‘THE CORPSING PICTURES’ are Gilbert & George’s most profoundly personal and confrontational works to date - FAD Magazine

FAD Magazine

FAD Magazine covers contemporary art – News, Exhibitions and Interviews reported on from London

‘THE CORPSING PICTURES’ are Gilbert & George’s most profoundly personal and confrontational works to date

White Cube has announced an exhibition of ‘THE CORPSING PICTURES’ at Mason’s Yard, ahead of the unveiling of The Gilbert & George Centre in Spitalfields, East London.

Gilbert & George HUSH 2022 301 x 443 cm | 118 1/2 x 174 7/16 in. © Gilbert & George. Courtesy White Cube

On view at White Cube Mason’s Yard, ‘THE CORPSING PICTURES’ are Gilbert & George’s most profoundly personal and confrontational works to date. They will also be exhibited for the first time in the U.S. at White Cube West Palm Beach, Florida, from 12th April to 13th May 2023.

About ‘THE CORPSING PICTURES’ by Michael Bracewell, 2023

‘In the art of Gilbert & George, meaning is inferred through feeling and atmosphere, and these possible meanings can be in stark contrast to one another. They can be read like a paradox or aphorism in which the juxtaposition of apparent opposites creates levels of interpretation beyond those first encountered.

Gilbert & George KNOTTED 2022 253 x 301 cm | 99 5/8 x 118 1/2 in. © Gilbert & George. Courtesy White Cube

Such a high velocity interplay of meanings is acutely felt in ‘THE CORPSING PICTURES’, beginning with the arresting or even shocking title of the group, that could refer, dizzyingly, to both death and dead bodies, and the theatrical slang for an actor who suddenly steps out of character during a performance, by either forgetting their lines, or laughing, or causing another actor in the scene to lose their composure. To break the spell therefore: to admit the illusion of acting, to revel in revealing the ‘pretence’ of theatre.

As such ‘THE CORPSING PICTURES’ present the viewer with ambiguity, contradiction and enigma, as much as pathos, poignancy, sepulchral eeriness and a visceral sense – conveyed by the attitude and expressions of Gilbert & George within the pictures – of sudden helplessness and somnolence in the face of entombment and entrapment. Might Gilbert & George be ‘corpsing’ therefore in both meanings of the word? An unanswered question; an oscillation between different senses of an ending.

This tension between feeling, interpretation and meaning is created by Gilbert & George from a very small number of visual devices. In addition to the figures of the artists themselves, the tableaux of ‘THE CORPSING PICTURES’ are comprised primarily of bones, string knotted or cut into lengths, and decayed plant stems, stalks and leaves. The palette is red, black, white and gold. The artists are most often depicted lying side by side, diagonally across one another, or top to toe. Sometimes they appear to be sleeping; elsewhere they cover their mouths or eyes or ears, as though ritualistically, acting out responses in a charade, or signals in a game.

Gilbert & George BED OF BONES 2022 317 x 452 cm | 124 13/16 x 177 15/16 in. © Gilbert & George. Courtesy White Cube

As always in the art of Gilbert & George, from its extraordinary beginnings with the living sculpture, ‘UNDERNEATH THE ARCHES’, as early as 1969, the progress of the artists through a visionary journey of life is depicted in a manner at once mysterious and vulnerable, overtly physical and mystically emblematic. In this, Gilbert & George have always been strangely eternal agents of modernity, acting out a mix of seer, stooge and everyman, thrown between the city and the supernatural, who travails piteously and entertains uproariously, at the heart of modernism itself. A dualism that might well be summarised by both principal meanings of ‘corpsing’, as well as by their seeming contradiction.’

Gilbert & George, THE CORPSING PICTURES, White Cube Mason’s Yard, 29th March – 20th May 2023

About the artist

Gilbert was born in the Dolomites, Italy in 1943 and George was born in Devon, UK in 1942. Gilbert & George live and work in London.

Solo exhibitions include Auckland Art Gallery Toio T?maki, New Zealand (2022); a touring retrospective eat Schirn Kunsthalle, Frankfurt (2021); Casa Rusca Museum, Locarno (2020); Kunsthalle Zurich, Switzerland (2020); Moderna Museet, Stockholm (2019); Astrup Fearnley Museum, Oslo (2019); Fondation Louis Vuitton, Paris (2019); LUMA, Arles, France (2018); Helsinki Art Museum, Finland (2018); Museum of Old and New Art, Hobart, Australia (2015); The Museum of Modern Art, New York (2015); Centro de Arte Contemporáneo Málaga, Spain touring to Museum of Contemporary Art, Zagreb (2010); Philadelphia Museum of Art, Pennsylvania (2008); Tate Modern, London touring to Haus der Kunst, Munich, Germany, Castello di Rivoli, Turin, Italy, De Young Museum, San Francisco, California, Brooklyn Museum of Art, New York and Milwaukee Art Museum, Wisconsin (2007–08); Serpentine Gallery, London (2002); Stedelijk Museum, Amsterdam (1996); Milwaukee Art Museum, Wisconsin touring to The Solomon R. Guggenheim Museum, New York (1985); and Whitechapel Gallery, London touring to Stedelijk Museum, Amsterdam and Kunstverein Düsseldorf, Germany (1971).

They have participated in numerous group exhibitions including ICA, Miami (2018); HangarBicocca, Milan (2017); The Museum of Modern Art, New York (2011); Barbican Art Gallery, London (2007); 51st Venice Biennale, British Pavilion (2005); 5th Biennale de Lyon, France (2000); Carnegie International (1985); and Turner Prize, Tate Gallery, London (1984).



Related Posts

White Cube now represents TARWUK

White Cube has announced representation of the New York-based, Croatian artistic duo TARWUK [Bruno Poganik Tremow (b. 1981, Zagreb, Croatia) […]

Trending Articles

Join the FAD newsletter and get the latest news and articles straight to your inbox

* indicates required