Hauser & Wirth

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Hauser & Wirth
© Hélène Binet
Established 1992
Location Switzerland
Type Art gallery, modern art
Founder Iwan Wirth
Manuela Wirth
Ursula Hauser
Website hauserwirth.com

Hauser & Wirth is an international gallery devoted to contemporary and modern art, founded in Switzerland by Iwan and Manuela Wirth and Ursula Hauser in 1992. It is now a global enterprise, with spaces in Zurich, London, New York and Somerset, and is due to open in Los Angeles in 2016. The gallery represents almost 60 established and emerging artists, including Mark Bradford, Christoph Büchel, Roni Horn, Paul McCarthy and Pipilotti Rist, and is responsible for artist estates and foundations including the Louise Bourgeois Studio, the Estate of Philip Guston, the Eva Hesse Estate, Allan Kaprow Estate, Mike Kelley Foundation for the Arts, the Estate of Jason Rhoades and the Dieter Roth Estate. Hauser & Wirth has been cited by The Financial Times as ‘the marketplace of ideas’.[1]

Iwan Wirth and Manuela Wirth were jointly ranked as the number 1 most powerful and influential figures in the art world in ArtReview’s ‘Power 100’ in 2015,[2] after Iwan Wirth was previously listed third in 2013[3] and 2014.[4] The New York Times described Wirth as ‘one of the most powerful players in contemporary art’.[5]

Gallery History

1990s

In 1992, Hauser & Wirth opened its first public space in the first-floor apartment of an Art Deco villa at Sonneggstrasse 84 in Zurich. The gallery’s first exhibitions were ‘Alexander Calder: Mobiles and Gouaches’ and ‘Joan Miró: Sculptures and Paintings’.

Hauser & Wirth approached Nam June Paik to present an exhibition in an industrial space at Hardturmstrasse 127 in Zurich in 1993: ‘Jardin illuminé’. The following year the gallery moved into the former space of Marc Jancou on Hardturmstrasse and presented the exhibition and publication ‘Egon Schiele: Works on Paper’, in collaboration with Serge Sabarsky. The gallery also collaborated with Parkett to stage the anniversary exhibition ’10 Jahre Parkett – 61 Künstlereditionen’. Also in 1994, the gallery opened ‘Bruce Nauman: A Large Scale Work’, the gallery's first exhibition of Gerhard Richter, ‘Richard Artschwager: Archipelago’, and the following year it staged ‘Gerhard Richter: Bilder 1964 – 1994’ and ‘Marcel Broodthaers. Correspondances / Korrespondenzen’.

In 1994, Iwan and Manuela Wirth rented an apartment on Franklin Street in New York, before deciding to open a gallery in the city, leading to the purchase of a townhouse on 69th Street in 1998.

In 1996, Hauser & Wirth Zürich was launched in the former Löwenbräu brewery building. Along with institutions including the Kunsthalle Zürich and the newly founded Migros Museum für Gegenwartskunst, Hauser & Wirth was a founding member and tenant of what is now an arts complex housing POOL, Westbau and LUMA Foundation, amongst other contemporary art galleries. This was the first of the gallery’s architectural projects developed by Annabelle Selldorf. The first exhibitions in the Löwenbräu were ‘Malerei aus Deutschland’ including works by Hans Arp, Georg Baselitz, Max Beckmann and Blinky Palermo, ‘Joseph Cornell’ (in collaboration with the artist’s estate and C&M Arts) and a sculpture show including works by Dan Flavin, Lucio Fontana, Alberto Giacometti and Jeff Koons. Artists Louise Bourgeois, Dan Graham and Jason Rhoades joined the gallery in 1996.

Mary Heilmann, Rachel Khedoori, Paul McCarthy, Richard Jackson (artist), Roman Signer and Pipilotti Rist began working with the gallery in 1997. Also in 1997, Hauser & Wirth presented exhibitions of work by Bruce Nauman and Francis Picabia.

In February 1998, Galerie Hauser & Wirth 2, a collaboration between Hauser & Wirth and Eva Presenhuber, opened on the first floor of the Löwenbräu with an exhibition by Jason Rhoades: ‘The Creation Myth’. In 1999, the enterprise was renamed Hauser & Wirth & Presenhuber. It presented exhibitions by Fischli & Weiss, Urs Fischer, J. F. Schnyder and Franz West, until it reopened as Galerie Eva Presenhuber in 2002.

