03 – 06 March 2011 )

FAIR PROGRAM

THE ARMORY SHOW

( 03 – 06 MARCH 2011 )

TABLE OF CONTENTS

I ERIK BULATOV P03

II SOPHIE CALLE P15

II WILLIAM CORDOVA P20

III WIM DELVOYE P28

IV THOMAS HIRSCHHORN P34

V ILYA KABAKOV P42

VI JITISH KALLAT P45

VII JON KESSLER P49

VIII ENRIQUE MARTINEZ CELAYA P54

IX VIK MUNIZ P58

X NEDKO SOLAKOV P65

XI ENA SWANSEA P70

ERIK BULATOV with sales price

Dans le train, 2006 Oil on canvas 33 x 46 cm | 12.99 x 18.11 in # BULA0047 ERIK BULATOV with sales price

Mon bus s’en va, 2003 Crayon on paper, image size 20 x 20 cm 29,7 x 30 cm | 11.69 x 11.81 in # BULA0048 ERIK BULATOV with sales price

La voûte - La pente, 2001 Crayon on paper, image size 20 x 20 cm 29 x 28 cm | 11.42 x 11.02 in # BULA0049 ERIK BULATOV with sales price

Quoi? Où? Quand?, 2005 Crayon on paper, image size 20 x 20 cm 29 x 28 cm | 11.42 x 11.02 in # BULA0050 ERIK BULATOV with sales price

Au aéroport, 2008 Crayon on paper, image size 21,7 x 15 cm 28,2 x 21 cm | 11.1 x 8.27 in # BULA0051 ERIK BULATOV with sales price

Paradis, 1994 Crayon on paper, image size 22 x 18 cm 34 x 28 cm | 13.39 x 11.02 in # BULA0052 ERIK BULATOV with sales price

Notre temps est venu, 2008 Crayon on paper, image size 19 x 22 cm 28 x 30 cm | 11.02 x 11.81 in # BULA0055 ERIK BULATOV with sales price

Notre temps est venu, 2009 Crayon on paper, image size 20 x 22 cm 27 x 29,5 cm | 10.63 x 11.61 in # BULA0056 ERIK BULATOV with sales price

D’ici - là-bas, là-bas, de là - ici, 1999/ 2001 Crayon on paper, image size 12 x 56 cm 20 x 58 cm | 7.87 x 22.83 in # BULA0057 ERIK BULATOV with sales price

Là-bas, la ,ici; ici-là-bas; celui-ci, celui-la; là-bas, de là, 2001 Crayon on paper, image sizes 18 x 20 cm, 16 x 30 cm, 18 x 18 cm, 19 x 19 cm 42 x 58 cm | 16.54 x 22.83 in # BULA0058 Erik Bulatov - Available Works

Erik Bulatov Horizontale III, 1966-2005 Oil on canvas 140 x 140 cm | 55.12 x 55.12 in # BULA0016

Erik Bulatov Automne, Boulevard Sebastopol, 2010 Oil on canvas 120 x 80 cm | 47.24 x 31.5 in # BULA0059

Erik Bulatov O, 2008 Crayon on paper framed 26 x 35,5 x 4 cm | 10.24 x 13.98 x 1.57 in # BULA0038

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THE ARMORYARMORARMORYY SHOW PIERPIERPIER 94 BOOTH 1103

ERIK BULATOVBULATOV born in 1933 in Sverdlovsk, Russia, lives and works in Paris

Erik Bulatov numbers, along with Ilya Kabakov, among a small but significant group of Russian artists who, at a remove from the governmental regulations of the Soviet art system, attained completely independent forms of artistic expression. Erik Bulatov’s drawings and paintings have an extraordinary coherence. His unique, stringent pictorial system was first expressed in his word pictures of the 1970s, where he analyzed the interplay of contrasting symbolic systems, such as language and images or abstraction and illusion – a theme he is still concerned with today. The meaning of his work and the symbolic codes he uses are products of his cultural background. Bulatov lived most of his life in Russia, only moving to Paris in 1991, and the emblems and typography of socialist glorification are unmistakable themes throughout his oeuvre. He attended the Moscow School of Painting, Sculpture and Architecture and then the Surikov Art Institute between 1947 and 1958, but only fully developed his visual repertoire within the sphere of unofficial art and was almost entirely unexposed to new international artistic trends. Despite difficult working conditions, Bulatov did not emigrate, but continued to develop his work in Russia until the collapse of the Soviet Union, when he moved to France. Bulatov’s paintings can be situated in the realm of political art, despite their lack of unequivocal political or ideological messages. His particular modes of artistic expression are bound to a particular time and place, while also giving rise to multiple visual associations. It is characteristic of Bulatov’s manner of political commentary that he subversively unites opposing impulses. His paintings leave the viewer undecided as to whether this is a relieved or a yearning look into the past and the defunct communist system. Bulatov can therefore be seen as one of the most important living artists from Russia and Eastern Europe.

CVCVCV Erik Bulatov is a Russian artist born in Sverdlovsk in 1933 and raised in Moscow. He studied painting at the Surikov Art Institute in Moscow, graduating in 1958. He began working as a children’s book illustrator with friend and collaborator, Oleg Vassiliev for which he won numerous awards. His works have appeared in nearly every important exhibition on 20th century Russian art, including “RUSSIA!” at the Guggenheim Museums in New York (2005) and Bilbao (2006), and “Berlin- Moscow / Moscow-Berlin 1950–2000”, Tretyakow-Galerie, Moskau (2003), and Martin-Gropius- Bau, Berlin (2004), or „Traumfabrik Kommunismus. Die visuelle Kultur der Stalinzeit“, Schirn Kunsthalle, Frankfurt / Main (2003). He was also featured at the 43rd Venice Biennale (1988) and the Third Moscow Biennale (2009). His solo exhibitions have appeared at mamco – Musee d’art moderne et contemporain in Geneva (2009/2010) and at the Musée d’Art Moderne de la Ville de Paris (2007), at the kestnergesellschaft, Hannover (2006), and the Tretyakow-Galerie, Moskau (2003 and 2006).

