KvS Contemporary art Auction Nr. 3 Auctions from Berlin galleries 8 July 2020 Berlin and studios Eine Auktion für Berlin Wir freuen uns, Ihnen mit diesem Katalog eindrucksvolle Kunstwerke aus Berliner Ateliers und Galerien zu präsentieren! Berlin ist glücklicher Weise mit Weltklasse-Künstlern so gesegnet, dass wir mit diesem Format der Galerien-Auktion die etablierten Grenzen zwischen Primär- und Sekundärmarkt überschreiten. Dafür möchte ich mich ganz besonders bei den teilnehmenden Künstler*innen und Galerist*innen bedanken, denn Veränderungen erfordern immer auch ein wenig Mut. Ein weiterer, ebenso herzlicher Dank gilt Julia Stoschek. In ihre Sammlung in der Leipziger Straße dürfen wir Sie zur Vorbesichtigung und zur Auktion einladen. Danke! Wir sehen uns also in der Julia Stoschek Collection. Wenn Sie verhindert sind, können Sie natürlich auch online oder per Telefon an der Auktion teilnehmen. Bitte registrieren Sie sich dafür möglichst bald bei uns. Mit herzlichen Grüßen Ihr Kilian von Seldeneck

P.S.: Um den Ankauf von zeitgenössischer Kunst durch die Nationalgalerie zu beflügeln, werden Galerist*innen und das Auktionshaus 5 % der Einnahmen an die Stiftung des Vereins der Freunde der Nationalgalerie für zeitgenössische Kunst spenden.

WWW.JSC.ART Vorbesichtigung: Stiftung der Freunde der Nationalgalerie Vor fast genau fünfzehn Jahren haben die Freunde der Nationalgalerie mit dem 25. Juni – 8. Juli 2020 überraschenden Gewinn aus der MoMA-Ausstellung in Höhe von 6 Mio.€ die „Stiftung des Vereins der Freunde der Nationalgalerie für zeitgenössische Kunst“ 12:00 – 18:00 Uhr gegründet. Mit dieser Stiftung, die den großen Erfolg der MoMA-Ausstellung dauerhaft bleiben lässt, sollte der Dialog zwischen den Verantwortlichen der Nationalgalerie und der jungen aktuellen internationalen Kunst intensiviert und Auktion: die Möglichkeit geschaffen werden, Kunstwerke der Gegenwart zum Zeitpunkt ihrer Entstehung zu erwerben. 8. Juli 2020 Im ersten Jahr hat die Stiftung allein über 24 Arbeiten erworben, darunter ein großes Sammlungskonvolut des Künstlers Hans-Peter Feldmann, das durch eine Empfang ab 18:00 Uhr großzügige Schenkung von Paul Maenz begleitet wurde. Insgesamt wurden in den vergangenen Jahren 90 Arbeiten von Künstlerinnen und Künstlern erworben, Auktion um 19:00 Uhr mit denen die Sammlung der Nationalgalerie um wesentliche künstlerische Positionen und Werke erweitert werden konnte. Darunter Werke von Alfredo Jarr, Susan Philipsz, Rosa Barba, Roman Ondák, Sergej Jensen, Christoper Williams, Julia Stoschek Collection Nairy Baghramian oder Nevin Aladag, um nur einige zu nennen. Dazu sind in den letzten Jahren vermehrt großzügige Schenkungen gekommen, so z. B. „Statue of Liberty“ von Elgreen & Dragset oder „Three solids, 1993“ von Attila Csörgö. Leipziger Straße 60 Welche Werke erworben werden, wird von einer unabhängigen, auf jeweils zwei Jahre gewählten Ankaufskommission entschieden. (Eingang Jerusalemer Straße) Mit der Gründung der Stiftung und dem im Zweijahresrhythmus vergebenen „Preis der Nationalgalerie für junge Kunst“ haben die Freunde der Nationalgalerie 10117 Berlin nicht nur einen deutlichen Akzent in der zeitgenössischen Kunst gesetzt, sondern immer wieder auch die Bedeutung Berlins als Produktionsort von Kunst betont. Es ist uns deshalb heute besondere Freude und Ehre, dass unsere Stiftung einen Anteil des Auktionserlöses erhält, um so weitere Ankäufe zeitgenössischer Kunst für die Sammlung der Nationalgalerie auch in diesen schwierigen Zeiten zu realisieren und damit ein positives Signal für die Kunststadt Berlin zu setzen. H.-G. Jan Oelmann Vorsitzender Stiftung des Vereins der Freunde der Nationalgalerie für zeitgenössische Kunst

Aufgrund der Corona-Verordnung kann es zu Limitierungen kommen. Melden Sie sich gern vorab bei uns an: [email protected] Conny Maier Lot 1 Bunny Rogers Lot 2 Der Vergleich 4, 2017 Self-Portrait as clone of Jeanne d’Arc, 2014

Conny Maier Conny Maier’s works reflect socio­ In her large-format paintings, Oil on canvas Bunny Rogers With Self-Portrait as Clone of Using the cartoon character as a sur- Selected solo exhibitions: Kunsthaus Born in Berlin, Germany. cultural topics such as poverty, geometrical forms, colorful surfac- 160 × 120 cm Born 1990 in Houston, TX. Jeanne d’Arc Bunny Rogers offers a rogate of herself, Rogers spins a web Bregenz, Bregenz (2020); Museum Lives and works in Berlin solitude and social conflict. es and comfortable elements with Unique Lives and works in New York, NY. gateway into the mythology of her of associations that are both subjec- für Moderne Kunst, Frankfurt (2019); and Baleal, Portugal. She humorously and cautiously abstract components blend together. generation. Employing erasure not tive and relatable. In her practice, Marciano Art Foundation, Los reveals social systems and their The boundaries between poverty as a literal gesture but rather as a Rogers often references the world Angeles (2018); Whitney Museum constructions. and wealth become blurry. What playful, rhetorical figure, Rogers of online gaming and the malleable of Art, New York (2017); and Musée The artist acts as a silent spectator remains are collages of society. removes her own image as the sub- identities endemic to role-playing d’Art Moderne, Paris (2015). within the entity as well as a part Conny Maier has had shows in ject of self-portraiture and replaces and fantasy communities while of the whole while she confronts Berlin, Paris, Lisbon, Cologne, it with an adopted persona – the exploring themes of alienation, vio- herself with critical questions Memmingen, Ulm, Vienna and angsty Joan of Arc from MTV’s cult lence, desire, and the elastic notion and analysis of her own behavior. Los Angeles. A work of this artist has been hit Clone High, an animated series of self that is present in contem- Fine Art Print on Hahnemühle Maier’s stories are suffuse with the acquired by the Stiftung des Vereins that aired between 2002-2003. porary life and mediated society. PhotoRag Ultrasmooth 305 g, documentary narratives. The idea Exhibitions: der Freunde der Nationalgalerie Blown up to monumental propor- Using her character as a proxy, the artist frame for her works are gathered while 2020: Domestic, König Galerie | für zeitgenössische Kunst in 2017 tions, Roger’s serial self-portrait artist also reflects on the complexity 36 × 31 × 3 cm traveling the world. She constantly Chapel; 2019: I didn’t mean to burn features her alter ego in fifteen of adolescent femininity – and its Edition: 3 + 2AP and spontaneously scetches people the woods. Solo show curated by different positions and situations, inherent angst, ferocity, desire, and Further information: and situations on notebooks and Office Impart. SMAC, Berlin; Further information: including a plethora of symbols and narcissism. König Galerie pieces of paper, and these snapshots 2019: Im Trüben , Solo show. Starting bid: Société references drawn from her personal Starting bid: www.koeniggalerie.com later find their way onto canvas. Ruttkowski;68, Cologne € 3.000.– www.societeberlin.com life and pop culture. € 5.000.– Umut Yasat Lot 3 Hannah Sophie Dunkelberg Lot 4 Der Stapel 35, 2019 U live ur life as if its real no. 2, 2019

