Art|Unlimited

22 | Art Unlimited

JENNIFER ALLORA & GUILLERMO CALZADILLA

Title | Scale of Justice Carried by Shore Foam, 2010 Media | Polystyrene, resin, synthetic polymer foam; 380 x 520 x 290 cm; unique Artists | Jennifer Allora & Guillermo Calzadilla Jennifer Allora, *1974, Philadelphia, PA, United States Guillermo Calzadilla, *1971, Havana, Cuba Live and work in San Juan, Puerto Rico Gallery | Crousel Mobile +33 6 80 65 24 42, +33 6 79 89 39 38 Galerie Chantal Crousel FR - 75003 Paris | 10, rue Charlot Phone +33 1 42 77 38 87 | Fax +33 1 42 77 59 00 galerie@crousel.com | www.crousel.com Directors | Chantal Crousel, Niklas Svennung Artwork Description | A readymade scale of justice teeters precariously out of balance atop the turbulent crest of a handcrafted sculpture of foam. This mass of bubbles of gas and air is given solid form through the use of synthetic polymer foam, a chemical substrate found in everything from household, sport, and leisure products to transportation, industrial, and military applications. The image of foam by the seashore has come to occupy the public imaginary more prominently in recent years as a result of countless media depictions of man-made catastrophes from the oil spill in the Gulf of Mexico to the now annual flooding worldwide caused by global warming. With these ecological events cutting across national and territorial borders, the scale of justice has become an object of explicit struggle. Presented here in sculptural form, this ephemeral froth stands as the remains of something that has come to pass, frozen in time, with the final balance of the scale left undetermined.

Scale of Justice Carried by Shore Foam, 2010

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CHRISTIAN ANDERSSON
Title | To R.M. for EVER, 2011 Media | Polystyrene, plaster, steel, paint; 680 x 800 x 230 cm Artist | Christian Andersson, *1973, Stockholm, Sweden Lives and works in Malm, Sweden Galleries | von Bartha Mobile +41 76 317 84 63 von Bartha Garage CH - 4056 Basel | Kannenfeldplatz 6 Phone +41 61 322 10 00 | Fax +41 61 322 09 09 info@vonbartha.com | www.vonbartha.com Director | Stefan von Bartha Guerra Mobile +351 96 302 37 00 Cristina Guerra Contemporary Art PT - 1350 - 291 Lisboa | Rua de Santo Antnio Estrela, 33 Phone +351 21 395 95 59 | Fax +351 21 395 95 67 galeria@cristinaguerra.com | www.cristinaguerra.com Director | Cristina Guerra Nordenhake Mobile +46 70 730 82 84, +49 176 18 86 66 80, +49 176 18 86 66 82 Galerie Nordenhake SE - 11330 Stockholm | Hudiksvallsgatan 8 Phone +46 8 21 18 92 | Fax +46 8 31 18 95 stockholm@nordenhake.com | www.nordenhake.com Director | Ben Loveless Artwork Description | In his artistic practice, Christian Andersson identifies unstable moments in history, or at least the writing of it, and offers variations, new possibilities, new timelines. In To R.M. for EVER, Andersson makes direct reference to Ren Magrittes painting The Art of Conversation (1950), in which the word rve (dream) can be read in the bottom pillars of a multi-storied Stonehenge, emboding a surrealist dream in the form of a monumental sculpture. In its overtly theatrical nature, this gigantic quotation is not merely illustrative but more a trigger for an unpredictable visual and conceptual mise en abyme.

To R.M. for EVER, 2011 Installation view, From Lucy with Love, Moderna Museet, Malm, 2011

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CARL ANDRE
Title | 9 x 27 Napoli Rectangle, 2010 Media | Hot-rolled steel, 243-unit rectangle on floor; 0.5 x 50 x 50 cm each unit, 0.5 x 450 x 1350 cm total Artist | Carl Andre, *1935, Quincy, MA, United States Lives and works in New York, NY, United States Gallery | Artiaco Stand Phone +41 61 699 51 17 Alfonso Artiaco IT - 80121 Napoli | Piazza dei Martiri 58 Phone +39 081 497 60 72 | Fax +39 081 19 36 01 64 info@alfonsoartiaco.com | www.alfonsoartiaco.com Director | Alfonso Artiaco Artwork Description | Intended to be walked on, or more like roads than buildings, as the artist once described them, Carl Andres floor pieces paved the way beyond Ad Reinhardts witticism about sculpture as something you trip over when you step back to look at a painting. For his exhibition at Alfonso Artiaco gallery in September 2010, Andre created the 9 x 27 Napoli Rectangle. The 243 hot-rolled steel plates were laid out in a rectangular configuration to occupy almost all the available floor in a repeated arrangement, not uncommon for the artist whose works often employ the Cartesian grid as a systemic form.

9 x 27 Napoli Rectangle, 2010

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MICHEL AUDER
Title | Dinner Is Served, 2010 Media | Video installation: raw wood poles, sand, rope, constructed wall, video projector, LCD monitors; 5 min; approx. 300 x 500 x 1000 cm Artist | Michel Auder, *1944, Soissons, France Lives and works in Brooklyn, NY, United States Gallery | Scheibler Mobile +49 172 217 32 74, +49 178 500 44 50, +49 177 823 70 34 Aurel Scheibler/ScheiblerMitte DE - 10969 Berlin | Charlottenstrasse 2/Durchfahrt Phone +49 30 25 93 86 07 | Fax +49 30 25 93 86 08 office@aurelscheibler.com | www.aurelscheibler.com Directors | Rebeccah Blum, Alexander Hattwig In collaboration with Newman Popiashvili Gallery, New York, NY Artwork Description | Michel Auders Dinner Is Served draws inspiration from the remote landscape of the Danish coast and the countrys pagan past, when witches were burned at the solstice holiday. At the heart of the installation is a curving wall which is suggestive of a ship that has run aground; the wall is pierced by raw wooden posts, seven meters long. Thirteen monitors, lashed to the poles, transmit layers of translucent footage juxtaposing the elements fire, water, earth, wind, and sky with the creatures that populate them. Sensuous and absurd associations are conjured up in a loosely woven structure echoed by the web of timber poles and sailing rope. Auders poetic approach is rooted in an enduring fascination with the ordinary. The imagery of Dinner Is Served is culled from recent video shoots done at the Krabbesholm Art School in Skive, Denmark, but also from his archive material spanning the last 40 years, during which he has slipped into a variety of roles: silent participant, discreet accomplice or simple observer.

Dinner Is Served, 2010

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JOHN BALDESSARI
Title | Five 1968 Films (New), 2000 Media | Multichannel video installation consisting of 5 synchronized DVDs; 140 min; edition of 4 + 3 AP Artist | John Baldessari, *1931, National City, CA, United States Lives and works in Santa Monica, CA, United States Galleries | Marian Goodman Stand Phone +41 61 699 51 40 Marian Goodman Gallery US - New York, NY 10019 | 24 West 57th Street Phone +1 212 977 71 60 | Fax +1 212 581 51 87 goodman@mariangoodman.com | www.mariangoodman.com Directors | Andrew Richards, Leslie Nolen, Rose Lord, Lissa McClure, Alice Kim Mai 36 Mobile +41 76 322 50 24 Mai 36 Galerie CH - 8001 Zrich | Rmistrasse 37 Phone +41 44 261 68 80 | Fax +41 44 261 68 81 mail@mai36.com | www.mai36.com Director | Victor Gisler Artwork Description | In the Five 1968 Films (New), John Baldessari refers to the end of the Prague Spring via the invasion of the Warsaw Pact troops in the Czech capital. Instead of directly documenting or portraying these events, Baldessari appropriates four American films of different genres which were being shown in Los Angeles cinemas on the day of the Prague invasion (August 20, 1968): The Green Berets (war), Planet of the Apes (science fiction), Rosemarys Baby (horror), The Thomas Crown Affair (love story).

Five 1968 Films (New), 2000 Installation view

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LEWIS BALTZ
Title | Candlestick Point, 1984 -1988 Media | 84 prints: 72 gelatin silver prints, 12 color prints; 11 x 14 inches each, 28 x 35.5 cm each; edition 4 of 5 Artist | Lewis Baltz, *1945, Newport, CA, United States Lives and works in Paris, France, and Venice, Italy Gallery | Thomas Zander Mobile +49 171 216 40 64 Galerie Thomas Zander DE - 50968 Kln | Schnhauser Strasse 8 Phone +49 221 934 88 56 | Fax +49 221 934 88 58 mail@galeriezander.com | www.galeriezander.com Directors | Thomas Zander, Natalie Gaida Artwork Description | The sociological and analytical rigour of Lewis Baltzs photography finds itself explicitly set at the core of his series Candlestick Point. Baltzs landscape photography could be characterized as a topography of the emptiness of random, damaged, remote places. The images depict fallow land, where piles of rubble and waste have accumulated in the middle of the prairie, and the sharp contours of the Californian horizon cut through an almost white sky. Traces of technical land development drainage channels and water dams become visible, yielding to a typically American theme: the development of territory in the almost infinite prairie. As such, these photographic records of the development at Candlestick Point move between social inscription and the open landscape. While some piles of rubble in Lewis Baltzs images may allude directly to the sculptural strategies of Robert Morris or Robert Smithson, others are meaningfully charged points in the midst of a vast landscape, focused and skillfully executed. The view of the accumulated material and the abstract forms of the eucalyptus trees are both stark and geometric. Space is created by a clash of formal precision and remote meaning. The series Candlestick Point is strongly oriented towards the tradition of Land Art, paying tribute to its crucial influence on Conceptual Art since the 1970s.

Candlestick Point, 1984 -1988

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MOHAMED BOUROUISSA
Title | Boloss, 2011 Media | Video, 2-channel projection, aspect ratio 4:3; approx. 17 min; edition of 5 Artist | Mohamed Bourouissa, *1978, Blida, Algeria Lives and works in Paris, France Gallery | mennour kamel mennour FR - 75006 Paris | 47, rue Saint-Andr-des-Arts Phone +33 1 56 24 03 63 | Fax +33 1 40 46 80 20 galerie@kamelmennour.com | www.kamelmennour.com Directors | Kamel Mennour, Marie-Sophie Eich, Jessy Mansuy-Leydier Artwork Description | Playing with the codes of documentary films and images obtained by security cameras, the film Boloss depicts a poker game punctuated by interviews with the protagonists. Boloss is elaborated around the figure of the cheater, the main protagonist of this game. Characters wander in two areas, the card table room and a little courtyard. The door between the two spaces becomes the meeting point of two foreign territories. The film reveals that the cheating here is by no means limited to the card table

Boloss, 2011 Video stills

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MATTHEW BUCKINGHAM
Title | Caterina van Hemessen Is Twenty Years Old, 2009 Media | 16 mm film installation; 12 min; dimensions variable; edition of 5 Artist | Matthew Buckingham, *1963, Nevada, IA, United States Lives and works in New York, NY, United States Galleries | Fischer Mobile +49 173 607 26 90, +49 171 473 02 72 Konrad Fischer Galerie DE - 40233 Dsseldorf | Platanenstrasse 7 Phone +49 211 68 59 08 | Fax +49 211 68 97 80 office@konradfischergalerie.de | www.konradfischergalerie.de Director | Dorothee Fischer Murray Guy Mobile +1 917 293 35 07 Murray Guy US - New York, NY 10011 | 453 West 17th Street Phone +1 212 463 73 72 | Fax +1 212 463 73 19 info@murrayguy.com | www.murrayguy.com Directors | Margaret Murray, Janice Guy Artwork Description | Matthew Buckinghams Caterina van Hemessen Is Twenty Years Old takes as its starting point an extraordinary 1548 self-portrait by the Flemish painter Caterina van Hemessen, which is considered the first known self-portrait of an artist depicted working at an easel. Buckinghams installation comprises a 16 mm film reflected by a mirror across the space onto a freestanding screen and a series of illuminated texts. The film shows enlarged fragments of the portrait, replacing the original whole of the painting with a typology of forms, or rather, a representation of the activity of looking (as the viewers eye might shift from detail to detail). The texts appear illegible at first, but are in fact printed in reverse. Using small hand mirrors, visitors can decipher them, revealing a series of contingent reflections which draw out a meta-narrative around the painting. What is depicted in a portrait is less an idealization of a person and more an idealization of time; reflected within the perspective of the present, Buckinghams work places us where van Hemessen stood in relation to her own painting. Her image hails the viewer and synchronizes, for a moment, our time with hers, marking a complex relation between artist, artwork, and viewer.

