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Armory Show 2010: Preview Part 1

March 5, 2010 by Ellie

Included at our stand 614 will be a range of works from our prints and editions. To give you an idea of what you can find at Other Criteria, we’ve posted a selection below. For those heading to the fair, we look forward to seeing you there! For more information, please be in touch.

The Armory Show, Piers 92 & 94, New York City, USA

The Dead, Chocolate Oriental Gold, Damien Hirst, 2009, Two colour foil block prints, 720 x 510 mm, Edition 6/15

The Dead, Damien Hirst, Imperial Purple Oriental Gold, 2009, Two colour foil block prints, 720 x 510 mm, Edition 6/15

The Dead, Lime Green Island Copper, Damien Hirst, 2009, Two colour foil block prints, 720 x 510 mm, Edition 6/15

Dark Rainbow (Jaw), Damien Hirst, 2009, Resin 560 (height) x 400 (wide) mm, Edition 5/40

Carvacrol, Damien Hirst, 2008, Silkscreen print with bronze glitter, 950 x 760 mm, Artist’s proof from an edition of 150

Domine, Dominus noster (diamond dust), Damien Hirst, 2010, Silkscreen prints with glazes, 740 x 715 mm, Edition of 50

Domine, ne in furore, Damien Hirst, 2010, Silkscreen prints with glazes, 740 x 715 mm, Edition of 25

Two Roses, Gary Hume, 2009, Japanese woodblock print, 576 x 435 mm, Edition 45/45

Egle, Ross McNicol, 2009, Digital C-type print on Fuji Crystal Archive Paper, 762 x 762, Edition of 5

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Still Birth, Polly Morgan, 2010, Taxidermy Pheasant chick, wire, painted resin, glass dome, MDF base, 15 d x 15 w x 26 h, Unique in a series of 10

Ghost, Boo Saville, 2009, Etching with mixed media, Average size: 762 x 562, Unique within an edition of 31

Ghost, Boo Saville, 2009, Etching with mixed media, Average size: 762 x 562, Unique within an edition of 31

Me and my Camel, Gary Webb, 2009, Cast Aluminium, 960 x 470 x 190 mm, Unique

Curated by Jeff Koons

Skin Fruit will be the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This will also be the first exhibition curated by Koons, whose early work inspired the evolution of the Joannou collection.

Skin Fruit will include over 100 works by 50 international artists spanning several generations. Focusing on the body in contemporary art, the exhibition will spotlight the age-old preoccupation with the human form as a vessel of and vehicle for experience. Koons’s title Skin Fruit alludes to notions of genesis, evolution, original sin, and sexuality. Skin and fruit evoke the essential tensions between interior and exterior, between what we see and what we consume.

Starting with the first, now-legendary exhibitions, such as Artificial Nature and Post Human, at his DESTE Foundation’s non-profit museum in Athens, Dakis Joannou has focused on works that present a new image of man. It is no coincidence that his collection developed in the cultural context of Greece, where Classical sculpture defined the Western canon of anatomical representation. Artists have arrived at a much more uncertain image of mankind in this new century, in which bodies are still idealized but also are assaulted by forces of our own making. Joannou’s collection is comprised of more than 1,500 works by 400 contemporary artists, from the most eminent to those just emerging. For Skin Fruit, Koons has selected sculptures, works on paper, paintings, installations, and videos by a group of artists including David Altmejd, Janine Antoni, Matthew Barney, Ashley Bickerton, Nathalie Djurberg, Robert Gober, Mike Kelley, Terence Koh, Mark Manders, Paul McCarthy, Tim Noble and Sue Webster, Richard Prince, Cindy Sherman,  Kiki Smith, Christiana Soulou, Jannis Varelas, Kara Walker, Andro Wekua and Franz West, among others.

