George Condo – Robot Girl, 2012

George Condo - Robot Girl, 2012

George Condo
Robot Girl, 2012
Patinated bronze
11 × 7 × 6 in
27.9 × 17.8 × 15.2 cm
Edition 2/4 + 1AP

George Condo Bio

George Condo’s work is populated by a cast of characters whose bulging eyes, bulbous cheeks, proliferating limbs, and hideous over – and under-bites set them apart as a singular species. Drawing on vastly diverse painting practices—like Pablo Picasso, Diego Velázquez, Henri Matisse, and Cy Twombly—Condo absorbs a vast range of art-historical sources, yet, at the same, creates a pictorial language characteristically his own, one that investigates the macabre, the carnivalesque, and the abject. He calls his surrealistic style “psychological cubism”, exploiting “our own imperfections—the private, off-moments or unseen aspects of humanity—that often give way to some of painting’s most beautiful moments.” Even Condo’s most abstract works, like Internal Space (2005) with its impenetrable geometric scaffolding of forms radiating from the painting’s center, explore the furthest extremes of the human psyche.

American, b. 1957, Concord, New Hampshire, based in New York, New York

The Violence of Financial Capitalism – Christian Marazzi

The Violence of Financial Capitalism

TSA No Fly List Vacuum Sealed by Christian Marazzi
“The Violence of Financial Capitalism”
100 Bitcoin gold plated bar, 2013

Current worth (1 Dec 2017) > $1,000,000

Jean-Michel Basquiat – Rinso, 1982-2003

Jean-Michel Basquiat - Rinso, 1982-2003

Jean-Michel Basquiat
Rinso, 1982-2003

Screenprint in colors

40.00 x 40.00 in
101.6 x 101.6 cm
Edition of 85

This work is signed by the estate.

Buy, Buy
Artspace

Beautiful New Worlds – Virtual Realities in Contemporary Art

Beautiful New Worlds - Virtual Realities in Contemporary Art

View of Myths of the Marble, ICA, Philadelphia, Florian Meisenberg, Of Defective Gods & Lucid Dreams (The Museum is Closed for Rennovation), 2017. © and courtesy the artist.

Beautiful New Worlds
Virtual realities in contemporary art
November 11, 2017 — April 8, 2018

Zeppelin Museum
Seestraße 22
88045 Friedrichshafen
Germany

The popularization of virtual reality has created a visual revolution that radically changes both our perception of images and our relationship to reality. Virtual spaces create illusionary worlds that can be directly experienced. Viewers immerse themselves in impressions as far away as possible from the outside world, thereby becoming physically involved through interactive elements that resemble their body. Through virtual reality, the audience becomes part of an image that fills their entire field of vision.

Technologies suitable for mass consumption, such as VR glasses, 3D cardboards, 3D projectors and televisions, are increasingly found in everyday life. The various fields of application for these technologies, including 3D-supported operation monitoring, video games, trauma coping and the digitization of lost cultural treasures all illustrate how virtual spatial images already influence different areas of our world and will continue to shape our future.

The exhibition Beautiful New Worlds addresses these recent developments in image technology and explores the resulting entanglement of virtual and physical spaces. A particular focus is placed on the socio-political potential of virtual technologies. In the crosshairs between illusion and critical distance, different artistic positions examine the possibilities presented in the fields of forensics, the porn industry, and modern warfare; after all, control over virtual space is always interlinked with control over physical space. Virtuality and reality are tightly intertwined with one another.

The escape into illusionary worlds is by no means a new phenomenon. Rather, it is grounded in long traditions. Panoramas, dioramas and stereoscopes illustrate the centuries-old history of mankind’s interest in immersive media. The starting point of the exhibition are stereoscopic photographs, which accompany the history of the Zeppelin from 1900 to the 1930s.