In 1999, Iwan and Manuela Wirth and Ursula Hauser opened the Hauser & Wirth Collection to the public, based in a former locomotive shed or roundhouse, called the ‘Lokremise’, near St Gallen’s main train station. The Lokremise was inaugurated with an exhibition by Paul McCarthy.

Hauser & Wirth participated in Art Basel for the first time in 1999, and has continued to do so every year since. The gallery has also participated in Art Basel Miami Beach, Frieze London and Frieze Masters since their respective first editions.

2000s

In 2000, Iwan Wirth and David Zwirner opened Zwirner & Wirth on 69th Street in New York, with the exhibition ‘Early Paintings’ by Gerhard Richter. The gallery exhibited modern and contemporary masters, as well as group shows focused on German painting, Surrealism in the 20th century, Minimalism from the 1960s and 1970s, Assemblage, contemporary sculpture, German and American Pop Art and conceptual photography.

Marc Payot joined the gallery in 2000 and he continues in the role of Partner and Vice President, based in New York.

Hauser & Wirth opened its first London gallery on Piccadilly in 2003 in a listed building designed by Sir Edwin Lutyens for Midland Bank in 1922, renovated by Annabelle Selldorf in compliance with British landmark protection specifications. The gallery opened with an installation by Paul McCarthy and subsequently witnessed numerous transformations, such as Pipilotti Rist’s exhibition in 2005 that provided beds for the visitor to catch a glimpse of heaven (as projected onto the ceiling’s rotunda), and Christoph Büchel’s ‘Piccadilly Community Centre’ in 2011. Hauser & Wirth Piccadilly hosted exhibitions such as ‘Joan Mitchell. Leaving America’ (2007); Andy Hope 1930’s ‘air tsu dni oui sélavy’ (2009); ‘Jason Rhoades. 1:12 Perfect World’ (2010), and ‘Phyllida Barlow: RIG’ (2011). The gallery closed in December 2013 following a presentation of works from the Onnasch Collection, curated by Paul Schimmel (curator). ‘Re-View: Onnasch Collection’ was reviewed by Jackie Wullschlager in The Financial Times.[6]

Hauser & Wirth ran a temporary project space in London’s East End between 2005 and 2007; Hauser & Wirth Coppermill showed exhibitions by Martin Kippenberger, Dieter and Björn Roth, Christoph Büchel and Martin Creed. In 2005, Hauser & Wirth rented a space on Swallow Street, which became a showroom for special projects including Martin Creed’s ‘Work No. 551 Brown balloons’ (1996), Andy Hope 1930’s ‘This Island Earth’ and an exhibition by Diana Thater. In 2009, Swallow Street was relaunched as an exhibition space for emerging artists with a programme selected by curator Sarah McCrory, and supported by Hauser & Wirth.

Between 2006 and 2010, Hauser & Wirth had a space at 15 Old Bond Street, shared with the British old master dealer, Colnaghi. The gallery hosted two to three twentieth-century and contemporary shows each year, including exhibitions of works by Louise Bourgeois, Berlinde de Bruyckere, Subodh Gupta, Henry Moore and Francis Picabia.

In 2008, Hauser & Wirth and David Zwirner jointly purchased the Collection of Helga & Walther Lauffs, which had been on long-term loan to the Kaiser Wilhelm Museum in Krefeld, Germany since the Collection began in 1968. The Lauffs Collection included works by Joseph Beuys, Lee Bontecou, Christo, Joseph Cornell, On Kawara, Yves Klein, Joseph Kosuth, Jannis Kounellis, Sol LeWitt, Piero Manzoni, John McCracken, Bruce Nauman, Louise Nevelson, Claes Oldenburg, Giulio Paolini, Michelangelo Pistoletto, Fred Sandback, Richard Serra, Richard Tuttle, Cy Twombly and Tom Wesselmann among others. The galleries hosted three collaborative presentations of works from the Collection that year. The acquisition was accompanied by a double-volume publication, 'The Helga and Walther Lauffs Collection', released by Steidl Zwirner & Wirth in 2010.

