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May 12 - Jun 26, 2021 FINAL WEEK
Born Panagiotis Vassilakis in Athens in 1925, Takis took art into realms previously the domain of physicists and engineers. Organised in close collaboration with the artist’s estate, this exhibition, the first in Europe following his death in 2019, features key works from his private collection. Including important examples from his best-known series from the 1950s to the 2000s, the selection reflects Takis’ lifelong exploration of invisible energies as a ‘fourth dimension’ in art. Marcel Duchamp famously dubbed him the ‘ploughman of magnetic fields’, and this presentation highlights the many profound and poetic innovations of this singular, self-described ‘intuitive scientist’.
The exhibition features works made throughout Takis’ long career, starting with early bronze sculptures of the 1950s inspired by ancient Cycladic figurines; then his breakthrough ‘Magnetrons’ of the 1960s that use magnetism to suspend objects in space; and a number of 1980s sculptures, including a large, outdoor ‘Aeolian’ that rotates in the wind and a bronze, body-cast ‘Erotic’ that explores ‘magnetic’ attraction between humans. Later works of the 1990s include the reconfigurable, monochrome ‘Magnetic Wall – The 4th Dimension’ paintings, which use the invisible forces connecting magnets and iron wires to create an infinite number of compositions on the surface of the canvas.

May 12 - Jun 26, 2021 FINAL WEEK
White Cube is pleased to present an exhibition of new works by South African artist Bronwyn Katz titled ‘I turn myself into a star and visit my loved ones in the sky’. Her first solo show in London, it includes ten new sculptures that deal with materiality, narrative and social history and address how each of these are intrinsically interconnected.
Developing her thinking around ‘earth matter: its origins [and] relationship to the celestial’, the title of the exhibition affirms the continuity and transmutability of bodies, qualities which cannot be contained nor controlled. A focus on social identity, and the relationship this has to language and ancestry, is a key theme that runs throughout the exhibition. However, employing subtle acts of resistance in her work, Katz also draws attention to the resonance of place, social constructs and artificial distinctions: ‘There are places that have previously felt important to me because they are the places where most of my known ancestors lived and were buried, but now understanding that I have ancestors as old as time, no specific place holds more importance than another.’ For Katz, the earth cannot be delineated; it cannot be divided into parts by boundaries or borders, for as she states: ‘the soil from here remembers the soil from there’.


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