In an exhibition space spanning over 1000 square meters, 13 internationally renowned artists will address the relationship between virtual and physical spaces. In this way, the exhibition reflects different varieties of virtuality. Together with the Berlin-based architecture firm Kooperative für Darstellungspolitik, an exhibition course was created in order to make the complex relationship between virtual and physical spaces bodily perceptible for the audience. The range of virtual reality is explored through simulations in which the physical environment is artificially reproduced, through 3D videos, and through virtual reality spaces that create an all-encompassing illusionary space.

Working closely together with immersive visual media, the artists have collaborated with programmers to further develop the existing technology and revitalize the interdisciplinary interface between contemporary art and technological innovation.

Participating artists: Halil Altindere, Salome Asega & Reese Donohue & Tongkwai Lulin, Trisha Baga, Banz & Bowinkel, micha cárdenas, Harun Farocki, Forensic Architecture, Sidsel Meineche Hansen, Florian Meisenberg, The Nest Collective

zeppelin-museum.de

Jeff Koons – Michael Jackson and Bubbles, 1988

Michael Jackson and Bubbles, 1988

Jeff Koons
Michael Jackson and Bubbles, 1988
porcelain
42 x 70 1/2 x 32 1/2 in. (106.68 x 179.07 x 82.55 cm)

Performa 17

Performa 17

Performa 17

Performa 17
November 1–19, 2017

Performa
New York

17.performa-arts.org

Performa, the internationally acclaimed organization dedicated to live performance across disciplines, announces Performa 17—the seventh edition of the Performa Biennial, to take place November 1–19, 2017, at locations throughout New York City.

Performa 17 will present commissions and projects that examine immediate and critical concerns confronting our urban centers, the shifting political and cultural currents of our turbulent world today, and ultimately the role of the arts and of artists within our communities. This edition of the Biennial will focus on the sociopolitical context informing contemporary art today, and how best to engage audiences in significantly understanding and absorbing its aesthetics and intrinsic values.

Artists featured in Performa 17 include:

Yto Barrada (Morocco/France) / Brian Belott (USA) / Xavier Cha (USA)* / François Dallegret (France/Canada) with Dimitri Chamblas (France) and François Perrin (France/USA) / Teju Cole (Nigeria/USA) / Merike Estna (Estonia)* / Kendell Geers (South Africa)* / Nicholas Hlobo (South Africa) / Flo Kasearu (Estonia) / Richard Kennedy (USA) / William Kentridge (South Africa) / Barbara Kruger (USA) / Kemang Wa Lehulere (South Africa) / Kris Lemsalu (Estonia) with Kyp Malone (USA) / Julie Mehretu (Ethiopia/USA) and Jason Moran (USA) / Maria Metsalu (Estonia)* / Mohau Modisakeng (South Africa) / Zanele Muholi (South Africa) / Wangechi Mutu (Kenya) / Narcissister (USA)* / The Nest Collective (Kenya) / Kelly Nipper (USA) / Eiko Otake (Japan/USA)* / Tabita Rezaire (France/South Africa) / Jimmy Robert (France) / Bryony Roberts (USA) and Mabel O. Wilson (USA)* / Tracey Rose (South Africa) / Alex Schweder (USA) and Ward Shelley (USA) / Kwani Trust (Kenya) / Anu Vahtra (Estonia) / Gillian Walsh (USA)*

* indicates a Performa 17 consortium project. The Biennial Consortium is a selective network of New York City’s art and cultural institutions, all presenting and supporting performances and exhibitions that align with the Performa 17 biennial. Performa consortium projects are separately funded and produced by each consortium member, unless otherwise indicated.

Falling Rock (Rosequartz) – Buro Belén

Falling Rock (Rosequartz)
Buro Belén

Falling Rock (Rosequartz) is part of the Falling Rock table series that suit the contemporary interior. The table combines of contrasting mediums: it has a soft textile base on which sits a hard stone slab. The fabric embraces the rough edged stone that forms a polished tabletop. Rosequartz for the table comes from Belén, Brasil.

