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.

Home
Manchester

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

Jeff Koons – Puppy Vase, 1998

Jeff Koons, Puppy Vase, 1998 - Limited Edition Artwork 001

Jeff Koons, Puppy Vase, 1998 - Limited Edition Artwork 002

Jeff Koons, Puppy Vase, 1998 - Limited Edition Artwork 003

Jeff Koons
Puppy Vase, 1998

Jeff Koons plays with ideas of taste, pleasure, celebrity, and commerce. “I believe in advertisement and media completely,” he says. “My art and my personal life are based in it.” Working with seductive commercial materials (such as the high chromium stainless steel of his “Balloon Dog” sculptures or his vinyl “Inflatables”), shifts of scale, and an elaborate studio system involving many technicians, Koons turns banal objects into high art icons. His paintings and sculptures borrow widely from art-historical techniques and styles; although often seen as ironic or tongue-in-cheek, Koons insists his practice is earnest and optimistic. “I’ve always loved Surrealism and Dada and Pop, so I just follow my interests and focus on them,” he says. “When you do that, things become very metaphysical.” The “Banality” series that brought him fame in the 1980s included pseudo-Baroque sculptures of subjects like Michael Jackson with his pet ape, while his monumental topiaries, like the floral Puppy (1992), reference 17th-century French garden design.

Jeff Koons website

Mustafa Hulusi – Exstacy Almond Blossom 8

Mustafa Hulusi (B. 1971)
Exstacy Almond Blossom 8 (L)

Signed, titled and dated ‘MUSTAFA HULUSI EXSTACY ALMOND BLOSSOM 8 (L), 2008 M Hulusi’ (on the overlap of the right part)
Oil on canvas, in two parts
Each: 96 1/8 x 64in. (244 x 162.5cm.)
Painted in 2008

Barkley L. Hendricks – Lawdy Mama, 1969

Barkley L. Hendricks
Lawdy Mama, 1969
Oil and gold leaf on canvas, 53 3/4 x 36 1/4 in.
The Studio Museum in Harlem
Gift of Stuart Liebman, in memory of Joseph B. Liebman

Jean-Michel Basquiat (1960–1988) – Untitled, 1982

Jean-Michel Basquiat (1960–1988)
Untitled, 1982
Oil stick on paper
42⅝ × 30 in (108.3 × 76.2 cm)
Estimate: £1,000,000–1,500,000

From the collection of Adam Clayton from U2. This work is offered in the Post-War and Contemporary Art Evening Auction on 7 March at Christie’s London.

Christie’s

Everything Falls Faster Than an Anvil – Curated by CHEWDAY’S

Everything Falls Faster Than an Anvil
Curated by CHEWDAY’S
Catharine Ahearn / Alistair Frost / Philip Guston / Ella Kruglyanskaya Tala Madani / Yoan Mudry / Marlie Mul / Yoshitomo Nara / Claes Oldenburg / Oliver Osborne / Carl Ostendarp / Torbjørn Rødland / Paul Thek / Peter Wächtler / John Wesley
8 May — 18 June, 2014
Pace Gallery, London

CHEWDAY’S

Jean‐Michel Basquiat – Beef Ribs Longhorn, 1982

Beef Ribs Longhorn, 1982
Jean‐Michel Basquiat
acrylic, oilstick, and paper collage on canvas mounted on tied wood supports
60 x 60 in. (152.4 x 152.4 cm)

Jean-Michel Basquiat – Beat Bop. Test Pressing, Version One, Volume One, 1983

Jean-Michel Basquiat
Beat Bop. Test Pressing, Version One, Volume One, 1983
Vinyl record with screenprint on the double-sided record jacket and label.
Tartown Record Co., New York, NY.
Overall 12.4″ x 12.4″ – 31.5 x 31.5 cm.

Jean-Michel Basquiat – Venus, 1982

Jean-Michel Basquiat
Venus, 1982

Xerox and acrylic on canvas
12 x 9 in. (30.5 x 22.9 cm.)
Executed in 1982
Est. 40 000 – 60 000 USD

Phillips New York

Gerhard Richter – Heiner Friedrich (nach einem Foto von Brigid Polk), 1970

Gerhard Richter
Heiner Friedrich (nach einem Foto von Brigid Polk), 1970

Offset lithograph in colors on smooth wove paper
Image: 15.75 x 12 in (40 x 31 cm)
Sheet: 16.8 x 12.4 in (42.5 x 31.5 cm)
Edition of 250
Signed, numbered, and stamped on verso

Paddle8

Yoko XXXV, 2012 – Don Brown

Don Brown
Yoko XXXV, 2012
Acrylic composite, gesso
130 x 35 x 27 cm

Almine Rech Gallery

Yoko XXXIV, 2012 – Don Brown

Don Brown
Yoko XXXIV, 2012
Acrylic composite, gesso
130 x 35 x 27 cm

Almine Rech Gallery

Laurent Grasso – Studies into the Past

Studies into the Past
Laurent Grasso, ADAGP, Paris 2012
Oil on oak panel
24.5 x 17.8 cm

Edouard Malingue Gallery

Irma Blank – Life Line

Irma Blank
Life Line
28 January – 18 March 2017

After Senza Parole (2013), P420 is pleased to present Life Line, a solo show by the artist Irma Blank (Celle, 1934) specifically created for the spaces of the gallery.

German by birth but residing in Italy since the late 1950s, Irma Blank lives and works in Milan. She has inherited the need to connect art and life from the avant-gardes, and especially the neo-avant-gardes of the mid-20th century. This criterion of measure emerges in Blank’s work since the end of the 1960s, in the form of silent aesthetic dedication. She has made writing the thread around which to develop and convey lengthy experience with a focus on gesture. All of Blank’s work is marked by the dialectic between writing and drawing, writing and painting. Paper, canvas, panel and book are the surfaces on which she creates and structures the relationship between sign and time; ink, ballpoint pen, watercolor, oils and acrylics are the tools Blank chooses to create the body of the work. Though always applying different approaches, the reference to writing and the space of the book is a constant in her creations, starting from the very first series of works; a writing that becomes universal, that is never to be read, but to be observed. Painting becomes reading, writing becomes image. An architecture of the unspoken and the in-between.

P420

Wong Ping – Doggy Love

Doggy Love, 2015
Wong Ping
Single-channel video animation 5 minutes 59 seconds

Eduard Malingue Gallery

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