Andreas Angelidakis – Polemos, 2017, Foam and vinyl seating modules, Ten blocks: 50 × 70 × 70 cm, 110 blocks: 50 × 70 × 140 cm, 16 blocks: 50 cm × 70 cm diameter, documenta 14, Fridericianum, Kassel, Germany
Photo: Nils Klinger
Named for the Greek spirit of war and battle, Polemos is comprised of 136 foam blocks covered in various camouflage fabrics. Together the blocks of foam and vinyl seating modules create a massive tank, which can be disassembled and reassembled in other formations-including seating for visitors to the Fridericianum Museum (where the piece was exhibited during documenta 14). Clearly, a comment on the uncertain nature of war, Polemos is the result of Andreas Angelidakis multidisciplinary practice in art and architecture.
Welcome to our bi-weekly recap to share with you our highlights and most recent blog posts from the past two weeks.
Ibrahim Mahama – Untitled (K.N.U.S.T.), 2013 (Detail), Jute coal sacks, dimensions Variable
About Ibrahim Mahama
Ibrahim Mahama is an artist born and working with Ghana. His installation works using Jute sacks (reappropriated material he has purchased from markets, which were first cocoa sacks and then coal sacks) are the result of his investigation of the conditions of supply and demand in African markets. Torn, patched, stamped with PRODUCT OF GHANA, and written over with owners’ names, the bags are variously marred, marked, and transformed. These installations are displayed in Ghanaian markets as well as galleries, thus defying the artifacts’ intrinsic value system. Ibrahim uses the coal sacks as a device to explore process, material, value, and meaning. He creates an artistic vision out of a commonplace material, repurposing them and exhibiting them in the very marketplaces from which they came.
Hirst’s exhibition in 12 galleries at the same time
On January 12, 2012, Damien Hirst’s show was opened on all of Gagosian Gallery’s eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong.
More than 150 private individuals or public institutions from twenty countries provided their paintings to create this single exhibition in different countries.
More than 300 paintings were shown, from the first spot, created by Hirst in 1986, to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
The exhibition precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April 2012.
Damien Hirst Spot Challenge
Those visitors who manage to see all eleven galleries spread on three continents until February 10, 2012, received a signed spot print by Damien Hirst with a personal dedication. Participation conditions were relatively strict as the print might be worth up to 50.000US$ at that time.
Damien Hirst – L5-Fluorotryptamine, 2007, household gloss on canvas, 170.2×292.3cm
Damien Hirst – Phenylpropiolic Acid, 2010, household gloss on canvas, 66.2×96.5cm
Damien Hirst – Lauric Acid Butyl Ester, 2011, 24.1×27.9cm, Edition of 55
Damien Hirst – S-Lactoylglutathione, 2011, Silkscreen print with glaze, 81.28×96.52cm, Edition of 100
Damien Hirst – Pyronin Y, 2007, 137.8×110.5cm
Damien Hirst – Phendimetrazine, 2011, Silkscreen print with glaze, 70,5x118cm, Edition of 150
Damien Hirst – Methamphetamine, 2004, A single spot etching, Edition of 115
Damien Hirst – Ellipticine, 2007, Spot-etching, 110.5×137.8cm, Edition of 75
Damien Hirst – Set of three spot etchings: (i) Ciclopirox Olamine, (ii) Cineole, (iii) Cinchonidine, 2007, household gloss on canvas, 170.2×292.3cm