SOPHIE CALLE with sales price

Wait For Me, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0335 SOPHIE CALLE with sales price

Wait For Me, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0335 Sophie Calle - Available Works

Sophie Calle North Pole / Pôle nord variable from 7 1/4 feet x 16 1/4 feet to 26 1/4 feet, 2009 1 Light box, 3 sandblasted porcelain plaques, 1 video screen, 7 colour photographs, framed edition Edition 1/5 englisch + 1AP # CALL0310

Sophie Calle Chromatic Diet - Installation view, 1997 7 digital prints (6: 30x30cm, 1 50x73,5 cm, all framed), 7 menus holders, 7 menu cards, wooden board (max 500cm when installed), 1 book (Leviathan by Paul Auster) each 0 x 0 cm | 0 x 0 in edition 2/5 engl

Sophie Calle Ecrivain public / Public letter writer, Rafaèle Decarpigny, 2007 from the series: Prenez soin de vous 1/2: Photo 113 x 140 cm, Text 53 x 53 cm edition 1/3 + 1AP English # CALL0319

Sophie Calle To Victor Hasselblad, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0336 Sophie Calle Historienne du XVIIIème / Historian of the eighteenth century, Arlette Farge, 2007 from the series: Prenez soin de vous 1/2: Photo: 83 x 103 cm, Text: 70 x 103 cm edition 2/3 English; edition of 3 + 1 AP # CALL0246

Sophie Calle Juge / Judge, X , 2007 from the series: Prenez soin de vous 1/2: Photo: 123,3 x 83 x 4 cm / 48,54 x 32,68 x 1,57 in, Text: 103,3 x 143 x 4 cm / 40,67 x 53,3 x 1,27 in 103,3 x 143 x 4 cm | 40.67 x 56.3 x 1.57 in edition 2/3 English; edition of 3 + 1 AP

Sophie Calle Officier traitant de la DGSE / French intelligence officier, Louise, 2007 from the series: Prenez Soin de Vous Photo 53 x 65,5 cm / 20.87 x 25.78 in Text 31,1 x 32,8 cm / 12.24 x 13 in edition edition of 3 +1AP # CALL0321

Sophie Calle Universitaire, 2007 from the series: Prenez soin de vous Photo 99x123cm Text 40x123cm edition 1/3 English # CALL0327

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THE ARMORY SHOW PIER 94 BOOTH 1103

SOPHIE CALLE born in 1963 in Paris; lives and works in Malakoff, France

Each “Autobiography” consists of two elements, combining a text with a black/white or colour photography. Sophie Calle takes us through various phases of her life and work: her childhood and youth in Paris; the stories about her husband, the arguments and rituals they share and continue to share even after their break up and divorce; the famous “Sleepless Night” Sophie Calle spent on top of the Eiffel Tower, asking visitors to tell her stories that would prevent her from falling asleep…

More than any other series, the “Autobiographies” reveal how Sophie Calle’s life and work form a unified whole, an uncommon congruity which both fascinates and irritates her public. The French artist’s work inhabits a peculiar space between fact and fiction. She crosses private boundaries to explore the hidden codes which shape our interaction; meanwhile, she exploits public spaces by investing them with a sense of intimacy, such Paris-Roissy airport, where she solemnly stages her own wedding dream, wearing a beautiful red dress (“Dream Wedding“, 2001). It is precisely the combination of text and image that leads us to the very heart of her work. The French artist calls herself a “narrative artist”, emphasizing that the stories and their content, the preliminary research, the form chosen, and the final works presented in the exhibition, are all equally important to her.

CV Sophie Calle gained international reputation through participating extensively for close to thirty years in major solo and group exhibitions and Biennials. She was invited to be the official representative of France at the 2007 Venice Biennial. Her project for “Venice Prenez soin de vous” was later exhibited again at the Bibliothèque national de France Richelieu, Paris (2008), at the Museum of Modern Art of Bahia, Salvador and SESC Pompeia, São Paulo, both Brazil (2009). Further solo exhibitions in 2009 were staged at the Royal Academy of Arts, London, the Musée des Beaux-Arts, Bruxelles, the Whitechapel Gallery, London (travelling to De Pont–museum of contemporary art, Tilburg, The Netherland, in 2010). A mid-career survey exhibition was showcased at Ludwig Forum für Internationale Kunst, Aachen, Germany (2005), the Irish Museum of Modern Art, Dublin, the Martin-Gropius-Bau, Berlin (both 2004), and the Centre Pompidou, Paris (2003).

WILLIAM CORDOVA with sales price

Rubber, 2006 Pencil on paper 135,5 x 179 cm | 53.35 x 70.47 in # CORD0028 WILLIAM CORDOVA with sales price

Yawar mallku (pa' maria elena moyano), 2009-2010 Acrylic, gold leaf, graphite, collage on reclaimed paper 91,4 x 127 cm | 35.98 x 50 in # CORD0175 WILLIAM CORDOVA with sales price

Ephemeral Monuments, 2008-2009 Suite of 12 drawings, mixed media on reclaimed paper and wood, media includes graphite, ink, water color, liquid paper, photo paper, paper collage, insect remains (spiders) framed each 31,2 x 38,7 cm | 12.28 x 15.24 in # CORD0161 WILLIAM CORDOVA with sales price

Eroica, 2008-2009 Suite of 11 drawings, mixed media on reclaimed paper, includes graphite, ink, water color, liquid paper each 23,4 x 29,8 cm | 9.21 x 11.73 in # CORD0163 William Cordova - Available Works

William Cordova Casco, 2008 Mixed media 142,24 x 139,7 cm | 56 x 55 in # CORD0151

William Cordova Sacsayhuaman, 2008 Drawing and collage 152,4 x 274,32 cm | 60 x 108 in # CORD0153

William Cordova Untitled, 2010 Collage on paper 121,92 x 152,4 cm | 48 x 60 in # CORD0167

William Cordova Call me Ismael, 2010 Collage on paper 50 x 80 cm | 19.69 x 31.5 in # CORD0172 William Cordova Untitled (francisco chichima), 2007-2008 Graphite, ink on reclaimed paper 17 x 13 in 43,18 x 33,02 cm | 17 x 13 in # CORD0142

William Cordova Untitled (Panteras y pumas), 2007-2008 Digital print, gold leaf paper, wooden frame framed 28,2 x 23,2 cm | 11.1 x 9.13 in edition Unique photo collage # CORD0146

William Cordova Untitled (tupac Amaru), 2007-2008 Colour digital print, wooden frame framed 28,5 x 23 x 4 cm | 11.22 x 9.06 x 1.57 in # CORD0147

William Cordova Untitled (follow the drinking gourd), 2007-2008 Reclaimed Chicago books free standing in the shape of a star 53,34 x 53,34 x 27,94 cm | 21 x 21 x 11 in # CORD0160 William Cordova Exile on Mainstreet, 2004-2005 LP covers, dimensions variable # CORD0065