Buro Belén

Buro Belén is founded by designers Brecht Duijf and Lenneke Langenhuijsen, who met at The Design Academy Eindhoven, The Netherlands. They state that Belén designs from material. Central to their approach are the intuitive, emotional and physical aspects of design, resulting in products and visions that show unexpected applications of material and colors, as well as revaluations of conventional techniques. Belén works on material and color concepts in the field of product, interior and exhibition design. Commissions include work for Georg Jensen, Villa Noailles, Hyères, Textiellab Tilburg and others. Belén’s work has been exhibited at The Textile Museum Tilburg, Boijmans van Beuningen Rotterdam, Palazzo Clerici Milano. Currently they teach at The Design Academy Eindhoven and Artemis Akademie Amsterdam.

Chamber, NYC

Power Station of Art – Fifth Anniversary

Power Station of Art Fifth anniversary

Fifth anniversary

Power Station of Art
200 Huayuangang Rd
200011 Shanghai
China

Since its inauguration on October 1, 2012, Shanghai’s Power Station of Art (PSA) has so far, in its five years of operations, hosted 51 exhibitions (including three Shanghai Biennales), welcomed nearly 10,000 visitors at most on a daily basis, attracted average visitors of 320,000 every year, and organized nearly 400 educational events such as lectures, performances, and children’s activities. For these five years, the Shanghai Biennale, now accommodated by PSA, has been seeing vast improvements in terms of brand recognition and pioneering significance, whilst properly breaking limits of culture, geography and academic authority to voice its own pursuits. The Architecture & City exhibitions and Researches and the Emerging Curators Project, both launched in 2014, as well as the PSA Collection Series, first started in 2015, have all served as strong manifests of the art museum’s attitudes and visions. And PSA’s sub-spacepower station of DESIGN (psD) and theatrical program ReActor, both operational from 2016, have brought design and social theater into the museum to form with it an organic body that narrates a more comprehensive and vivid contemporary landscape and thinking pedigree.

For now, PSA is hosting chief curator selection and preparation for the 2018 12th Shanghai Biennale. While all remain uncertain, museum director Gong Yan said: “I hope that all future curators can dig deeper into Shanghai’s historical backdrop to identify its unique urban culture, and pull the city back to cultural contexts of China and Asia with more diversified perspectives.”

In 2013, PSA inaugurated the Architecture & City exhibitions and researches, thus becoming China’s first contemporary art organization to include urban architecture into its exhibition system. By PSA’s 5th Anniversary, it has staged 13 architectural exhibitions, including solos for three Pritzkerwinners, Renzo Piano, Toyo Ito, and Shigeru Ban.

Boosted by the PSA Collection Series, PSA will continue to enrich its permanent collections. It currently houses works by both Chinese and international artists like Cai Guoqiang, Datong Dazhang, Li Shan, Joseph Beuys, Yona Friedman, Toyo Ito, and Kazunari Sakamoto. In the future, PSA will continue to expand the boundaries of its collections, taking in non-material works such as sounds and performances, with a plan to set up an exhibition hall dedicated to such collections within the next 3 to 5 years.

As the first public contemporary art museum on the Chinese mainland, PSA has dedicated itself to spreading contemporary cultures and thoughts, promoting cross-disciplinary exchanges, exploring possibilities of Anthropocene arts, and creating new urban cultures and lives.

In 2018, upcoming exhibitions:
–a large-scale solo of French artist Christian Boltanski
–the 12th Shanghai Biennale (November 10, 2018)

Please refer to the PSA website to confirm the exhibition dates.
Upcoming architectural exhibitions

Shigeru Ban-Works and Humanitarian Activities
October 8–November 30, 2017

Superstudio 50
November 17, 2017–November 3, 2018
a project co-produced with Italy’s MAXXI (Museo Nazionale delle Arti del XXI secolo)

www.powerstationofart.com

Krištof Kintera – We All Want to Be Cleaned, 2017

Krištof Kintera - We All Want to Be Cleaned, 2017

Krištof Kintera
We All Want to Be Cleaned, 2017
© Krištof Kintera

Krištof Kintera
Nervous Trees
September 7 — November 26, 2017

Galerie Rudolfinum
Alšovo nábřeží 12
110 00 Prague
Czech Republic

This autumn, Galerie Rudolfinum opened the 100th exhibition since its founding in 1994. To mark this anniversary, the gallery is hosting a large-scale exhibition project of Krištof Kintera which presents a summary of the last five years of the author’s oeuvre, and features some 20 sculptures, installations and interactive objects.