Caterina van Hemessen Is Twenty Years Old, 2009

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DANIEL BUREN
Title | Autour du retour dun dtour Inscriptions, 1986 -1988 Media | Tables of rough wood, paint, ink Artist | Daniel Buren, *1938, Boulogne-Bilancourt, France Lives and works in situ Gallery | Continua Mobile +39 348 580 59 96 Galleria Continua IT - 53037 San Gimignano | Via del Castello, 11 Phone +39 05 77 94 31 34 | Fax +39 05 77 94 04 84 info@galleriacontinua.com | www.galleriacontinua.com Directors | Mario Cristiani, Lorenzo Fiaschi, Maurizio Rigillo Artwork Description | In 1986 Buren conceived a permanent work for the courtyard of the Palais Royal in Paris. Entitled Les Deux Plateaux, it consists of a series of columns arranged in an area of 3,000 square meters. During the construction phase there was heated debate about Burens intervention and about the concept of integrating ancient and contemporary art. Passersby, to whom the artist deliberately chose not to deny a view of the site by erecting a perimeter barrier that was only waist high, contributed to the querelle by writing their comments on the outside of the fence. In the 1988 exhibition at Le Magasin in Grenoble, Autour du retour dun dtour Inscriptions, Buren used the old fencing of the site to create a path that reproduced that of the Palais Royal. On the outer side of the fence (the one delineating the walkway) it was possible to read what the passersby wrote; on the inner side, there were contrasting red and white stripes. A version of this work is presented here.

Photo-souvenir: Circa il ritorno di una svolta Iscrizioni. Versione IV Tables of rough wood, paint, ink, 123 x 1480 x 990 cm Work in situ, Galleria Continua, San Gimignano, 2010

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STEFAN BURGER
Title | Sabbia con aromi, 2010/11 Media | Wallpaper, metal, diverse materials; installation-specific dimensions; edition of 2 + 1 AP Artist | Stefan Burger, *1977, Mllheim/Baden, Germany Lives and works in Zurich, Switzerland Galleries | Bartlett Mobile +44 77 71 80 36 06 Laura Bartlett Gallery GB - London WC1N 2JG | 10 Northington Street Phone +44 20 74 04 92 51 | Fax +44 20 74 30 17 31 mail@laurabartlettgallery.com | www.laurabartlettgallery.com Directors | Laura Bartlett, Madeleine Martin Freymond-Guth Mobile +41 76 320 92 89 Freymond-Guth Fine Arts Ltd. CH - 8004 Zrich | Brauerstrasse 51 Phone +41 44 240 04 81 | Fax +41 44 240 04 87 office@freymondguth.com | www.freymondguth.com Directors | Emma Nilsson, Jean-Claude Freymond-Guth Artwork Description | Stefan Burgers illusive photo installation, Sabbia con aromi, combines his interest in photography expanding into space and issues related to production, representation, and reception of art in regards to content. As in many of Burgers works, attention is particularly focused on forces opposing institutional order for example, organic physical elements, such as water and dirt and the appropriation of (art) spaces by the public. With such ostensible concerns Stefan Burger hyperbolically displays the instability of arts parameters with elegance and wit. Sabbia con aromi draws a reference line between conventional representations of art and classifications of space and content. In the work, ascending water and diffusing dirt act as physical embodiments of the overflowing ignorance towards the fundamental parameters of space the horizontal and the vertical in which art is examined and received, and are juxtaposed with a humorous, subversively applied counterpoint.

Sabbia con aromi, 2010/11 Installation view, Fotomuseum Winterthur

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WALTERCIO CALDAS
Title | What Is World. What Is Not, 2011 Media | Painted stainless steel, polished metal, acrylic, and wool; 200 x 200 x 200 cm each Artist | Waltercio Caldas, *1946, Rio de Janeiro, Brazil Lives and works in Rio de Janeiro, Brazil Gallery | Gonzlez Mobile +34 699 49 68 75 Galera Elvira Gonzlez ES - 28004 Madrid | General Castaos, 3 Phone +34 91 319 59 00 | Fax +34 91 319 61 24 galeriaeg@entorno.es | www.galeriaelviragonzalez.com Directors | Isabel Mignoni, Elvira Mignoni, Fernando Mignoni Artwork Description | The work is based on the situation suggested by what the artist describes as naming the spaces between things. Four stainless steel sculptures, with wool and vinyl on the walls, emphasize the similarities between the external and internal spaces of the sculpture. The sculptures are fixed in the space and relate to each other: some works touch one another, others keep their distance. The space between the sculpture/ object is as important as the structure of the work. The space creates tension. Tension creates the world and other things outside the World.

L Dentro, 2010 Stainless steel, granite, wool, 170 x 180 x 180 cm

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ERNST CARAMELLE
Title | Untitled, 2011 Media | Installation, wall painting (pigments, water), mirror; 400 x 875 x 875 cm Artist | Ernst Caramelle, *1952, Hall in Tirol, Austria Lives and works in Frankfurt am Main, Germany, and New York, NY, United States Galleries | Mai 36 Mobile +41 76 322 50 24 Mai 36 Galerie CH - 8001 Zrich | Rmistrasse 37 Phone +41 44 261 68 80 | Fax +41 44 261 68 81 mail@mai36.com | www.mai36.com Director | Victor Gisler nchst St. Stephan Mobile +43 664 33 88 173 Galerie nchst St. Stephan Rosemarie Schwarzwlder AT - 1010 Wien | Grnangergasse 1/2 Phone +43 1 512 12 66 | Fax +43 1 513 43 07 galerie@schwarzwaelder.at | www.schwarzwaelder.at Director | Rosemarie Schwarzwlder Nelson-Freeman Mobile +33 6 80 28 78 24 Galerie Nelson-Freeman FR - 75004 Paris | 59, rue Quincampoix Phone +33 1 42 71 74 56 | Fax +33 1 42 71 74 58 info@galerienelsonfreeman.com | www.galerienelsonfreeman.com Directors | Peter Freeman, Ccile Barrault Artwork Description | We see a view of a painted room that, depending on the angle, is joined with a reflection of a mural painting that is not directly visible to the beholder. The questioning of reality, of the reliability of the visible, as well as of the conditions of art are subjects that Ernst Caramelle has elaborated on since his first exhibitions in the mid-seventies. His conceptually based oeuvre of diverse media including drawing, photography, video, painting, and mural art examines the dichotomies between original and fake, production and reproduction, the perception of art, and the contexts of art reception.

Untitled, 2011 Installation sketch

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ETIENNE CHAMBAUD
Title | The Encored Separation, 2011 Media | Steel, drywall; dimensions variable Artist | Etienne Chambaud, *1980, Mulhouse, France Lives and works in Paris, France Gallery | Sies + Hke Mobile +49 177 773 02 89 Sies + Hke DE - 40213 Dsseldorf | Poststrasse 2 + 3 Phone +49 211 301 43 60 | Fax +49 211 13 56 68 post@sieshoeke.com | www.sieshoeke.com Directors | Nina Hke, Alexander Sies Artwork Description | The Encored Separation consists of a large-scale mobile suspended from the halls ceiling and a room-sized box created from standard art fair wall elements. Both are separate units juxtaposed and connected only by a steel wire. The mobile is balanced with elements of various sizes, which the artist has extracted from the boxs wall panels. The structure of the box, thus pierced and cut open, exposes a partial view to its own interior. The process of balancing the mobile is key to this installation. The elements of drywall that serve as weights and counter-weights are removed by hand from the existing wall units, leaving rough edges and exposing the view to the underlying structure. The box is thus ripped open and shaped by these extracted elements. The box does not stand for an architectural space or a pre-conceived design unit, but rather serves as a stockroom for the mobiles weights. The white-cube like exhibition space is transformed into mere material balancing the work on its edge.

On Hospitality (i.e. Exclusion), 2010 Steel, volcanic stone, crane, dimensions variable Architecture and Engineering by Meir Lobaton Corona Installation view, Labor, Mexico City

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MINERVA CUEVAS
Title | Disidencia, 2008 - 2010 Media | Single-channel HDV projection, color, sound; 25 min 43 sec; edition 1 of 5 Artist | Minerva Cuevas, *1975, Mexico City, Mexico Lives and works in Mexico City, Mexico Gallery | kurimanzutto Mobile +52 55 52 86 30 59 kurimanzutto MX - 11850 Mxico D.F. | Gob. Rafael Rebollar 94, Colonia San Miguel Chapultepec Phone +52 55 52 86 30 59 | Fax +52 55 52 56 24 08 info@kurimanzutto.com | www.kurimanzutto.com Directors | Mnica Manzutto, Jos Kuri Artwork Description | For several years now, Minerva Cuevas has been mapping opposition in Mexico City by recording both its more evident and its inconspicuous signs as a part of a video archive. From this unique footage she developed Disidencia (2010), a stream of strong poetic images that take us on a trip around permanent and transient scenarios of resistance in Mexico City.

Disidencia, 2008 - 2010

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JONAS DAHLBERG
Title | Macbeth, 2011 Media | HD Video installation; approx. 5 x 4 m; edition of 6 + 2 AP Artist | Jonas Dahlberg, *1970, Bors, Sweden Lives and works in Stockholm, Sweden Gallery | Nordenhake Mobile +49 176 18 86 66 80, +49 176 18 86 66 82 Galerie Nordenhake SE - 11330 Stockholm | Hudiksvallsgatan 8 Phone +46 8 21 18 92 | Fax +46 8 31 18 95 stockholm@nordenhake.com | www.nordenhake.com Director | Ben Loveless Artwork Description | As in his earlier works, Dahlberg uses architecture as a key to accessing memory and psychological states. In this film, changes in light and shadow build up narrative momentum. Here the room, its atmosphere and characteristics become a metaphor for Shakespeares play and its eponymous protagonist, Macbeth. Here the interior of a room takes on the identity of a personality as elements from both within and without change the character of the space. Light and shadow create a play of the elements from the outside, and the encroachment of nature and weather forces build up a purveying sense of isolation, paranoia and perhaps madness.

Act I, Scene I, 2011 Study for Macbeth

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GARDAR EIDE EINARSSON

Title | Barricade (Basel), 2011 Media | Car tires and cast resin; dimensions variable; unique Artist | Gardar Eide Einarsson, *1976, Oslo, Norway Lives and works in New York, NY, United States, and Tokyo, Japan Galleries | Strk Mobile +45 40 88 77 66 Nils Strk DK - 1760 Kbenhavn | Ny Carlsberg Vej 68 Phone +45 32 54 45 62 gallery@nilsstaerk.dk | www.nilsstaerk.dk Directors | Nils Strk, Caroline Bge, Lone Weigelt Team Team Gallery US - New York, NY 10013 | 83 Grand Street Phone +1 212 279 92 19 | Fax +1 212 279 92 20 office@teamgal.com | www.teamgal.com Directors | Jos Freire, Miriam Katzeff Artwork Description | The installation Barricade (Basel) by Gardar Eide Einarsson is made up of found car tires from the city of Basel and cast resin bamboo poles. The sculpture takes its form from the civilian barricades constructed in the streets of Bangkok during the citys politically motivated street fights in the spring of 2010. Rendered in the artists signature black-and-white palette, the installation investigates the architecture of radical politics as well as the contextual nature and latent violence of everyday objects.

Barricade (Stockholm), 2011 Installation view, Bonniers Konsthall, Stockholm

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HANS-PETER FELDMANN
Title | Stamps with Paintings Media | 180 stamps in passepartouts; 4 x 6 inches each Artist | Hans-Peter Feldmann, *1941, lives in Dsseldorf, Germany Gallery | 303 Gallery 303 Gallery US - New York, NY 10011 | 547 West 21st Street Phone +1 212 255 11 21 | Fax +1 212 255 55 63 info@303gallery.com | www.303gallery.com Directors | Lisa Spellman, Mari Spirito, Barbara Corti, Mariko Munro Artwork Description | Featuring paintings of nudes, Stamps with Paintings is a set of 180 original stamps (no copies) from post offices worldwide. Each stamp is glued in a small paper frame.

Stamps with Paintings

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DAN FLAVIN
Title | Untitled (to Barry, Mike, Chuck and Leonard), 1972 - 1975 Media | Yellow and pink fluorescent light, corridor; 8 feet high, 8 feet wide, installed in a corridor 8 feet high and 8 feet wide Artist | Dan Flavin, 1933 - 1996 Born in Jamaica, NY, United States; died in Riverhead, NY, United States Gallery | Cooper Mobile +1 917 860 26 81 Paula Cooper Gallery US - New York, NY 10011 | 534 West 21st Street Phone +1 212 255 11 05 | Fax +1 212 255 51 56 sph@paulacoopergallery.com | www.paulacoopergallery.com Directors | Paula Cooper, Steve Henry Artwork Description | In 1972 Dan Flavin first began developing the barred corridors, which are specially constructed hallways bisected by a barrier of lights. The corridors allowed the artist to extend his experiments with intermingling and contrasting background and foreground colors in a contained environment. The square or rectangular configuration of the lights also allowed Flavin to refer to the picture plane of painting and the idea of perspective. Untitled (to Barry, Mike, Chuck and Leonard) from 1972 - 1975, is an eightby-eight foot installation of paired pink and yellow light fixtures installed back to back. This important and unique work is one of only five made by Flavin during his lifetime.