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THE ARMORY SHOW PIER 94 BOOTH 1103

WILLIAM CORDOVA born in 1971 in Lima, Peru lives and works in Houston, Miami and New York

William Cordovas sculptures, installations and works on paper are very much bound up with his transcultural biography that took him from Lima, Peru, where he was born, via Miami, Florida, to the many other places where he has lived or spent time in the US and Europe. His sujets are drawn from a continuum of radical movements and players in struggles for self-determination. “Revealing the intersections between magical realism and social realism, he orchestrates collisions between ancient and recent histories, oral tradition and revolutionary texts to make way for an in-between, transitional, and ultimately transformative space.” (Rashida Bumbray)

CV William Cordova has earned his MFA from Yale University in 2004 and his BFA from The Art Institute of Chicago in 1996. In addition to staging solo exhibitions e.g. at the Fleming Museum, University of Vermont (2009), the P.S.1 Contemporary Art Center, New York (2005/06), and the Museum of Contemporary Art, Miami (2003), he has recently taken part in groundbreaking group exhibitions, such as „NeoHooDoo“, Menil Collection, Houston, Texas (2008), and „Street Level“, Nasher Museum at Duke University, Durham, North Carolina (2007). His works were presented in the San Juan Triennial, San Juan (2009), the Whitney Biennial, Whitney Museum of American Art, New York (2008), and the Biennale di Venezia (2003). In 2008 he was artist-in-residence at Artpace, San Antonio, Texas. In 2006 Arndt & Partner Berlin presented the first solo show of William Cordova in Germany. WIM DELVOYE with sales price

Dump Truck (scale model 1/6), 2010 Lasercut stainless steel 148 x 37 x 57 cm | 58.27 x 14.57 x 22.44 in # DELV0009 Provenance: Studio of the artist WIM DELVOYE with sales price

Dump Truck (scale model 1/6), 2010 Lasercut stainless steel 148 x 37 x 57 cm | 58.27 x 14.57 x 22.44 in Edition unique # DELV0009 Provenance: Studio of the artist WIM DELVOYE with sales price

Dump Truck (scale model 1/6), 2010 Lasercut stainless steel 148 x 37 x 57 cm | 58.27 x 14.57 x 22.44 in Edition unique # DELV0009 Provenance: Studio of the artist Wim Delvoye Daphne & Chloë (Clockwise), 2010 Polished bronze Ø 85 cm | 33.46 in | hight 165 cm | 64.96 in edition 1/3 # DELV0010

Wim Delvoye Double Helix CC 360-00, 2009 Nickel silver (copper alloy with nickel and zinc), Ø 120 cm | 47.24 in | hight 40 cm | 15.75 inch edition / 1/3 # DELV0007

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THE ARMORY SHOW PIER 94 BOOTH 1103

WIM DELVOYE born in 1965 in Wervik, Belgium; lives and works in Gent, Belgium

Wim Delvoye is a Belgian object and installation artist. He appeared before the public in 1968 with an installation of painted cheap department store rugs. The patterns were partially painted over with details of reproductions of famous art works, lace from Brussels and delft lions. The basic principal of this and further works is the alienation of everyday objects with the aid of clichéd images. Often he uses reproduced images, which became stereotypes, and ornaments, integrates these as decor or as a part in everyday objects or fills outmoded ornaments with segregated, unfitting, displaced content. The contrasting connection of the meaningless stereotyped images brings them in Delvoye’s sense to ‘talk’. In 2000 Delvoye started his project ‘Cloaca’, which is located at the interface of art and science. His ‘Cloaca’ installations are highly developed machines, which mimic the human and animal digestion system with its unavoidable result. ‘For me it’s life. This is a human being without a soul,’ explains Delvoye. Another main interest of him is tattooed pigs. In 2004 he started his ‘Art Farm’ in China, on which he tattooed pigs until 2008. ‘The motive can be very simple – motives I saw on people or in art works. I take a lot of pictures with my digital camera of tattoos. I photographed everything on the market, in fact I have a form of encyclopaedia.’ Delvoye calls his own approach to art ‘glocal’, referring to ‘local’ and ‘global’, which is his own ironical way of describing art. He creates oversized and miniature laser-cut steel sculptures of objects typically found in construction, customized in seventeenth century Flemish Baroque style. These structures juxtapose "medieval craftsmanship with Gothic filigree." Delvoye brings together the heavy, brute force of contemporary machinery and the delicate craftsmanship associated with Gothic architecture. In 2009 during the 53rd Venice Biennale he built his work ‘Torre’, a tower of Cor-Ten steel in gothic style, at the Peggy Guggenheim Collection and caused a sensation in the art world.

CV Wim Delvoye has had solo exhibitions at the New Museum of Contemporary Art, New York; Sperone Westwater, New York; Manchester Art Gallery, England; Musée de Art Contemporain de Lyon, France; and Centre Georges Pompidou, Paris. He has participated in major international exhibitions including the 48th Venice Biennale (1999) and Documenta IX in Kassel, Germany (1992). Wim Delvoyes installation ‘Cloaca’ was on view from 2001 to 2007 at the Kunsthalle Vienna 2001, Museum Kunst-Palast, Düsseldorf (2002), the MuHKA, Antwerpen (2000), the Migros Museum, Zürich (2001), the New Museum of Contemporary Art, New York (2002), the Musée d'Art Contemporain, Lyon (2003) and The Power Plant, Toronto (2004).

THOMAS HIRSCHHORN with sales price

High Subjecter, 2010 Mannequin, dress, paper print, brown tape, transparent tape, wood 335 x 480 x 480 cm | 131.89 x 188.98 x 188.98 in # HIRS0462

Exhibitions: 2010 „Changing the World“, group show, ARNDT Berlin THOMAS HIRSCHHORN with sales price

Double deluge, 2010 Paper, prints, plastic foil, adhesive tape, felt pen, ballpoint 205 x 279 cm | 80.71 x 109.84 in # HIRS0505

Exhibitions: BAIBAKOV art projects, “Perpetual Battles”, Moscow, 27 May 2010 – 25 July 2010 THOMAS HIRSCHHORN with sales price

Perils of Abundance, 2010 Paper, prints, plastic foil, adhesive tape, felt pen, ballpoint 207 x 280 cm | 81.5 x 110.24 in # HIRS0506

Exhibitions: BAIBAKOV art projects, “Perpetual Battles”, Moscow, 27 May 2010 – 25 July 2010 THOMAS HIRSCHHORN with sales price

