Apropos X MISA X 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 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

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

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

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

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 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.

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."

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.

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.

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.