Untitled (to Barry, Mike, Chuck and Leonard), 1972 - 1975

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KENDELL GEERS
Title | Hanging Piece, 1993 Media | Bricks suspended on nylon rope; unique Artist | Kendell Geers, *1968, Johannesburg, South Africa Lives and works in Brussels, Belgium Galleries | Continua Mobile +39 348 580 59 96 Galleria Continua IT - 53037 San Gimignano | Via del Castello, 11 Phone +39 05 77 94 31 34 | Fax +39 05 77 94 04 84 info@galleriacontinua.com | www.galleriacontinua.com Directors | Mario Cristiani, Lorenzo Fiaschi, Maurizio Rigillo Friedman Stand Phone +41 61 699 50 22 Stephen Friedman Gallery GB - London W1S 3AN | 25-28 Old Burlington Street Phone +44 20 74 94 14 34 | Fax +44 20 74 94 14 31 info@stephenfriedman.com | www.stephenfriedman.com Directors | Stephen Friedman, David Hubbard, Joanna Stella-Sawicka Goodman Gallery Goodman Gallery ZA - 2193 Johannesburg | 163 Jan Smuts Ave, Parkwood Phone +27 11 788 11 13 | Fax +27 11 788 98 87 jhb@goodman-gallery.com | www.goodman-gallery.com Director | Liza Essers Rodolphe Janssen Mobile +32 475 47 14 02 Rodolphe Janssen BE - 1050 Bruxelles | 35 rue de Livourne Phone +32 2 538 08 18 | Fax +32 2 538 56 60 info@galerierodolphejanssen.com | www.galerierodolphejanssen.com Director | Rodolphe Janssen Artwork Description | Kendell Geerss Hanging Piece (1993) alludes to acts of violence carried out by young people who suspended rocks from motorway bridges at car windscreen height during apartheid South Africa, targeting any car passing beneath. The installation references this indiscriminate violence and the regime that ignited it, while also remarking on the essence of human nature when placed in extreme circumstances.

Hanging Piece, 1993

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MONA HATOUM
Title | Impenetrable, 2009 Media | Black finished steel, fishing wire; 300 x 300 x 300 cm Artist | Mona Hatoum, *1952, Beirut, Lebanon Lives and works in London, United Kingdom, and Berlin, Germany Galleries | Continua Mobile +39 348 580 59 96 Galleria Continua IT - 53037 San Gimignano | Via del Castello, 11 Phone +39 05 77 94 31 34 | Fax +39 05 77 94 04 84 info@galleriacontinua.com | www.galleriacontinua.com Directors | Mario Cristiani, Lorenzo Fiaschi, Maurizio Rigillo White Cube White Cube GB - London N1 6PB | 48 Hoxton Square Phone +44 20 79 30 53 73 | Fax +44 20 77 49 74 70 enquiries@whitecube.com | www.whitecube.com Directors | Jay Jopling, Daniela Gareh, Tim Marlow, Susan May Artwork Description | Impenetrable appears to float in the space: a delicate and precariously suspended cube. This floating cube is ghost like, but at the same time it has a physicality that possesses the space. However, on closer inspection, this cube which appears so delicate from a distance actually consists of barbed wire rods, and juxtaposes notions of magic, wonder, and fragility with those of danger and fear. The barbed wire is a deadly encumbrance but at the same time an ethereal and astonishing structure of minimal form.

Impenetrable, 2009

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DAVID HOMINAL
Title | Laprs-midi dun faune, 2010 Media | Video; 7 min 54 sec; edition of 5 Artist | David Hominal, *1976, St. Gingolph, France Lives and works in Zurich, Switzerland Gallery | mennour kamel mennour FR - 75006 Paris | 47, rue Saint-Andr-des-Arts Phone +33 1 56 24 03 63 | Fax +33 1 40 46 80 20 galerie@kamelmennour.com | www.kamelmennour.com Directors | Kamel Mennour, Marie-Sophie Eich, Jessy Mansuy-Leydier Artwork Description | Stuttering language, space. Digging into a kind of mental emptiness. Searching for a lost space. Nijinskys Laprs-midi dun faune (The Afternoon of a Faun). From all Greek movements, a history of the movement, slant way. Tweaking the walls. Entering into a space, a mental space, a no-space. A tiny particle that becomes a cosmos, an abstraction. Mapping the void versus Mapping the Studio of Nauman. Becoming this void, this space. (David Hominal)

Laprs-midi dun faune, 2010 Video stills

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ALAIN HUCK
Title | Tragedy or Position, 2011 Media | 4 drawings, charcoal on paper; 271 x 400 cm each Artist | Alain Huck, *1957, Vevey, Switzerland Lives and works in Lausanne, Switzerland Gallery | Skopia Stand Phone +41 61 699 51 46 | Mobile +41 79 611 56 72 Skopia P.-H. Jaccaud CH - 1205 Genve | Vieux-Grenadiers 9 Phone +41 22 321 61 61 | Fax +41 22 321 02 33 info@skopia.ch | www.skopia.ch Director | Pierre-Henri Jaccaud Artwork Description | Tragedy or Position is a set of four monumental charcoal drawings. Individually, Nebula, Tragedy, Position, Edenblock yoke together references that are geographically, historically, and culturally remote: a triumphant baroque setting pierced by the Crab Nebula; a dark mass dilated on the central pages of Euripidess Bacchae; an aerial view captured by a drone over Afghanistan; a concentration of vegetation in a tropical green house. Each drawing is autonomous yet submitted to the same obscure, disturbing light; the light of dawn, the time when the eyes and spirit waver: dreams, reality, memory play off an immersive setting. The works monumental dimensions, the swaying back and forth between the viewpoints of the different works, the veil that blurs and darkens yet also reveals these images give the onlooker an uncomfortable sensation of being confronted with forces beyond himself.

Tragedy or Position, 2011 Studio shot (detail)

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DANIEL ROBERT HUNZIKER

Title | Grat, 2011 Media | Chipboard, scantling, paint, clear coat; dimensions variable Artist | Daniel Robert Hunziker, *1965, Walenstadt, Switzerland Lives and works in Zurich, Switzerland Gallery | von Bartha Stand Phone +41 61 699 51 08 | Mobile +41 79 320 76 84, +41 79 277 03 70, +41 76 317 84 63 von Bartha Garage CH - 4056 Basel | Kannenfeldplatz 6 Phone +41 61 322 10 00 | Fax +41 61 322 09 09 info@vonbartha.com | www.vonbartha.com Director | Stefan von Bartha Artwork Description | In many of his works, Swiss artist Daniel Robert Hunziker explores the interaction between artificial and natural, static and dynamic, precision and displacement, surface and matter. In Grat the lacquered rhombic and triangular chipboard panels fitted together give the impression of a highly abstract landscape. On closer inspection, however, the different colored individual panels appear to be the result of the illumination by natural and artificial light, even though all of them are painted in the same hue. Viewed from a distance, the construction seems regular and precise but this widespread schematic landscape hardly allows for the distance required to view it. The observer is confronted with the work in direct proximity, and an overview seems all but prohibited. The seams, previously joined parallel to one another, prove to be slightly displaced and distorted. As if disarranged by internal forces, the ends push against one another; they pile up to support the impression of an ongoing and dynamic compaction. This gives the work elevated tension and physical presence, similar to the tectonic composition of the Earths mantle. Manifest as fractures and displacement, this stored energy is articulated in the joints of the surface.

Abhang, 2010 Press board, square timber, dispersion, 310 x790 x 910 cm Detail shot, von Bartha Garage

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CALLUM INNES & COLM TIBN

Title | water /colour, 2010 Media | Installation Artists | Callum Innes & Colm Tibn Callum Innes, *1962, Edinburgh, United Kingdom Lives and works in Edinburgh, United Kingdom Colm Tobn, *1955, Enniscorthy, United Kingdom Lives and works in Dublin, Ireland, and New York, NY, United States Galleries | Frith Street Frith Street Gallery GB - London W1F 9JJ | 17- 18 Golden Square Phone +44 20 74 94 15 50 | Fax +44 20 72 87 37 33 info@frithstreetgallery.com | www.frithstreetgallery.com Directors | Jane Hamlyn, Susanna Beaumont Kelly Stand Phone +41 61 699 51 97 Sean Kelly Gallery US - New York, NY 10001 | 528 West 29th Street Phone +1 212 239 11 81 | Fax +1 212 239 24 67 info@skny.com | www.skny.com Directors | Ccile Panzieri, Maureen Bray Artwork Description | water / colour is a collaborative project between the artist Callum Innes and the writer Colm Tibn. Sean Kelly Gallery had commissioned a short story from Tibn inspired by Inness work, and, in turn, Innes produced 101 watercolors in response to the text. The resultant installation is comprised of these watercolors with excerpts from Tibns story. The exhibition is accompanied by a full color, 232 - page book, which includes reproductions of the complete group of watercolors and Tibns story in its entirety.

water / colour, 2010 Installation views

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INSPECTION MEDICAL HERMENEUTICS

Title | The Pipe or The Alley of Longevity, 1995 Media | Installation: 22 drawings, plastic pipe, binoculars, dolls house furniture Artists | Inspection Medical Hermeneutics (Pavel Pepperstein and Sergey Anufriev) Formed in 1987, Moscow, Russia Gallery | Regina Regina Gallery RU - 105120 Moscow | 4th Syromyatnichesky pereulok 1 Phone +7 495 228 13 30 moscow@reginagallery.com | www.reginagallery.com Directors | Vladimir Ovcharenko, Mike Ovcharenko, Nadia Totskaya Artwork Description | Originally produced by the group Inspection Medical Hermeneutics in 1995, the installation The Pipe or The Alley of Longevity symbolizes the cessation of birth and death. In the center of a big room is a long black tube hanging from the ceiling. Light shimmers at one end and, if you look into the tube with the binoculars provided, one sees a cozy little room with miniature furniture. On the left and right sides of the tube are two galleries of portraits: old men whose age (shown on the portrait itself) increases to astronomical numbers on one side, and on the other side are schematic drawings of unborn babies whose minus-age decreases rapidly as they move away from being born into the timeline of negative time. The tunnel, which ends in the coziness of the home of the other world, separates the old men stuck in immortality from the children stuck in pre-birth. All this creates a quasi-Fedorov situation. For the old men, the closeness to the tunnel, positioned parallel, is the source of longevity. This leads to the old tradition of putting ones hope in death as the ultimate medicine for all illnesses and, in the end, from death itself.

