‘The Picture Gallery’ opens with a new cycle of paintings specifically realized for the Long Museum, which combine free gestural interventions with drawn figurative notations. Grouped under the title ‘Blues Paintings,’ this new body of work plays with musical references ranging from blues music to free jazz, while also composing an elegiac atmosphere. Condo refers to these works as a ‘lamentation for the return to the so-called new normal’ in the wake of the months of lockdown that followed the Covid-19 pandemic.
‘Blues Paintings’ stand in stark contrast with a selection of important early works, throughout which Condo depicts imaginary creatures, cartoon characters, and his legendary ‘antipodular beings’ with the fastidiousness of an old master. Condo’s ability to bend traditional techniques to unexpected ends is also in full display in a massive salon-style installation featuring more than 30 portraits made over the last four decades. Combining an acute psychological insight with a maddening physiognomic imagination, Condo’s portraits seemingly compose a cast for a new theater of the absurd, mysteriously conflating comedy and tragedy.
In the cycle titled ‘The American Wing,’ paintings and largescale silkscreens portray American junk food, B movie actors, and television personalities, often overpainted with Condo’s cursive characters. Articulating Condo’s caustic take on American culture, ‘The American Wing’ likewise reflects on the role of museums in the construction of myths of national identity and culture.
Condo further extended his exploration of the human psyche into physical space in his sculptures. Cast in a variety of precious metals such as bronze and gold, the works immediately evoke multiple traditional sculptural techniques. But in Condo’s anarchic approach to figuration, art history and chronology can be reconfigured at will, according to a cut-up method that dissolves hierarchies and conventional narratives. This tension between futurism and archaism returns in ‘Black Paintings,’ a rarely exhibited group of works from 2019 in which Condo depicts cyborgs and robots torn by existential doubts, ostensibly pushed to the edge of survival.
Condo’s systematic confrontation with art history – both as a medium and a subject of his work – continues in a series of ‘Neo-Renaissance’ paintings and portraits of fictional aristocratic characters. In these paintings, Condo, once again, blends technical bravura with an irreverent approach to tradition.
Source: Long Museum West Bund
‘The Picture Gallery’ opens with a new cycle of paintings specifically realized for the Long Museum, which combine free gestural interventions with drawn figurative notations. Grouped under the title ‘Blues Paintings,’ this new body of work plays with musical references ranging from blues music to free jazz, while also composing an elegiac atmosphere. Condo refers to these works as a ‘lamentation for the return to the so-called new normal’ in the wake of the months of lockdown that followed the Covid-19 pandemic.
‘Blues Paintings’ stand in stark contrast with a selection of important early works, throughout which Condo depicts imaginary creatures, cartoon characters, and his legendary ‘antipodular beings’ with the fastidiousness of an old master. Condo’s ability to bend traditional techniques to unexpected ends is also in full display in a massive salon-style installation featuring more than 30 portraits made over the last four decades. Combining an acute psychological insight with a maddening physiognomic imagination, Condo’s portraits seemingly compose a cast for a new theater of the absurd, mysteriously conflating comedy and tragedy.
In the cycle titled ‘The American Wing,’ paintings and largescale silkscreens portray American junk food, B movie actors, and television personalities, often overpainted with Condo’s cursive characters. Articulating Condo’s caustic take on American culture, ‘The American Wing’ likewise reflects on the role of museums in the construction of myths of national identity and culture.
Condo further extended his exploration of the human psyche into physical space in his sculptures. Cast in a variety of precious metals such as bronze and gold, the works immediately evoke multiple traditional sculptural techniques. But in Condo’s anarchic approach to figuration, art history and chronology can be reconfigured at will, according to a cut-up method that dissolves hierarchies and conventional narratives. This tension between futurism and archaism returns in ‘Black Paintings,’ a rarely exhibited group of works from 2019 in which Condo depicts cyborgs and robots torn by existential doubts, ostensibly pushed to the edge of survival.
Condo’s systematic confrontation with art history – both as a medium and a subject of his work – continues in a series of ‘Neo-Renaissance’ paintings and portraits of fictional aristocratic characters. In these paintings, Condo, once again, blends technical bravura with an irreverent approach to tradition.
Source: Long Museum West Bund