Umut Yasat Between 2009 and 2015 Umut these sculptures until they reach his Plastic, aluminum, lacquer, stainless Hannah Sophie Dunkelberg Hannah Sophie Dunkelberg’s Hannah Sophie Dunkelberg Reliefpanel, Pet-g Born 1988, lives and works in studied in the Staatliche Akademie own height. This is a self-imposed steel, sugar, cardboard, paper, Born 1987 in Bonn, Germany. works play with the intersection graduated at UDK in Berlin 2019. 230 × 145 cm Karlsruhe, Germany. der Bildenden Künste in Karlsruhe limit to an endless process, since, ink, felt-tip pencil, pencil, crayon, Lives and works in Berlin. of materialities and imagery while with Gustav Kluge, Jonas Burgert if it were possible, there would be copper, silver, gold, glass, foam, deliberately staging painting and Selected exhibitions: and Marcel van Eeden. He started only one, incredibly high Stapel. steel, glue, iron, wood, tobacco, drawing in the sculptural field. 2020: Ein gern gesehener Gast, to work on Der Stapel in 2014. At As a vertical chronological line concrete The desire for drawing reveals Hannah Sophie Dunkelberg / Simon first this process encompassed tiding Der Stapel is a materialization and itself in the moment of struggling Modersohn, Åplus Gallery and all of the artist’s previous works a way to visualize of time. Yasat’s 175 × 88 × 74 cm for its volatility. The moment when Office Impart, Berlin (duo), together but later it evolved into the works are currently on view in the 69 × 34 2/3 × 29 1/4 in drawing becomes a model – the 2019: Link in Bio. Art after Social agglomeration of not only works exhibition City Life at Kunstmuseum beauty in the failure of surfaces. Media, MdbK Leipzig; Set in Scene, of art but several of the artist’s Arnhem, NL. The starting point for Dunkelberg’s Haus am Lützowplatz, 2019 everyday objects – both meaningful work is always a drawing or a and trivial. As Der Stapel evolves painting, which she then develops the artist becomes more radical, further either in analogue or digital in his latest works getting rid of form. In her artistic practice she literally every possesion such as deals with space, surface and Further information: his washing machine, his bed and Further information: material and rethinks the idea of GNYP Gallery the only souvenir remaining from Starting bid: Office Impart an image on several levels. Starting bid: www.gnypgallery.com his grandfather. Yasat works on € 3.500.– www.officeimpart.com € 6.000.– Kaspar Müller Lot 5 Jeremy Shaw Lot 6 Mandala 3, 2020 Towards Universal Pattern Recognition (National Day of Prayer, 1992), 2017

Kaspar Müller During a quiet period at home through the medium of one of the then performed another layer of Jeremy Shaw Shaw’s practice is an in-depth ex- Upcoming Exhibitions: Collections: Born 1983 in Schaffhausen, earlier this year, Kaspar Müller’s most banal household staples. intervention by adding his own floral Born 1977 in North Vancouver, ploration of the conditions of media- 2020: Phase Shifting Index, Swiss Museum of Modern Art, New York, Switzerland. Lives and works eldest daughter handed him a paintings on top of the image of his Canada. Lives and works in Berlin, tion in relation to spiritual, religious Institute, New York, USA (solo) NY, USA; Tate Modern, London, UK; in Berlin and Zurich. single square of white 3-ply paper Müller’s new paintings emerged daughter’s, bringing about a moment Germany. and subcultural ideologies, notions Quantification Trilogy, Julia Centre Pompidou, Paris, France; imprinted with a repeating pattern from the positivity and beauty that where oil and digital patina meet. of enlightenment, scientific data Stoschek Collection Berlin, National Gallery of Canada, Ottawa, of butterflies and flowers. Perhaps his daughter’s own paintings found visualization of the brain, altered Germany (solo); Phase Shifting Canada; Julia Stoschek Collection, it was the slowed down pace in a product that is ubiquitous, states of consciousness, psychedelic Index, MONA Museum of Old Düsseldorf, Germany of this intimate time, or simply empty, and profane – and his experimentation, and the desire to and New Art, Hobart, Tasmania, the innocence and curiosity of work maintains the sublime search out meaning beyond what is Australia (solo); Phase Shifting a child’s mind, but his daughter fluffiness and luminosity of the currently acceptable as it appears Index, Frankfurter Kunstverein, Archival colour photograph, had brought to life details that original. He performatively re- in cultural forms of expression. Germany (solo); Quantification acrylic, chrome although encountered daily, most enacted her works on a grand scale UV cured ink and Sennelier The works have a timeless quali- Trilogy, Julia Stoschek Collection, 40.3 × 35.3 × 14 cm people miss. Using an array of oil through various layers of technical oil pastel on canvas ty – they continually address the Düsseldorf, Germany (solo) Unique crayons, she meticulously colored intervention. The large-scale 210 × 160 × 3cm shifting present context from which in the paper’s indented patterns, prints not only emphasized the Unique the viewer approaches them. Shaw’s Selected solo exhibitions: unlocking a crisp and bold design embellished pattern, but also the artistic position is unique: his work 2020: Jeremy Shaw, Selected Facets Further information: through a delicate, yet decisive object-like quality of the paper Further information: is both critical and socially engaged, and Translation, König London, Société intervention. What ensued was sheet, including at times tattered Starting bid: König Galerie speculative and embodied, concep- London, UK; Phase Shifting Index, Starting bid: www.societeberlin.com an inter-generational exchange or lightly torn edges. Müller € 10.000.– www.koeniggalerie.com tual and affective. Centre Pompidou, Paris, France € 10.000.– Martin Eder Lot 7 Thea Djordjadze Lot 8 The World turns into a Deeper Shade of Blue, 2019 Untitled, 2020

