Allora & Calzadilla, Bandage, 2011, Painted cast white metal, 3 x 3/4 x 1/16 in / 7,6 x 2 x .16 cm, Signed certificate. [A small, tan bandage lying face-down on a white background.]
Jennifer Allora (b. 1974) and Guillermo Calzadilla (b. 1971), both based in San Juan, Puerto Rico, began collaborating in 1995. Together they represented the United States in the 2011 Venice Biennale. Recent solo exhibitions include Performance 9: Allora & Calzadilla”, MoMA, New York (2010); “Allora & Calzadilla”, The National Museum of Art, Architecture and Design, Oslo( 2009); “Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano”, Haus der Kunst, Munich,“Never Mind that Noise you Heard”, Stedelijk Museum Amsterdam, Amsterdam(2008); “Allora & Calzadilla”, Kunsthalle Zürich, Zurich; “Clamor”, Serpentine Gallery, London; “Wake Up”, The Renaissance Society at The University of Chicago, Chicago, (2007).
Paul Chan, Wht is the nture of lw, 2011, Inkjet print and silkscreen on paper, 19 1/3 x 16 1/8 in / 49 x 48,6 cm, Signed and numbered. [A collage-style image. The background is a 19th century-style painting titled "Start of the Famous Race between the Natchez & Robt," drawing from an actual race between two steamboats named the Nachez and the Robert E. Lee in 1870 New Orleans. The painting depicts a maritime scene. It appears slightly ripped at the top, with a black background, and black, blue, and yellow opaque squares appearing in each corner. At the bottom, "THE END" is printed in a square formation. In the center, a printed, black, numbered list is overlaid on top of the painting, with 20 elements. The text reads: "1. Dylan quote: To be just, one has to be against the law / 2. Artist are "natural" lawbreakers / 3. Art synonymous with freedom (against law) / But art is not lawless, it simply followed another law (law as tendency) / 5. Expression is the following of a more natural law (perhaps higher law in line with nature and non-man made law / 6. Diotima? Marcus Aurelius? Hardot / Natural law, nature) / 7. Artmaking is when one discovers a law that one already follows (science) / 8. In the end, it is law against law. / 9. But still, law is sin (St. Paul) and death. / 10. Petrified unrest / manic energy / overproduction / 11. What is truly against the law? / 12. Duchamp / against one's taste / contranatural / (perverse) / 13. Kant = Contranatural is Anti-Christ / 14. His anti-art was in fact a private pleasure forced to live on for others. / 15. Crime and pleasure (≠ happiness) / 16. Crime is what is pleasing only to onself? / 17. Real art is what is pleasing to oneself? / 18. Real art is a real crime? / 19. Adorno quote as Nietzschean bluster / 20. The real crime is that what we do for ourselves is pleasing"]
Paul Chan (b. 1973)
Thomas Bayrle, Woody Allen: f ilms fi lms fil ms film s fil ms fi lms f ilms, 2011, Bespoke archival box wrapped in silkscreened cotton book cloth, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Signed and numbered certificate. [A black-and-white image, tiled across with tiny, interlocking patterns, similar to a Pacman level. The pattern is skewed - made more or less dense - to form the curvature of a face with dark glasses.]
Thomas Bayrle (b. 1937) lives and works in Frankfurt. Recent solo exhibitions include La Chaufferie – Ecole Supérieure des Arts Décoratifs, Strasbourg (2011); Musée d’art moderne et contemporain, Genève (2009); Raven Row, London (2008); Museu d’Art Contemporani de Barcelona (2009), and Museum Ludwig, Köln (2008).
Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern [A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.]
For the printing of this edition Wolfgang Tillmans primed four different printing inks into the running printing press. Once dry, the printed sheets were carefully hand-folded. The sheet should not be smoothed when unfolded but hung with the creases and the surface tension visible, as each crease will reflect light in varying hues. The two fastening clips are to be attached 5cm from the top edge within the white margins. The whole sheet should then be hung on two nails, relaxed and loose against the wall.
Wolfgang Tillmans (b. 1968) is based in Berlin. Recent solo exhibitions include Zacheta National Gallery of Art, Warsaw, Poland (forthcoming) and The Serpentine Gallery (2010). Lighter, his 2008 retrospective at the Hamburger Bahnhof, Berlin, was accompanied by an exhibition catalogue of the same name, comprising installation views by Tillmans and others of his exhibitions and installations over the course of the last 20 years. Tillmans was included in the 2008 Carnegie International, Pittsburgh and in the 53rd Venice Biennale in 2009. His monograph, Abstract Pictures, was published earlier this year by Hatje Cantz.
Rirkrit Tiravanija, untitled, 2011 (print mo’ money), 2011, Copper etching plate, Signed certificate. [A printing plate for a $100,000 bill, featuring a portrait of Woodrow Wilson.]
Rirkrit Tiravanija (b. 1961) lives and works between New York, Berlin, and Bangkok. A recent retrospective exhibition was presented by the Museum Boijmans Van Beuningen in Rotterdam and traveled to Paris and London. Tiravanija is on the faculty of the School of the Arts at Columbia University, and is a founding member and curator of Utopia Station, a collective project involving artists, art historians, and curators.
