Yves Borgwardt

Rick Genest: Comin’ back home, Darling!

2010
Ed. 12 + 2 A.P.
Archival pigment print

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Rick Genest (2010). El modelo de moda y artista canadiense Rick Genest es también conocido como Zombie Boy por sus tatuajes de vísceras y huesos que cubren la mayor parte de su cuerpo. Antes de que tuviera uno solo, Genest fue diagnosticado con un tumor cerebral y próximo a someterse a la cirugía, meditaba sobre su vida y posible muerte. Dando un paseo por la ciudad un día, Genest decidió vivir en el centro de Berlín, ocupando las azoteas y los contenedores de basura o bajo los puentes, para experimentar "un estilo de vida anárquico". El 27 de febrero de 2011, Genest apareció en el video de Lady Gaga "Born This Way ", quien uso maquillaje para replicar sus tatuajes. El modelo apareció en Vogue Hommes Japan, GQ y Style Reino Unido. Las fotografías de Yves Borgwardt muestran a Genest de una forma íntima nunca antes vista, que capturan el modelo existencialista en el que Genest se ha convertido, detrás de la fachada del fenómeno mediático. Comin' Back Home, Darling’ y ‘Hotel’ son dos aproximaciones de un mismo retrato contemporáneo, de un personaje particular que describe el espíritu de nuestros tiempos.

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Roger Ballen

Asylum of the Birds: Caged

2010
Ed. 5 + 2 A.P.
Archival pigment print

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El asilo de las aves (2010) es una serie realizada dentro de los confines de una casa en un suburbio de Johannesburgo. Sus habitantes de la casa, tanto personas como de animales, y más aún los omnipresentes pájaros, son el reparto que actúan en un interior escultórico y decorado orquestado por el autor. La obra resulta en imágenes con capas voluptuosas en las que aparecen el graffiti, dibujos, animales y objetos encontrados.

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New Era: Untitled (Palm Tree)

2009 - 2014
Ed. 7 + 2 A.P.
Archival pigment print

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New Era (2009-14) suggests a fiction about a world where man passes spiritually taciturn ways in which predominates despair with the desire for liberation and transcendence. The series evokes the malaise of a society in which man is constantly faced with his own evil and overcomes their fears. The images evoke the metaphor of the spiral that renews what withers and blooms again and again, before a symbolic -and distant, quasi-futurist rebirth of man.

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Konstantin Grebnev

Abstract I

2015
Ed. 10 + 2 A.P.
Archival pigment print

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Abstract (2015) is a series of studies and experiments that combine monochrome painting and photography. Drawing and making various manipulations with ink on glass, Grebnev put himself in the position of an observer of the process. By minimizing his influence on the formation of the work, he allows the picture to create itself. As he moves the glass, the ink spreads. He uses his camera to catch the moment of the reality during this process, and then he captures it before in the next moment the picture is changing.

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Konstantin Grebnev

Abstract II

2015
Ed. 10 + 2 A.P.
Archival pigment print

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Abstract (2015) is a series of studies and experiments that combine monochrome painting and photography. Drawing and making various manipulations with ink on glass, Grebnev put himself in the position of an observer of the process. By minimizing his influence on the formation of the work, he allows the picture to create itself. As he moves the glass, the ink spreads. He uses his camera to catch the moment of the reality during this process, and then he captures it before in the next moment the picture is changing.

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Mara Sánchez-Renero

El Cimarrón y el Fandango: Los diablos

2014
Edition A: 6 + 2 A.P.
Archival pigment print

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El Cimarrón y el Fandango (2014), habla alegóricamente sobre el pasado de una comunidad de origen africano y el viaje de sus miembros a través de las fluctuaciones de la historia colonial, su integración en el territorio mexicano, y su sentido de identidad dentro de ella. No obstante, ese pasado no es solo la descripción de un concepto histórico; es -sobre todo- una definición de la presente. Un presente, en el caso de sus descendientes afro-mexicanos, que permanecen marginados, inestables e inmemorables para el discurso hegemónico.

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Anika Schwarzlose

Disguise and Deception: Platform

2011
Ed. 12 + 2 A.P.
Archival pigment print

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Máscara y engaño (2014), es un intercambio mimético de estrategias para hacer creer. Una división especial del ejército alemán llamado 'Tarnen und tauschen' (Máscara y engaño ) se ocupa de los asuntos más curiosos. La unidad está dedicada a la investigación y el desarrollo de la tecnología de camuflaje y la fabricación de armamento señuelo - tanques inflables , vehículos y minas terrestres de imitación. La militarización del entorno visual tal como se practica por los técnicos en la base, se convierte en un prisma de las consideraciones estéticas de los sistemas ideológicos, así como los efectos recíprocos que se producen entre los dos. En forma de un diálogo visual , ‘Máscara (o Disfraz) y engaño’ examina conjuntos particulares de las relaciones entre la estética y la ideología.

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Paddy Summerfield

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Paddy Summerfield

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Paddy Summerfield

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Restricted Areas: Deserted Observatory. Kazakhstan, Almaty region

2015
Ed. 6 + 1 A.P.
Archival pigment print

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Restricted Areas (2015) is a series about the utopian strive of humans for technological progress. Better, higher, stronger… Always trying to own ever more this human desire is the source of technical progress including commodities and grandeur as well as the tools of violence that keep power over the other. “I travel in search of places which used to have great importance for the technical progress and are now deserted. Those places lost their significance together with its utopian ideology which is now obsolete. Secret cities that could not be found on maps, forgotten scientific triumphs and abandoned buildings of almost inhuman complexity. The perfect technocratic imagery of a future that never came.” For Restricted Areas, Tkachenko traveled the former countries part of the former USSR, in search of places that used to hold great importance for the idea of technological progress. These places are now deserted. They have lost their significance, along with their utopian ideology, which is now obsolete. “Any progress comes to an end sooner or later. It can happen due to different reasons: nuclear war, economic crisis or natural disasters. For me it is interesting to witness what is left after.”

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Restricted Areas: Deserted Observatory with the best conditions for space observations.

2015
Ed. 6 + 1 A.P.
Archival pigment print

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Restricted Areas (2015) is a series about the utopian strive of humans for technological progress. Better, higher, stronger… Always trying to own ever more this human desire is the source of technical progress including commodities and grandeur as well as the tools of violence that keep power over the other. “I travel in search of places which used to have great importance for the technical progress and are now deserted. Those places lost their significance together with its utopian ideology which is now obsolete. Secret cities that could not be found on maps, forgotten scientific triumphs and abandoned buildings of almost inhuman complexity. The perfect technocratic imagery of a future that never came.” For Restricted Areas, Tkachenko traveled the former countries part of the former USSR, in search of places that used to hold great importance for the idea of technological progress. These places are now deserted. They have lost their significance, along with their utopian ideology, which is now obsolete. “Any progress comes to an end sooner or later. It can happen due to different reasons: nuclear war, economic crisis or natural disasters. For me it is interesting to witness what is left after.”

Please provide name and email for information


5.00 m 3.00 m

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