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22.03.2022

Apropos X MISA X München

Ab sofort in unserem Münchner Store.

Promenadeplatz 12, 80333 München

 

Florian Auer
Florian Auer’s practice explores the constructed nature of reality, testing the limits of simulations. His work addresses technology, spirituality and materiality combining techniques such as 3D modelling and handmade craft. Beginning with his time at art school, he worked with replicas and illusions, a pizza box that resembled a Mac book for example, drawing attention to the arbitrary nature of status symbols. Auer's solo exhibitions include 'How to Spend It' at Kraupa-Tuskany Zeidler, Berlin (DE) 2012 with selected group exhibitions, ‘#### mit Kathi Hofer, Philipp Messner und Florian Auer’ at Ein Kunstraum der Stadt, Munich(DE) in 2013, 'Zauderberg (Unprofessional Service), 'Absolventenausstellung', at Museum für Moderne Kunst – MMK, Frankfurt a.M. (DE), 'Matter of Choice', CCA, Andtrax,(ES) and 'Domino Effect', Catherine Bastide, Brussels (BE).

 

FLORIAN AUER

Not Yet Titled (Calculator 2), 2012
FAU/M 1/00

print, airbrush and paper on glass, framed

63 x 93.5 cm

24 3/4 x 36 3/4 in

unique
EUR 6,000.00 + VAT

 

FLORIAN AUER

Not Y et Ti tled ( Brick - Wall Nu mbers 2), 20 12
FAU/M 2/00 print, paintbrush on Plexiglas, newspaper, styrofoam

88 x 62 x 7 cm

34 2/3 x 24 1/2 x 2 3/4 in

unique
EUR 6,000.00 + VAT


Erica Baum
Erica Baum was born in New York in 1961 and received a BA in anthropology from Barnard College, New York, in 1984; an MA in TESOL/applied linguistics from Hunter College, City University of New York, in 1988; and an MFA in photography from Yale University, New Haven, Connecticut, in 1994. Baum takes the printed page as her primary subject, photographing fragments of found language at close range. Commingling image and text, her works often operate simultaneously as both photograph and poem. Baums work has been featured in solo exhibitions at Kunstverein Langenhagen, Germany (2013), and numerous galleries. Group presentations include Foul Play, Thread Waxing Space, New York (1999); Subject Index, Malmö Konstmuseum, Sweden (2008); The Imminence of Poetics, São Paulo Biennial (2012); Athens Biennial (2013); Reloaded: Concrete Trends, Weserburg Museum für Moderne Kunst, Bremen, Germany (2015); and Photo-Poetics: An Anthology, Solomon R. Guggenheim Museum, New York (2015), among others. Baum lives and works in New York.

 

ERICA BAUM

Shampoo, 2008
EB/F 1/01

c-print

49 x 37 cm

19 1/3 x 14 1/2 in

3/6 + 2APs
EUR 5,500.00 + VAT

 

ERICA BAUM

Sinatra, 2009
EB/F 2/01

c-print

43.5 x 42 cm

17 x 16 1/2 in

2/6 + 2APs
EUR 5,500.00 + VAT

 

ERICA BAUM

Towel, 2009
EB/F 3/01

c-print

46.5 x 37.5 cm

18 1/3 x 14 3/4 in

2/6 + 2APs
EUR 5,500.00 + VAT


Gabriele Beveridge
Gabriele Beveridge is a London-based artist whose work constructs environments using an assemblage of found imagery and objects that create something familiar yet uncanny, removing the context with which they were origionally associated. Her work crosses the boundaries between different mediums creating something that isn’t a photograph, a painting, a sculpture, using materials that possess an inherent symbolic worth, as diverse as office screens, old picture magazines and spray paint. Using images from back-issues of Lif e magazine and aged advertisements, the young London-based artist employs a precise use of framing, propping and hanging that allows the images to sumptuously trip off the salvaged objects on which they rest. The result is an alluringly tactile interplay between found image and object that demonstrates a honed consciousness of the material quality of images and their power to interrupt the display of an object.