Martin Eder Martin Eder has always loved the cosiness. Originally coming from or heavy-metal-chic and cinematic Thea Djordjadze Thea Djordjadze’s paintings are she uses and lets them speak for Wood, plaster, paint Born 1968 in Augsburg, Germany. game of kitsch, clichées and exag- sculpture production, space and substitute religions à la “Game of Born 1971 in Tbilisi, Georgia. cast wooden frames made of themselves, informing the painting’s 51.5 × 51.5 × 3.5 cm Lives and works in Berlin. geration. The resulting subjects that installation is always important for Thrones” an “The Hunger Games”. Lives and works in Berlin. performatively moulded plaster. resulting shapes and composition. seem trivial are half appetizingly him as well. Her intuitive and sculptural arranged, half distastefully served 2020: AKI Gallery, Taipei, Taiwan approach to painting transforms Selected public collections: and completed in the highest paint- Since a couple of years Eder 2019: Dystopia, Galerie Eigen + Art, the perception of painting into Museum of Modern Art, New erly and photographic perfection. modifies his subjects and sets first Berlin, Germany; 2018: Parasites, that of a poetic wall sculpture. York; Neue Nationalgalerie, He therefore maintains a top-class opposing stimulus with naturalistic Newport Street Gallery, London, UK These paintings are exemplary Berlin; Museum Ludwig, Cologne; voyeurism that forces extremes nude painting. Around 2014 the pan of Djordjadze’s physiological Berlinische Galerie, Berlin into till then unseen pictures – a to black romance, hypnosis and es- practice, with corporeal sweeping mixture that is both provoking and oteric knight play with portraits of A work of this artist has been movements clearly visible amid fascinating.Until 2011 mostly nude strong women in military armament acquired by the Stiftung des Vereins their painted plaster surfaces. woman, massive Mohair-tomcats, with sword, axe or scepter togeth- der Freunde der Nationalgalerie Taking a physical approach to barely dressed teenagers, poodles, er with flowing garments or angel Öl auf Leinwand für zeitgenössische Kunst in 2015 production, Djordjadze gives children and rabbits bustle in these wings takes place. A few people 75 × 50 cm her works an anthropomorphic scenarios. With cuteness, bad taste recognized only a refinement of dimension via their gestural traces Further information: and pornographic key stimulus he bad taste, others a further logic Further information: and bodily scale. At the same time, Galerie Eigen + Art equips a universe of images full development of the work along with Starting bid: Sprüth Magers she acknowledges the original Starting bid: www.eigen-art.com of dark sweetness and screaming popcultural phenomenons as gothic € 25.000.– www.spruethmagers.com intended design of the materials € 16.000.– Ella Littwitz Lot 9 Alicja Kwade Lot 10 The Unknown Land Of The South, 2017 Causal Emergence Emergence (May 2022), 2020

Ella Littwitz For the work The Unknown Land Ancient times by Claudius Ptole- Steel, various soils Alicja Kwade Causal Emergence illustrates a Upcoming Exhibitions: Contemporaine Olivier Debré, Tours, Born 1982 in Israel. Lives and of the South Ella Littwitz, in a my, an astrologist and geographer. 50 × 50 cm Born 1979 in Katowice, Poland. specific amount of time, exactly one 2021: Alicja Kwade, In Abwesenheit, France works in Jaffa, Israel very personal way, deals with the Ptolemy suspected a huge land mass Lives and works in Berlin, Germany. month: The clock-hands are oriented Berlinische Galerie, Berlin, Germany absurdity of territorial limitations in the southern hemisphere, as ac- in a logarithmic spiral, starting from (solo); 2020: Kausalkonsequenz, Selected collections: between nation-states and the cording to his theory the world must the center at 12 o’clock midnight in Langen Foundation, Neuss, Germany LACMA – Los Angeles County restricted movements in the world, be balanced. the beginning of the month. Every (solo); Petrichor, König Tokyo, To- Museum of Art, Los Angeles, CA, that come with it. Because of her hour following another is represent- kyo, Japan (solo); Helsinki Biennale, USA; Louisiana Museum of Modern Israeli nationality, Littwitz is denied ed by one clock-hand. Recalling Helsinki, Finland (group) Art, Humlebæk, Denmark; Centre the entry to 23 countries and the familiar illustrations of a logarithmic Pompidou, Paris, France; Sammlung Palestinian territories. With this spiral, the work references an order Selected exhibitions: Würth, Schwäbisch Hall, Germany work she creates a utopian place, found in nature: growth (e.g. snail 2019: Alicja Kwade: In Between consisting of earth that was brought shells), storms, galaxies – the golden Glances, MIT List Visual Arts Center, or sent by collaborators, although ratio. „Spiral Mirabilis“, as described Cambridge, MA, USA; Moving in Brass on cardboard, framed some are missing due to political by Descartes and Bernoulli, makes Glances, Dallas Contemporay, Dallas, 81 × 81 × 4,7 cm and technical reasons. The concept the cumulated time readable in all TX, USA; WeltenLinie, Palazzo Unique as well as the shape of the resulting directions, illustrating time as a Biscari; ParaPivot, Rooftop Garden Further information: sculpture takes reference to Terra Further information: non-linear dimension. Installation, The Metropolitan Alexander Levy Australis Incognita, a hypothetical Starting bid: König Galerie Museum, New York, NY, USA; The Starting bid: www.alexanderlevy.de Southern continent, postulated in € 8.000.– www.koeniggalerie.com Resting Thought, Centre de Création € 20.000.– Claudia Comte Lot 11 Julius von Bismarck Lot 12 Suspended Marble Apple, 2018 Fire with Fire (Green Mendocino), 2019

Claudia Comte The group of seven marble sculptures carved into the stone. Although the Collections: Julius von Bismarck Driven by the catastrophe itself, For a while now, the artist has Archival pigment print Born 1983 in Lausanne, Switzerland. of enlarged fruits suspended in four- marble itself signifies antiquity and Kunstmuseum, Luzern, Switzerland; Born 1983 in Breisach am Rhein, mankind’s voyeurism is nowadays intensively dealt with the causes on Photo Rag Baryta Lives and works in Switzerland, post cages show Claudia Comte’s oc- stability, the condition of the depict- The Maurice and Paul Marciano Art Germany. Lives and works in Berlin experiencing a satisfaction that has and consequences of this natural 160 × 240 cm Germany and Grancy, Switzerland. cupation with technology, nature and ed fruit is perishable and ephemeral. Foundation, LA, USA: Collection rarely existed before. The news phenomenon. He thereby traveled Edition: 1 + 1 A.P. material. Each sculpture was carved Haus Konstruktiv, Zurich, Switzerland coverage on the latest consequences to five international fires, which by a robot into a block of black Mar- Selected solo exhibitions: of natural disasters are constantly have been part of the biggest fire quinia marble, after the fruit was 2019: The Diagnosis of Life, overflowing in the superlatives season since recording until now, scanned by a 3-D-Scanner. The rect- Castello di Rivoli – Museo D’Arte Black Marquinia marble, of destruction. In his new work and accompanied the local fire angle form of the cage remains, giv- Contemporanea, Rivoli, Italy; Claudia yellow Siena marble series Fire with Fire Julius von department into the forests. With ing the viewer a reference to the raw Comte, Fruits and Jungle, König Sculpture: 50.7 × 32.7 × 32.7 cm, 64 kg Bismarck questions the premises of the insights he has created, von block in which the sculpture was London, London, UK; Claudia Comte, Plinth: 120 × 27.4 × 28.1 cm, 218 kg media communication on natural Bismarck – despite the omnipresent carved in and refers at the same time Gladstone Gallery, Brussels, Belgium; Unique catastrophes using the examples of celebration of destruction - provides to the Renaissance, where scientists Bunnies and ZigZag, Joy de Rouvre, forest fires. a new perspective on the relation started to investigate processes of na- Geneva, Switzerland; Wallpaintings, between man and nature and the ture in order to understand and con- Gladstone Gallery, New York, change in the recent present. trol it. The reminiscence of baroque USA; Copenhagen Contemporary, Further information: opulence and exorbitance appears in Copenhagen, Denmark Further information: König Galerie the fruits, which had been careful- Starting bid: Alexander Levy Starting bid: www.koeniggalerie.com ly polished by hand after they were € 25.000.– www.alexanderlevy.de € 18.000.– David Ostrowski Lot 13 Alfredo Jaar Lot 14 F (Days of Thunder), 2020 Cien Años de Soledad (No realmente), 1985

