The solo exhibition combines works from the 1990s with new production the exhibition plays with the way groups develop their ideas in cohesion and tension with the individual. It addresses time in relation to production and the development of creative communities.
On this occasion the new monograph, 'From nineteen ninety A to nineteen ninety D', published by JRP|Ringier, will be launched.

The title of the exhibition refers to Ludwik Fleck and Mary Douglas’s investigation of the way a thought style links group members via their shared ideas, how they communicate and the methods they employ. These ideas affect the art’s subjectivity and are reflected in a series of new text works.
A central work in the exhibition, 'A broadcast from 1887 on the Subject of our Time', was originally produced in 1996 and involved a "broadcast" directed towards a utopian community. The content of the broadcast is taken from Edward Bellamy’s book Looking Backward (1887) - which includes an account of a radio broadcast before the invention of the medium.
Also included in the exhibition is a deployment of the work, 'When Do We Need More Tractors? Five Plans, 1999' - a work where certain specific actions are outlined by the artist for others to fulfill. This work is combined with a new series of Discussion Platforms and a series of short films produced by the artist over the last two years.

Liam Gillick -

Maureen Paley is pleased to present the 2nd solo exhibition at the gallery by New York-based artist Thomas Eggerer. 

Thomas Eggerer was born in 1963 and studied at the Art Academy in Munich, Germany before moving to the US in the mid 90s where he eventually became a member of the artist collective Group Material. By the late 1990s his focus returned to painting and he has been exhibiting this work extensively over the last fifteen years. 

Using a pictorial language between abstraction and figuration, Thomas Eggerer’s paintings are inhabited by anonymous figures that are absorbed in degrees of action or exchange. They are observed from an elevated perspective and choreographed into arenas of colour. Forms of currency such as money, cigarettes or cans of beer are held and gestured towards, suggesting modes of social transaction with intent.

The work 'evokes a contemporary condition of internal splitting or dis-location' as discussed by David Joselit in his essay Time Zones published in Artforum in January 2014. He identifies Eggerer's application of paint using processes of sketching, stuttering, dripping and staining that make his subjects appear at once dismantled and stitched together. 

Thomas Eggerer’s work has been selected by Ralph Rugoff to be included in the 13th Biennale de Lyon, 'La Vie Moderne', that opens this September 10.
He will participate at 'Painting 2.0: Expression in the Information Age', Museum Brandhorst, Munich, November 11, 2015 - April 2016. 

Thomas Eggerer -

Maureen Paley is pleased to announce a solo project by Deimantas Narkevičius at the gallery that will present two films - The Role of a Lifetime (2003) and Into the Unknown (2009). Narkevičius’ work examines and proposes interpretations of history and the passing of time within the context of a post-1989 Europe. Edited together footage from found, archival and original sources is often accompanied by soundtracks composed from interviews and appropriated material. By allowing multiple timelines and narratives to co-exist within individual works Narkevičius questions how personal and collective memories are constructed and how they resonate in the present.

Deimantas Narkevičius -

Maureen Paley is pleased to present the first solo exhibition by Morgan Fisher following on from his screening at the gallery in 2013.
 
"My father taught me photography in 1955, when I was twelve years old. I made my first movies (they were conventional home movies) with a Brownie 8mm camera in 1956. I believed that photography and film as I found them in the 1950s would last forever.

All of the works in this exhibition were made as photographs or films. I didn’t do this to sustain my belief, it was the way I wanted to do things, and they were easy and normal things to do. But in treating some of the works after their original production I have chosen to work digitally because it is simpler."
Morgan Fisher, October 2014

Morgan Fisher was born in 1942 in Washington, D.C. He studied art history at Harvard College and then film in Los Angeles. He lives and works in Santa Monica, California.

Morgan Fisher -

Maureen Paley is pleased to present the sixth solo exhibition by Gillian Wearing at the gallery.

Her new single-screen video work 'We Are Here' sees the artist return to the area in and around Sandwell where she grew up. In the video people from the West Midlands present a series of monologues, speaking as if they have returned from the grave. The concept for 'We Are Here' is taken from American poet Edgar Lee Masters' book Spoon River Anthology (1915). In this book people who lived by Spoon River (that ran close to the poet's hometown) rise up from the grave and talk about their lives, regrets, losses and memories.

'We Are Here' received it’s UK premier in Gillian Wearing’s solo exhibition at The New Art Gallery Walsall. The exhibition opened on 17 July and runs until 12 October 2014. Regen Projects, Los Angeles will host the US premiere of the film in a solo Show, 11.12.2014 - 24.012015.

'We Are Here' was made with the assistance of Outset Contemporary Art Fund and the Art Fund with additional support from the artist, Maureen Paley, Shaun Regen and Tanya Bonakdar.

Gillian Wearing has been nominated for The Vincent Award 2014 along with Pierre Huyghe, Manfred Pernice, Willem de Rooij and Anri Sala. The Vincent Award is currently on show at The Gemeentemuseum Den Haag, The Hague, Netherlands, 05.09. 2014 to 01.02.2015.

Wearing’s public sculpture A Real Birmingham Family will be unveiled in Centenary Square, Birmingham, on October 30, 2014.