The exhibition title Nervous Trees references the eponymous objects which will nervously move in the main exhibition hall; in another, the visitor will have to make his way between pedestals made of polystyrene, the cosily familiar thermal insulation material, while its fragments whirling around in the gallery evoke a rather unpleasant snow storm. An important part of the exhibition includes the so-called laboratory, which takes the visitor right into the birthing process of Kintera’s ongoing installation Postnaturalia, about a hundred square metres of artificial landscape made of electronic devices—poetic and, at the same time, drastic. Samples of plastic flowers, files with herbariums and extensive video footage of creation of individual objects act as the landscape elements. The small gallery hall is dedicated to showing, in the form of dozens of drawings, the more intimate side of Kintera’s work. On the contrary, the larger gallery halls will host projects such as Nervous Trees (2013), a pillar made of Knauf mortar Do It Yourself (After Brancusi) (2007), a mouflon rearing to the sky like some creature of legends Electrons Seeking Spirit (2016), and other sculptures. As the first ever public screening, Galerie Rudolfinum is also showing Hands – Tools of Brain, a one-hour edit of approximately seven years’ worth of recorded footage of hands in the studio, as they destroy and test materials and techniques, and produce and assemble individual components of future sculptures and installation.

www.galerierudolfinum.cz

KAWS – Galerie Perrotin

KAWS, Galerie Perrotin Frieze Art Fair, London 003

KAWS, Galerie Perrotin Frieze Art Fair, London 001

KAWS, Galerie Perrotin Frieze Art Fair, London 002

KAWS
Galerie Perrotin
Frieze Art Fair
London

Chen Fei – Fine Art at Perrotin

Chen Fei - Fine Art at Perrotin 001

Chen Fei - Fine Art at Perrotin 002

Chen Fei - Fine Art at Perrotin 003

Chen Fei - Fine Art at Perrotin 004

Chen Fei - Fine Art at Perrotin 005

Chen Fei - Fine Art at Perrotin 006

Chen Fei - Fine Art at Perrotin 007

Chen Fei - Fine Art at Perrotin 008

Chen Fei - Fine Art at Perrotin 009

Chen Fei
Fine Art
Solo Show
Opening Thursday September 7, 4 – 9 pm
September 7 – October 7, 2017

Perrotin Paris proudly presents Chen Fei’s “Fine Art”, Chen Fei’s first solo show in Paris follows 2014’s “Flesh and Me” at Perrotin Hong Kong.

Born in 1983 in Shanxi province, graduated from the Department of Fine Art at the Beijing Film Academy, Chen Fei sardonically exploits art history, raiding the canon to mark its otherness. Scavengers (2010), based on John Everett Millais’s iconic Pre-Raphaelite painting Ophelia (1851-2), shows a young woman wading in a forest pond, shing out Ophelia / Chen Fei’s body (with écorché gut). Xiao Wu Ji (2012), lightly references Manet’s A Bar at the Folies-Bergère (1882), with a bored shop assistant at an electronics stand. In his new paintings however, Chen Fei’s previously incidental investigations into Western and Eastern art history and practice are developed into a central theme.

Perrotin

Rob and Nick Carter – Yoga Photograms

Rob and Nick Carter - Yoga Photograms 001

Rob and Nick Carter - Yoga Photograms 002

Rob and Nick Carter - Yoga Photograms 003

Rob and Nick Carter - Yoga Photograms 004

Rob and Nick Carter - Yoga Photograms 005

Rob and Nick Carter - Yoga Photograms 006

Rob and Nick Carter - Yoga Photograms 007

Rob and Nick Carter - Yoga Photograms 008

Husband and wife artistic duo Rob and Nick Carter pay homage to the holistic eastern practice of yoga through a series of photograms. Depicting a range of traditional sanskrit postures, the photograms — images made by placing objects directly onto a light-sensitive surface — depict life-size female forms engaging in the meditative art. the project explores both the experiential nature of each position, as well as the technical transformation of the visual image.