David Ostrowski David Ostrowski has produced a reduction. He uses little more than Acrylic and lacquer on canvas, Alfredo Jaar Cien Años de Soledad by Alfredo of origin Chile. Like in many of Neon Born 1981 in Cologne, Germany, body of work that revolves around canvas, primer, emulsion, spray wood Born 1956 in Santiago de Chile. Jaar makes reference to the title of his works from the late 1970s and 36 × 152 cm Lives and works in Cologne. the idea of the zero point – a place paint and wooden strips along with 101 × 81 cm Lives and works in New York, NY. Garcia Marquez’s famous novel from the 1980s, Jaar’s aim is to provide of nothingness or the beyond found pieces of paper, cardboard, 1967, which tells the story of several his audience with a more global of cultural and painterly codes. adhesive tape or textile. His largely generations of one family living perspective that takes into account Ostrowski’s paintings are products monochrome works are created in a fictitious town in Colombia. existing power relations and the role of a desire to eliminate painterly in an artistic process that relies on Jaar places the words “Cien años of the United States play in relation knowledge. They are expressions both an instinctive refusal of pictori- de soledad” (which mean “one to the countries in the southern part of the idea that in producing notions al conventions and the methodical hundred years of solitude”) on the of the continent. of emptiness, one also grapples use of coincidences and errors. wall in white neon. He creates an with and comments on the history A work of this artist has been ironic tension however, by adding of painting. The Cologne-based Selected public collections: acquired by the Stiftung des Vereins below in red, in parenthesis and artist’s light-handed and complex Los Angeles County Museum of der Freunde der Nationalgalerie in a different, print type font the approaches to the non-motif open Art, Los Angeles; Colección Jumex, für zeitgenössische Kunst in 2018 phrase “no realmente” (meaning “not the space of the canvas to unique Mexico City; Moderna Museet, really”). Jaar’s work takes the shape breaches of perception and an un- Stockholm; Tel Aviv Museum, of an ironic commentary and aims Further information: expected freedom of seeing. Even Tel Aviv Further information: at a critique of the illusion of the Sprüth Magers the materials used in Ostrowski’s Starting bid: Galerie Thomas Schulte independence of nation states such Starting bid: www.spruethmagers.com work testify to a striking attempt at € 10.000.– www.galeriethomasschulte.de as Colombia or the artist’s country € 38.000.– Petra Cortright Lot 15 Jeppe Hein Lot 16 ADAPTATIONS OF CHAMELEONS_beautiful thing “Canada 3000”, 2018 Colourful, 2020

Petra Cortright Petra Cortright’s core practice is the perspectives and dimensions suggest part Foundation, Los Angeles (solo, Jeppe Hein Jeppe Hein is a Danish artist based in their experience and perception of Centre Georges Pompidou, Paris Born 1986 in Santa Monica, CA. creation and distribution of digital dynamic change. Cortright lives 2015); Foxy Production, New York, Born 1974 in Copenhagen, Denmark. Berlin. He studied at the Royal Dan- the surrounding space. (2005) and P.S.1. MOMA, New York Lives and works in Los Angeles, CA. and physical images using consumer and works in Los Angeles, CA. She NY (solo, 2017 and 2015); Société, Lives and works in Copenhagen, ish Academy of Arts in Copenhagen (2004) among others. or corporate softwares. She became studied Fine Arts at Parsons School Berlin, Germany (solo, 2014 and Denmark, and Berlin, Germany. and the Städel Hochschule für Bil- Solo shows include Breathe with Me renowned for making self-portrait of Design, The New School, New 2016); and Preteen Gallery, Mexico dende Künste in Frankfurt am Main. at UN Headquarters and in Central Collections: videos that use her computer’s York, NY (2008) and the California DF (solo, 2011). Public projects have He is widely known for his produc- Park, New York City (2019); Kunst- Rijksmuseum Amsterdam, The webcam and default effects tools, College of the Arts, San Francisco, included commissions from Frank tion of experiential and interactive museum Thun (2018); Château La Netherlands; Centre Pompidou, which she would then upload to CA (2004). Gehry Partners, LLP, and Sketched- artworks that can be positioned at Coste (2017); Kunstmuseum Wolfs- Paris, France; Tate Gallery, London, YouTube and caption with spam text. Space in Seoul, South Korea. the junction where art, architecture, burg (2015); Brooklyn Bridge Park United Kingdom; Arken Museum of Cortright’s paintings on aluminum, Exhibitions include Team Gal- and technical inventions intersect. New York (2015); Bonniers Konst­ Modern Art, Arken, Denmark linen, paper, or acrylic are created in lery, New York (solo, 2020); Times Unique in their formal simplicity hall, Stockholm (2013); 21st Centu- Photoshop using painting software Square’s Electronic Billboards, New and notable for their frequent use ry Museum of Contemporary Art, Glass fiber reinforced plastic, chrome and appropriated images, icons, and York (solo, 2019); Nahmad Projects, Digital painting on gloss paper, of humor, his works engage in a Kanazawa (2011); IMA – Indianapolis lacquer, magnet, string marks. The digital files are end- London (solo, 2018); 1301PE, Los An- facemounted lively dialogue with the traditions of Museum of Art, Indianapolis (2010); 40 × 26 × 26 cm lessly modifiable, but at a “decisive geles (solo, 2017 and 2019); City Gal- 121.92 × 92.71 cm Minimalist sculpture and Conceptual ARoS Kunstmuseum, Århus (2009); Unique moment” they are translated into lery, Wellington, New Zealand (solo, art of the 1970s. Hein’s works often (2009); Carré d’Art, Musée d’art Further information: two-dimensional objects. They be- 2017); Carl Kostyál, London, UK Further information: feature surprising and captivating contemporain de Nîmes; Sculp- Société come finite, yet their range of motifs (solo, 2016); Ever Gold Projects, San Starting bid: König Galerie elements which place spectators at ture Center, New York; The Curve, Starting bid: www.societeberlin.com and marks, and their disorienting Francisco (solo, 2018 and 2016); De- € 14.000.– www.koeniggalerie.com the centre of events and focus on Barbican Art Centre, London (2007); € 15.000.– Idris Khan Lot 17 Axel Hütte Lot 18 Quartet, 2019 Palazzo Loredan-2, Italy, 2012