The Pipe or The Alley of Longevity, 1995 Installation drawing

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ANISH KAPOOR
Title | Push Pull, 2008 Media | Resin, wax, paint, and steel; 300 x 600 x 150 cm Artist | Anish Kapoor, *1954, Mumbai, India Lives and works in London, United Kingdom Gallery | Minini Mobile +39 335 23 38 17 Galleria Massimo Minini IT - 25128 Brescia | Via Luigi Apollonio 68 Phone +39 030 38 30 34 | Fax +39 030 39 24 46 info@galleriaminini.it | www.galleriaminini.it Directors | Massimo Minini, Daniella Betta Artwork Description | The viscous, bloody mass assumes its shape as artobject only by losing its bodyweight; and the making of art becomes an endless act of attrition that flays the incarnate material. In each of these instances, the artobject is both kinetic and mimetic. It becomes a presence in the world, an object of visuality, when it creates new virtual spaces by splitting the object itself with a fissionary force: the waxwork shedding itself, leaving traces of its being on walls and floors, in the act of becoming a work of art. () If we return to the formative gesture of Kapoors work and note the continual torsion that exists at the heart of objectness the tension between the kinetic and the mimetic, between material and object we will see something of the oblique obligation that art bears to society. What drives the life cycle of Kapoors sculpture is what he repeatedly calls the nonobject: it is the emergence of new space that is also a virtual or negative space, that is engendered through the splitting of the object. It is this fissionary act, however, that creates the possibility, fraught though it may be, of a new future. But it is the wont of Kapoors creations to find their way back from the future to the mimetic realm of the present. (Homi K. Bhabha)

Push Pull, 2008

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JACOB KASSAY
Title | Untitled, 2011 Media | 10 paintings: acrylic and silver deposit on canvas; 68 x 36 inches each Artist | Jacob Kassay, *1984, Lewiston, NY, United States Lives and works in New York, NY, United States Galleries | Art : Concept Mobile +33 614 48 67 45 Art : Concept FR - 75003 Paris | 13, rue des Arquebusiers Phone +33 153 60 90 30 | Fax +33 153 60 90 31 info@galerieartconcept.com | www.galerieartconcept.com Director | Olivier Antoine Hufkens Xavier Hufkens BE - 1050 Bruxelles | Rue Saint-Georges 6 - 8 Phone +32 2 639 67 30 | Fax +32 2 639 67 38 info@xavierhufkens.com | www.xavierhufkens.com Director | Xavier Hufkens Artwork Description | Just twenty-six years old, New York-based artist Jacob Kassay pursues the lineage of paintings as places for light and shadow. With their shimmering silver surfaces, his canvases transform blankness into aura and emptiness into reflection. These paintings have no color, no paint, and no image, but as objects in space, they take on all the lights, shadows, colors, and images of their surroundings. These are paintings about the experience of being in a room with a painting. In fact, Kassays training is in photography, but the entire photographic process, of course, is about capturing lights and shadows. With the click of a shutter, the camera projects light onto its film, and the subsequent chemical process fixes the image into place. Familiar with the chemical reactions involved, Kassay considered putting a painting through the photographic development process of being dipped, bathed, and fixed. Working with an electroplater in Pennsylvania, the artist began plating a series of primed canvases. A process commonly used to create shiny silver surfaces for jewelry or silverware, electroplating involves using electrical current to fix a layer of metallic material onto an object. By painting a canvas with a thin layer of acrylic primer making the surface of the fabric impermeable and able to hold the metallic deposit and dipping it into a silver-electroplating tank, it emerges with a reflective silver surface. The chemical process singes any parts of the canvas that are left unprimed and exposed to the chemical solution, creating burn marks around the edges of the silver paintings. (Excerpt from Anthony Hubermann, Jacob Kassay, in Mousse Magazine, no. 24)

Untitled, 2011

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KATARZYNA KOZYRA
Title | The Rite of Spring, 1999 - 2002 Media | Multi-channel video projection, color, sound; 4 min 50 sec; edition of 3 + 1 AP Artist | Katarzyna Kozyra, *1963, Warsaw, Poland Lives and works in Warsaw, Poland, and Berlin, Germany Gallery | Zak Branicka Mobile +49 177 501 81 90 Zak Branicka DE - 10969 Berlin | Lindenstrasse 35 Phone +49 30 61 10 73 75 | Fax +49 30 61 10 73 75 mail@zak-branicka.com | www.zak-branicka.com Directors | Asia Zak, Monika Branicka Artwork Description | Taking the larger questions of dance and performance art from a historically informed and critical perspective into consideration, Katarzyna Kozyras The Rite of Spring (a seven-screen video installation), takes its title from a ballet scored by Igor Stravinsky and originally choreographed by Vaclav Nijinsky in 1913. Within three years Kozyra has animated and edited together of a sequence of movements, frame after frame, of 12,000 photos according to The Dance of the Chosen Victim, from The Rite of Spring. She used elderly, embellished dancers to fill the roles of Nijinskys idealized virgins to question our assumptions about the limits of the body and its transformations over time. The naked dancers ambiguous gendering also pushes the work further into critique, as connotations of virginity and definitions of beauty and biology are challenged. The dancers movements are organized in mystical circles and squares; eventually they fall down from exhaustion and remain still. The task of the chosen victims in Nijinskis ballet was to perform a dance to the death. In Kozyras interpretation the chosen victim dies in order to be animated according to the artists will, to rise again as if through the music and to begin anew the Sacrificial Dance. Technical support by Eidotech, Berlin

The Rite of Spring, 1999 - 2002 Installation view, Zache National ta Gallery of Art, Warsaw

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ROBERT KUSMIROWSKI
Title | Malevich Square, 2011 Media | Mixed-media installation and performance; dimensions variable Artist | Robert Kus mirowski, *1973, d, Poland Lives and works in Lublin, Poland Gallery | Johnen Mobile +49 171 218 23 60 Johnen Galerie DE - 10117 Berlin | Marienstrasse 10 Phone +49 30 27 58 30 30 | Fax +49 30 27 58 30 50 mail@johnengalerie.de | www.johnengalerie.de Directors | Jrg Johnen, Cornelia Tischmacher, Manuel Miseur Artwork Description | Robert Kus mirowski reconstructs historical artefacts and settings to examine and manipulate historical themes. By using old, archaic techniques and equipment, his exhibitions also have the materiality and appearance of a bygone time. With his work Malevich Square, Kus mirowski aims at exploring phenomena in art that are usually invisible and undiscovered and as they are part of the creative process barely tangible before the decisive idea for the artwork-to-be. In Malevich Square the purity and essential reduction inherent to Malevichs work gets turned inside-out: Kus mirowskis interpretation presents a black square as a physically manifest, haptic counterpart to the delicate, elusive original. The work bears testimony to intense physical labor by visualizing the exhausting efforts, not unlike those undertaken by workers tarring the streets. The aspect of the artists pain that Malevich intentionally hid from the viewer becomes the center of attention. Kus mirowskis presentation reverses the process of perception and translates Malevichs arduous intellectual process into a weighty analogy.

Bitumiarz/Bitumen Worker, 2011 Black-and-white photograph, 50 x 37 cm

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LOUISE LAWLER
Title | Light and Dark (adjusted to fit), 2010/11 Media | Adhesive wall material Artist | Louise Lawler, *1947, Bronxville, NY, United States Lives and works in New York, NY, United States Galleries | Lambert Yvon Lambert, Paris FR - 75003 Paris | 108, rue Vieille du Temple Phone +33 1 42 71 09 33 | Fax +33 1 42 71 87 47 paris@yvon-lambert.com | www.yvon-lambert.com Directors | Yvon Lambert, Olivier Blot, Sverine Waelchli Metro Pictures Mobile +1 917 576 14 06 Metro Pictures US - New York, NY 10011 | 519 West 24th Street Phone +1 212 206 71 00 | Fax +1 212 337 00 70 gallery@metropictures.com | www.metropictures.com Directors | Janelle Reiring, Helene Winer, Tom Heman, Allison Card, Manuela Mozo Sprth Magers Stand Phone +41 61 699 52 37 Sprth Magers Berlin DE - 10178 Berlin | Oranienburger Strasse 18 Phone +49 30 28 88 40 30 | Fax +49 30 28 88 40 52 info@spruethmagers.com | www.spruethmagers.com Directors | Monika Sprth, Philomene Magers, Franziska von Hasselbach, Iris Scheffler Artwork Description | A photograph taken at Christies auction house in New York in November 2010 has been stretched in proportion to the wall of Art Unlimited, printed on vinyl, and installed with the exposed edges of the wall acting as the mat of the image.

Light and Dark (adjusted to fit), 2010/11

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MARK LECKEY
Title | Concrete Vache, 2010 Media | Mixed-media installation; video: 17 min 41 sec; edition of 2 Artist | Mark Leckey, *1964, Liverpool, United Kingdom Lives and works in London, United Kingdom Gallery | Cabinet Mobile +44 77 11 06 69 35, +44 79 50 92 01 26 Cabinet GB - London EC1V 9HX | 49-59 Old Street Phone +44 20 72 51 61 14 | Fax +44 20 76 08 24 14 art@cabinetltd.demon.co.uk | www.cabinet.uk.com Directors | Martin McGeown, Andrew Wheatley Artwork Description | Notes on Concrete Vache Concrete Vache is a film and installation composed entirely of images copied from the catalogs and documentation files of a public art gallery; in this case, the MK Gallery, Milton Keynes. The voice-over is similarly composed from catalog texts, internal memoranda, and press files. The self-contained construction suggests a form of automatism, as if the imagery is machine-made, produced, like stuff. Material generated from within an institution. The voice isnt saying something, but turning into things. (Barrett Watten, Plasma, 1979) A series of drawings, executed by professional cartoonist Lee Healey, represent a sort of surrogate automatism; Healey, like a human search engine, was simply sent a series of verbal visions that were then returned as drawings. The soundtrack can either function as a narrative accompaniment to the installation as a whole or to the film with which it coincides.

Concrete Vache, 2010 Installation view, MK Gallery, Milton Keynes

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ROBERT LONGO
Title | Untitled (Wailing Wall), 2011 Media | Charcoal on mounted paper; 304.8 x 825.5 cm Artist | Robert Longo, *1953, Brooklyn, NY, United States Lives and works in New York, NY, United States Gallery | Ropac Stand Phone +41 61 699 53 95 Galerie Thaddaeus Ropac FR - 75003 Paris | 7, rue Debelleyme Phone +33 1 42 72 99 00 | Fax +33 1 42 72 61 66 galerie@ropac.net | www.ropac.net Directors | Thaddaeus Ropac, Jill Silverman Van Coenegrachts Artwork Description | Untitled (Wailing Wall) is part of an installation titled God Machines composed of three immense works dedicated to the three major monotheistic world religions. Each of these monumental works is a multi-paneled iconic depiction of a sacred space: Mecca in Saudi Arabia, St. Peters Basilica in Rome, and the Wailing Wall in Jerusalem. The abstract minimalist depiction of the Wailing Wall, said to be the last existing remnant of the Second Temple built around the time of Herod (19 B.C.), is one of the most sacred sites in Judaism. Worshippers come to this site to mourn and bemoan the destruction of the Temple.

Untitled (Wailing Wall), 2011

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VERA LUTTER
Title | Folding Four in One, 2009 Media | Film between 2 sheets of plexiglass (4 pieces); 96 x 96 inches each, 246 x 246 cm each Artist | Vera Lutter, *1960, Kaiserslautern, Germany Lives and works in New York, NY, United States Gallery | Gagosian Gagosian Gallery US - New York, NY 10075 | 980 Madison Avenue Phone +1 212 744 23 13 | Fax +1 212 772 79 62 newyork@gagosian.com | www.gagosian.com Artwork Description | Number 1 Main Street, is an old warehouse building in Brooklyn crowned by a massive Clock Tower. Folding Four in One is a project I realized in the summer of 2009 as an installation of four images taken from the Clock Towers interior. I had waited a good 14 years for this opportunity. Constructed on a rectangular footprint, each side of the building faces exactly one of the directional poles on the compass; and the highest part of the building is perfectly square with each side housing an enormous clock. Backed with clear glass, the clock faces allow for an exchange of light. During the day, the large clock-windows illuminate the space within; at night, the interior space illuminates the clock faces. The glazed clocks give way to a view onto four different neighborhoods while time unfolds in the spinning indicators of the clock. United in an architectural setting, the four suspended plexi-panels, organized in a square formation, transform the site of inscription into a new experience. Each corner is opened to allow the viewer to engage within the pavilion of image and time. When navigating the space, different perceptions of the four vistas unfold, blending in and out of one another and the space in which they are installed. (Vera Lutter)

Installation rendering of Folding Four in One, 2009

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GOSHKA MACUGA
Title | Lost Forty, 2011 Media | Tapestry; 426 x 1475 cm; edition of 2 + 1 AP Artist | Goshka Macuga, *1967, Warsaw, Poland Lives and works in London, United Kingdom Gallery | Kreps Mobile +1 415 713 07 83 Andrew Kreps Gallery US - New York, NY 10011 | 525 West 22nd Street Phone +1 212 741 88 49 | Fax +1 212 741 81 63 contact@andrewkreps.com | www.andrewkreps.com Directors | Andrew Kreps, Liz Mulholland, Timo Kappeller Artwork Description | Goshka Macugas Lost Forty is monumental black-and-white woven tapestry that depicts a 40-acre tract of land in northern Minnesotas Chippewa National Forest an old-growth forest that survived logging due to a surveyors error in 1882. In October 2010, Macuga visited and photographed these woods, known as the Lost Forty. Within the tapestry, Macuga has collaged images of individuals related to her research, such as T. B. Walker, the Walker institutions founder and legendary lumber baron, who stands in the foreground; to the left is a Tea Party demonstrator whom Macuga photographed while visiting a Tax Day demonstration last year at the state capitol in St. Paul holding up a protest sign. Former Walker director Martin Friedman appears with Marcel Duchamp, sipping cocktails at a 1965 Walker event, and Native American children from Cass Lake in Northern Minnesota plant a tree. The tapestry weaves a specific American narrative with economic and nationalist mythologies of the American landscape and character. Drawing upon lumber-industry publicity photographs taken by Berenice Abbott in the 1940s, the tapestry offers potent critiques of the frontiersman myth.