[via designboom]

Henri Matisse – Visage, 1952

Henri Matisse – Visage, 1952
India ink and brush on paper
25 ½ x 19 5/8 in.

Louise Bourgeois – Twosome, 1991

Louise Bourgeois, Twosome, 1991

Louise Bourgeois, Twosome, 1991.
Steel, paint and electric light, 190.5 x 193 x 1244.6 cm.

Louise Bourgeois
Twosome
September 8, 2017–January 20, 2018

Tel Aviv Museum of Art
The Golda Meir Cultural and Art Center
27 Shaul Hamelech Blvd
Tel Aviv 61332012
Israel

www.bourgeois-tamuseum.org.il

Curators: Jerry Gorovoy and Suzanne Landau

For the first time in Israel, the Tel Aviv Museum of Art is presenting a comprehensive solo exhibition dedicated to groundbreaking French-American artist Louise Bourgeois (1911–2010), one of the most brilliant, prominent, and influential women in 20th century art. The exhibition explores the duality in Bourgeois’s concepts and forms; the dialogues between inside and outside, conscious and unconscious, male and female, the body and architecture, passive and active.

Bourgeois, who passed away at the age of 98, left a fascinating body of work combining sexuality and psychoanalysis, which greatly contributed to the development of Feminist theory. Her artistic career spanned seven decades, but it was not until 1982, when Bourgeois, by then 71-years old, became the first woman artist to be given a large-scale sculpture retrospective at the Museum of Modern Art in New York, that she got her big break and gained wide recognition. This turning point confirmed her status as an inspiring, leading contemporary artist whose dramatic works—which explore family relations, parenthood, marital relationships, femininity, masculinity, pain, passion, and aggression—are profound and revealing in their intricacy.

The exhibition Twosome, focusing on relationships, will feature over 50 works—monumental as well as small sculptures, textile works, and drawings—from all the major phases and periods in Bourgeois’s career, including some of her best-known pieces. It will include, among others, the iconic steel sculpture Spider Couple (2003)—the spider being a hallmark of Bourgeois; the provocative sculpture Fillette (Sweeter Version) (1968–99)—a phallus representing frail, vulnerable masculinity; and Passage Dangereux (1997)—the largest and most significant work in the series of Cells, which comprises enclosed cage-like spaces containing symbolic domestic objects.

The exhibition will be centered on Bourgeois’s monumental sculpture Twosome, created in 1991 and unveiled in a show at the New York MoMA later that year. This rarely exhibited sculpture now lends its name to this exhibition at Tel Aviv Museum of Art. The work is made of two large steel tanks flooded with flickering red light, the smaller tank rolling in and out of the larger tank. This repeated mechanical movement elicits sexual connotations, although Bourgeois herself maintained that it addressed mother-child relations—the basic, primary two-person relationship which determines all future relationships.

The exhibition Twosome was produced by Tel Aviv Museum of Art in collaboration with the Easton Foundation. It is accompanied by a bi-lingual (Hebrew-English) catalogue.

KAWS – Untitled, 1999

KAWS
Untitled, 1999

Odarodle – An imaginary their_story of naturepeoples, 1535-2017

Odarodle - An imaginary their_story of naturepeoples, 1535-2017

Exhibition 21 July 2017 – 16 October 2017
Odarodle – An imaginary their_story of naturepeoples, 1535-2017

Vernissage: July 20th 2017, 6 pm

Pre-Opening Manifestation Parade: July 20th, 4.30 pm (gathering in front of “Speisekammer im Eldorado” supermarket, corner of Motzstraße/Kalckreutstraße)

The artistic research exhibition Odarodle – an imaginary their_story of naturepeoples, 1535-2017 casts, for the first time, a postcolonial perspective on the collection and history of the Schwules Museum*. The exhibition proposes a thought-exercise: that there are problematic associations between the museum representation of homosexualities and the ethnological display formats developed over the course of European colonialism. Odarodle presents the work of 16 artists, mostly Berlin-based, including 10 newly commissioned pieces. These contemporary positions respond to the Museum, its archive, and its practices as both research material and aesthetic medium.