Idris Khan British artist Idris Khan’s dense- very high and low musical notes, Gesso and oil stick on black Axel Hütte Hütte’s photographs of interiors He has explored how to provoke 2017 Axel Hütte. Frühwerk, Josef Born 1978 in Birmingham, UK. ly-layered imagery inhabits the space dynamics, and articulation marks. and white fibre print mounted Born 1951 in Essen, Germany. in Venice show intricate spatial resistance, to cause disconcertment Albers Museum Quadrat, Bottrop Lives and works in London. between abstraction and figuration, Music is often seen as an abstract on aluminum panel Lives and works in Düsseldorf relationships involving doors, mir- with images that seem familiar and Axel Hütte. Night and Day, Kunst- encompassing aspects of history, cu- representation of human emotions. and Berlin. rors, and windows. Light coming in realistic but, at the same time, seem palast Düsseldorf mulative experience, and the meta- Notation systems are a further means 77.3 × 52.7 × 1.5 cm through the windows is reflected off-kilter. Hütte uses analog pho- physical collapse of time into a single of abstraction; an attempt to translate Framed: 79 × 54.4 × 4 cm off ceilings, walls, and floors in very tography only. Although the images moment. Over the years, the artist and render the ephemeral, time- different ways, revealing its varied are scanned and digitally processed Color photography, has developed a unique narrative, based sound replicable and conserv- qualities. The photographs expose a for printing, these interventions are printed on glass and mirror drawing on diverse cultural sources able. However, like emotions, the range of effects from the finest de- limited to adjustments of brightness 61 × 72 cm including art, literature, philosophy, experience of music can neither be tails to a glaring backlight. Hütte has and contrast. Edition of 6 and music. For Quartet (2019) Khan repeated nor relived. Khan’s Quartet printed some of the Venice interiors uses enlarged fiber-printed pages of eloquently speaks of this impos- on glass which is then placed on top Selected solo exhibitions: 2018 In sheet music mounted on aluminum sibility emphasizing the silence of of a mirror. As a result the images anderen Welten, Galería Helga de and gesso panel as the ground for a the material, while at the same time become unstable and dynamic as Alvear, Madrid, Spain series of abstract oil stick paintings. using it for a new creation; a new their perception largely depend on Axel Hütte: Imperial – Majestic – The notation of the music itself is composition with its own rhythm the viewers position. Magical, Kunsthalle Krems, Austria Further information: blocked out by an impasto, expres- and expressiveness. Further information: Since the late 1990s, Axel Hütte has Axel Hütte. Unterwegs – In der Galerie Thomas Schulte sive application of black and blue oil Starting bid: Daniel Marzona continuously sought ways to alienate Ferne, Museum Franz Gertsch, Starting bid: www.galeriethomasschulte.de paint and gesso, leaving visible only € 7.000.– www.danielmarzona.com us from the photographic image. Burgdorf, Switzerland € 8.000.– Katharina Grosse Lot 19 O.T., 2020

Katharina Grosse With her work, Katharina Grosse Exhibitions: Collections: Born 1961 in Freiburg im Breisgau, has occupied one of the most im- April 23 – October 4, 2020 Centre Pompidou, Paris, France Germany. Lives and works in portant international positions in Solo exhibition, It Wasn’t Us, Lenbachhaus, Munich, Germany Berlin, Germany. painting since the early 1990s. Her Hamburger Bahnhof – Museum für FNAC collection, France work and thinking is characterized Gegenwart, Berlin, Germany by constant renewal and variable perspective; it aims at a systematic Opening postponed Acrylic on canvas questioning and expansion of the to end of april, 2020 202 × 114 cm concept of the picture. Initially Group exhibition, Push the Limits, with brushes and broad brush- Fondazione Merz, Turin, Italy es, and since 1998 mainly with a spray gun, she has been working – April 26, 2020 on making painting recognizable Cooperation | Group exhibition, as a relational, spatially related, Alexander Kluge – The Power performatively founded, ephemeral Of Music / The Opera – Temple of phenomenon. The characteristics of Seriousness, Kunsthalle Weishaupt analytical painting – the painter- and Museum Ulm, Germany ly questioning of colorant, carrier and application – are anything but – June 28, 2020 alien to her work, but at best form a Solo exhibition, Is It You?, The transit station on the way to a col- Baltimore Museum of Art, USA orfulness liberated in itself, which The presentation of paintings closes Further information: only becomes complete through the June 28, 2020; the installation Is König Galerie viewer. It You? remains on view through Starting bid: www.koeniggalerie.com January 3, 2021 € 100.000.–

„Ich mache mir Sorgen, natürlich. Zugleich bin ich fast fasziniert von dieser abrupten Veränderung, die keine politische, keine ideologische Ursache hat und doch die ganze Welt betrifft. Wir alle haben ein Problem, und wir müssen es bewältigen, gemeinschaftlich.“

Katharina Grosse, der spiegel Yngve Holen Lot 20 Olaf Holzapfel Lot 21 Snowflake,2017 Mühle, 2019

Yngve Holen In his works, the Norwegian-German As well as sculpture, his work inclu- Car rim, plastic Olaf Holzapfel In Holzapfel’s straw pictures, light, also spur a changed awareness of temporary Art, MUNTREF, Buenos Born 1982 in Braunschweig, artist Yngve Holen examines the re- des the interview-based publication 13,6 cm ø 48 cm Born 1967 in Dresden, Germany. color, and real and illusionistic pic- the environment and open up their Aires, Argentina; Fasern, Daniel Germany. Lives and works in Oslo, lationships and boundaries between series ETOPS. Lives and works in Berlin. torial spatiality play a central role. political dimension. In harmony Marzona, Berlin, Germany Norway, and Berlin, Germany. the (human) body and consumer The pictures seek to overcome the with Land Art, without being agita- culture in various areas of life such Yngve Holen’s work is represented rupture between depiction and what tion, they call for a respectful stance as transport, industrial food pro- in important public and private is depicted; they describe directly toward the environment. Starting Straw, wood duction, plastic surgery or security collections and is the subject of what they are. They are thus mi- from this stance, it seems possible 85 × 85 cm systems. To this end, he works with numerous institutional solo exhibi- metic and yet completely nonrepre- to determine a new relationship Unique work a combination of materials that tions, including X Museum, Beijing sentational; it is as if they open up between our media-shaped urban define our not only our industries (autumn 2020), Kunstnernes Hus, spaces that start in the concrete ma- spaces and the surrounding land- today but also our everyday life. He Oslo (2019), Kunsthalle Düsseldorf terial. Viewing them, one constantly scapes. combines mass-produced goods and (2018) and Kunsthalle Basel (2016). changes perspective: are we seeing traditional materials such as metal, He was awarded the Overbeck Prize material, or a pictorial space? The Selected solo exhibitions: 2019 Olaf marble, glass and wood and uses (2020), the Robert Jacobsen Prize materials Holzapfel chooses – straw, Holzapfel, Galerie Gebr. Lehmann, contemporary industrial manufactu- (2017) and the ars viva Prize (2015). wood, reeds, and hay – show and Dresden, Germany; El Camino en ring techniques such as 3D printing, describe the constancy of division los Campos, Museo Nacional de Further information: water jet cutting or CNC milling. Further information: and arising from and apart from Arte Decorativo, Buenos Aires, Ar- Galerie Neu Starting bid: Daniel Marzona each other as a recurring natural gentina; Latitude 40°, film screening Starting bid: www.galerieneu.net € 8.000.– www.danielmarzona.com process. His material-related works at Biennale del Sur, Center of Con- € 12.000.– Birgit Megerle Lot 22 Jorinde Voigt Lot 23 Connection, 2018 Zeitliche Koinzidenz (…) / Jung/Pauli-Studie 2, 2020

