yolk patron

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Agnes Denes, Wheatfield – A Confrontation: Battery Park Landfill, Downtown Manhattan, 1982

[yolkpatron]

Jan Steen (1625/1626–1679), Beware of Luxury (“In Weelde Siet Toe”), 1663, oil on canvas

[yolkpatron]

Jennifer Mathews, UNIT, 2024, LAILA, Sydney

[yolkpatron]

"The nature/culture divide didn’t protect what it called nature, even as it elevated the notion to a transcendental ideal. Instead, the divide provided a flexible alibi with which to elevate human culture from geologic and biologic strata into a realm of self-accountable expressivity. Where does that leave us? As I’ve written, there is no actual “nature” of course. The very idea of an absolute outside of culture is discredited, but persistent — yet the inverse is even harder to swallow. Because there is no nature, there is also no culture. There is chemistry, abstraction and phase change, pattern and then collapse, and other things besides. In this sense, the artificiality that concerns us is not the fake versus the authentic, but the artificial as the trace of intention and design within patterns of emergence and vice versa."

Benjamin Bratton, The Terraforming, 2019

[yolkpatron]

Agata Ingarden, Rescue Dummies : In-corporate and Friends wearing suits, 2021

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Bri Williams, Lethal, 2025, Bedsheet, resin, beeswax, indigo dye, thread, metal frame 145x110x19 cm

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MONIKA SOSNOWSKA, Façade, 2013

Façade is a one and a half ton replica of the curtain facade of a Modernist building from the 1960s (the current seat of the Foksal Gallery Foundation in Warsaw), subjected by the artist to three months of brutal operations: twisting, crushing, stretching. The precisely planned process of inflicting violence on the steel structure involved engineers and workers as well as construction machinery that usually serves the needs of building, and not destruction.

[yolkpatron]

Aria Dean, Facts Worth Knowing, 2024, Installation view

In her first solo exhibition composed entirely of sculpture, Dean extends her approach to the medium developed in recent years, whereby digital forms are manufactured in—or extracted from—computer programs and then subjected to degrees of distortion. Made physical through inventive fabrication methods, Dean’s sculptures evidence an impossible material event. The works call to the entwinement of temporality and matter and conjure the interdependency between the inert materials that give sculpture form and the dynamics that conceive of it. The statuary that populate Facts Worth Knowing borrow their compositions from the set of D.W. Griffith’s 1916 film Intolerance—a monumental, Babylonian construction that was abandoned once filming wrapped and left to decay on a lot in East Hollywood. In the century since, the set has been the subject of reference, reproduction, and imitation. Facts Worth Knowing takes this phantasmagoria as its subject by treating archival documentation of Intolerance alongside instances in which Griffith’s set was simulated: a recently demolished mall facade in Hollywood; accounts found in Kenneth Anger’s pseudo-journalism; an independent film dedicated to the production of Intolerance; a Californian theme park; and the open world video game L.A. Noire.

[yolkpatron]

Aria Dean, The visible (torso) world, 2024, Bronze and steel, 82.5 x 79.4 x 52 cm

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Aria Dean, o, armature, 2024, Steel, 163.8 x 66 x 81.3 cm

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A fig leaf cast in plaster used to cover the genitals of a copy of a statue of David in the Cast Courts of the Victoria and Albert Museum.

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Sydney Shen, Juliette, 2021, iron, pewter, potatoes, 20 x 14 x 6 cm

[yolkpatron]

[yolkpatron]

Canapé Tortue (Turtle Sofa) by Maria Pergay, commissioned by Pierre Cardin in 1977

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Maria Pergay, Lit Tapis Volant (Flying Carpet Daybed), 1967

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Sarah Lucas, Perceval, 2006, bronze, polished brass, concrete and paint, 2.3 × 1.8 × 5.5 m

[yolkpatron]

Jack O'Brien, A tyrant called love is coming, 2023, soft pastel and Spray paint on photographic print mounted on aluminium, heat-formed PETG plastic, chrome plated steel, scaffolding band, industrial fan, epoxy putty, 206 x 127 x 23cm