Odarodle specifically turns “Eldorado” backwards. As a site of multiple origins, it is a threefold reference: an historical exhibition, a legendary night club, and a colonial myth. Though the commitment of the Schwules Museum* to enable LGBTIQ cultural visibility bespeaks a greater political agenda of liberation, the contemporary relevance of such a (self-)representational undertaking requires revision and reflection. A more expansive, less obvious scale of critical engagement, as proposed by Odarodle, considers the deeper operations within Modernity that have attempted to exhibit forms of life, their bodies, and their habitats. This is where the desire to show the manners and mores of a kind of “people” and their “nature” confronts the postcolonial challenges of the ethnographic museum: a site that has historically sought to visualize the existence of the “Other” and, in doing so, maintains the “Other” as a normative construction.

The project’s primary point of departure is the seminal exhibition Eldorado: Homosexuelle Frauen und Männer in Berlin 1850-1950 – Geschichte, Alltag, und Kultur, which opened in 1984 at the Berlin Museum in West-Berlin and is considered by the Schwules Museum* as its institutional origin. Starting with a range of legal, medical, and literary discussions on the “nature” of sexuality and the “identity” of same-sex love, the exhibition Eldorado turned its focus onto the cultural and sociopolitical climate of the ‘20s and ‘30s in Berlin. Documents, photographs, prints, and paintings were displayed in vitrines and on thematically-arranged presentation boards, while specific “environments” were recreated with everyday objects to convey atmospheres – the gay boudoir, the lesbian café, the Tiergarten cruising area. Read more…

Schwules Museum*

Stefan Dotter – L’immorale

Stefan Dotter L'immorale 2015

Stefan Dotter
L’immorale
2015
Fuji Crystal Print glossy on Alu Dibond, Floater frame Basel black, Ed. 5 + 1AP
45 cm x 30 cm

Stefan Dotter (b. 1993, Bamberg, Germany ) is a Berlin-based photographer and painter whose work centers around the exploration of organic shapes in contemporary art and fashion on one hand and classic travel photography under the mentoring of Sebran D’Argent on the other hand. Romanticism and escapism marks the essence of his work.

Sleek Art

Maria Loboda – To Separate the Sacred From the Profane, 2016

Maria Loboda, To Separate the Sacred From the Profane, 2016 © Blaise Adilon

Maria Loboda: La Fête, La Musique, La Noce
Charwei Tsai
Jef Geys
June 2–August 13, 2017

Institut d’art contemporain, Villeurbanne/Rhône-Alpes
11 rue Docteur Dolard
69100 Villeurbanne
France

La Fête, La Musique, La Noce (Fun, Music and Festivities) were, in fact, all euphemisms, in the colourful slang of Napoleon’s grand army, for “war”—La Guerre.

The three words are the battle cry of Maria Loboda’s one-woman show at the IAC, her biggest ever in France. But, lurking under this slightly baroque exhibition title with its blithe overtones of jollity and merriment, there is a sense of menace. An underlying tension sets in early and stays with the visitor until the end of the exhibition.