Lost Forty, 2011

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MASBEDO
Title | Kreppa Babies, 2010 Media | Video and sound installation, 5-screen rear projection: 5 DVD players, amplified stereo sound; dimensions variable; 27 min 38 sec; edition of 7 + 2 AP Artists | Masbedo Nicol Massazza, *1973, Milan, Italy Jacopo Bedogni, *1970, Sarzana, Italy Live and work in Berlin, Germany, and Milan, Italy Gallery | Noire Mobile +39 339 715 81 65 Noire Contemporary Art IT - 10152 Torino | Via Piossasco 29 Phone +39 011 536 40 00 | Fax +39 011 919 12 34 info@marconoire.com | www.marconoire.com Directors | Marco Noire, Silvia Chessa Artwork Description | This video installation goes beyond the scope of the traditional art video and may be considered a documentary that tackles several important civil and social themes, such as the utopian ideal and its relative failure, whilst highlighting the emotional and aesthetic aspects of life and the world those elements which, according to the artists, a work of art can never be without. The result is a moving portrayal of life in Iceland, where aspects of both an anthropological and a folkloristic nature are condensed: the illusion of affluence spread at all levels of society, myths, and pantheistic faith, and the ancestral customs of a community imbued with a strong sense of identity and belonging. All this forms the cultural and economic backdrop for a whole generation of Kreppa Babies, literally the children of the crisis, taking their first steps on a terrain that has become inhospitable and treacherous due to the recent socioeconomic upheaval worldwide. The Kreppa Babies are the clearest manifestation of a historical nemesis: where the crimes of the fathers guilty of having wholeheartedly adhered to the western capitalistic system and having passively succumbed to the magnetic lure of the United States must inexorably be paid for by their children.

Kreppa Babies, 2010

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MARIO MERZ
Title | 74 gradini riappaiono in una crescita di geometria concentrica, 1992 Media | Stones and metal, 8 igloos; each igloo: 210 cm high, 430 cm diameter Artist | Mario Merz, 1925 - 2003 Born in Milan, Italy; died in Turin, Italy Gallery | Tschudi Mobile +41 79 769 96 53 Galerie Tschudi CH - 8750 Glarus | Eichenstrasse 26 Phone +41 55 640 63 60 | Fax +41 55 640 26 23 info@galerie-tschudi.ch | www.galerie-tschudi.ch Directors | Ruedi Tschudi, Elsbeth Bisig Artwork Description | An outstanding example of Mario Merzs late production, 74 gradini riappaiono in una crescita di geometria concentrica (74 steps return in a growth of concentric geometry) was executed by the artist in 1992 at the Galerie Tschudi in Glarus. Seventy-four squared-off stones are arranged on the ground to form a sequence of circular perimeters; iron rods arched between the stones generate eight hemispherical structures. Like a meandering river in a landscape, these skeletal igloos crisscross the exhibition space in staggered succession. The swift, spiral design that develops from one stone to the next and from one igloo to the next summons up a theme common to Merzs poetics. In his works, growth always takes on the form of swirling dimensions, involving both space and time, as suggested in a note by the artist himself on the origin of the stones here: 74 stones were probably used as steps over the ages and, through this work, renewed in time.

74 gradini riappaiono in una crescita di geometria concentrica, 1992

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SARAH MORRIS
Title | Points on a Line, 2010 Media | Video; 35 min 44 sec; edition of 5 Artist | Sarah Morris, *1967, American Lives and works in New York, NY, United States, and London, United Kingdom Gallery | Petzel Stand Phone +41 61 699 50 90 Friedrich Petzel Gallery US - New York, NY 10011 | 535 & 537 West 22nd Street Phone +1 212 680 94 67 | Fax +1 212 680 94 73 info@petzel.com | www.petzel.com Directors | Friedrich Petzel, Andrea Teschke, Sam Tsao, Vera Alemani Artwork Description | The Farnsworth House in Plano, Illinois, and the Glass House in New Canaan, Connecticut. Mies van der Rohe and Philip Johnson. Architect and curator. Architect and architect. Points on a Line, directed by artist Sarah Morris, documents the desire to build structures that might change the way we think about a house: a form and a context. These two buildings were the result of shared ideas and collective desire. But they also complicate ideas of the copy and the original and the chronologies of Modernism. Morris filmed at both sites over the course of several months, among other locations including The Four Seasons Restaurant in the Seagram Building, Mies van der Rohes infamous 860-880 Lake Shore Drive, and Chicagos Newberry Library. Morris utilizes The Four Seasons, a place that Philip Johnson practically used as his personal office, as the meeting point between the two architects. The restaurant remains a site of projection and desire a site of negotiation and display. Morriss film is both a record of preservation of two structures and a document of power plays that left a mark in the pragmatic idealism of the late modern period. The soundtrack, composed by the artist Liam Gillick, lends an atmospheric progression to the film.

Points on a Line, 2010

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JAMES NARES
Title | Pendulum, 1976 Media | Film transferred to mini hard drive; 17 min 15 sec; edition of 6 Artist | James Nares, *1953, London, United Kingdom Lives and works in New York, NY, United States Gallery | Kohn Mobile +1 310 770 80 15 Michael Kohn Gallery US - Los Angeles, CA 90048 | 8071 Beverly Blvd Phone +1 323 658 80 88 | Fax +1 323 658 80 68 info@kohngallery.com | www.kohngallery.com Director | Samantha Glaser Artwork Description | James Naress Pendulum (1976) is a hauntingly lyrical example of No Wave film. Using a Super 8 camera, Nares filmed a suspended, swinging metal sphere, to ultimately transform this quiet New York City alley into a scene pulsating with anxious energy. Inspired by the repetitive imagery of Richard Serras film, Hand Catching Lead (1968), Pendulum appropriates an element of visual redundancy while quietly noting qualities of city life in the 1970s. Juxtaposing images of the ball flying through space with the cold, unmoving, industrial buildings (polarizing movement versus stasis), Nares incorporates themes not only of the city, but also of the cultural hangover of the early 1970s.

Pendulum, 1976

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DEIMANTAS NARKEVICIUS
Title | Ausgetrumt, 2010 Media | HD Video, aspect ratio 16:9; color, sound; 5 min 35 sec; edition of 5 + 2 AP Artist | Deimantas Narkevicius, *1964, Utena, Lithuania Lives and works in Vilnius, Lithuania Galleries | gb agency Mobile +33 6 11 13 48 62 gb agency FR - 75003 Paris | 18, rue des 4 fils Phone +33 1 44 78 00 60 gb@gbagency.fr | www.gbagency.fr Directors | Solne Guillier, Nathalie Boutin Mot Mobile +32 475 56 30 71 Jan Mot BE - 1000 Bruxelles | Rue Antoine Dansaertstraat 190 Phone +32 2 514 10 10 | Fax +32 2 514 14 46 office@janmot.com | www.janmot.com Director | Jan Mot Weiss Mobile +49 160 742 25 07 Galerie Barbara Weiss DE - 10999 Berlin | Kohlfurter Strasse 41/43 Phone +49 30 262 42 84 | Fax +49 30 265 16 52 mail@galeriebarbaraweiss.de | www.galeriebarbaraweiss.de Directors | Barbara Weiss, Charlotte von Uthmann Artwork Description | As in many of his other films and videos, Deimantas Narkevicius reveals the ongoing conflicts between memory and history by using storytelling to explore historical fact from personal points of view. The title of Narkeviciuss latest work, Ausgetrumt, suggests a nostalgic longing for innocence. In this film, the artist follows a group of teenage musicians in Lithuania with ambitious dreams of international fame. Here post-socialist architecture is offset by the romantic sounds of Indie music performed by the newly formed band. Narkevicius recon nects to this particular state of mind: their youthful energy, unaffected by the probable failure of their endeavour, stands as a reminder of the naivet of a young artist the driving force behind creative ambition. In presenting a portrait of the band, whose lead guitar player is in fact the artists son, the artist also provides an intimate memoir of his own ambitions to become an artist in the late 80s within the wake of a crumbling Soviet Union a seemingly impossible dream that echoes that of a fathers son.

Ausgetrumt, 2010 Featuring the band Without Letters

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DAVID NASH
Title | Black Dome, 2011 Media | Charred oak, 12 parts; approx. 230 x 650 x 650 cm Artist | David Nash, *1945, Esher, United Kingdom Lives and works in Blaenau Ffestiniog, United Kingdom Galleries | Juda Stand Phone +41 61 699 50 46 Annely Juda Fine Art GB - London W1S 1AW | 23 Dering Street Phone +44 20 76 29 75 78 | Fax +44 20 74 91 21 39 ajfa@annelyjudafineart.co.uk | www.annelyjudafineart.co.uk Directors | David Juda, Jill Capobianco Lelong Mobile +33 603 85 40 68 Galerie Lelong Paris FR - 75008 Paris | 13, rue de Thran Phone +33 1 45 63 13 19 | Fax +33 1 42 89 34 33 info@galerie-lelong.com | www.galerie-lelong.com Directors | Daniel Lelong, Jean Frmon, Patrice Cotensin Artwork Description | David Nashs first Black Dome was made in 1986 while in residency at Grizedale Forest. In Nashs own words: When I was working as a resident sculptor in the Grizedale Forest in 1978, I often came across centuries old charcoal burners sites level oval spaces, barely discernible on the hillside, always with the same combination of plants. Presumably the carbon residue from the charcoaling process had leached into the soil allowing only certain species to flourish. These spaces, although nearly invisible, had a sense of human presence, an echo of ancient forest activity. Eight years later I was one of a group of artists invited by the Forestry Commission to consider making sculptures in the Forest of Dean. The works had to be based on our response to the forest, sensitive to the environment, and accessible to the public. The Forest of Dean has a history of charcoal manufacture, and, remembering my experience in Grizedale, I chose to make Black Dome. Ideally the sculpture would have been a mound of charcoal, but being so brittle this would not have survived public accessibility. I therefore opted for charring sharpened sections of larch trunks. To make a dome 8 meters in diameter and 1 meter high required nine hundred pieces of wood. The interest in the form has evolved from many small charred stakes butted up together to a larger element spaced apart that makes an experience that can be walked into. For Art Unlimited, Nash has made a Black Dome consisting of 12 pieces of charred carved oak, varying in size from 75 cm high to 230 cm high, creating a dome approximately 650 cm in diameter.

Black Dome, 2011

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HANS OP DE BEECK
Title | Sea of Tranquillity, 2010 Media | Full HD video, color, sound, aspect ratio 16:9; 29 min 50 sec Artist | Hans Op de Beeck, *1969, Turnhout, Belgium Lives and works in Brussels, Belgium Galleries | Boesky Marianne Boesky Gallery US - New York, NY 10011 | 509 West 24th Street Phone +1 212 680 98 89 | Fax +1 212 680 98 97 info@marianneboeskygallery.com | www.marianneboeskygallery.com Directors | Serra Pradhan, Annie Rana, Adrian Turner Continua Mobile +39 348 580 59 97 Galleria Continua IT - 53037 San Gimignano | Via del Castello, 11 Phone +39 05 77 94 31 34 | Fax +39 05 77 94 04 84 info@galleriacontinua.com | www.galleriacontinua.com Directors | Mario Cristiani, Lorenzo Fiaschi, Maurizio Rigillo Hufkens Xavier Hufkens BE - 1050 Bruxelles | Rue Saint-Georges 6 - 8 Phone +32 2 639 67 30 | Fax +32 2 639 67 38 info@xavierhufkens.com | www.xavierhufkens.com Director | Xavier Hufkens Krinzinger Mobile +43 676 324 83 79 Galerie Krinzinger AT - 1010 Wien | Seilersttte 16 Phone +43 1 513 30 06 | Fax +43 1 513 30 06 33 galeriekrinzinger@chello.at | www.galerie-krinzinger.at Directors | Ursula Krinzinger, Thomas Krinzinger Artwork Description | The Sea of Tranquillity is the name of a cruise liner created by the artist, which serves as a postmodern metaphor for our attitude towards time and space, our conceptions of labor and leisure, and, finally, towards mortality. As such, it has a complex, darkly poetic charge, but also presents a touch of irony regarding the superficial, safe, and unimaginative leisure opportunities on offer on board the ship a staged environment reminiscent of shopping malls and gated communities. This mid-length film (30 minutes), mixing live video recordings of actors and digitally created surroundings, virtually plunges the viewer into the cavernous, strange, and menacing cruise ship as it softly cleaves the night. Furthermore, Hans Op de Beeck expressly composed an old school jazz song to serve as the theme song for the film. Though an autonomous work, the Sea of Tranquillity is also part of a new body of works collected in a traveling solo show.