 

GABRIELE BEVERIDGE

Metallic For Li fe, 2 015
GB/M 1/00

found poster, marble, frame

110 x 75 cm

43 1/3 x 29 1/2 in
EUR 6,500.00 + VAT


Antoine Catala


Antoine Catala’s work endows technology with physicality and considers how artificial renderings of forms behind a screen might change our feelings toward them. His video works and internet projects, such as “Distant Feel,” use humor to reveal the ways in which images on the web can be neutralized by way of insincere sentiments or nostalgia. Catala is interested in this underlying structure of his medium—in the collective assumptions we make of images in digital forms, and the ways they can or cannot provoke emotion in scenarios we might encounter. Catala has exhibited at the Dallas Museum of Art, Texas, Carnegie Museum of Art, Pittsburgh, Kunsthalle Wien, Austria, Sculpture Center, New York, Espai d’art Contemporani de Castelló, Spain, Fridericianum, Kassel, MoMA PS 1, New York, Palais de Tokyo, Paris, Moscow Museum of Modern Art, Russia, New Museum, New York, among many other international galleries.

ANTOINE CATALA

I Se e Ca tastrophes Ahe ad (photo variatio n 3), 2012
ACA/I 1/00

5 framed photographies on shelf

26 x 191 cm

10 1/4 x 75 1/4 in
EUR 10,000.00 + VAT


Stephen Ellis
Stephen Ellis received a BFA from Cornell University in 1973 and furthered his studies at the New York Studio School. For more than twenty years, Ellis has exhibited in galleries and museums throughout Europe and the United States. His work has recently been included in exhibitions at the Reina Sophia (Madrid), the Musée d’Art Moderne (Saint Etienne) and P.S.1 (New York). A monograph of paintings executed from 1989 – 2001 was recently published by Verlag Robert Gessler. Ellis’s work is included in public collections including The Brooklyn Museum, The Fogg Museum, The Ashmolean Museum and The National Fund for Contemporary Art (Paris). He has received the Purchase Prize from the American Academy of Arts and Letters (2004) and grants from the National Endowment for the Arts (1991) and CAPS (now New York Foundation for the Arts, 1986). Ellis has written extensively on contemporary art for European and American publications, including Parkett Magazine , Tema Celest e and Art in America . He has been an Associate and Contributing Editor of Art in America and edited for Artforum and Parkett Magazine

STEPHEN ELLIS

Rumi's Synagogue I, 2003
SEL/M 1/00

oil and acrylic on canvas

152 x 127 cm

59 3/4 x 50 in

unique
EUR 6,000.00 + VAT

STEPHEN ELLIS

Rumi's Synagogue III, 2003
SEL/M 2/00

oil and acrylic on canvas

152 x 127 cm

59 3/4 x 50 in

unique
EUR 6,000.00 + VAT


Eberhard Havekost
Havekost was a professor of painting at the Düsseldorf Art Academy since 2010, and was considered by many a leading voice in German contemporary art. His work blends the theoretical and visual strategies of abstraction and figuration, revealing fluctuating boundaries between the two. Some parts of his oeuvre can be described as overtly contemporary, featuring images and text relating directly to the Internet age. Others, however, reveal an almost nostalgic reverence for the aesthetic positions and cultural tendencies of the 20th Century. For example, “Ghost 2” (2004) and “Wesen” (2008) both prominently feature starkly contemporary images of a hoodie, the iconic clothing of both tech culture and urban street culture—one showing a disheveled youth dressed in a hoodie and baggy sweatpants; the other showing en empty hoodie that retains a human structure. Works like “Schöner Wohnen B12” (2012), meanwhile, reference Minimalism, while “Märchenwald” (2013) mimics the paintings of Second Generation Abstract Expressionist artists like Joan Mitchell. Part of what gave Havekost his appeal was the space he occupied between irony and sincerity. It was often unclear whether he was poking fun at our age or embracing its ambiguity. One thing that was always evident was his talent for handling paint, and his eye for unmistakably current compositions. Aware that he was caught between the Information Age, when data drove every conversation, and the Age of Imagination, when creativity is once again becoming prized, Havekost had the rare ability to channel the aesthetic zeitgeist of the transitional age between the two.