More interested in the imperfections and meanderings of history than she is in the archaeological evidence for it or in its legitimate functions, Maria Loboda bases her work on the interpretation and re-appropriation of rituals and, by extension, the symbols specific to different communities.

i-ac.eu

Damien Hirst – Eat: Eat the Rich Series

Eat – Eat the Rich Series
Damien Hirst

Unframed dimensions: 1016 x 762 mm (40 x 30 inches)
Framed dimensions: 1066 x 812 mm (42 x 32 inches)
Frame: Wooden with glass card and backing
Silkscreen print
Edition of 150
Signed and numbered
Published by Other Criteria

‘Eat the Rich’ is a new series of twelve screenprints that depicts pharmaceutical packaging in which the tablet’s brand name has been replaced by a word implying violence or force. The series expands upon Hirst’s long-standing interest in the aesthetics of pharmaceutical packaging, which first manifested in his early ‘Medicine Cabinets’ series. Similar to the thirteen-part ‘Last Supper’ screenprints, ‘Eat the Rich’ illustrates the artist’s “obsession with the body”(1) and the medical industry attached to it, in which confidence is exuded through minimalist designs that perpetuate “the modernist fantasy […] that everyone and everything can be cured.”(2)

1) Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 25
2) Ibid., 210

Marilyn Minter – Absinthe, 2017

Marilyn Minter – Absinthe, 2017

Marilyn Minter
Absinthe, 2017

C-print, 60x49cm / 24 x 16″
Printed by Griffins Studio
Ed. 35/ XV/ 15 APs
Signed and numbered certificate

Edition for Parkett 100/101

Parkett

Richard Prince – Untitled (From Cowboys and Girlfriends), 1992

Richard Prince - Untitled (From Cowboys and Girlfriends), 1992

Richard Prince
Untitled (From Cowboys and Girlfriends), 1992
Lot Number 67
Chromogenic print
24 x 20 in (60.96 x 50.8 cm)
Artist’s Proof outside main edition of 26
Initialed on verso

Paddle8

Ed Ruscha – Periods, 2006

Ed Ruscha – Periods, 2006

Ed Ruscha
Periods, 2006
Lot Number 25
Lithograph
29 x 28 in (73.66 x 71.12 cm)
Framed
17 of 60
Courtesy of Rosina Lee Yue
Signed

Paddle8

Damien Hirst – Anarchy: Eat the Rich Series

Damien Hirst - Eat the Rich Series: Anarchy

Anarchy – Eat the Rich Series
Damien Hirst

Unframed dimensions: 1016 x 762 mm (40 x 30 inches)
Framed dimensions: 1066 x 812 mm (42 x 32 inches)
Frame: Wooden with glass card and backing
Silkscreen print
Edition of 150
Signed and numbered
Published by Other Criteria

‘Eat the Rich’ is a new series of twelve screenprints that depicts pharmaceutical packaging in which the tablet’s brand name has been replaced by a word implying violence or force. The series expands upon Hirst’s long-standing interest in the aesthetics of pharmaceutical packaging, which first manifested in his early ‘Medicine Cabinets’ series. Similar to the thirteen-part ‘Last Supper’ screenprints, ‘Eat the Rich’ illustrates the artist’s “obsession with the body”(1) and the medical industry attached to it, in which confidence is exuded through minimalist designs that perpetuate “the modernist fantasy […] that everyone and everything can be cured.”(2)

1) Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 25
2) Ibid., 210

Jorge Chamorro – Collage

Jorge Chamorro

Kenny Scharf – Best Buddies, 1993

Kenny Scharf
Best Buddies, 1993
Serigraph

44.00 x 30.00 in
111.8 x 76.2 cm
Edition of 111
Signed by the artist

Sarah Lucas – Nice Tits, 2011

Sarah Lucas, Nice Tits, 2011
Courtesy Fondazione Sandretto Re Rebaudengo, Turin.

Trondheim kunstmuseum reopens its main venue next to Nidaros Cathedral on April 22 with an exhibition of works from one of Europe’s most important collections of contemporary art, Collezione Sandretto Re Rebaudengo, shown for the first time in Norway at TKM.