Sea of Tranquillity, 2010

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PABLO PIJNAPPEL
Title | Quirijn, 2011 Media | 16mm film; approx. 15 min; edition of 5 + 2 AP Artist | Pablo Pijnappel, *1979, Paris, France Lives and works in Rotterdam, the Netherlands Gallery | Jongma Galerie Julitte Jongma NL - 1073 VX Amsterdam | Gerard Doustraat 128a Phone +31 20 463 69 04 | Fax +31 20 463 69 04 info@juliettejongma.com | www.juliettejongma.com Director | Julitte Jongma In collaboration with Ambach & Rice, Los Angeles, CA Artwork Description | A strange madness has overcome the working classes from nations where the capitalist civilization reigns. This madness brings social and individual miseries that have tortured humankind for two centuries. This madness is the love of work. This moribund passion for work pushed out all the vital forces from the individual and his progeny until they were hollow. In lieu of reacting against this mental aberration, the priests, the economists, and the moralists have worshipped work as sacred. These blind and narrow-minded men have tried to be wiser than God; weak and despicable men, they have wished to absolve that which God has cursed. I, who profess neither morally or economically to be a Christian, call upon their judgment in accordance with the judgment of their God (...) Christ, in his speech from over the mountain, preached for laziness: Contemplate the lilies of the fields, they dont work or tire themselves. And yet I tell you: Solomon in all his glory didnt live more beautifully. Jehovah, the bearded and rebarbative God, gave his followers the supreme example of the ideal laziness; after six days of work, he lay down and rested for all eternity. (Excerpt from Paul Lafargue, The Right to Be Lazy, 1883)

Quirijn, 2011

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ROBERT RAUSCHENBERG
Title | Currents, 1970 Media | Screen print; 72 x 720 inches, 182.9 x 1829 cm; edition 2 of 6 Artist | Robert Rauschenberg, 1925 - 2008 Born in Port Arthur, TX, United States; died on Captiva Island, FL, United States Gallery | Freeman Peter Freeman, Inc. US - New York, NY 10012 | 560 Broadway, Suite 602/603 Phone +1 212 966 51 54 | Fax +1 212 966 53 49 info@peterfreemaninc.com | www.peterfreemaninc.com Directors | Peter C. Freeman, Matthew Armstrong, Blair Asbury Brooks Artwork Description | In the autumn of 1969, Robert Rauschenberg began planning an exhibition that would take place at Dayton's Gallery 12 in Minneapolis, featuring a sixty-foot long hand-printed silkscreen comprised of collages of headlines, advertisements, and news stories from major American newspapers. Both the show and the large-scale print were entitled Currents and opened in the spring of 1970. The edition of Currents was limited to six, and the work has very rarely been seen. Rauschenberg took as his subject matter the anarchy of American culture in the midst of social upheaval. Thick with intimations of war, racial tensions, government corruption, rampant drug use, shifting mores, international violence, and political subterfuge as well as the banality of weather, gossip, sports, and advertisements, Currents presents a distilled synecdoche of the precarious state of the world circa 1969, a world that cried out for change, immersed in what seemed unsolvable conflicts. As had Manet and Picasso when they felt compelled to refer to the stark actual facts of the violence of contemporary news, Rauschenberg banished color from his image and made certain that no matter how anarchically arrayed, the components of the collage whether text or image are crystal clear; they are raw, direct, and polarizing. In notes added to the catalog that accompanied the initial showing of Currents, Rauschenberg wrote that the world condition permitted me no choice of subject or color and method/composition. On a more personal note, the artist then concluded with a slightly wistful lament: Give the world a chance by changing it.

Currents, 1970 Detail

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JASON RHOADES
Title | Untitled (From the body of work: My Madinah: in pursuit of my ermitage...), 2004 Media | 96 neon phrases, 96 colored plexiglass panels, 96 transformers, 96 metal hooks, wire, cable, rubber end caps, and power strips; overall dimensions vary with each installation Artist | Jason Rhoades, 1965 - 2006 Born in Newcastle, CA, United States; died in Los Angeles, CA, United States Galleries | Hauser & Wirth Stand Phone +41 61 699 50 44 Hauser & Wirth CH - 8047 Zrich | Albisriederstrasse 199a Phone +41 44 446 80 50 | Fax +41 44 446 80 55 zurich@hauserwirth.com | www.hauserwirth.com Directors | Florian Berktold, Sara Harrison, Neil Wenman Zwirner Mobile +1 917 297 82 34 David Zwirner US - New York, NY 10011 | 525 West 19th Street Phone +1 212 727 20 70 | +1 212 517 86 77 | Fax +1 212 727 20 72 | +1 212 517 89 59 information@davidzwirner.com | www.davidzwirner.com Directors | Kristine Bell, Angela Choon, Justine Durrett, Bellatrix Hubert, Greg Lulay, Ales Ortuzar, Hanna Schouwink Artwork Description | Common to Jason Rhoadess practice is an underlying interest in the conditions in which art is made and the subversion of any conventions that stand in the way of its production. Up to his untimely death in 2006 at age 41, he carried out a continuous assault on aesthetic conventions and rules governing the art world. Made up of 96 neon lights hanging from the ceiling, this work was originally part of the artist's seminal installation My Madinah: in pursuit of my ermitage Following its initial installation in 2004, Rhoades grouped together individual components to create unique artworks that each reflect a specific aspect of the overall project. My Madinah forms part of the artist's Pussy Trilogy (including Meccatuna, 2003, and Black Pussy, 2005/06). Together the three projects constitute a complex investigation of contemporary manifestations of religion, culture, sexuality, and consumerism, and were inspired, in part, by the collective trauma caused by 9/11. The multi-colored, neon words in this work belong to Rhoadess larger project of creating a cross-cultural compendium of synonyms for female genitalia. While Madinah is a reference to the holy city of Medina in Saudi Arabia, its English pronunciation presents a further play on this research experiment by loosely rhyming with vagina. As Eva Meyer-Hermann notes, the whole installation becomes a satirically exaggerated cult space, where spiritual experience, erotic ecstasy, and transcendental insight intersect (Eva Meyer-Hermann, Jason Rhoades, Cologne 2009, p. 93).

Untitled (From the body of work: My Madinah: in pursuit of my ermitage...), 2004

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ULRICH RCKRIEM
Title | Untitled (room installation), 1984 Media | Granite, split, cut, polished; 128 x 55 x 55 cm, 13 x 325 x 210 cm, 128 x 120 x 27 cm Artist | Ulrich Rckriem, *1938, Dsseldorf, Germany Lives and works in London, United Kingdom, and Cologne, Germany Gallery | Lhrl Mobile +49 171 371 44 74, +49 172 207 20 72 Galerie Lhrl DE - 41061 Mnchengladbach | Kaiserstrasse 58 - 60 & 67 Phone +49 21 61 20 07 62 | Fax +49 21 61 20 86 61 info@galerieloehrl.de | www.galerieloehrl.de | www.impulsegalerie.de Directors | Dietmar Lhrl, Christian Lhrl Artwork Description | The three sculptures are independent, but at the same time there are relationships between the different forms a free-standing, a relief, and a ground sculpture that constitute the whole. The free-standing sculpture is obelisk-shaped, but broken towards the top (the only obelisk Rckriem ever made), placed above a base-stone. The surfaces are polished to appear denser, more compact. The base-stone and the broken surface show the natural structure of the granite-stone and emphasize extreme contrasts. The ground sculpture consists of two ends of a larger stone block. The characteristic structure of the granite block remains visible. Both forms flow into each other and converge to a whole. For the wall relief, a rectangular granite end-piece was cut in such a way that it appears to belong to the wall. The horizontal split forms a base and a square. Two vertical cuts form a rectangle that is cut parallel to the wall with a polished surface. Ground, walls, and ceiling form one space and all these elements are presented through one of the three sculptures. Each sculpture implies an architectural understanding emphasized by Rckriem in the tectonic quality of the materials and through the clarity of its rational structure.

Untitled (room installation), 1984

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ALLEN RUPPERSBERG
Title | Big Trouble, 2010 Media | 10 framed pigment prints on paper with cutouts and 15 standing sculptures: pigment prints on paper mounted to AB marine-grade plywood; overall dimensions variable; edition of 3 Artist | Allen Ruppersberg, *1944, Cleveland, OH, United States Lives and works in New York, NY, and Santa Monica, CA, United States Galleries | Greene Naftali Greene Naftali Gallery US - New York, NY 10001 | 508 West 26th Street Phone +1 212 463 77 70 | Fax +1 212 463 08 90 info@greenenaftaligallery.com | www.greenenaftaligallery.com Directors | Carol Greene, Alexandra Tuttle, Jeffrey Rowledge Szwajcer Galerie Micheline Szwajcer BE - 2000 Antwerpen | Verlatstraat 14 Phone +32 3 237 11 27 | Fax +32 3 238 98 19 contact@gms.be | www.gms.be Director | Micheline Szwajcer Artwork Description | One of the first West Coast conceptual artists, Allen Ruppersberg has consistently engaged with language, its slippage between mediums, and its situation amidst pop culture. Ruppersberg often looks back through the records of preceding generations, as well as his own personal history, for material to reanimate. In his installation Big Trouble, Ruppersberg revisits a comic strip he used for a mail-art piece in 1969. It recounts the character Scrooges competition with a rich potentate in a show of one-upsmanship for the grandest reputation in Duckburg. In the context of early Conceptualism and the eradication of the art object, Ruppersberg first sent this cartoon anonymously to a list of Los Angeles art world contacts under the acronym SPPA (Society for the Prevention and Preservation of Art). Now literally reviving the story, Ruppersberg portrays the contemporary moments increasingly complex relationship to materiality. Selecting key objects (mostly depictions of monumental sculptures) from the comic strip, the artist has cut these objects out and incrementally enlarged them to form freestanding sculptures. Also reprinting the entirety of the cartoon, he has hung the pages along the walls as a legible story, with empty holes denoting where these figures have jumped out into the room. By transforming the space into a comical realm, turning a perhaps too-familiar fiction into a physical reality, and displaying what is left behind, Ruppersberg again turns printed matter into social substance.

Big Trouble, 2010 Installation view, Allen Ruppersberg, Greene Naftali Gallery, New York, 2010

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FRED SANDBACK
Title | Untitled (Sculptural Study, Seven-part Right-angled Triangular Construction), 1982/2010 Media | Black acrylic yarn; spatial relationships established by the artist, overall dimensions vary with each installation Artist | Fred Sandback, 1943 - 2003 Born in Bronxville, NY, United States; died in New York, NY, United States Galleries | Verna Stand Phone +41 61 699 52 55 | Mobile +41 79 351 14 28 Annemarie Verna Galerie CH - 8032 Zrich | Neptunstrasse 42 Phone +41 44 262 38 20 | +41 44 201 32 35 | Fax +41 44 262 38 26 office@annemarie-verna.ch | www.annemarie-verna.ch Directors | Annemarie Verna, Gianfranco Verna Zwirner Mobile +1 917 297 82 34 David Zwirner US - New York, NY 10011 | 525 West 19th Street Phone +1 212 727 20 70 | +1 212 517 86 77 | Fax +1 212 727 20 72 | +1 212 517 89 59 information@davidzwirner.com | www.davidzwirner.com Directors | Kristine Bell, Angela Choon, Justine Durrett, Bellatrix Hubert, Greg Lulay, Ales Ortuzar, Hanna Schouwink Artwork Description | Fred Sandbacks sculptures outline planes and volumes in space. Though he employed metal and elastic cord early in his career, he dispensed with mass and weight by using acrylic yarn to create works that address their physical surroundings, the pedestrian space, as Sandback called it, of everyday life. By stretching lengths of yarn horizontally, vertically, or diagonally at different scales and in varied configurations, the artist developed a singular body of work that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity. In his own words, Sandback described his sculpture as being less a thing-initself, [and] more of a diffuse interface between myself, my environment, and others peopling that environment, built of thin lines that left enough room to move through and around. Still sculpture, though less dense, with an ambivalence between exterior and interior. A drawing that is habitable. (Fred Sandback in Here and Now: Fred Sandback, exh. brochure, Henry Moore Institute, Leeds, 1999, n. p.) Untitled (Sculptural Study, Seven-part Right-angled Triangular Construction) is a room-size installation that is composed from twenty-one lengths of black acrylic yarn arranged to form seven right-angled triangles, with the vertical elements flat against the wall and the horizontal elements flat against the floor.

