LONDON.- Hauser and Wirth presents Hans Josephsohn, on view 28 May 26 July 2008. Hans Josephsohns sculptures are shy beings, 'self-enclosed figures' in the words of their maker, who keep their distance from the chatter of contemporary culture. Until recently the German-born artist was little known outside Switzerland where he has lived since 1938, yet his profound oeuvre is increasingly becoming recognised by a growing number of curators, artists and critics. According to Art in America, 'Josephsohn, at age 87, has recently been making some of the strongest work of his career and may well prove to be our most important figurative sculptor.'
Josephsohns art is devoted entirely to the human form, the classical theme of sculpture: standing, sitting and recumbent; as full or half figures, bodyless heads or reliefs in which figures are positioned in relation to one another. Formed out of plaster, they are then cast in bronze. The artist has said of his figures that 'they must be enduring in their expression, in their stance' and his sculpted beings convey an intensity that speaks of stoicism and dignity in the face of suffering. For over six decades he has sought to find a language for sculpture that contains its past. Josephsohns early sculptures reveal a dialogue with the art and architecture of Egyptian, Assyrian and classical Greek antiquity, whilst the mysterious half-figures that he has made from the 1980s until the present day seem to belong to pre-history. Running through all of Josephsohns works is an insistent corporality, an acceptance of the irrefutable heaviness and materiality of the human body. For him there is no spiritual possibility and therefore no truth outside the human body, which must bear all of lifes injuries.
At Hauser & Wirth London, Josephsohns first exhibition in the UK, a selection of sculptures will be on display on three floors of the gallery. Dating from the 1950s to the present day, these allow the viewer to witness the gradual development of the artists practice. Slender, near-symmetrical figures that recall Egyptian stele made at the start of Josephsohns career will be shown alongside the extraordinary half-figures that he has been working on since the 1980s. The latter are vast, boulder-like forms in which physiognomic detail has become bleary and indeterminate. Solid yet amorphous, they seem suffused with buried feeling; to be on the verge of becoming, yet liable at any moment to revert back to inchoate matter. In the words of the art historian Gerhard Mack, his 'work proposes an art of relations that starts to question its validity as soon as it acquires its form.' It is an art that is riven with paradox, simultaneously summary and expressive, roughed-in and eloquent, caught between the momentary and the continual.