Tauba Auerbach / Marvin Gaye Chetwynd / Roberto Cuoghi / Berlinde De Bruyckere / Trisha Donnelly / Francesco Gennari / Zoe Leonard / Sharon Lockhart / Sarah Lucas / David Medalla / Raymond Pettibon / Charles Ray / Wael Shawky / Cindy Sherman / Paul Thek / Rosemarie Trockel / Lynette Yiadom-Boakye

If on a Trondheim’s Night a Traveler…
Works From Collezione Sandretto Re Rebaudengo
April 22–December 30, 2017

Curator talk: April 23, with Stefano Collicelli Cagol

Trondheim kunstmuseum
Bispegata 7b / Trenerys gate 9
TKM Bispegata / TKM Gråmølna
7013 Trondheim
Norway

trondheimkunstmuseum.no

Stephan Doitschinoff – Coração Retíssimo, 2012

Stephan Doitschinoff, Coração Retíssimo, 2012 - Acrylic on canvas, 207 x 148 cm

Stephan Doitschinoff, Coração Retíssimo, 2012
Acrylic on canvas, 207 x 148 cm

As Above, So Below
Portals, Visions, Spirits & Mystics
April 13–August 27, 2017

​Featuring an exciting selection of modern masterworks and landmark contemporary art works by Hilma af Klint, Wassily Kandinsky, Steve McQueen, Bruce Nauman, Sigmar Polke, Cameron—many being shown for the first time in Ireland—and new commissions created specifically for this exhibition by Linder, Stephan Doitschinoff, Eoghan Ryan, Hayden Dunham and others.

IMMA — Irish Museum of Modern Art
Kilmainham
Royal Hospital, Military Road
Dublin
Ireland

www.imma.ie

Zhang Xiaogang – Identity Portrait 6 (Cyclist), 2003

Zhang Xiaogang Identity Portrait 6 (Cyclist), 2003

Zhang Xiaogang
Identity Portrait 6 (Cyclist), 2003
Offset lithograph in colors on Arches paper
23.75 x 21 x 1 in (60.33 x 53.34 x 2.54 cm)
Edition of 99
Signed in pencil on lower right, recto; numbered in pencil on lower left, recto

Esther Teichmann – Untitled from “Mondschwimmen”, 2015

Esther Teichmann, Untitled from “Mondschwimmen”, 2015

La Movida
A major new exhibition inspired by the cultural explosion of 1980s Madrid
April 14–July 17, 2017

This pioneering, contemporary group exhibition, takes the artistic and socio-cultural movement La Movida (literally “the movement”) of post-Franco Spain as its thematic heart. It is not an exhibition about the early 1980s in Madrid, it is an exhibition inspired by it. Using a historical movement as the curatorial basis of a contemporary group art show produces an effect much like a movement itself, contradictory, confusing, eclectic, invigorating and hopefully a little bit out of control.

Suddenly, or so it must have felt, the forbidden arenas of politics and sexuality were open season for public debate and creative communities. Excess, clubbing, drugs, artistic freedom, women’s rights, gay rights, pornography and more, all collided in an outpouring of freedom from suppression. An irrepressible desire for making up on lost time subsequently played out across the population through television such as La Edad de Oro (The Golden Age, 1983–85), and the films of Pedro Almodóvar.

The exhibition sets new commissions reacting to the movement alongside existing international works that explore major conceits of La Movida. 40 years since the transition to democracy, the exhibition and its related films, performance and literature present a re-imagining of a movement with a strong contemporary artistic and socio-political resonance today.

Artists featured are Oreet Ashery, Bruce LaBruce, Luis López Carrasco, Clara Casian, Alejandría Cinque, Jesse Darling, Patricia Esquivias, Paul Heyer, Derek Jarman, La JohnJoseph, Raisa Maudit, Chim↑Pom, Puppies Puppies, Linder Sterling, Esther Teichmann and Stefanos Tsivopoulos.

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Ai Weiwei – Skateboard Decks

Ai Weiwei skateboard decks designed for The Skateroom - Boards

Ai Weiwei skateboard decks designed for The Skateroom - Gallery

Ai Weiwei skateboard decks designed for The Skateroom - Ai Weiwei Portrait

Ai Weiwei
Ai Weiwei skateboard decks designed for The Skateroom

“I think there is a responsibility for any artist to protect freedom of expression.”
– Ai Weiwei

The Skateroom

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