In September 2009, Hauser & Wirth opened its first New York gallery, on 32 East 69th Street in the Upper East Side of Manhattan. The building was formerly home to the Martha Jackson Gallery and had later become Don King’s headquarters. Allan Kaprow’s ‘Yard’ was originally created there in 1961, and in homage to this, the gallery opened with ‘Allan Kaprow: Yard’ as its first show. The exhibition was reviewed by Ken Johnson in The New York Times.[7] In 1954, the first Gutai show in the US took place on this site, and in 2012, Hauser & Wirth also presented and exhibition of Gutai work, titled ‘A Visual Essay on Gutai at 32 East 69th Street’. Also in September, the gallery inaugurated its outdoor sculpture programme in Southwood Garden, St James’s Church, London, with an exhibition of sculptures by Josephsohn.

Since 2010

In January 2013, Hauser & Wirth launched a second New York location, a 23,000 square foot exhibition and project space, at 511 West 18th Street, the former home to The Roxy NYC roller skating rink and discotheque. The new downtown space opened with 'Dieter Roth. Björn Roth', an exhibition that highlighted the 20-year collaboration between the gallery and Dieter Roth. The gallery is home to the ‘Roth New York Bar’, a site-specific bar built by Björn, Oddur and Einar Roth on the occasion of their exhibition. The new exhibition space was profiled in The New York Observer,[8] and was reviewed by Roberta Smith in The New York Times.[9]

In 2013, Hauser & Wirth placed the art collection of curator, artist and former dealer Ydessa Hendeles with contemporary art museum Glenstone. The Collection comprised a group of 144 works dating from 1966 to 2006. It included 26 artists including Louise Bourgeois, Maurizio Cattelan, Hanne Darboven, Katharina Fritsch, Jenny Holzer, Bruce Nauman and Jeff Wall. The acquisition was announced by Carol Vogel in The New York Times.[10]

In July 2014, Hauser & Wirth Somerset opened, a gallery and arts centre on the outskirts of Bruton, which received over 100,000 visitors in its first nine months. The Dutch landscape architect Piet Oudolf was commissioned to create a landscaped garden behind the gallery buildings, incorporating a 1.5 acre perennial meadow. Hauser & Wirth Somerset’s exhibition programme is underpinned by an education and artist residency programme, which has hosted residencies by Pipilotti Rist, Guillermo Kuitca, Björn and Oddur Roth, Mark Wallinger and Karen Guthrie. The inaugural exhibition at Hauser & Wirth Somerset was a presentation of new work by the British artist Phyllida Barlow. Hauser & Wirth Somerset has received architectural awards including ‘Winners of the William Stansell Historic Buildings Award’ and ‘Civic Trust Award - Civic Trust Commendation’. In Spring 2015, Hauser & Wirth Somerset installed the Radić Pavilion at Durslade Farm, originally the Serpentine Galleries 2014 Pavilion, designed by Smiljan Radic.

Hauser & Wirth Somerset’s restaurant, the Roth Bar & Grill, serves seasonal, locally sourced produce and includes a site-specific bar created by Björn and Oddur Roth. The restaurant was included in The Times’ ‘25 Best Places for Brunch’ in 2014.[11] Durslade Farmhouse, part of the original Grade II-listed farm buildings that date back to ca. 1760, is a guesthouse onsite that serves as accommodation for artists and is available to rent. A number of articles have been published on Hauser & Wirth Somerset, including Griselda Murray Brown's feature in The Financial Times[12] and by Mark Brown in The Guardian.[13]

Hauser & Wirth Somerset supports a number of local charities, including the Somerset Wildlife Trust, the gallery’s chosen charity for 2014 / 2015. Funds raised through donations onsite support the Trust’s commitment to conserving woodlands, wetlands and wildflower meadows in Somerset. In 2014, Hauser & Wirth Somerset sponsored the project ‘Instructions for an Ordinary Utopia’, which commissioned new works from artists Simon & Tom Bloor, Peter Liversidge and Ruth Proctor in and around Frome. The project was organised by Frome’s Foreground Projects, a not-for-profit organisation commissioning artists to make new site-specific work.

