie Lelong & Co.and the artist, New York

Rosemary Laing

Rosemary Laing’s photograph of a cascade comprising discarded refugees’ clothes on an actual dried riverbed speaks to the dual climate and refugee crisis in Australia.

Photographed near Shoalhaven’s Wreck Bay in New South Wales, the site is known for its many maritime disasters and rescues that have occurred over the last 200 years. A river is suggested through Rosemary Laing’s placement ofused, red-toned clothes which seem to flow seamlessly on the ground. The color red signifies life as much as death; marking the vitality and mortality of the human lives that have passed through the location over time

Rosemary Laing, Wildflower, 2017
Archival pigment print
39 x 79 inches (100 x 200 cm)
Framed: 40 x 79.5 x 3 inches (101.6 x 201.9 x 7.6 cm)
©Rosemary Laing
CourtesyGalerie Lelong & Co., New York

Cildo Meireles

Like many of Meireles’s works, Aquaurum (2015) is in response to specific political situations. Meireles’s native Brazil produces approximately 12 percent of the world’s fresh water, however, there is a chronic shortage in the country’s most populous city, São Paulo.

The cleverly titled Aquaurum, which combines the Latin for “water” and “gold,” is comprised of two crystal glasses. The first is filled with gold, appearing as though it is the lining of the glass itself, the other filled with water.

Cildo Meireles, Reproduction of: Aquaurum, 2015
Two crystal glasses, titanium, gold, and water
© Cildo Meireles
Courtesy Galerie Lelong & Co., New York

Ana Mendieta

The performative and immersive aspects of Ana Mendieta and Carolee Schneemann’s practices are expressed within their documentational photography and works on paper.

Mendieta made her silueta (silhouette) in diverse natural landscapes “to establish her ties to the universe” as in her film Silueta de Arena (1978) where her body, portrayed in sand, is gently ebbed away by the water.

Ana Mendieta, Silueta de Arena, 1978
Super-8mm film transferred to high-definition digital media, color, silent
Running time: 1:33 minutes
© The Estate of Ana Mendieta Collection, LLC
Courtesy Galerie Lelong & Co.
Licensed by Artists Rights Society (ARS), New York

Carolee Schneemann

A contemporary pioneer of performance art, Carolee Schneemann sought to depict a weightlessness of the body through the group performance Water Light/Water Needle (1966), with men and women interacting on suspended ropes in a gesture of collective dependency, a response to social and gender norms of the time.

Carolee Schneemann, Water Light / Water Needle I, 1966 / 2014
Hand-colored giclee prints on Hahnemuhle paper
27 15/16 x 40 15/16 inches (71 x 104 cm)
© The Carolee Schneemann Foundation
Courtesy the Carolee Schneemann Foundation, Galerie Lelong & Co., and P•P•O•W, New York

Andy Goldsworthy

Land artists Andy Goldsworthy and Michelle Stuart have dedicated decades of their career to meticulous observations of nature in situ.

Goldsworthy has often investigated earth’s remarkable staining qualities and has worked for years with the iron-rich red earth and stone found near his home and studio.

In Goldsworthy’s nine-minute film, a river stone that he has rubbed with red earth “bleeds” color into the water.

Andy Goldsworthy, Red river rock Dumfriesshire, Scotland 19 August 2016, 2016
Digital video, color, sound
Running time: 9:44 minutes
© Andy Goldsworthy
Courtesy Galerie Lelong & Co.

Michelle Stuart

Michelle Stuart’s suite of thirty-five photographs Mysterious Tidal Fault (2019) investigates the traces of humanity’s effects on nature through the change in tides.

Michelle Stuart, Mysterious Tidal Fault, 2019
Suite of thirty-five photographs
Approximately: 78 x 80 inches
© Michelle Stuart
Courtesy Galerie Lelong & Co., New York

Michelle Stuart has described her affinity with water as profound. Though her work is associated with land art, voyage and boats are progenitors of memory and experiences. This boat functions as dream collector, recalling the California coastline of her birth.

Michelle Stuart, Dream Collector Carpinteria, 2003/2012
Wood, paint, metal, beeswax, canvas, muslin-mounted rag paper, pencil, and string
8.5 x 24 x 36 inches (21.6 x 60.9 x 91.4 cm)
© Michelle Stuart
Courtesy Galerie Lelong & Co., New York

Jaume Plensa

The sound of water from Goldsworthy’s film is accompanied by the ongoing, rhythmic drip from an intimate sculpture by Jaume Plensa.

Plensa’s Freud’s Children VII is part of a 25-component installation work where vessels of various sizes affixed with a sculpture of a body part (such as faces and hands) are connected by the drip of a pump that supplies and fills it with water, an arrangement akin to closed-blood circulation.

Jaume Plensa, Freud’s Children VII, 2001
Mixed media, water pump and water
29 x 52 x 46
© Jaume Plensa
Courtesy Galerie Lelong & Co.