Mycoster, 2005 from the series: Antifongiques Paper, prints, plastic foil, adhesive tape, marker, ballpoint 80,5 x 84,5 cm | 31.69 x 33.27 in # HIRS0372 THOMAS HIRSCHHORN with sales price

Pevaryl, 2005 from the series: Antifongiques Paper, prints, plastic foil, adhesive tape, marker, ballpoint 80,5 x 84,5 cm | 31.69 x 33.27 in # HIRS0382 Thomas Hirschhorn

Thomas Hirschhorn Das Auge, 2008 Mixed media; integrated text, to take away, „Flat Red Flag“, by Manuel Joseph circa 600m2 # HIRS0449

Thomas Hirschhorn Tool Family, 2007 1,45 diameter # HIRS0419

Thomas Hirschhorn Tool Table, 2007 tools, books, models arms, racks, brown adhesive tape 150 x 600 x 250 cm | 59.06 x 236.22 x 98.43 in # HIRS0420

Thomas Hirschhorn Tool Vitrine, 2009 wood, plexiglas, mannequins, prints, spray-paint, tape, neon, lights, table, nails, electrical cable, expanded foam 221 x 256 x 95 cm | 87.01 x 100.79 x 37.4 in # HIRS0447 Thomas Hirschhorn Spinoza Car , 2009 Car, wood, paint, tape, cardboard, paper, marker, ball-point pen, transparent foil, stickers, books, magazines, prints, plastic toys, fans, mirrors, ceramic objects, clocks, audio cds, electric wire, lamps, candles, notebooks, soft toys, hubcaps, car gadgets. 190 x 455 x 235 cm | 74.8 x 179.13 x 92.52 in # HIRS0502

Thomas Hirschhorn Serie des 36, 1992 / 1993 36 elements, consisting of a plastic folder, paper, filing card, tape, printed material 133 x 215 cm | 52.36 x 84.65 in # HIRS0547

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THE ARMORY SHOW PIER 94 BOOTH 1103

THOMAS HIRSCHHORN born in 1957 in Bern, Switzerland, lives and works in Paris, France

Thomas Hirschhorn is a Swiss artist who gained great international recognition for his installation “Swiss-Swiss Democracy” at Schweizer Kulturzentrum in Paris in 2004. Hirschhorn is known for his sprawling works that transform traditional white cube spaces into absorbing environments tackling issues of critical theory, global politics, and consumerism. He engages the viewer through superabundance. Combining found imagery and texts, bound up in low-tech constructions of cardboard, foil, and packing tape, he props imagistic assaults in a DIY-fashion that correlates to the intellectual scavenging and sensory overload designed to simulate our own process of grappling with the excess of information in daily life. Thomas Hirschhorn describes his sculptural environments as 'collages in the third dimension' and explains that this means 'putting things together that are not meant to be put together'. Created from the most basic everyday materials, his monumental works are concerned with issues of justice and injustice, power and powerlessness, and moral responsibility.

"The Subjecters" is the title of the global term for the pieces the artist has made with mannequins or parts of them. As the artist himself says, "The mannequin (or the parts of mannequins) is not the Subject – it's a Subjecter. The Subjecter is an invention of mine – it stands for what I cannot give a name but for what I can give form (and must give form, as the artist), and I worked it out with the form of mannequins, which is not new in the history of art, but which is a form to express the 'closest-far-away of myself.'" Thomas Hirschhorn has been using mannequins for several years now, regarding them as a material that is "inclusive and non-intimidating, unpretentious and democratic, non-hierarchical and simple", like the adhesive tapes, tinfoil and magazine clippings that he usually employs in his installations.

CV Thomas Hirschhorn studied from 1978 – 83 at the Hochschule fuer Gestaltung in Zurich, Switzerland. His work has been the subject of numerous solo exhibitions including the Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Museu d'Art Contemporani, Barcelona; Kunsthaus Zürich; Art Institute of Chicago; and Museum Ludwig, Cologne; and Secession, Vienna. In 2003 he founded the Musée Précaire Albinet, a temporary art and community space in Aubervilliers, France. Additionally, he has taken part in many international group exhibitions, including Documenta 11 in Kassel, Germany, where his large-scale public work, Bataille Monument, was on view; “Heart of Darkness” at the Walker Art Center; and recently “Life on Mars: the 55th Carnegie International.” Hirschhorn was the recipient of the Prix Marcel Duchamp in 2000 and the Joseph Beuys-Preis in 2004. His works are held in the collections of the Museum of Modern Art, the Walker Art Center, and the Tate.

ILYA KABAKOV with sales price

Emergency Exit, 1993 Oil on canvas framed 240,5 x 129 cm | 94.69 x 50.79 in # IKAB0001 Provenance: Studio of the artist

Exhibitions: 1993 Biennale d'art contemporain in Lyon, France 2010 „Changing the World“, group show, ARNDT Berlin Ilya & Emilia Kabakov - Available Works

Ilya & Emilia Kabakov Hand, 2009 marble and corrundum Sculpture – 24” x 17” x h 20” (61 x 43 x h 50.7 cm.) Pedestal – 25 !” x 17 !” x h 43 "” (64.7 x 44.5 x h 111 cm.) edition 9 + 2AP # KABA0015

Ilya & Emilia Kabakov The Eternal Emigrant, 2005 Ceramic 35 x 27,7 x 51 cm | 13.78 x 10.91 x 20.08 in edition 7/7 # KABA0006

Ilya & Emilia Kabakov Object “TV”, 2005 oil on glass 43 x 39 x 30 cm | 16.93 x 15.35 x 11.81 in # KABA0016

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THE ARMORY SHOW PIER 94 BOOTH 1103

ILYA KABAKOV born in 1933 in Dnepropetrovsk, USSR; He lives and works together with his wife Emilia in New York

Ilya Kabakov, is one of the most influential artists to have emerged from the former Soviet Union. He can be considered as the father of Moscow conceptualism. But this level of attention has only been achieved during the past two decades, particularly since his relocation to the West in 1987. Under the Soviet regime, which labeled him a non-conformist, Kabakov was denied even a single exhibition in Moscow’s officially sanctioned museums and galleries. Since 1989 he has been collaborating with his wife Emilia Kabakov, to create environments that fuse elements of the everyday with those of the conceptual. While their work is deeply rooted in the Soviet social and cultural context, it still attains a universal significance.

