Jenny Holzer / A LITTLE KNOWLEDGE / 27 Dec 2019 – 22 Jan 2020

https://www.hauserwirth.com/hauser-wirth-exhibitions/26540-jenny-holzera-little-knowledge

We are delighted to present an exhibition by Jenny Holzer, titled ‘A LITTLE KNOWLEDGE’, at Tarmak 22 in Gstaad-Saanen Airport, on view from 27 December 2019 – 22 January 2020. The presentation will showcase works spanning the artist’s practice, including stone benches, LEDs, and paintings. Concurrently, Holzer will project large, scrolling texts in light on the stately Gstaad Palace, beginning the evening of 27 December. The light projections will then take place daily between 7 – 8.30 pm until 4 January, with additional dates from the 13 to 17 February 2020. The projections are made possible with the generous support of Maja Hoffmann of the Luma Foundation and Alex Hank.

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For more than forty years Jenny Holzer has presented text emblazoned on T-shirts, carved in stone, painted on canvas, scrolling on LED signs, and luminously projected onto buildings and landscapes. Beginning in the 1970s with posters wheat-pasted throughout New York City and continuing through recent light projections, her practice rivals ignorance with humour, and violence with kindness and courage. Holzer’s texts address oppression, gender, sexuality, power, and war, and by presenting them in media more commonly associated with advertising, news reports, and public information, she adeptly provokes reflection and challenges expectations and prejudices.

Holzer will unveil new projections on the Gstaad Palace, suffusing its architecture with language and light in a harmonious display. In 1996 the artist presented her first outdoor xenon projection on the bank of the Arno River in Florence. Since then her powerful words have illuminated culturally significant locations including the Spanish Steps in Rome, the Musée du Louvre in Paris, New York’s Rockefeller Center, London City Hall, and the Guggenheim Museum Bilbao. The projections for Gstaad, A LITTLE KNOWLEDGE CAN GO A LONG WAY, include Holzer’s Truisms in four languages: English, French, German, and Italian.

Tarmak 22 will exhibit a varied selection of Holzer’s artworks, including the LED sign SWORN STATEMENT, which includes text from a 2004 United States Army Criminal Investigation Command document that looked into reports of abuse at Gardez Fire Base, an American outpost in Afghanistan. Various witnesses were interviewed—Afghan detainees, doctors, and American soldiers, but in the end, investigators ruled in favour of the US soldiers and concluded no wrongdoing had taken place. Holzer extracts these statements and displays them on the LED, presenting the brutality of war in processional, scrolling text. Words run along the sign at varying speeds, illuminating other works in the gallery.

The exhibition also includes paintings from Holzer’s ongoing Redaction series. These oil on linen canvases faithfully reproduce declassified, heavily redacted US government and military papers, emphasizing a lack of transparency through bold transformations in scale, colour and metal leafing. ‘19’, a painting of an almost entirely redacted page—only the page number remains visible—is related to the indictments of Trump campaign officials Paul Manafort and Rick Gates issued in relation to Russian interference in the 2016 US presidential election.

A range of Holzer’s engraved stone benches also will be on display. The benches’ sculptural, permanent, and weighty presence amplifies delicate text inscriptions on their surfaces. As throughout Holzer’s work, here her inimitable use of language holds power and vulnerability, fact and deceit, and the individual and the collective in profound tension.

‘A LITTLE KNOWLEDGE’ is part of three major exhibitions by Hauser & Wirth across two alpine locations this winter season. ‘Calder’, a solo presentation by Alexander Calder at Hauser & Wirth St. Moritz, is on view from the 13 December 2019 to 9 February 2020. Later in Gstaad will be an exhibition of Picasso’s ceramic works alongside photographs taken of the artist in his studio by David Douglas Duncan at Le Vieux Chalet, open from 1 February through to the 28 February 2020 (open to the public on Wednesdays and Thursdays 2 – 5 pm and by appointment). Hauser & Wirth is also delighted to return to artgenève with a display of modern and contemporary masters in January 2020.

Jenny Holzer is an American conceptual and installation artist whose work deploys text in public spaces across an array of media, including electronic and LED signs, carved stone, billboards, and printed materials. Closely aligned with the feminist art movement, Holzer’s oeuvre provokes public debate and illuminates social and political injustice. Celebrated for her inimitable use of language and interventions in the public sphere, Holzer creates a powerful tension between the realms of feeling and knowledge, with a practice that encompasses both individual and collective experiences of power and violence, vulnerability and tenderness.

Born in 1950 in Ohio, USA, Holzer studied painting and printmaking (BFA) at Ohio University, and received an MFA in painting from Rhode Island School of Design in 1977. Much of Jenny Holzer’s education was in the Liberal Arts at Duke University and the University of Chicago, and she believes this broad education had an impact on the work she made. Although much of her work focused on painting, she was already using text in her pieces at this early stage. Her work is part of the public domain, equally accessible in museums and galleries as in storefronts, on billboards and T-shirts, and even electrified in New York’s Times Square.

Since 1996 Holzer has been using light projection – in which a powerful film projector casts scrolling texts onto architecture or a landscape – as another way of presenting texts in the public realm. The texts and light are dramatic but unobtrusive, adapting to varied projection surfaces, from the mountains and ski jump in Lillehammer to the Pyramide du Louvre in Paris. In recent years, Holzer has returned to painting, making reference to Abstract Expressionism and Suprematism and reinforcing the continued relationship of art with politics.