Petah Coyne

Petah Coyne used a high perspective to achieve this image of the monks in Kyoto gathering for prayer.

Petah Coyne, Untitled #884 (Stream Monk, Monk Series), 1997
Silver gelatin print
20 x 24 inches (50.8 x 61 cm)
Framed: 20.4 x 28 x 1.2 inches (51.8 x 71.1 x 3 cm)
Unique AP2
© Petah Coyne
Courtesy Galerie Lelong & Co., New York

Petah Coyne was inspired by the 1994 Japanese novel, The Memory Police by Yōko Ogawa. The book takes place on an island, with water—as snow and as ice—shielding the characters as they hide from oppressive state control that eventually overwhelms, as in the intricate connections in this sculpture.

Petah Coyne, Untitled #1459 (Yōko Ogawa: The Memory Police), 2019
Black sand from pig iron casting, artificial feathers, acrylic polymer, paint, chicken-wire fencing, barbed wire, annealed wire, steel, cable, cable nuts, cable thimbles, quick-link shackles, jaw-to-jaw swivel, 3/8″ Grade 30 proof coil chain, silk/rayon velvet, Velcro, thread, plastic
40 x 35 x 37 inches (101.6 x 88.9 x 94 cm)
© Petah Coyne
Courtesy Galerie Lelong & Co., New York

Ficre Ghebreyesus

Ficre Ghebreyesus’s paintings are influenced by the colors and memories of his childhood and adolescence in Eritrea. This late landscape combines the bright colors of memory and the reality of a New England, probably Maine, coastline.

Ficre Ghebreyesus, Untitled, 2011
Signed lower right
Acrylic on canvas
36 x 24 inches (91.4 x 61 cm)
Framed: 38.5 x 26.5 x 2 inches (97.8 x 67.3 x 5.1 cm)
© The Estate of Ficre Ghebreyesus
Courtesy Galerie Lelong & Co., New York

Jane Hammond

Jane Hammond uses collage as an intellectual and formal exercise. The photograph is a fiction, culled from multiple sources and printed as if it were a vintage photograph. As in her paintings, the meaning of an image depends upon its context.

Jane Hammond, Nine Days Later, 2015
Selenium toned silver gelatin print
16 x 20 inches (40.6 x 50.8 cm)
Framed: 24.1 x 28.1 x 1.6 inches (61.3 x 71.4 x 4.1 cm)
Edition of 8
© Jane Hammond
Courtesy Galerie Lelong & Co., New York

Kate Shepherd

The reason I titled this Car Wash is that it captures looking through a windshield as though it were a painting. I made it by manipulating and recording soap and water on a blank enamel panel. The shapes don’t have obvious references to things so the liquid can call attention to the dynamic substance itself. It’s a very active painting created by an actual ‘event’ in time.” – Kate Shepherd

Kate Shepherd, Car Wash, 2020
Screen printed enamel on panel
50 x 42.5 inches (127 x 108 cm)
© Kate Shepherd
Courtesy Galerie Lelong & Co.

Juan Uslé

The monumental painting Soñe que Rvelabas (Liard) (2019-20) belongs to Juan Uslé’s best-known family of works (1997–ongoing), known for filmstrip-like brushstrokes that are applied on canvas guided by the artist’s heartbeat.

The painting is inspired by landscapes and memories both lived and dreamt: vibrations in bustling New York City, the fluidity of rivers and uncharted bodies of water, the colors of childhood in northern Spain. Soñe que Rvelabas (Liard) was created in New York and is titled after the Liard River in North America.

Juan Uslé, Soñé que revelabas (Liard), 2019-20
Vinyl dispersion and dry pigment on canvas
108.3 x 79.9 inches (275 x 203 cm)
© Juan Uslé
Courtesy Galerie Lelong & Co.

Catherine Yass

Catherine Yass’s Lighthouse (North), 2011 was captured while making her twelve-minute film of the same name, a dynamic portrait of the Royal Sovereign lighthouse located off the coast of East Sussex, England. The film made its US debut at Galerie Lelong in 2012.

A photographic work in the same series, Lighthouse (North north west, distant), 2011 has been acquired by the Cornell Fine Arts Museum, Rollins College. Its director, Dr. Ena Heller, writes: “Yass often talks about photography as language, noting that in order to understand it, one needs to study it, to deconstruct and understand it. In order to do that, she has experimented with the ‘wrong’ materials or chemicals; has shot under different light; has reversed the order of processes, and – as illustrated here – has superimposed positive and negative images.” Click here for the full write-up.

Catherine Yass, Lighthouse (North), 2011
Photographic transparency, lightbox
50 3/4 x 40 3/4 x 6 1/2 inches (129 x 103.5 x 16.5 cm)
© Catherine Yass
Courtesy Galerie Lelong & Co., New York