Untitled (Sculptural Study, Seven-part Right-angled Triangular Construction), 1982/2010

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BOJAN ARCEVIC
Title | He, 2011 Media | Onyx; 245 x 165 x 45 cm Artist | Bojan arcevic, *1974, Belgrade, Serbia Lives and works in Berlin, Germany, and Paris, France Gallery | Modern Art Stuart Shave/Modern Art GB - London W1W 8DF | 23 - 25 Eastcastle Street Phone +44 20 72 99 79 50 | Fax +44 20 72 99 79 51 info@modernart.net | www.modernart.net Directors | Stuart Shave, Jimi Lee Artwork Description | Bojan arcevic s He (2011) is the newly-realized sculptural counterpart to She (2010). The monolithic sculpture is carved from a single block of Persian onyx acquired by the artist after traveling to the ancient Silk Route city of Yazd in central Iran. From the quarries, this slab of raw stone was transported by road to London for carving and finishing. Precisely worked with rectangular, square cut shapes and cavities, it suggests a semi-functional form, while its sensuous materiality and ambiguous purpose lends a disquieting presence. The interplay of brute shape and man-made geometry evokes notions of change and transformation, while revealing the fundamentally unchanged and highly aesthetic qualities of this rich and elemental material. Its presence offers up a wavering reflection on sculptural tensions: fragility and resilience, weight and gravity, shape and texture, geometric and organic form, organic and mineral flesh.

She, 2010 Onyx, 184 x 124 x 40 cm

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THOMAS SCHTTE
Title | Untitled, 1992 Media | Wood, aniline on paper; 50 coffins: 33 x 118 x 58.5 cm each, 44 prints: 97 x 65.5 cm each Artist | Thomas Schtte, *1954, Oldenburg, Germany Lives and works in Dsseldorf, Germany Gallery | Tucci Russo Mobile +39 335 627 15 04 Tucci Russo Studio per lArte Contemporanea IT - 10066 Torre Pellice (Torino) | Via Stamperia 9 Phone +39 01 21 95 33 57 | Fax +39 01 21 95 34 59 gallery@tuccirusso.com | www.tuccirusso.com Directors | Antonio Tucci Russo, Elisabetta Di Grazia Artwork Description | The work Untitled (1992) develops a complex context within which the threedimensional works comprise only one element. The three-dimensional elements are complemented by two-dimensional objects on the wall. The installation consists of 50 wooden crates and 44 prints. The open crates are grouped in the room in different ensembles. Several of the crates lean against the wall, with their open side facing to the room; a much larger number are lined side-by-side in a single row at uniform distances. In a third group, a pair of boxes are placed on top of one another, creating closed objects. The pictures are located in a row half way up the wall above the crates. The series of graphics all display the same image but in different colors. The strict and regular nature of the installation provides structure to the room. The installation dominates the entire room, not leaving any space for another work of art beside it. The view inevitably directs our thoughts to death, raising the question of whether the row of caskets are simply waiting to be filled. In this case, the images on the wall provide a narrative message. Since the draped bodies of the compact figures remind viewers of mummies, the image becomes a part of the realm of death mentioned above. (Excerpt from Susanne Pfleger, Spaces, Stories, Monuments, in Thomas Schtte, exh. cat. Stdtische Galerie und Kunstverein Wolfsburg, Wolfsburg 1966, pp. 19 - 20)

Untitled, 1992 Installation view, Tucci Russo Studio per lArte Contemporanea, 1992 Detail

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SUDARSHAN SHETTY
Title | For All That We Lose, 2011 Media | Carved wood, electromagnetic mechanism, steel sword, mild steel; 354 x 278 x 106 cm Artist | Sudarshan Shetty, *1961, Mangalore, India Lives and works in Mumbai, India Galleries | Krinzinger Mobile +43 676 324 83 79 Galerie Krinzinger AT - 1010 Wien | Seilersttte 16 Phone +43 1 513 30 06 | Fax +43 1 513 30 06 33 galeriekrinzinger@chello.at | www.galerie-krinzinger.at Directors | Ursula Krinzinger, Thomas Krinzinger SKE Mobile +91 98 45 08 99 32, +1 41 35 59 14 92 GallerySKE IN - 560025 Bangalore | 2 Berlie Street, Langford Town Phone +91 80 41 12 08 73 | +91 80 65 95 19 72 | Fax +91 80 22 23 83 12 post@galleryske.com | www.galleryske.com Director | Sunitha Kumar Emmart Templon Stand Phone +41 61 699 50 86 Galerie Daniel Templon FR - 75003 Paris | 30, rue Beaubourg Phone +33 1 42 72 14 10 | Fax +33 1 42 77 45 36 info@danieltemplon.com | www.danieltemplon.com Directors | Daniel Templon, Anne-Claudie Coric Tilton Mobile +1 646 241 79 12 Tilton Gallery US - New York, NY 10021 | 8 East 76th Street Phone +1 212 737 22 21 | Fax +1 212 396 17 25 info@jacktiltongallery.com | www.jacktiltongallery.com Director | Jack Tilton Artwork Description | Sudarshan Shetty, best known for his enigmatic and moving sculptural installations, has long been recognized as one of the most innovative conceptual artists in India. Trained in painting, Shetty found himself increasingly attracted to the idioms of sculpture and installation, developing a sculptural language that entices the viewer by its grandiose scale and hypnotising movement, while revealing the mechanics of its working in plain sight, foregrounding the artifice that is involved in mounting a show. Shettys work engages with memory at large and explores the social life of objects and their capacities to offer new kinds of subjective experience by creating hybrid devices that engage with the idea of a philosophical loss of body as a social and biological condition. His work often alludes to absence: not as a mere negation of presence but rather the idea of being elsewhere empty jackets, vessels, and circulating liquids all come to denote the absent body while exhausting the viewer by the seeming futility of their repeated actions. For All That We Lose, 2011

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LUCY SKAER
Title | Rachel, Peter, Caitlin, John, 2010 Media | 3-channel 16mm film installation with porcelain, pewter, bronze, copper, burmese blackwood, and plaster; dimensions variable; edition of 5 Artist | Lucy Skaer, *1975, Cambridge, United Kingdom Lives and works in New York, NY, United States Gallery | Murray Guy Mobile +1 917 293 35 07 Murray Guy US - New York, NY 10011 | 453 West 17th Street Phone +1 212 463 73 72 | Fax +1 212 463 73 19 info@murrayguy.com | www.murrayguy.com Directors | Margaret Murray, Janice Guy Artwork Description | Rachel, Peter, Caitlin, John takes its starting point at a group of arbitrary shapes formed by railroad ticket clips. Both punching these forms into 16mm films and expanding them into sculptures, Skaer treats them as ciphers for repetition, difference, singularity, and negation. Each film in Skaers installation depicts a highly auratic subject: one shows pages from a Gutenberg Bible, another closely follows the roaming eye of a cat, and a third shows a series of Mark Rothko paintings. Voiding the footage with a gesture of economic invalidation, sections of each film have been punctured frame by frame with the ticket punches, whose shapes are unique as each has to identify a specific railroad conductor and yet infinitely repeatable. Amongst these films are a group of sculptures, which materialize the abstract shapes in porcelain, pewter, bronze, copper, burmese blackwood, and plaster. In contrast to the film (a medium whose essence is reproducibility), these objects behave as unique prototypes both mute and charged with a potential for action or transformation. Like the Gutenberg Bible which as the first mass-produced book embodied an estrangement of object and source the installation triangulates around poles of uniqueness and reproducibility. Skaer asks not only how we might name something as unique (i.e. Rachel, Peter, Caitlin, John), but also, self-reflectively poses a complex question of what it is to look at or be looked at by a singular work of art.

Rachel, Peter, Caitlin, John, 2010

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RIRKRIT TIRAVANIJA
Title | Untitled 2011 (Passport to the underworld), 2011 Media | Polished steel, felt, wood, aluminum table frames; 37x 375 inches Artist | Rirkrit Tiravanija, *1961, Buenos Aires, Argentina Lives and works in New York, NY, United States Gallery | Brown Gavin Browns enterprise US - New York, NY 10014 | 620 Greenwich Street Phone +1 212 627 52 58 | Fax +1 212 627 52 61 gallery@gavinbrown.biz | www.gavinbrown.biz Directors | Gavin Brown, Corinna Durland, Lucy Chadwick Artwork Description | Sick of his life in New York, viewing travel as poetic adventure, a method of concrete knowledge, an ordeal, a symbolic way to stop growing old, to deny time by crossing space, the artist embarks on a spiritual expedition crossing this planet. What does he find? Few adventures, research that initially excites him but soon reveals itself too inhuman to be satisfying, an increased erotic obsession, an emotional void of growing proportions. Despite his distaste for civilized people and the life of metropolitan cities, by the end of his journey he yearns for the return. (Artists rendition of an excerpt from Michel Leiris, LAfrique fantme, 1934)

Untitled 2011 (Passport to the underworld), 2011

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LUN TUCHNOWSKI
Title | The Alpha, 2010 Media | Painted fiberglass, 4 parts; approx. 240 x 580 x 520 cm Artist | Lun Tuchnowski, *1946, Deiningen, Germany Lives and works in Munich, Germany Gallery | Juda Stand Phone +41 61 699 50 46 Annely Juda Fine Art GB - London W1S 1AW | 23 Dering Street Phone +44 20 76 29 75 78 | Fax +44 20 74 91 21 39 ajfa@annelyjudafineart.co.uk | www.annelyjudafineart.co.uk Directors | David Juda, Jill Capobianco Artwork Description | Lun Tuchnowski was a student of Robert Jacobsen, the well-known Danish sculptor, who greatly influenced him. His sculptures combine two different ideas of the 20th century: geometrically orientated shapes engage in compositions with organic shapes, allowing the seemingly contradictory to compete and communicate with each other. His three-dimensional formations are settled between the constructive body and organic growth, distinguishing themselves through a fragile balance. The language of form often takes on a physical character: single parts reach into space, break through open, close or become more compact. From the early 1990s, Tuchnowksi has deepened his references to architecture. Lun Tuchnowskis The Alpha is made of fiberglass and painted in bright colors, which underline the almost playful character of this work.

The Alpha, 2010

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JAMES TURRELL
Title | Joecar Blue, 1968 Media | Light projection Artist | James Turrell, *1943, Los Angeles, CA, United States Lives and works in Flagstaff, AZ, United States Gallery | Rech Almine Rech Gallery FR - 75003 Paris | 19, rue de Saintonge Phone +33 1 45 83 71 90 | Fax +33 1 45 70 91 30 contact.paris@alminerech.com | www.alminerech.com Directors | Thomas Dryll, Michal Gumener Artwork Description | I use light as a material to work the medium of perception; basically the work really is no object because perception is the object. And theres no image because I am not interested in associative thought. (James Turrell)

Joecar Blue, 1968

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ERIK VAN LIESHOUT

Title | Commission, 2011 Media | Mixed-media installation: carpet, wood, and vinyl texts, HD Video, color, sound; 49 min Artist | Erik van Lieshout, *1968, Deurne, the Netherlands Lives and works in Rotterdam, the Netherlands Galleries | Baudach Mobile +49 174 949 39 44 Galerie Guido W. Baudach DE - 13347 Berlin | Oudenarder Strasse 16 - 20 Phone +49 30 28 04 77 27 | Fax + 49 30 45 02 44 81 galerie@guidowbaudach.com | www.guidowbaudach.com Directors | Guido W. Baudach, Berit Homburg Krinzinger Mobile +43 676 324 83 79 Galerie Krinzinger AT - 1010 Wien | Seilersttte 16 Phone +43 1 513 30 06 | Fax +43 1 513 30 06 33 galeriekrinzinger@chello.at | www.galerie-krinzinger.at Directors | Ursula Krinzinger, Thomas Krinzinger maccarone maccarone US - New York, NY 10014 | 630 Greenwich Street Phone +1 212 431 49 77 | Fax +1 347 394 00 43 info@maccarone.net | www.maccarone.net Directors | Michele Maccarone, Ellen Langan Artwork Description | In 2010 Erik van Lieshout was commissioned to make a film about Zuidplein, a shopping mall in the South of Rotterdam. He lived in this neighborhood for 15 years and made a few of his films there. The commission by Sculpture International Rotterdam and Hart van Zuid as part of a long-term art project was an opportunity to examine this area again and also his position as an artist. In the summer of 2010, van Lieshout opened a temporary shop in an abandoned unit in the Zuidplein mall, located in a working-class district that is home to several large immigrant communities. Rather than simply selling goods, he used his shop as a base from which to (re)connect with the neighborhood and its people, engaging them in characteristically frank and often very funny conversations about roots, regeneration, security, and consumerism. For van Lieshout, Commission is my commentary on the socio-political powerlessness of people and of art. It is also my quest for a home. Examining the impact of figures such as the Rotterdam-based Rem Koolhaas and the assassinated Dutch politician Pim Fortuyn, the film is both a portrait of a place and of an artists half-skeptical, half-hopeful attempt to become an agent of social good.