Gillian Wearing -

Identical twin brothers Gert & Uwe Tobias were born in Brasov, Romania, in 1973, in the Transylvanian region. Having moved to Germany in 1985 they studied in Brunswick, and now live and work in a studio complex on the outskirts of Cologne. They paint, sculpt, make traditional woodcuts and collages. They have worked together since 2001 and when in their studio the artists often complete each other’s work. Their work is full of strange characters and creatures drawn from eastern European folk art combined with diverse influences, from abstract art of the early 20th century to German post-war painting.

The Tobias brothers’ giant woodcuts and wall paintings draw on modernist geometric abstraction; however they combine line, shape, colour and typography with the narrative images and patterns of folk art, using decorative motifs such as flowers, plants, patterns, embroidery and domestic objects. These elements are often placed against a grid or flat painted background to create dramatic and surreal tableaux. There is much reference and quotation in their work from the rich Surrealist period, William Blake, along with symbolist allusion - all connected through their Romanian folk tradition. However, the bold and geometric presentation they employ creates a contemporary context that is unique to them.

Gert & Uwe Tobias -

Maureen Paley is pleased to present the third solo exhibition by Peter Hujar at the gallery. 

In her introduction to Portraits in Life and Death, Susan Sontag wrote, ‘…Fleshed and moist-eyed friends and acquaintances stand, sit, slouch, mostly lie – and are made to appear to meditate on their own mortality…Peter Hujar knows that portraits in life are always, also, portraits in death.’

Working exclusively in black and white, Hujar vividly documented a New York that has been all but lost to us today.
Hujar was a contemporary and friend of Diane Arbus, and both were admirers of Weegee and shared his dark vision. Regardless of subject matter—from the catacombs in Palermo to abandoned, wrecked cars Hujar is a classicist whose distinctive style echoes further back to historical figures such as Atget and Brassaï. Hujar was a mentor and friend to the artists David Wojnarowicz and Paul Thek. His work would go on to influence the photographers Nan Goldin and Robert Mapplethorpe. His sensibility, concentration, eye for detail, and feel for light and texture enable him to find mystery where none is apparent, beauty in the mundane, and grace in disintegration. All of Hujar's work is imbued with a deep sense of mortality and as he makes visible an awareness of life and death as forever enmeshed, a depth of soul.

Born in Trenton, New Jersey in 1934, Peter Hujar received his first camera in 1947. His works have been exhibited throughout Europe and the United States.

Peter Hujar -

Maureen Paley is pleased to present the second solo exhibition by David Salle at the gallery. Salle lives and works in Brooklyn, New York and is known for the crucial role his work played in the discussions around postmodernism in contemporary art. Taught by John Baldessari in the 70's at UCLA he is considered part of the Pictures Generation whose work was revisited in an exhibition of the same name at the Metropolitan Museum of Art, New York in 2009.

Salle’s subject matter and pictorial language stem from his interest and engagement in performance and his exploration into the relations between painting and cinema.

At the center of the new exhibition is a large painting of the American West titled Trappers (2014). The black and white underlying image is a re-painting of a scene by George Caleb Bingham, one of the most popular American painters of the mid 1800s. Bingham's paintings were extremely theatrical and would be set up in tents where admission was charged in order to view them. Although carefully plotted, the composition of Salle’ painting is also subject to chance as Salle introduces brightly colored body prints that are made by literally dragging a model across the painting's surface. His aim is always to keep the eye moving across and around the space of the painting and in Trappers the actual movements begin to translate into metaphorical ones.

David Salle -

Maureen Paley is pleased to present Sarah Jones’ sixth solo exhibition at the gallery. Following on from the recent publication of her monograph by Violette Editions, Jones’ new photographs continue to explore how subjects are measured and transcribed through the large format view camera and flattened in pictorial space. Predicated on the disarming and the vernacular she uses a vocabulary that simultaneously describes as well as documents. In her expanded Cabinet series arrangements of found objects are contained, mirrored and presented as if held in a vitrine.

Over the years themes such as the analyst’s couch, the municipal rose garden as still life in-situ, the drawing studio and the singular female subject have been central to her concerns. Her photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing.

She has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. More recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an Image.

Sarah Jones -

Maureen Paley is pleased to present a new exhibition of work by Hamish Fulton, his second at the gallery.

In 1973, after walking over 1000 miles in 47 days from Duncansby Head to Land´s End, Fulton made the decision to "only make art resulting from the experience of individual walks." Since then walking has formed the basis of his practice, materializing in photographs and walk-texts in various forms that result from direct engagement with the environment.

Calls for political justice recur in Fulton´s work, corresponding to his commitment to individual and artistic freedom. As Fulton has stated: "A diversity of art walks can interconnect with a wide range of actions, disciplines, philosophies, environmental issues, the meditative, and politics."

For the past twenty years Fulton has been devising group walks with over thirty walks realised transnationally. In 2011 Fulton undertook Slowalk (In support of Ai Weiwei) a collective action realised at Tate Modern bringing together hundreds of people walking in silent unison.

Hamish Fulton -