Birgit Megerle Birgit Megerle’s paintings, con- Megerle’s work has recently been Oil on canvas Jorinde Voigt Jorinde Voigt’s drawings and Solo exhibitions: India ink, gold leaf, pastel, oil Born 1975 in Geisingen, Germany. cerned with temporality and the the exhibited at institutions across the 165 × 130 × 2.5 cm Born 1977 in Frankfurt am Main, sculptural works develop rigorous, 2020: The Real Extent, König crayon, graphite on paper, framed Lives and works in Berlin. historicity of painting, are charac- globe, including Le Bel Ordinaire, Germany. Lives and works in idiosyncratic systems to depict how Galerie, Berlin, Germany; 2019: Wall 76.8 × 55.8 cm terized by an artificial, stage-like, Billère, FR, 2019, Bielefelder Berlin. one’s inner world – such as personal Drawings Series: Jorinde Voigt, 84 × 64 × 9 cm atmosphere. Despite their contem- Kunstverein, DE, 2017, Kunstverein experience, emotion, and memory – Menil Drawing Institute, Houston, unique porary references, her works feel as Leipzig, DE, 2016, Kunsthaus Glarus, intersects with external conditions. TX, USA; Jorinde Voigt – Universal though they have fallen out of time, CH, 2016 and The Jewish Museum, The torus has become a central Turn , Horst Janssen-Museum, devoid of an identifiable context. NY, USA, 2015. perceptual model explored in Oldenburg, Germany; 2016: Jorinde Voigt’s artistic practice and visually Voigt – Partituren, Hamburger Her still life paintings of flowers, unfolds the artist’s conviction Bahnhof – Museum für Gegenwart, which can be seen as a homage that we as humans are “always in Berlin to Georgia O’Keeffe, allude to the context and in contact” with the role of the flower as a metaphor for world surrounding us. “Zeitliche Collections: female sexuality. Koinzidenz” depicts temporal Art Institute of Chicago, the Centre coincidence of several causally Pompidou, Paris, the Kunsthaus unrelated events that are the same Zürich, the Morgan Library & Further information: Further information: or one have similar meaning. Museum, New York, the Museum Galerie Neu Starting bid: König Galerie (Jung/Pauli-Studie) of Modern Art, New York, the Starting bid: www.galerieneu.net € 8.000.– www.koeniggalerie.com Pinakothek der Moderne € 10.000.– Neo Rauch Lot 24 Elmgreen & Dragset Lot 25 Der Hergang, 2020 The Other He, 2018

Neo Rauch Neo Rauch is one of the most signif- dream images, visions, companions Works in Public Collections Elmgreen & Dragset A nude male reclines on a rock in more broadly, ‘otherness’ itself with- Collections: Born 1960 in Leipzig, Germany. icant artists of our time. In a catego- and fellow travelers. The dynamics (selection): The Rubell Family Michael Elmgreen, born 1961 in this smaller version of Elmgreen & in the history of art. Museum of Contemporary Art, Lives and works in Leipzig. ry of their own-independent of the of his paintings bond with our own Collection; UBS Art Collection; Copenhagen, Denmark and Ingar Dragset’s “Han”, which is perma- Chicago; Louisiana Museum of predictable rhythm of the develop- sensibilities. They become part of Stedeljik Museum, Amsterdam; Dragset, born 1969 in Trondheim, nently installed on the waterfront Upcoming exhibitions: Modern Art, Humlebæk; Astrup ments defining the art of the past us, as if they were able to breathe Kunsthalle Hamburg; Sammlung Norway, work together as an artist in front of Kronborg Castle in 2021: Elmgreen & Dragset, Espoo Fearnley Museum, Oslo; Städel several decades – his works have and provide comfort on a daily basis Goetz, Munich duo since 1995. They live and work Elsingore, Denmark. The sculpture Museum of Modern Art, Espoo, Museum, Frankfurt am Main; taken the world of art by storm. The through their penetrating presence. in Berlin, Germany. is a masculine interpretation of the Finland (solo); Animals in Art, Pinakothek der Moderne, Munich; complex paintings of Neo Rauch The works of Neo Rauch celebrate historic bronze statue, “The Little ARKEN Museum for Moderne Kunst, Hamburger Bahnhof – Museum für take viewers into a recognizable the power of art and affirm the acts Four-color lithograph Mermaid” by Edvard Eriksen. By Ishøj, Denmark (group); Wände/Walls, Gegenwart, Berlin world, which, as familiar as it initial- of painting and looking at painting on hand-made paper replicating the reclining bodily po- Kunstmuseum Stuttgart, Stuttgart, ly may seem, then produces feelings as vitally necessary. (Extract from 77 × 56 cm A work of this artist has been sition, the pensive look and longing Germany (group); Lustwarande ’20 of confusion and sometimes unease catalogue „Neo Rauch Dromos Edition: 33/35 acquired by the Stiftung des Vereins gaze of its female counterpart, The – Stations, Park de Oude – Tilburg, Resin, white matt lacquer, MDF, upon closer examination. In a range Painting 1993-2017“, published by der Freunde der Nationalgalerie Other He is confronting some of the The Netherlands (group) high-gloss black lacquer of forms we are confronted with Hatje Cantz Verlag, Berlin, and Mu- für zeitgenössische Kunst in 2018 conventions of heroic and masculine 155 × 37 × 37 cm human existence in all its com- seum de Fundatie, Zwolle, 2018) gesture in public and commemora- Selected solo exhibitions: Ed. 3/3 + 1AP plexity, in situations of interaction tive sculptural traditions. The Other 2020: Short Story, König Galerie, Further information: and isolation that often are rooted Further information: He initiates further commentary on Berlin, Germany; 2019: Bent Galerie Eigen + Art in the past eras of Central Europe. Starting bid: König Galerie contemporary tendencies relating to Pool, Pride Park, Miami Beach Starting bid: www.eigen-art.com Rauch fills his painting with his own € 5.000.– www.koeniggalerie.com differences in gender and perhaps, Convention Center, FL, USA € 20.000.– Ulrike Theusner Lot 26 Antje Majewski Lot 27 Die letzten Tage des Friedens, 2020 Muschel mit Perle aus dem Atelier von Jeanne Mammen, 2013

Ulrike Theusner Ulrike Theusner (born 1982) does 2020: All there is, Galerie Eigen + Art, Monotype Antje Majewski The shell depicted in Antje work The Museum in the Garage Graz, Graz, AT, 2013 Born 1982 in Frankfurt /Oder, not simply depict people and scenes, Berlin; 2019 New Positions, Art 47,6 × 31 cm Born 1968 in Marl/Westphalia, Majewski’s painting Muschel mit deals with objects whose value L’invitation au voyage, Kunsthalle Germany. Lives and works in she focuses on characteristic inter- Cologne, Galerie Eigen + Art, Germany. Lives and works in Perle aus dem Atelier von Jeanne stems not from commerce but Basel, Basel, CH, 2001 Berlin. pretations. Theusner is an obsessive Cologne, Germany; 2018: Aufbruch, Berlin. Mammen (2013) was preserved in rather constructions of memory draftswoman. Like a sponge, the Kunsthalle Weimar, Germany; Sweet the studio apartment of Berlin-based and history. Parts of Mammen’s artist takes up her surroundings and Bird of Youth, Galerie Sabine Knust/ artist Jeanne Mammen (1890-1976), collection perfectly mirror objects Oil on wood reproduces them in figurative paint- Knust x Kunz, Munich, Germany which, since her death has been found in Majewski’s own studio, 56.8 × 40.1 cm ings and drawings. Her works are maintained in its almost original and the painting weaves a narrative reminiscent of Goya’s grotesques, state by the Jeanne Mammen bond between the two women, their Otto Dix’s socially critical carica- Society. Mammen, a successful art and their fascination with the tures or Elizabeth Peyton’s intimate painter and graphic designer during things we hold close. portraits. the 1920s, ceased public work during the National Socialist Regime Exhibition History: Theusner studied at the Bauhaus and withdrew into her home, which How to talk with birds, trees, fish, University Weimar and at the became both a fortress and cocoon. shells, snakes, bulls and lions, École des Beaux Arts “Villa Arson” The shells, carvings and figurines Hamburger Bahnhof – Museum für Further information: in Nice. Further information: amassed there by Mammen struck Gegenwart, Berlin, DE, 2018 Galerie Eigen + Art Starting bid: neugerriemschneider a meaningful cord with Antje Die Gimel-Welt. Wie man Objekte Starting bid: www.eigen-art.com € 1.000.– www.neugerriemschneider.com Majewski, whose complex body of zum Sprechen bringt, Kunsthaus € 5.000.– Jonathan Meese Lot 28 Sofia Hultén Lot 29 Dein Ausflugsziel “Selbst”!,2020 Indecisive Angles XV, 2015

