White Snow Dwarf 6, 2010—2011, Bronze
Courtesy of Hauser & Wirth

 

Officially opening November 7th, 2011 at Hauser & Wirth New York is The Dwarves, The Forests by artist Paul McCarthy. Concurrently, one week later, another exhibit titled The King, The Island, The Train, The House, The Ship also by Paul McCarthy will open at Hauser & Wirth London, Saville Row and Hauser & Wirth London, Piccadilly. Each exhibition spans a transcontinental platform and will feature brand new work. However, the London locations offer a survey of sorts, presenting new art alongside older works including Pig Island, a well-known sculptural installation composed of a cacophony of objects resulting in a visual, political satire, dating from 2003-2010.

White Snow Loving Forest, 2011 Clay, foam, wire, plaster, gauze
Photo: Fredrik Nilsen
Courtesy of Hauser & Wirth
In the context of The Dwarves, The Forests at the New York gallery, the artist has filled both the ground and second level with sculptures thematically based on his interest in Snow White. McCarthy’s research spans from the 19th Century German folktale, Schneewittchen to the animated, 1937 classic Walt Disney film, Snow White and the Seven Dwarfs. He first presented drawings based on the tale of the raven haired maiden in 2009 also at Hauser & Wirth. As with previous works, Paul McCarthy actively disables the function of fable and mythology by creating his own. His story is not that of traditional bedside manner and even in the utilization of familiar or recognizable characters, one need not be surprised if upon further inspection an eye has been replaced by an anus, while a large nose is actually a phallus. The sexuality is omnipresent and obscured in the mythology it is in the process of making. As the viewer attempts to assemble the exhibition into a cohesive narrative he or she must ingest the various purposefully broken parts, including discarded sculpture tools embedded into what now equals a whole. The narrative speaks of time in direct reference to the very process used to bring each object to fruition along with a reminder of human hands. In fairytale and folklore, time is unidentifiable and in its distance and unfamiliarity a viewer or reader may have additional reason to believe the proposed metaphors and find comfort in moralistic fable.

White Snow Loving Forest (Detail), 2011 Clay, foam, wire, plaster, gauze
Photo: Fredrik Nilsen
Courtesy of Hauser & Wirth

Paul McCarthy’s work is very much present in today. In his journey of aesthetic visual realization, the abject is juxtaposed along with quintessential Disney fetishism involving a young woman and the relationship she has with a motley crew of men, in this case the Seven Dwarfs and Prince Charming. The fairytale is being retold and instead of anticipating a happy ending, these sculptural assemblages are more likely to inspire villainous dreams.

White Snow Cake, 2011, Bronze
Courtesy of Hauser & Wirth
Enter the gallery and the mind of Paul McCarthy. If familiar with his work, the viewer will know it is never an easy journey, but if leaving a trail of psychological breadcrumbs, one will be able to gain access to ‘The Dwarves, The Forests’ and re-emerge with barely a scratch.
Paul McCarthy: ‘The Dwarves, The Forests’ will be on view at Hauser & Wirth, New York until December 17th, 2011.
Paul McCarthy: ‘The King, The Island, The Train, The House, The Ship’ will open at Hauser & WirthLondon, Saville Row and Hauser & Wirth London, Piccadilly on Tuesday, November 15th, 2011.
More soon!
xo