In 2015, the gallery began construction on a new building in New York, a multi-story complex located on a 7,400-sq-foot lot at 542 West 22nd Street and designed by Annabelle Selldorf. The news was announced in The New York Times.[14]

In March 2016, Hauser Wirth & Schimmel will open in Los Angeles with Paul Schimmel at the helm. The gallery will be situated in a 100,000 sq foot historic flour mill at 901 East 3rd Street in downtown LA, and designed by Annabelle Selldorf, was announced in The Los Angeles Times.[15]

Art Education

Hauser & Wirth Somerset delivers an education programme consisting of artist, specialist and curator-led talks, seminars, workshops and events, targeted to individuals, schools, special interest groups, families and outreach work. The gallery has formed a Teachers’ Network, whereby local teachers are invited to attend special events and to access teaching resources.

‘Arthaus’ is a group created specifically for young people aged 15–19 years old who are interested in learning more about art and architecture, and who wish to meet others with similar interests. ‘Arthaus’ meets at the gallery once a month and has the opportunity to meet artists, the gallery team and specialists, in a series of events such as workshops, conversations and talks.

In its first nine months of operating, Hauser & Wirth Somerset welcomed over 40 school groups, totalling over 1,000 schoolchildren. On the first Saturday of every month, Hauser & Wirth Somerset runs ‘Family Saturdays’, with a changing programme of tailored family events. An events and seasonal workshop programme accompanies gallery exhibitions.

On the occasion of Phyllida Barlow’s exhibition at Hauser & Wirth Somerset, the gallery collaborated with Bristol Old Vic Theatre to develop a theatre summer school for 25 young people, which invited participants to develop and create stories, characters and themes in response to Phyllida Barlow’s sculpture.

The gallery partnered with the The Prince's Trust to run a series of events for one of their xl clubs, supporting young people aged 13 – 19 years old at risk of underachievement or exclusion from school. Hauser & Wirth Somerset has also sponsored external educational and youth-centric programmes, including a series of events in collaboration with the School of Art & Design at Bath Spa University.

Hauser & Wirth also supports Mark Bradford’s project Art + Practice, an organisation based in Leimert Park, Los Angeles that encourages engagement with the arts and supports local 16- to 24-year-olds who are transitioning out of foster care.

Publications

Hauser & Wirth is also a publisher specialising in books on modern and contemporary art and has published over 100 titles since 1992. Hauser & Wirth's publishing activity consists of monographs, artists' books, historic exhibition catalogues, collections of artists' writings and catalogues raisonnés. ‘Hauser & Wirth 20 Years’, a publication documenting the gallery’s history, received an award for ‘Most Outstandingly Produced Book' at the Spear’s Book Awards 2013.[16]

In 1992, Hauser & Wirth collaborated with Hans Ulrich Obrist to publish its first books, including: Hans Ulrich Obrist (ed.), Paul-Armand Gette, ‘Nymphaeum’, Oktagon, 1993 and ‘Hotel Carlton Palace: Chambre 76’, Paris, 1993.

Early books produced by the gallery included an exhibition catalogue for Nam June Paik in 1993, which featured an introduction from Pipilotti Rist. Highlights from the gallery's publishing activities include: 'Gerhard Richter. Bilder / Paintings 1964-1994', Oktagon, 1995; 'Louise Bourgeois. Works in Marble', Prestel, 2002; 'Paul McCarthy. Piccadilly Circus. Bunker Basement', Scalo, 2004; 'Roni Horn. Rings of Lispector (Agua Viva)', Steidl Hauser & Wirth, 2006; 'Jason Rhoades. Black Pussy Cocktail Coffee Table Book', Steidl, 2007; 'Maria Lassnig. The Pen is the Sister of the Brush', Steidl Hauser & Wirth, 2009; 'Dieter Roth / Björn Roth. Work Tables & Tischmatten', Yale University Press, 2010; 'Eva Hesse. 1965', Yale University Press, 2013; 'Phyllida Barlow. Fifty Years of Drawings', JRP|Ringier, 2014, and 'Transparence: Calder / Picabia', Hatje Cantz, 2015.

Hauser & Wirth Publications also regularly donates a selection of its recent titles to public institutions, universities and research libraries around the world.

Artists

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References

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  2. ↑ http://www.theguardian.com/artanddesign/2015/oct/22/swiss-couple-iwan-manuela-wirth-art-power-list
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External links

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