Artists Marina Abramović, Nico Vascellari, and Fyodor Pavlov-Andreevich have come together at Colnaghi London to exhibit a selection of works created in response to and presented in dialogue with masterworks from across eras, ranging from an Etruscan burial urn from the 6th Century B.C.E., to a rarely presented portrait by Diego Velázquez from the 17th Century. On view from 17 September through 22 November 2021, Humble Works explores creative synergies among artists across different ages, eras, media, and geographies, and reflects Colnaghi’s commitment to cross-category presentations and collecting.

Taking its name from the sense of humility that one feels when confronted with rare masterpieces, Humble Works presents new installation, photography, and sculpture by Abramović, Pavlov-Andreevich, and Vascellari displayed alongside historic paintings and objects of the artists’ choosing, each in its own space within Colnaghi’s London gallery. Presented together, the three artists’ personal experiences and creative responses explore shared themes of friendship, immaterial connections, and collective will.

‘A central part of Colnaghi’s mission is to highlight art historical threads that connect objects from different time periods and categories, drawing them together in a manner that leads to exciting juxtapositions and discoveries,’ said co-CEO and owner Victoria Golembiovskaya. ‘Humble Works takes this concept one step further: for the first time, we are presenting new works created in direct response to paintings and objects of historical significance and where this cross-category dialogue and creative inspiration becomes the primary theme of the exhibition.’

Added Senior Global Director Chloe Stead, ‘The title Humble Works was collaboratively set by Marina, Nico, and Fyodor. Their choice of words indicates the awe with which we approach great masterpieces, from antiquity to the modern era. It is our privilege to present these artists’ deeply personal artistic responses to their selected masterpieces in this unique site-specific exhibition. I hope that visitors find the juxtapositions and dialogues between the works thought-provoking, perhaps provocative, but certainly rewarding.’

ABOUT THE EXHIBITION

A highlight of the exhibition is the presentation of Diego Velázquez’s full-length portrait of Mother Jerónima de la Fuente (1620), rarely on public view in the U.K. The imposing depiction of the Spanish nun from the order of the Poor Clares is regarded as a leading example of the artist’s unparalleled skills as a portraitist. Abramović responds to Velázquez with a range of new and existing works including a double self-portrait of the artist holding a laughing skull, from 2019, and a site-specific sculptural installation, The Table of 10,000 Tears (2021), suspending teardrops inspired by the tears of weeping Madonna statues from within a delicate glass table. In a third work, Abramović more directly counters Velázquez with her own homage to a historic Spanish nun, taken from her photographic series The Kitchen (2009). Considered an autobiographical work, the series was originally inspired by Saint Teresa of Avila, who coincidentally crossed paths with Mother Jerómina during her lifetime and encouraged her to take the veil.

In an adjoining room, Pavlov-Andreevich takes inspiration from an Etruscan burial urn (6th century B.C.E.) in his large-scale installation, which mediates on similar concepts of memory and memorialization. As much a vessel of the past as a nod to the future, Pavlov-Andreevich’s work incorporates dust gathered from under the beds of his lovers and presents these particles to form a large egg shape within a massive block of clear acrylic that stands over 2 meters in the gallery.

In a third gallery, Vascellari responds to the awe-inspiring aspects of nature evoked in an ancient bronze Corinthian-type helmet adorned with stylized, animalistic horns (early Classical Period, 500 – 450 B.C.E.) with two new works: a video installation of an airborne journey undertaken by Vascellari, Visita Interiora Terrae (2020), over forests in Italy, and a series of intricate mixed-media works made from twigs and feathers that have been pulled from a dissected bird’s nest and systematically organized. Antoni Tapies’ painting Caballeros presentes (1950) provides a modern touchpoint anchoring the installation.

A selection of new drawings, works on paper, and preparatory sketches by the three contemporary artists is also on view in the gallery.