Video stills from Commission, 2011

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JORINDE VOIGT
Title | NEXUS (Schweiz 1 5): Superdestination, Mgliche Farben des Horizonts, Horizont, Bewegungsrichtung, Position, Himmelsrichtung, Rotation, Kontrollfeld, Schussfeld, Airport, 2 kssen sich-Generationsablauf, Territorium, 2011 Media | Set of 5 drawings; ink, oil crayon, pencil on paper; 270 x 200 cm each Artist | Jorinde Voigt, *1977, Frankfurt am Main, Germany Lives and works in Berlin, Germany Gallery | Klosterfelde Mobile +49 163 283 53 05 Klosterfelde DE - 10785 Berlin | Potsdamer Strasse 93 Phone +49 30 283 53 05 | Fax +49 30 283 53 06 office@klosterfelde.de | www.klosterfelde.de Director | Lena Kiessler Artwork Description | The five-part work depicts a diagrammatic, processual sequence of various themes developed within the last two years. These themes have emerged from a debate with social and cultural surroundings. The observation behind the development of this diagrammatic notation is phenomenological and incorporates popular collective stores of knowledge. The text/creation of form has evolved according to my subjective decisions as I try to find a diagrammatic method of notation, which behaves in a real way in reference to the object. The process of developing the notation, as well as the actual implementation of the notation, serves to investigate the perception of events; this procedure constructs a coexistent reality in reference to the context observed. The development of a theme emerges through the extreme reduction of a phenomenon to its most typical (neutral) parameters. These are given values of time, speed, direction, and space, and so it becomes possible to decline the individual parameters and visualize the spectrum of inherent possibilities. At the same time, elementary considerations related to rotation, rhythm, and singularity influence the realization of the themes own dynamic structure. Therefore, each drawing is an image of a real analysis, which should always be understood as an experiment and also as documentation of thought processes. This working method developed from the motivation to find an extended form of notation which expands on concepts (or the naming of objects) enables a totality and simultaneity of connotations. Structurally, my work should be understood as a score or performative notation. The image that finally evolves from this process is a textual image. (Jorinde Voigt)

NEXUS (Schweiz 1 5): Superdestination, Mgliche Farben des Horizonts, Horizont, Bewegungsrichtung, Position, Himmelsrichtung, Rotation, Kontrollfeld, Schussfeld, Airport, 2 kssen sich-Generationsablauf, Territorium, 2011 Detail

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MARK WALLINGER
Title | The Unconscious, 2010 Media | Digital archival prints mounted on dibond; 24 parts, overall dimensions variable; edition of 3 + 1 AP Artist | Mark Wallinger, *1959, Chigwell, United Kingdom Lives and works in London, United Kingdom Galleries | carlier gebauer Mobile +49 157 86 84 03 91, +49 160 90 98 56 89 carlier gebauer DE - 10969 Berlin | Markgrafenstrasse 67 Phone +49 30 24 00 86 30 | Fax +49 30 240 08 63 33 mail@carliergebauer.com | www.carliergebauer.com Directors | Marie-Blanche Carlier, Ulrich Gebauer Krinzinger Mobile +43 676 324 83 79 Galerie Krinzinger AT - 1010 Wien | Seilersttte 16 Phone +43 1 513 30 06 | Fax +43 1 513 30 06 33 galeriekrinzinger@chello.at | www.galerie-krinzinger.at Directors | Ursula Krinzinger, Thomas Krinzinger Reynolds Mobile +44 77 98 60 63 43 Anthony Reynolds Gallery GB - London W1F 7BG | 60 Great Marlborough Street Phone +44 20 74 39 22 01 | Fax +44 20 74 39 18 69 info@anthonyreynolds.com | www.anthonyreynolds.com Director | Anthony Reynolds Young Donald Young Gallery US - Chicago, IL 60604 | 224 South Michigan Avenue, Suite 266 Phone +1 312 322 36 00 | Fax +1 312 322 30 33 gallery@donaldyoung.com | www.donaldyoung.com Director | Emily Letourneau Artwork Description | The Unconscious cues expectations of Freudian psychoanalysis or a feast of Surrealist imagery. What is delivered, however, are banal pictures of people asleep on public transport. The photographs have been gleaned from websites dedicated to the genre. Sleep is ultimately a vulnerable and intimate state and distribution of these photographs as a currency of ridicule creates unease tinged with the horror of colonised tribes who feared the camera would capture their souls. The images lack the solidity of high-resolution photographs, as if their subjects are partially leaking away from the callous world of public transport, drifts of interference encroaching protectively from the dimension of sleep. The sense of vulnerability of the sleeper can be attributed to animal defencelessness but it also has socio-political basis: the lack of composure of the unconscious face is a far cry from the idealized image we would like to present to the world. The Unconscious, 2010 Detail

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NARI WARD
Title | CarouSoul, 2011 Media | Rope, tires, metal support, shoe tips, shoe tongues, and tire rims; approx. 246 x 144 x 144 inches, 624.8 x 365.8 x 365.8 cm Artist | Nari Ward, *1963, St. Andrews, Jamaica Lives and works in New York, NY, United States Galleries | Continua Mobile +39 348 580 59 96 Galleria Continua IT - 53037 San Gimignano | Via del Castello, 11 Phone +39 05 77 94 31 34 | Fax +39 05 77 94 04 84 info@galleriacontinua.com | www.galleriacontinua.com Directors | Mario Cristiani, Lorenzo Fiaschi, Maurizio Rigillo Lehmann Maupin Lehmann Maupin US - New York, NY 10001 | 540 West 26th Street Phone +1 212 255 29 23 | Fax +1 212 255 29 24 info@lehmannmaupin.com | www.lehmannmaupin.com Directors | Rachel Lehmann, David Maupin, Carla Camacho, Courtney Plummer, Stephanie Smith, Bethanie Brady Artwork Description | Jamaican artist Nari Ward, known for his dramatic sculptural installations composed of systematically collected material from his urban neighborhood in Harlem, New York, presents CarouSoul, a large-scale installation comprised of rope, tires, metal support, shoe tips, shoe tongues, and tire rims, created specifically for Art Unlimited 2011. By exposing the numerous emotions inherent within found everyday objects, Wards works examine issues surrounding race, poverty, and consumer culture. CarouSoul, reinterpreting the classic fairground ride, initially conveys amusement and nostalgia, though a more thoughtful look reveals a delicate balance between playfulness and fragility.

Detail of CarouSoul, 2011

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HANNAH WILKE
Title | Elective Affinities, 1978 Media | 86 white glazed porcelain ceramic sculptures, varying sizes, on 4 painted boards; each board: 8.9 x 73.7 x 73.7 cm, 3 x 29 x 29 inches Artist | Hannah Wilke, 1940 -1993 Born in New York, NY, United States; died in Houston, TX, United States Gallery | Jacques Mobile +44 79 17 19 49 38 Alison Jacques Gallery GB - London W1T 3LN | 16 - 18 Berners Street Phone +44 20 76 31 47 20 | Fax +44 20 76 31 47 50 info@alisonjacquesgallery.com | www.alisonjacquesgallery.com Directors | Alison Jacques, Roger Tatley, Philip Abraham Artwork Description | Elective Affinities (1978) is a work comprising 86 white glazed sculptures, each a signature folded gesture evocative of vaginal and labial imagery, set in grids across four painted boards. The title of the work is taken from a Romantic novel of the same name, written in 1809 by Johann Wolfgang von Goethe. Goethe used contemporary scientific theory relating to the irresistible chemical attractions between particles as a guiding metaphor to explore the inevitability of certain social and romantic relationships, a theme which resonated with Wilke as she addressed adult experiences of desire in her practice. The work was made not long after the dissolution of Wilkes relationship with Claes Oldenburg and is, according to curator Tracey Fitzpatrick, deeply biographical. Elective Affinities was also a turning point in the technical development of Wilkes practice. She had made her first large-scale floor sculpture in 1974, but Elective Affinities marked the first deployment of geometric strategies of arrangement in such a large piece. Wilke explored grid systems in her career in other media (for instance, kneaded erasers on board) and in smaller floor pieces, but in no other work did Wilke explore a formal relationship to minimalism with such assiduity.

Elective Affinities, 1978

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CATHY WILKES
Title | Non Verbal, 2006 Media | Mixed-media installation Artist | Cathy Wilkes, *1966, Belfast, United Kingdom Lives and works in Glasgow, United Kingdom Gallery | Modern Institute The Modern Institute/Toby Webster Ltd GB - Glasgow G1 5QN | 14-20 Osborne Street Phone +44 141 248 37 11 | Fax +44 141 552 59 88 mail@themoderninstitute.com | www.themoderninstitute.com Directors | Toby Webster, Andrew Hamilton Artwork Description | I know that its impossible to be objective I have concluded that over time. And being non-objective brings all the mysteries of my mind into my work. I think these parts are very important to any artwork: not knowing why something is exactly as it is or why its there at all. I want to show these mysteries in an expanded way, but I am not interested in being confessional. I dont want to share my story or something. I can see and feel that my work shows loss and sadness, and I know that my work is brought about by these experiences to an extent. Its also possible to imagine that an artwork is a companion to spiritual suffering and change. Like a suffering nurse. Sentimentality relies on an acknowledgement of loss, memor y, meaningfulness. Its not nihilistic. Sentimentality is important to object relations. I am for the dead being companions for the living. Not for separation. The dead can enjoy some of the pleasures of life. There are objects in my work that I want to give a continuing purpose that is true... Im in it to give everything: to the death! (Excerpts from Cathy Wilkes in conversation with Bart van der Heide on the occasion of her 2011 solo exhibition at the Kunstverein Mnchen, Munich)

Non Verbal, 2006

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CERITH WYN EVANS

Title | C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind), 2010 Media | Mixed media; dimensions variable; unique Artist | Cerith Wyn Evans, *1958, Llanelli, United Kingdom Lives and works in London, United Kingdom Gallery | White Cube White Cube GB - London N1 6PB | 48 Hoxton Square Phone +44 20 79 30 53 73 | Fax +44 20 77 49 74 70 enquiries@whitecube.com | www.whitecube.com Directors | Jay Jopling, Daniela Gareh, Tim Marlow, Susan May Artwork Description | Cerith Wyn Evans conceptual practice incorporates a wide range of media, including installation works, sculptures, photography, film, and text. For Wyn Evans, installations should work like a catalyst: a reservoir of possible meanings that can unravel many discursive journeys. C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind) is a polyphonic sound mobile adapted from a series of audio spotlights by the American holosonic inventor Joseph Pompei. Suspended in tiers, sixteen mirrored discs gently rotate in mid-air, transmitting directional, ultra-sonic beams of sound. This consists of a multi-layered soundtrack or sound collage created by Wyn Evans using various audio sources amongst which are his own piano arrangements and field recordings gathered by the Lovell radio telescope in Jodrell Bank. Mirrorspeakers reflect and deflect the sound off the surrounding walls, creating a phenomenological experience that can neither be shared nor repeated.

C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind), 2010

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DAVID ZINK YI
Title | Untitled (Architeuthis), 2010 Media | Ceramic, coated with copper and lead, water; 29 x 486 x 115 cm; unique Artist | David Zink Yi, *1973, Lima, Peru Lives and works in Berlin, Germany Galleries | Hauser & Wirth Hauser & Wirth US - New York, NY 10021 | 32 East 69th Street Phone +1 212 794 49 70 | Fax +1 212 794 49 71 newyork@hauserwirth.com Johann Knig Johann Knig, Berlin DE - 10963 Berlin | Dessauer Strasse 6 -7 Phone +49 30 26 10 30 80 | Fax +49 30 261 03 08 11 info@johannkoenig.de | www.johannkoenig.de Directors | Johann Knig, Erika Weiss, Erin Somerville Artwork Description | Over the past few years, David Zink Yi has worked within the ceramic tradition to create a series of sculptures modeled on Architeuthis, the deep-sea-dwelling giant squid, an elusive creature prominent in myth and legend. Until only a few years ago, the giant squid had never been encountered alive; human experience of this life form was limited to corpses we discovered washed up on beaches. In his largest ceramic sculpture to date, Zink Yi uses the transformative power of heat and pressure to create a handcrafted creature that we understand only through the knowledge of its surface a body without depth or animus. Lead and copper glazes play off each other to create variation within its metallic surface. The 16-foot deflated form rests in a blackened pool of liquid, provoking the viewer into a powerful encounter with the grotesque. (John Rasmussen)

Untitled (Architeuthis), 2010 Exhibition view, David Zink Yi: Horror Vacui, Midway Contemporary Art, Minneapolis, 2011

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