Jonathan Meese Meese’s work includes paintings, The expression of “Meeseself” is Öl, Acryl und Acryl-Spachtel Sofia Hultén In Sofia Hultén’s “Indecisive Angles” re-arrangements. Her materials Fakers of Change in Self, Kindl, Born 1970 in Tokyo, Japan. drawings, prints, sculptures, combative, playful, straight and auf Leinwand Born 1972 in Stockholm, Sweden. sculptures, heavy-duty trolleys are usually appear as fragments of a Zentrum für zeitgenössische Kunst; Lives and works in Berlin and performances, but also writing, stage without fear. This art fighter is full 210,5 × 140,3 × 3,3 cm Lives and works in Berlin. cut in half and welded in new pair- larger frame of activity, similar to a Berlin, Germany; Coulda Woulda Hamburg, Germany. design and directing in the theatre of “self” but without “I”, the “self” ings. The new-mirrored axis results chapter in a longer storyline. With- Shoulda, Daniel Marzona, Berlin, and opera world. The self-portrait is always without ideology, thus the in a symmetry that prevents their in her working process, Hultén Germany; Casual Causal, angels runs like a red thread through his inner life, the “I” is always a product potential to, in some, bear any load, succeeds at circumventing habitual barcelona, Barcelona, Spain; Here’s entire oeuvre. The painting Dein of ideology, thus an indoctrination and in others, roll in anything but patterns of perception and revealing the Answer, What’s the Question, Ausflugsziel “Selbst”! is the most from outside. The mouth is bloodred, tight circles. Although the original unascertained dimensions in every- Museum Tinguely, Basel recent example of the genre and as if this “warrior of art” had eaten function has been subverted, they day objects. Many of her works are the artist describes it as follows: “It mixed berries or “robbed” meat. The appear to gain some new function. brain-teasing, sometimes humorous, shows the “art general Meese” with portrait appears as if in the rain, so The work of Sofia Hultén is driven demonstrations of the ways in which Found metal trolley a fool’s cap, devil’s ears and artificial the being is exposed to nature, but by an experimental questioning of art, often more so than philosophy 113 × 90 × 50 cm antlers! Excellent and art-decorated feels as if it were a poodle and is part the things we encounter in everyday or science, can mediate between Unique work is this “play child of art” with the of nature, i.e. Natyrn. life. Her raw objects usually come abstract reasoning and aesthetic “Iron Cross of Art” and generals to her second-hand, sourced online experience. epaulettes! The figure comes from a Selected collections: or found on the street. They bear Further information: candy-coloured tropical forest and Centre Pompidou, Paris; MOMA, Further information: marks of a previous life, suggest- Selected solo exhibitions: 2019 Chi- Sies + Höke is surrounded by snakes, beetles, New York; Sammlung Falckenberg, Starting bid: Daniel Marzona ing hidden potentials and parallel nese Whispers #4, Messen De Cler- Starting bid: www.sieshoeke.com climbing plants, fern and floral plants! Hamburg; Sammlung Goetz, Munich € 25.000.– www.danielmarzona.com possibilities in their compositional cq, Brussels, Belgium; 2018 Unstable € 7.000.– Susumu Kamijo Lot 30 Richard Deacon Lot 31 Unexpected Visitor, 2017 Flash, Bang, Wallop 11, 2018

Susumu Kamijo Kamijo moved to the US at the His recent solo exhibitions took Pastel pencil and oil pastel Richard Deacon Flash, Bang, Wallop 11 is a colorful, supported and presented standing Glazed ceramic Born 1975 in Nagano, Japan. age of 16 and completed a BFA place at Masahiro Maki Gallery, on Lenox 100 cotton paper, framed Born 1949 in Bangor, Wales. hand-sized, polygonal sculpture by upright on a shelf, resembling a 19.4 × 10.3 × 8.8 cm Lives and works in Brooklyn, NY. in Painting and Drawing at the Japan, Harper’s Books, New York, 238.76 × 182.88 cm Lives and works in London. British artist Richard Deacon. The family photograph placed on a University of Oregon in 2000, NY, GNYP Gallery, Berlin, Stems flat, glazed ceramic is held up with sideboard. Furthermore, similar to followed by an MFA in Painting Gallery, Brussels and at Bill Brady the help of a thin sheet of metal the process of analogue photography, and Drawing at the University of Gallery in Miami (together with and is presented on a wall base. In where the final image only presents Washington in 2002. Kamijo’s Koichi Sato). In November 2019 contrast to the colored and glazed itself much later in the lab, the final exploration in painting and drawing Kamijo launched the book Poodles surface, the cut edges of the slab are interplay of colors on the ceramic takes an abstract approach to in cooperation with Jonas Wood untreated. Ceramics have played an surface only emerges after the firing familiar subjects such as animals at S2 at Sothebys. He is currently important role in Deacon’s artistic process. The work was created and human faces, playing with forms working on his upcoming exhibition practice as one of the UK’s most with Niels Dietrich, who runs a and colors with a concise handling at Jack Hanley in NYC in September prominent sculptors since the mid- Cologne-based ceramics workshop of media. Since 2014, he has been this year. 1990s. It is through ceramics that and with whom Deacon has been working on a series of colorful Deacon continues his search for collaborating for many years. drawings and recently paintings the pictorial in sculpture. The flat depicting poodles. surface of the object with its orange Further information: Further information: and green glazing, lends the small GNYP Gallery Starting bid: Galerie Thomas Schulte sculpture a pictorial quality. This Starting bid: www.gnypgallery.com € 13.000.– www.galeriethomasschulte.de is enhanced by the way the work is € 12.000.– Carolein Smit Lot 32 Olafur Eliasson Lot 33 Großer Reliquienschädel, 2010 Supercube star (blue), 2019