EBERHARD HAVEKOST

Ohne T itel ( Kühlbox), 1997
EHA/M 1/00

oil on canvas, framed

35 x 50 cm

13 3/4 x 19 2/3 in

unique
EUR 24,000.00 + VAT


Elad Lassry
Born in Tel Aviv in 1977 but now resident in Los Angeles, Elad Lassry’s work continues the rich tradition of photoled Conceptual art. Working with both found imagery from vintage magazines such as Life and Time, and his own slightly unnerving photographs, Lassry displays his images in frames (often sickly coloured) which are as important as the images themselves, since they immediately remove the photographs from any editorial context and make them singular, powerful pieces. Sometimes it’s hard to tell what’s old and what’s new imagery, since he shoots his own photographs like cheesy promotional headshots or outtakes from early computing manuals. "I'm fascinated by the collapse of histories," says Lassry. "And the confusion that results when there is something just slightly wrong in a photograph."

ELAD LASSRY

Woma n (Painting), 20 10
EL/F 4/04

chromogenic print, frame

36.8 x 29.2 x 3.8 cm

14 1/2 x 11 1/2 x 1 1/2 in

4/5+ 2AP
EUR 9,900.00 + VAT


Josephine Pryde
Josephine Pryde is an artist known primarily for her work with photography, though she often presents work with sculptural elements. Pryde learns from different photographic conventions, for example from publicity or advertising images, where seductive and highly staged, high resolution images evoke and respond to desire. She draws on visual languages, responding to ideas and larger conceptual frameworks such as the history of photography and the moving image, through details, references, or the juxtaposition of different works.
Josephine Pryde, based in London, is an artist using photography, objects, video, drawings, installations, performances, texts. She was nominated for the Turner Prize in 2016. She studied at Central St. Martins, London; and at Wimbledon School of Art, London an since 2009 she is a Professor at Universität der Künste, Berlin.

JOSEPHINE PRYDE

Meteorites Powder for the Face: Beauty (III), 2007
JP/F 1/02

c-print, framed

49 x 35 cm

19 1/3 x 13 3/4 in

2/5
EUR 7,000.00 + VAT


Martha Rosler
Martha Rosler is an eminent artist, theorist and educator as well as a leading contemporary critical voice within feminist discourses. Rosler’s work encompasses photography, video, installation, photomontage and performance. She has also published over fifteen books of her works and essays exploring the role of photography and art, public space, transportation, as well as public housing and homelessness. Rosler studied at Brooklyn College in New York and subsequently at the University of California, San Diego, obtaining her MFA there in 1974. Her widely seen video work Semiotics of the Kitche n 1975, reflecting her longstanding interest in the position of the female subject within patriarchy, uses humour in this parody of cooking shows to address the implications of traditional female roles.

MARTHA ROSLER

Small Wonder, 1966 - 1972
MRO/P 1/00

photomontage, framed

61 x 50.8 cm

24 x 20 in

1/10
EUR 35,000.00 + VAT


Christopher Williams
Christopher Williams grew up surrounded by the film and television industries, which would inform his future artistic production. His father worked in Hollywood as a special effects artist. As a child, Williams met filmmaker Oskar Fischinger in the German émigré’s home studio, where he first saw flip books and abstract animated films. In the late 1970s, he studied at the California Institute of the Arts (CalArts) under the first wave of West Coast Conceptual artists, including John Baldessari, Michael Asher, and Douglas Huebler. He went on to become one of his generation’s leading Conceptualists, exploring ideas and their political implications through the structures of contemporary photographic practice. He is currently professor of photography at the Kunstakademie Düsseldorf, one of Germany’s oldest art schools, which educated such artists as Joseph Beuys, Gerhard Richter, and Sigmar Polke.

CHRISTOPHER WILLIAMS

August 2, 20 05, 2005
CWI/F 1/00

Gelatin Silver print, framed

18 x 22 cm

7 x 8 2/3 in

1/9
EUR 12,000.00 + VAT

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