Figure: 20.00 x 20.00 x 20.00 cm, Cube: 100.00 x 40.00 x 40.00 cm
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube. The work refers to the positive occupations of space and the absence of form and structure, to the relationship between the visible and the invisible, to memory, and to the relationship we have to images and to our history. The work refers to childhood, biography and learning to question how meaning is made and how history is remembered and performed. The installation of the piece on the floor of the exhibition space rouses a physical sense of being-in-space to which we are often unconscious; we move into the earth as we approach the work.
Ryan Gander’s practice explores what-ifs, questioning the structural limits and rules of society and being. His work, which ranges from installations, sculptures and photographs, to performative lectures, publications, inventions and intervention, looks at the production of art and culture, to enquire into the processes through which art is perceived and valued. The spirit of his practice centers on development, education, and storytelling, hoping to evoke immediate and honest engagements by the viewer with his narratives. Gander is a collector. His studio is filled with found images, personal images, printed documents and newspaper clippings.
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...