Emergency Exit was part of an installation at the Biennale d’art contemporain in Lyon, France in 1993. The idea was to create a relaxing space where visitors could flee from “way too much art” and use the “Emergency Exit” to take a breath. Consisting of three large paintings showing “nice days in autumn in the park” and two glass doors with a green sign on top saying “Sortie Secours” Kabakov simulated a view into the nature. Emergency Exit shows yellow leaves, dark tree trunks and long alleys and reminds of a fauvist style. Furthermore the title "Emergency Exit" can also be read as an utopian approach of art being the escape (door) to a better world.

CV Together they have taken part in numerous group exhibitions around the world, e.g. the documenta IX, Kassel (1992), and the Venice Biennial (1993, 2001, 2003, 2007), and presented solo exhibitions in institutions such as the Stedelijk Museum, Amsterdam (1993), Kunstmuseum Basel, Centre Georges Pompidou, Paris (both 1995), Deichtorhallen, Hamburg (1996), Hamburger Bahnhof – Museum für Gegenwart, Berlin (1998), Städel Museum, Frankfurt / Main (2000), Mori Art Museum, Tokyo, Cleveland Museum of Contemporary Art, Cleveland (both 2004), The State Hermitage Museum, St. Petersburg, the Serpentine Gallery, London (both 2005) and the Hiroshima City Museum of Contemporary Art, Hiroshima (2007 / 08). The first retrospective of this artist couple in Russia will open on 15.09.2008 at the Pushkin Museum of Fine Arts and the CCCM – Contemporary Centre for Culture Moscow. Most recently they had been participating at the 3rd Moscow Biennale (2009).

JITISH KALLAT with sales price

Untitled (Stations of a Pause), 2010/ 2011 Acrylic on canvas, bronze (each 25,4 x 27,9 x 45,7 cm | 10,5 x 11 x 18 in) Diptych, each 175,26 x 175,26 cm | 69 x 69 in 175,26 x 350,52 cm | 69 x 138 in # JKAL0042 Jitish Kallat ,Likewise’ 12.10.2010

Jitish Kallat Baggage Claim, 2010 Triptych Acrylic on canvas, bronze 243,8 x 518,2 cm | 95.98 x 204.02 in # JKAL0024 Photo:

Jitish Kallat Field Notes (Sweat on the Clouds), 2010 Acrylic on canvas, bronze (each 15 x 12 x 12 in) 175,26 x 175,26 cm | 69 x 69 in # JKAL0040

Jitish Kallat Overcast Forecast, 2009 / 2010 Acrylic on canvas, bronze feet 172,72 x 274,32 cm | 68 x 108 in # JKAL0016

Jitish Kallat Annexation, 2009 Resin covered with graphite powder 183 x 150 x 130 cm | 72.05 x 59.06 x 51.18 in edition 1/3 + 1AP # JKAL0027 Jitish Kallat Aquasaurus, 2008 Resin, paint, steel 100 x 271 x 106 cm | 39.37 x 106.69 x 41.73 in edition / 3 # JKAL0035

Jitish Kallat Chlorophyll Park (Mutatis Mutandis) I, 2010 Digital print mounted with diasec face on acrylic mounted on aluminium 101,6 x 152,4 cm | 40 x 60 in edition 1 / 3 # JKAL0029

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THE ARMORY SHOW PIER 94 BOOTH 1103

JITISH KALLAT born in 1974 in Mumbai, India; lives and works in Mumbai

Jitish Kallat’s works are fantasy images of the living conditions in Mumbai. His grotesque-surreal, partial ironical works capture the psychological strains of the mega-metropolis and describe the morbidity that lies behind the enormous economic and social changes in India. “The highly populated city of Mumbai, where I live, is almost a theatre where the codes of daily existence are pushed to the extreme and this continually percolates my practice.” (Jitish Kallat) In his paintings, Kallat focuses on migrants who set out from rural India with high hopes to seek their fortunes in the boomtown of Mumbai. But it is the downside of rampant economic growth and social change that interests him rather than the lure of the modern consumerism. His protagonists are disgruntled men, street urchins and, as in his series of portraits ‘Universal Recipient’, migrants who have found employment as private security guards.

The ‘Universal Recipient’ paintings are portraits of security guards standing at the entrance of gated residential blocks in the city of Mumbai; many of them are migrants who have just come into the city with this being their first job. Mostly seated at the gate, minding the thin membrane of separation from the street, which is the location of their occupation, they develop what can be called a “gate’s-eye-view” of the city. In many ways these become double portraits. The portrait of the city, rendered as a crumbling cascade of countless narratives, interlaces with the overgrown locks of the security guards as if they were raconteurs of the city’s inner secrets. The portraits are propped on a pair of bronze sculptural supports that are referenced from wall adornments on the 120 year old Chhatrapati Shivaji Terminus Building in the centre of the city. The railway station is Mumbai’s nerve centre. It is also here that most migrants first arrive, recognizing under its immense arches that they have now entered the big city.

CV Jitish Kallat studied painting at Sir J.J. School of Art and lives and works in Mumbai. His paintings and monumental sculptures have been included in numerous exhibitions featuring Art from India such as “The Empire Strikes Back: Indian Art Today,” Saatchi Gallery, London (2010), “Chalo! India: A New Era of Indian Art,” Essl Museum – Contemporary Art, Klosterneuburg, Austria, and Mori Art Museum, Tokyo (both 2009), as well as “Indian Highway,” Serpentine Gallery, London (2008/09). Solo presentations include Sherman Contemporary Art Foundation (2008), „Die Tropen. Ansichten von der Mitte der Weltkugel“, Martin-Gropius-Bau, Berlin (2008), The 6th Gwangju Biennial, Gwangju, Korea (2006), “Indian Summer”, Ecole Nationale Supérieure des Beaux-Arts, Paris (2005 ) and the Kunsthalle Luckenwalde, Germany (1998). Besides his work as an artist he writes frequently on the subject of contemporary Indian Art in art journals and exhibition catalogues.

