Composition

Pieter Bruegel the Elder

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Pieter Bruegel the Elder, ‘Hunters in the Snow (Winter)’ (1565)


Pierre Ardouvin

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Pierre Ardouvin, ‘Retour dans la Neige’ (2015)


Philip Janssens

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Philip Janssens, ‘No title (Open Windows)’


Philip Ewe at Flat i

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Philip Ewe‘s performance for PLATOON at Flat i, London, last Friday (October 2).

A performance event of bombastic proportions and mobile limits. Stretching inside oneself and outside oneself – this was a one man apartment-based battle with questions and answers and then more questions…


William Leavitt

William Leavitt, Theme Restaurant, 1986

William Leavitt, ‘Theme Restaurant’ (1986)


Los Carpinteros

Los Carpinteros-Croissant I, 2013. Watercolour on paper

Los Carpinteros, ‘Croissant I’ (2013)

Watercolour on paper.


Thomas Rentmeister

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Thomas Rentmeister, untitled (2014)

Steel and underwear.


Carol Bove

Carol Bove, Vague Pure Affection, 2012

Carol Bove, ‘Vague Pure Affection’ (2012)

In Vague Pure Affection (2012), books, photographs, found objects, and small sculptures allude to drug culture and the expanded consciousness that many hoped to achieve through the use of psychedelics. However, Bove has drawn the work’s title from a volume that does not appear on the shelves: the 1901 Theosophist treatise Thought-Forms by Annie Besant and C. W. Leadbeater. This text, which outlines the shapes and colors of auras associated with various mental states, greatly influenced the invention of abstract painting by Vasily Kandinsky and others.


Nana Kogler

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Nana Kogler, ‘Kinoregal’ (2012)

Replica of a cupboard in the cinematheque of Tangier, Morocco. Built after an interior picture by Sarah Keller published in Deutsche Guggenheim Magazin for Yto Barrada’s exhibition ‘Riffs’ in Berlin in 2011. Visit of the original object in the summer of 2013.


Anne Speier

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Anne Speier, ‘Spice Shrine Giotto Blue’ (2014)

Wood, paint, fabric, spices.

“Inside the Scrovegni Chapel of Padua, there is a fresco by Giotto di Bondione depicting the founder of the church, Enrico Scrovegni, a rich banker, merchant and nobleman.
In the fresco Scrovegni hands over a miniature version of that same chapel to Virgin Mary, hoping that she will forgive his and his families usury misdeeds and hoping they will not send him to purgatory, but take him into heaven. Enrico Scrovegni did not feel ashamed to make his purposes very clear: To get what he wanted he even had his tricky act illustrated on the chapel’s wall.

I have copied some houses in the backgrounds of further frescoes in the chapel as models, but gave them a new function as spice shelves. They do not only contain spices but filling elements of fancy fabrics, meandering and pleated around the spices, embedding them softly into the shell of the shelf, making their patient wait for the moment of employ enjoyable like a long day in bed. “