Jason Lazarus, ‘Laying behind my favourite picture of Marilyn Monroe’ (2007)
Martin Kippenberger, ‘Richter-Modell (interconti)’ (1987)
Kippenberger bought a 1972, all-gray abstract painting by Gerhard Richter, added a frame and screwed legs onto it.
‘Camus and Sisyphus Walk Into a Bar…’ (2011) by Thomas van Linge.
An installation consisting out of an oddly shaped tilted grey surface and a radio controllable rock.
Caspar David Friedrich, ‘The sea of ice’, also known as ‘The wreck of hope’ (1823-24)
‘Germania’ (1993) Hans Haacke‘s contribution to the 1993 Venice Biennale.
“I learned that the pavillion’s present appearance was tied to Hitler’s rise to power in 1933. As part of an excursion to Venice for a meeting with his comrade Benito Mussolini, the man who had not succeeded as a painter in Vienna, paid a visit to the Biennale and the German pavilion. Hitler did not like what he saw. As a consequence, by 1937 an exhibition titled Degenerate Art opened in Munich, and plans for the re-styling of the pavilion in Venice were approved. A new national corporate identity was in the making – and so were preparations for the expansion of Germany beyond its borders and the introduction of a deadly programme of ethnic cleansing.”
(Hans Haacke in an essay for Tate Papers)