JON KESSLER with sales price

16 Rue de Chanoinesse, 1989 Steel, Durotran, gears, chain, lights and motor 177,8 x 177,8 x 38,1 cm | 70 x 70 x 15 in # KESS0076 JON KESSLER with sales price

Welcome to the Terrordome, 2011 160,02 x 68,58 x 27,94 cm | 63 x 27 x 11 in # KESS0082 JON KESSLER with sales price

The 5th Column, 2011 190,5 x 114,3 x 48,26 cm | 75 x 45 x 19 in # KESS0081 Jon Kessler - Available Works

Jon Kessler The Trauma Factory , 2006 multimedia installation 192 x 91,5 x 101,5 cm | 75.59 x 36.02 x 39.96 in # KESS0001

Jon Kessler Untitled, 2011 165,1 x 60,96 x 48,26 cm | 65 x 24 x 19 in # KESS0080

Jon Kessler Mob Scene, 2006 Mixed media on paper framed 37 x 46,5 x 4,5 cm | 14.57 x 18.31 x 1.77 in # KESS0037 Photo: Bernd Borchardt

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JON KESSLER born in 1957 in Yonkers NY, lives and works in New York City

Jon Kessler has been influential and important in the American and International Art Discourse since he was included in the International Survey of Recent Painting and Sculpture at the Museum of Modern Art in New York in 1983, and since he took part in the 1985 Whitney Biennial. He has since held solo exhibitions at Carnegie in Pittsburgh, Contemporary Arts Museum Houston, Museum of Contemporary Art Chicago, and Deitch Projects and P.S.1 in New York. He was one of the founders of the Bozart toy company and currently teaches at Columbia University. Kessler accompanied a next generation of key artists, being the teacher of amongst others Dana Schuetz, David Altmejd. He is represented by the prestigious galleries Salon 94 in New York and ARNDT in Berlin.

CV Jon Kessler graduated at SUNY Purchase in 1980 with honors. Following graduation, Kessler took up a studio in Brooklyn, New York where he continues to work today. He was one of the founders of the Bozart toy company and currently teaches at Columbia University. Since the early 1980’s, Jon Kessler has exhibited widely in galleries and museums through the United States, Europe, and Japan. A retrospective of his work, Jon Kessler's Asia, was mounted at the Kestnergesellshaft in Hannover, Germany, and travelled to Graz, Austria. His work has been collected by numerous institutions including The Museum of Modern Art, The Whitney Museum of American Art, The Walker Art Center, and both the Chicago and Los Angeles Museums of Contemporary Art. From 2000 to 2005 he served as Chair of the Visual Arts Division of Columbia University's School of the Arts.

ENRIQUE MARTINEZ CELAYA with sales price

The Tower, 2010 Bronze 145 x 44 x 22 cm | 57.09 x 17.32 x 8.66 in Edition 3/7 # CELA0011 ENRIQUE MARTINEZ CELAYA with sales price

Untitled (Boy with hat), 2011 Oil and wax on canvas 198,1 x 254 cm | 77.99 x 100 in # CELA0024 Enrique Martinez Celaya The Ice, 2008 oil and wax on canvas 116,84 x 127 cm | 46 x 50 in # CELA0001

Enrique Martinez Celaya The Unwilled, 2009 oil and wax on canvas 254 x 198,12 cm | 100 x 78 in # CELA0002

Enrique Martinez Celaya The Gambler, 2010 Bronze 175,26 x 76,2 x 97,79 cm | 69 x 30 x 38.5 in edition 2/7 # CELA0003

Enrique Martinez Celaya The Savior, 2008 Bronze 168 x 66 x 343 cm | 66.14 x 25.98 x 135.04 in edition 1/5 # CELA0010

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ENRIQUE MARTINEZ CELAYA born in Cuba, 1964; lives and works in Florida

Enrique Martínez Celaya’s paintings, sculptures, photographs and poetry betray a consistent interest in the gray area between experience and its representation, as well as the relationship between fragmentation and wholeness. He is a prodigiously independent-minded artist who cannot be categorized by a repeated use of a style, medium or format. He possesses a restless, multifarious intellect and moves easily from painting to sculpture to drawing to photography. The disparate aspects of Martínez Celaya’s art are connected by an evolving vision shaped by circumstances, experiences, memories of his youth spent in Cuba, Spain and Puerto Rico, his education in physics and art, and influential figures such as his father, Marcos Martínez, and Bartoldo Mayol, the artist to whom he was apprenticed at age eleven and who instilled in Martínez Celaya a love for the process of making art. Martínez Celaya explores notions of symbolism, hermeticism, displacement, fragmentation, time, remembrance, mortality and identity, examines ideas attached to concepts of beauty, and questions the nature of the art objects he presents, as well as the possibilities of visual media and the limitations perhaps inadequacy of representation itself.

“The boy and the girl represented in several of the Daybreak works seem to insist they are part of a narrative, which they inhabit as ghosts in the present while simultaneously seeming to belong to an undefined but almost recognizable past. As those figures flicker in time, the landscapes in which they claim to stand suggest locations, however, before those locations can be recognized the work returns to paint; to a material Nothingness closer to ruins and garbage than to anything artistic, divine or intellectual. Then it all starts again, the appearance and disappearance, the temporal shifts, in eternal recurrence.” Martínez Celaya

CV Born in Cuba and raised in Spain and Puerto Rico, Enrique Martínez Celaya lives and works in Florida. Martínez Celaya studied Applied Physics and electrical engineering and pursued a PhD in Quantum Electronics. He attended the Skowhegan School of Painting and Sculpture in Maine and received his MFA from the University of California, Santa Barbara. Martínez Celaya has created projects for art venues such as the Museum der bildenden Künste Leipzig and the Miami Art Museum as well as non-visual art institutions such as the Berliner Philharmonie and St. Mary's Church in Limerick, Ireland. In 1998 he founded the publishing house Whale & Star, which publishes books in the areas of art, poetry, art practice and critical theory. His artwork is in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, the Museum der bildenden Künste Leipzig and others. Latest exhibitions include Boca Raton Museum of Art, “An Unfinished Conversation: Collecting Enrique Martínez Celaya“, (2009-2010), Miami Art Museum, Miami, Florida, “Nomad” 2007) as well as Museum der bildenden Künste Leipzig, Leipzig, “Schneebett” (2006).

