grau

[paintingnotpainting]

Julia Rommel

[paintingnotpainting]

Joe Bradley

[paintingnotpainting]

Jean-Marie Appriou

[mentaltimetraveller]

david ostrowski f (boyz ll men) . 2021

[stallation]

Frida Orupabo

Big girl lI, 2024, collage: pigment print on acid-free cotton paper, mounting tape, split pins, mounted on aluminium, 260 x 127 cm

[mentaltimetraveller]

Justin Matherly It'ok to limp, 2016 concrete, modified gypsom, modified ambulatory equipment, votive tooth (partial) 229,5 x 52,5 x 46,5 cm

[stuff-for-penthouses]

Camille Blatrix

La liberté, l'amour, la vitesse, 2015

Stainless steel, Reconstituted Ivory, Plexiglas, Polyester, Silver, Ipad, Speaker, Electronic system

Using advanced production techniques, finely-crafted materials and unique displays, Camille Blatrix endows his works —half art, half machine— with a very unusual existence. For the 2015 Biennale de Lyon the artist created La liberté, l’amour, la vitesse, a mournful cash machine with no money but full of emotions. It shares its thoughts with users about the inability to satisfy their desires, the disillusionment, and the sadness of the world. “Despite my love for them, cash machines have rarely been able to satisfy my needs”, says the artist, who, to alleviate his distress, created a machine endowed with feelings— a piece of technology that suddenly takes a real interest in the people who use it.

[mildgrey]

Helen Frik

Egg and Spoon 1990 aluminium, gips, staal, nylon 200 x 140cn

[bottomwell]

Angelika Loderer

Phantoms, 2023

[peterdoroshenko]

[stuff-for-penthouses]

Analia Saban

House of Cards, 2015

[ruiard]

Liz Deschenes - Bracket 6 Silver toned silver gelatin print mounted to aluminium, 147.3 × 101.6 cm, 2013

[errorezine]

Iran Do Espírito Santo. Dropping Bottle, 2013

[ruiard]

Angelika Loderer - Superspiria I

Aluminium, 50 × 25 × 25 cm, 2015

[errorezine]

Justin Matherly

[stuff-for-penthouses]

Alex Wissel

[maybethereissomething]

Katharina Fritsch, Riese / Giant, 2016