Antony Gormley (London, 1950) is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human being stands in relation to nature and the cosmos.
Gormley’s work has been widely exhibited throughout the UK and internationally and has also participated in major group shows such as the Venice Biennale and Documenta 8 among many others.
Bureaucratics is a project by photographer Jan Banning consisting of a book and exhibition containing 50 photographs, the product of an anarchist’s heart, a historian’s mind and an artist’s eye. It is a comparative photographic study of the culture, rituals and symbols of state civil administrations and its servants in eight countries on five continents, selected on the basis of political, historical and cultural considerations: Bolivia, China, France, India, Liberia, Russia, the United States, and Yemen.
Jan Banning was born in The Netherlands in 1954, from Dutch-East-Indies immigrant parents. He studied social and economic history at the University of Nijmegen and has been working as a photographer since 1981.
Photography by Irina Werning
A collaboration between Michael Tompert and the photographer Paul Fairchild presenting large format photographs of destroyed Apple products such as the iPad, the iPhone and the Macbook.
The paintings, murals and installations of Esther Stocker, based on grid structures and on the colors black, white and gray, consistently manifest entanglements, interconnections, interpenetrations, both semantically and formally, for which the variably deployed grid motif functions as a metaphorical logo. Stocker consistently breaks with one-dimensional notions of order, space, and painting as contextual and relational factors and concepts. When an artist so persistently preoccupied with spatial structures and spatial experience, simultaneously calls attention to the fact that „we know nothing about space“ (Stocker), then her stance would seem to testify to a productive skepticism which arises from unremitting and methodical attempts at understanding, and from insight into their-in principle-interminability.