VIK MUNIZ with sales price

Red, Orange, Orange on Red, After Mark Rothko, 2007 from the series: Pictures of Pigment Chromogenic print 188 x 180,3 cm | 74.02 x 70.98 in Edition 1/6 + 4 AP # MUNI0076 VIK MUNIZ with sales price

Barcelona Pavilion, 2010 from the series: Pictures of Chocolate Digital C print 111,76 x 76,2 cm | 44 x 30 in Edition 6 +4 AP / AP 1/4 # MUNI0119 VIK MUNIZ with sales price

Couple Central Park Zoo, after Garry Winogrand, 2008 from the series: Pictures of Paper Digital Gelatin Silver print 121,92 x 180,34 cm | 48 x 71 in Edition 2/10 + 5 AP # MUNI0063 Vik Muniz - Available Works

Vik Muniz Death of Loyalist Militiaman Federico Borrell Garcia, 2004 from the series: Rebus Chromogenic print 101,6 x 137,16 cm | 40 x 54 in edition 2/6 + 4 AP # MUNI0114

Vik Muniz The Mask, after Oscar Rejlander - to be produced, 2009 from the series: Rebus Digital C print 223,52 x 180,34 cm | 88 x 71 in edition 2/6 + 4 AP # MUNI0097

Vik Muniz The Mask, after Oscar Rejlander, 2009 from the series: Rebus Digital C print 127 x 101,6 cm | 50 x 40 in edition 2/6 + 4 AP # MUNI0098

Vik Muniz Sarah Bernhardt, after Nadar - to be produced, 2010 from the series: Rebus Digital C print 213 x 180 cm | 83.86 x 70.87 in edition 6 + 4 AP / AP 1/4 # MUNI0113 Vik Muniz Beethoven - to be produced, 2006 from the series: Pictures of Magazine Chromogenic print 244 x 180,34 cm | 96.06 x 71 in edition 5/6 + 4 AP # MUNI0111

Vik Muniz Spatial Concept, Expectations, after Lucio Fontana - to be produced, 2007 from the series: Pictures of Pigment Chromogenic print 102,11 x 101,6 cm | 40.2 x 40 in edition 6 + 4 AP / AP1/4 # MUNI0069 Photo: artist

Vik Muniz Farvela - to be produced, 2010 from the series: Pictures of Paper Digital C print 247,65 x 180,34 cm | 97.5 x 71 in edition 3/6 # MUNI0116

Vik Muniz The Birth of Venus, after Botticelli, 2008 from the series: Pictures of Junk Digital C print, triptych overall dimensions: approx 234 x 396 cm 234 x 396 cm | 92.13 x 155.91 in edition AP1 of 6+4AP # MUNI0100 Vik Muniz The School of Athens, after Raphael - to be produced, 2008 from the series: Gordian Puzzle Digital C print, diptych total dimensions approx: 248,28 x 368.3 cm / 97.76 x 145 in 248,28 x 368,3 cm | 97.75 x 145 in edition 4/6 + 4 AP # MUNI0082

Vik Muniz Garden of Earthly Delights, after H. Bosh - to be produced, 2008 from the series: Gordian Puzzle Digital C print Triptych Middle panel: 194.56 x 180.34 cm (76.7 x 71 in); side panels each: 194.56 x 81.28 cm (76.7 x 32 in) 194,82 x 342,9 cm | 76.7 x 135 in

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THE ARMORY SHOW PIER 94 BOOTH 1103

VIK MUNIZ born in 1961 in São Paulo, Brazil; lives and works in New York City

There are two basic procedures that give direction to Muniz’ work. Using ephemeral or fragile materials, and applying great skill in the construction of objects and drawings, Muniz recreates images drawn from the canon of art history or from current events: he reproduces Leonardo da Vinci’s The Last Supper out of chocolate syrup; based on a record of the exhibition, he replicates a Donald Judd sculpture with dust taken from the Whitney’s halls and galleries; and with sugar he makes copies of photographic images (made by him) of children who live near the plantations that grow his raw material. He then photographs these perishable reconstructions and throws them away, keeping only the photograph.

PICTURES OF CHOCOLATE Chocolate syrup proved to be an enormously successful material for Muniz to work with. It was a painterly medium, easy to work with, and carried with a host of associations. “Chocolate makes you think of love, luxury, romance, obesity, scatology, stains, guilt, etc.” Because it dried quickly – losing its luster and become increasingly unmanagable – the medium did, however, force Muniz to work quickly. The longest he could work with the syrup before it began to solidify was an hour. Often he would have to “rehearse” an image, making it several times in order to figure out the fastest way to execute it. The perfomative element reminded him of the work of Jackson Pollock.

PICTURES OF PIGMENT Pictures of Pigment harks back to some of Muniz’ earlier series, such as Sugar Children and Pictures of Soil, where he used a granular material as his medium. He composes his images by sprinkling a layer of differently coloured powdered pigments over reproductions of famous artworks, such as Monet’s La Japonaise, and then photographing them. The original works were rendered in oil paint, which is composed of powdered pigment mixed with linseed oil. Muniz’ images are oil paintings without the oil.

PICTURES OF PAPER In his Pictures of Paper series, famous black and white photographs are recreated using shreds of paper in all tones of the gray scale. Their historical content suggests an immutable reality but the materials Muniz collages together suggest the possibility of “shades of gray” within any representation. Besides documentary photographs, Muniz also reframes images that have pushed and re-defined the photo medium toward its acceptance as a two dimensional art form. The layers and placement of paper present not only the art object or concept, but also reveal an aesthetic sensitivity in the handling of materials and composition.

CV Vik Muniz grew up in Brazil. In the early 80s he started working in the advertising business where his interest in the power of images has developed. In 1984 he moved to the United States and started his career as a sculptor. Muniz’s work begins to take on its mature form with The Best of Life (1990) where he drew pictures of photographs included in the coffee table book “The Best of Life” from memory after losing the book in a move. The drawings were subsequently photographed and shown as photographs, a practice that Muniz continues. Since the early 1990s he has been represented on the international art stage with numerous group and solo exhibitions. In 2001 he and Ernesto Neto were responsible for the Brazilia n pavilion at the 49th Venice Biennial. He has staged solo exhibitions at institutions such as the MAM Museu de Arte Moderna, Rio de Janeiro (2009), the Tokyo Wonder Site Shibuya, Tokyo (2008/2009), the P.S.1 Contemporary Art Center, New York (2007), the MACRO – Museo d’Arte Contemporanea Roma, Rome (2003), The Menil Collection, Houston (2002), and the Whitney Museum of American Art, New York (2001). Vik Muniz also regularly works as a curator.