The show will also premiere new works such as Charles Ray’s re-envisioned Revolution Counter-Revolution (1990/2010); a new public installation of Jenny Holzer’s Selections from the Survival Series (1984); and a special 3-D book project by Italian artist Robert Cuoghi, and will include living sculptures by Pawel Althamer and Tino Sehgal. Skin Fruit will feature only one work by Koons—his One Ball Total Equilibrium Tank (1985)—the first major artwork that Dakis Joannou acquired, initiating the collection that would grow to be one of the world’s finest. Within the context of the exhibition this influential object, with its both familiar and mysterious orb suspended in fluid, becomes a womb, a point of origin and of departure. The installation for “Skin Fruit” has been conceived by Koons as a kind of panorama, with frequent shifts in scale and unconventional juxtapositions. Role-playing games and dramas occur: a man will stage a religious ritual; a sculpture literally sings out; white chocolate monuments tower above visitor’s heads; voracious creatures eat themselves and each other while bodies are buried or frozen; icons and deities are adored or dethroned.

For more information on the exhibition and gallery opening times, visit the New Museum.

RETROSPECTRE by Mat Collishaw coincides with talks, a symposium and a season of rarely seen Sergei Paradjanov feature films, shorts and documentaries about his life and work.

According to the BFI, ‘Collishaw and Paradjanov share a very perceptive understanding of the mechanics of beauty, which they both exploit in their art, especially through the juxtaposition of heterogeneous elements, of framing devices and a sensual use of colour. In the influential Shadows of our Forgotten Ancestors (1964), Colour of Pomegranates (1968) and Ashik Kerib (1988), films which show Paradjanov’s trademark style, each shot is a three-dimensional collage simultaneously self-standing and integral to the film, where heterogeneous elements are juxtaposed, framed and re-framed; where narrative is continuously fragmented. Similarly, in the gallery, by projecting several, distinct images onto real historical objects, Collishaw fuses the moving image’s two-dimensionality with the three-dimensionality of sculpture; furthermore the unexpected re-framing of the newly shot footage creates a sense of displacement. Collishaw uses digitally manipulated images he shot in Armenia together with found images – still and moving – which he frames within authentic, antique sculptural objects and which he distorts through the use of mirrors. In so doing the real is stylised and re-framed in order to convey further meaning and to create a fairytale-like world where good and evil, sacred and profane, love and violence merge.’

26th February – 9th May 2010.

For nore information, visit the BFI or Mat Collishaw’s website.

The show features fifteen works of diverse medium, including canvas-mounted hand-built plastic relief, sculpture and print. The works include Improved Rack, a deer antler that has been sectioned off and recomposed that suggests potential growth; Consumptive (selbst-bildnis for DH) a sculptural work in which an Italian sausage is made of plastic; Stripped Surface (Brachii) a canvas work that reminds one of zebra skin and Stripped Reflection (Lucifer’s Legacy) a “glass canvas” playing with the double; the work of art and its shadows reflected on the wall. In transforming familiar objects Joo’s works reinterprets them, and viewers will experience the artist’s unique reconciliation of the aesthetic and philosophical reflections on the unfamiliar.

To read the press release in full and for more information, click here.

Michael Joo, Improved Rack (Elk #16), 2009, Antlers, stainless steel, 139,7 x 251,46 x 63,5 cm

Barock investigates issues that permeated the 17th century and are still distinctive of our time, showing how the typical themes of the Baroque culture have been revived by contemporary artists. For more information on the exhibition, please visit Madre’s website.

Foreground: Black Sheep Divided, 2008, Steel, glass, silicone sealants, formaldehyde solution and lamb, 1180 x 1860 x 513 mm (x 2 tanks)

Centre: Saint Bartholomew, Exquisite Pain, 2006, Bronze, 2500 x 1100 x 950 mm Left: Nothingness, 2008, Glass, steel, MDF, aluminium and drug packaging, 1828.8 x 2743.2 x 304.8 mm

Lost Memories and Dreams Forgotten, 2008-9, Steel, glass and cubic zirconia, 1828.8 x 2743.2 x 101.6 mm (x 2 diptychs) Rear wall: Black Sun, 2004, Flies and resin on canvas, 3657.6 mm diameter

Saint Bartholomew, Exquisite Pain, 2006, Bronze, 2500 x 1100 x 950 mm

Heaven, 2008-9, Glass, steel, shark, acrylic and formaldehyde solution, 2140 x 3836 x 1418 mm (including plinth)

Opening night, installation view

Opening night, installation view

Opening night, installation view

Opening night, installation view

Opening night, installation view