NEDKO SOLAKOV with sales price

Existence, 1989 Mixed media on canvas and wood, polyptych in 20 parts 97 x 133 x 7 cm | 38.19 x 52.36 x 2.76 in # SOLA0461 Provenance: Studio of the artist Arndt&Partner Berlin/Zurich

Exhibitions: solo shows: 2006 Nedko Solakov - Earlier Works, Arndt & Partner, Zurich

2006/2007 NEDKO SOLAKOV with sales price

Poltergeist, 1988 Acrylic, oil, nails, paper and metal on wood, polyptych in 3 parts 55 x 165 x 4 cm | 21.65 x 64.96 x 1.57 in # SOLA0458 Provenance: Studio of the artist Arndt&Partner Berlin/Zurich

Exhibitions: solo shows: 2006 Nedko Solakov - Earlier Works, Arndt & Partner, Zurich

2006/2007 NEDKO SOLAKOV with sales price

Naive Stories, a series of 12 drawings, 2010 Sepia, black and white ink, and wash on paper framed each 29 x 38 x 3 cm | 11.42 x 14.96 x 1.18 in # SOLA3409 Nedko Solakov Installation View of „Optimistic Stories“ (2008-2009) A series of 123 drawings, at ARNDT, Berlin , sepia, black and white ink, and wash on handmade laid paper # SOLA0921-01 Photo: Bernd Borchardt

Nedko Solakov Desperate Stories #1-12, 2007 sepia, black and white ink on laid paper; from a series of 12 drawings 19 x 28 cm | 7.48 x 11.02 in # SOLA0704

Nedko Solakov The Water Pyramid, 2008 Acrylic and ink on gilt carved lime wood 45 x 69 x 8 cm | 17.72 x 27.17 x 3.15 in # SOLA0765 Photo: Bernd Borchardt

Nedko Solakov The Investment (the money pouch), 2008 Acrylic and black drawing ink on gilded carved lime wood 77 x 83 x 09,5 cm | 30.31 x 32.68 x 3.74 in # SOLA0766 Photo: Bernd Borchardt

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NEDKO SOLAKOV born in 1957 in Cherven Briag, Bulgaria lives and works in Sofia, Bulgaria

Nedko Solakov is, as critic Maria Vassileva has put it, “an artist who can draw just as well as he can think”. Drawing and Thinking (often in form of narration or storytelling) are the two essential, inseperable poles of Solakov’s art. Of course, Solakov is very skilled not only in drawing but also in other techniques, such as painting, video, installation, and performance. Yet it seems that his drawing abilities form a base for his work in all other media. Solakov is primarily a storyteller. His works are not so much arranged to classical compositional rules but rather according to story lines. These stories are not linear; they are often dispersed, multi-directional, or interwoven in networks. As they unfold, they form a territory that is both visual and discursive, both physical and fictional. His drawings are always part of his narratives. Very often they are combined with textual explanations and commentaries. The boundary between drawing and writing is blurred, and written texts become drawings themselves.

CV Nedko Solakov graduated in Mural Painting at the Acadamy of Fine Arts in Sofia. His regular participation in important exhibitions including the documenta 12 (2007), the Venice Biennial (1993, 1999, 2001, 2003 and 2007), the Moscow Biennial (2007), and the Istanbul Biennial (1992, 1995, 2005) have made him one of the best-known international representatives of the younger generation of Bulgarian artists. Recently, the touring solo exhibition Emotions was showcased at the Kunstmuseum St. Gallen, Switzerland, and the Mathildenhoehe, Darmstadt, Germany (both 2009) as well as at the Kunstmuseum Bonn, Germany (2008). Further solo presentations were staged at the Sofia City Gallery, Sofia, the Castello di Rivoli, Turin (both 2009), the Kunsthaus Zürich, Switzerland (2005), the P.S.1, New York (2001), and the Museo Nacional Centro de Arte Reina Sofia, Madrid (2003). Between 2003 and 2005 a comprehensive mid-career retrospective of his work entitled A 12 1/3 (and even more) Year Survey was presented at the Casino Luxembourg, the Rooseum in Malmö, Sweden, and the O.K. Centrum in Linz, Austria.

ENA SWANSEA with sales price

snow in charlotte, 2011 Oil and graphite on canvas 243,84 x 182,88 cm | 96 x 72 in # SWAN0041 ENA SWANSEA with sales price

psycho, 2011 Oil and graphite on canvas 182,9 x 121,9 cm | 72.01 x 47.99 in # SWAN0042 Ena Swansea - Available Works

Ena Swansea yellow fields, 2010 oil and graphite on canvas 121,92 x 152,4 cm | 48 x 60 in # SWAN0037

Ena Swansea Bullfight, 2010 Oil and graphite on canvas 121,92 x 182,88 cm | 48 x 72 in # SWAN0040

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ENAENA SWANSEA born in Lilienthal, Germany; lives and works in New York

The magic of Ena Swansea’s paintings resides in her use of rich materials to create resounding psychological environments. Working in oil paint over a graphite ground, Swansea allows the unpredictable qualities of her media to clash with a physical tension. She builds her paintings up in canorous layers, combining the illusive quality of oil paint with the deadened effect of graphite. Using qualities of painting as a metaphor for psychological tension, Swansea offers vulnerability as a platform for self-knowledge, creating an ease with uncertainty, beauty in the spontaneity of gesture. Within this vast and irresolute field Swansea transfixes space and time, creating an unsettling plane where ominous ambiguity ebbs into tranquillity and solitude.

CVCVCV Ena Swansea studied at University of South Florida, Tampa and achieved recognition in 1998-99 for a series of abstract paintings based on observations of lightfall in the landscape. Key to this work was a subtly colorized grisaille palette and layers of transparent paint. The restless gray forms suggested moving shadows and were widely appreciated for their ingenious equation of style and content. Critical response noted that a subtle but recurring theme in the history of painting had resurfaced in a smart new way. Besides solo shows in galleries in New York and Berlin, Ena Swansea’s work has been featured in important group exhibitions, such as True Romance. Allegories of Love from the Renaissance to the Present, Kunsthalle Wien, Villa Stuck, Munich, and Kunsthalle Kiel (2008/07); IDYLLE, Sammlung Falckenberg, Hamburg, Domus Artium 2002, Salamanca, and National Gallery, Prag (all 2007); The Triumph of Painting III, Saatchi Gallery, London, and Leeds City Art Gallery; Back to the Figure. Contemporary Painting, Kunst Haus Wien, Kunsthal Rotterdam, Museum Franz Gertsch, Burgdorf, and Kunsthalle der HypoKulturstiftung, Munich (2006/07); Greater New York, P.S.1 Contemporary Art Center, New York, Goetz meets Falckenberg, Sammlung Falckenberg, Hamburg, and Story-Tellers, Kunsthalle Hamburg (all 2005). Parallel to her 2008 solo show at the Musée d'Art Moderne (MuDAM), Luxembourg, she presented her first solo exhibition in Switzerland at Arndt Partner Zurich.