Carolein Smit The ceramic sculptures of Carolein ly in her works. Smit does not draw Selected exhibtions: Olafur Eliasson Supercube star (blue) (2019) is derived form: Ten modules, each composed der Moderne, Munich (2018), The Born 1960 in Amersfoort, Smit are exclusively figurative, sketches before she starts creating Victoria and Albert Museum in Born 1967 in Copenhagen, Denmark. from a unique polyhedral module in- of steel frames and panes of hand- Serralves Museum and Park, Porto Netherlands. Lives in Zussen, incredibly detailed, and covered her ceramic sculptures. As she often London, the Grassi Museum of Lives and works in Copenhagen and terlocked in a star shape. Inspired by made and color-effect filter glass, are (2019), and MOT, Tokyo (2020). Belgium with a shiny and colourful glaze. At sculpts a few works at the same time, Applied Arts in Leipzig and the Berlin. earlier geometric studies conducted combined to produce a suspended first sight, her animal figures appear she comes up with various ideas and Drents Museum in Assen (all 2018) by R. Buckminster Fuller and further angular star. A fluorescent light inside charming and cute. However, upon connects the individual parts that developed in close collaboration be- each module shines through the tint- Stainless steel, colour-effect filter closer inspection of the details, such only appear to have sense in the tween Olafur Eliasson and mathema- ed glass, casting colored light onto its glass (cyan), glass mirror, silvered as the drops of blood or the posture final and complete composition. The Ceramics tician Einar Thorsteinn (1942–2015), surroundings and in turn integrating coloured glass (shades of blue), co- that expresses strong feelings, one sculptures are fired, glazed, and fired 57 × 42 × 52 cm this stackable, twelve-sided module the environment into the work itself. loured glass (shades of blue, yellow), becomes suspicious and the work again in several stages. is based on two rotated cubes and paint (black, grey), fluorescent light, suddenly starts to evoke emotions. the golden ratio. The module has Exhibition History: wire, transformer, cable The ambivalence and irritation of appeared in number of earlier works Since the mid-1990s, Olafur Eliasson 42 × 92 × 97 cm what one feels accustomed to, some- by Eliasson, including Green light has realised numerous major ex- unique thing that seems normal and familiar, (2016), first shown at the 57th Venice hibitions and art projects around recurs in the artist’s works, which Biennale, and Less ego wall (2015), as the world, including solo shows at include human figures and hybrid shown at Moderna Museet, Stock- Tate Modern, London (2003; 2019), Further information: creatures. Smit often elaborates on Further information: holm in 2015/16. In Supercube star Moderna Museet, Stockholm (2015), Galerie Michael Haas the traditional vanitas theme, with Starting bid: neugerriemschneider (blue), Eliasson continues to explore Leeum, Samsung Museum of Mod- Starting bid: www.gallerymichaelhaas.com skulls and bones recurring frequent- € 16.000.– www.neugerriemschneider.com the module’s potential as a sculptural ern Art, Seoul (2016/17), Pinakothek € 80.000.– Maria Loboda Lot 34 Maria Loboda Lot 35 The Ngombo (6), 2016 The Ngombo (1), 2016

Maria Loboda Language and translation play an on closer expectation reveal their Digital print on Hahnemühle Maria Loboda Language and translation play an on closer expectation reveal their Digital print on Hahnemühle Born in 1979 in Krakow, Poland. important role in Polish artist Maria ambiguous symbolism. Among the fine art cotton paper Born in 1979 in Krakow, Poland. important role in Polish artist Maria ambiguous symbolism. Among the fine art cotton paper Lives and works in Berlin. Loboda’s works. In fact, it could be expected articles of daily use we 75 × 60 cm Lives and works in Berlin. Loboda’s works. In fact, it could be expected articles of daily use we 75 × 60 cm argued that the artist treats reality discover an additional random array Framed: 76 × 61 cm argued that the artist treats reality discover an additional random array Framed: 76 × 61 cm and the material world as a universe of objects including prescription Edition 1/3 + 1AP and the material world as a universe of objects including prescription Edition 1/3 + 1AP of signs and meanings, interrogating pills, animal bones and half scribbled of signs and meanings, interrogating pills, animal bones and half scribbled the symbolic connotations of notes. These objects immediately the symbolic connotations of notes. These objects immediately physical objects in relation to time evoke a darker narrative and make physical objects in relation to time evoke a darker narrative and make and history and investigating the us draw certain conclusions about and history and investigating the us draw certain conclusions about connections between material things the mysterious fictional owner of connections between material things the mysterious fictional owner of and the spiritual realm; between the handbag. The photographs are and the spiritual realm; between the handbag. The photographs are rationality and mysticism. inspired by what Loboda describes rationality and mysticism. inspired by what Loboda describes as “shaking up the divination basket” as “shaking up the divination basket” The Ngombo is a series of large in the language of the Chokwe The Ngombo is a series of large in the language of the Chokwe digital photo prints. Typical for the People of Central Africa. digital photo prints. Typical for the People of Central Africa. Loboda’s often humorous approach, Loboda’s often humorous approach, Further information: she renders the seemingly mundane Further information: she renders the seemingly mundane Galerie Thomas Schulte contents of women’s handbags Starting bid: Galerie Thomas Schulte contents of women’s handbags Starting bid: www.galeriethomasschulte.de spilled on the carpet, which only € 3.000.– www.galeriethomasschulte.de spilled on the carpet, which only € 3.000.– Jonas Weichsel Lot 36 Gina Beavers Lot 37 Sc 190 I, 2018 Humble but Hungry, 2019

Jonas Weichsel The young German painter Jonas Weichsel in creating works of such Acrylic and UV Print on linen Gina Beavers Gina has a BA in Studio Art and An- pictures, body builder selfies, etc. Acrylic on linen on panel Born in 1982 in Darmstadt, Weichsel since 2015 has been an immense structural complexity, 190 × 125 × 2.7 cm Born 1978 in Athens, Greece, thropology and an MFA in Painting In tune with the eccentricity of her 50.8 × 40.64 cm Germany. Lives and works in working on a series of works that which requires an exact and lives and works in New York, NY. and Drawing. The primary source artistic process, Gina Beavers max- Frankfurt am Main, Germany. make use of a particular, stylized and calculated execution, seeks a of her work is contemporary visual imizes the visual potential of her complex technical process, which decelerated form of visual creation culture that has been rapidly trans- medium, taking tridimensionality to can be interpreted as putting him in and reception as a conscious formed by the omnipresence of the its higher possible level and bringing the tradition of Op Art and Concrete expression of an object-bound social media, which she addresses in painting closer to sculpture. In Painting. The titles of Weichsel’s understanding of painting that, in her thickly layered relief-like acrylic 2019 Beavers had a solo exhibition works are equally technical and contrast to the purely digital image, compositions. Working before with at MoMA PS1 The Life I Deserve, descriptive and make reference to never exists independent of space references taken from the original which is accompanied by the artist’s the different, but similarly complex and time. pop movement of the 1950s and 60s, first monograph. Her work has been serial process involved in the Beavers evolved to paint the ‘current presented in many institutional and creation of each work. The painting pop’, starting to search on social gallery exhibitions worldwide. Sc 190 I was made by the artist media posts for image templates to using blue as the single color (Sc). It her extravagant canvases. Beavers’ measures 190 centimeters in height. anthropological interest in society Further information: Further information: translates in paintings that explore Galerie Thomas Schulte Starting bid: GNYP Gallery the banality of internet: makeup Starting bid: www.galeriethomasschulte.de € 13.000.– www.gnypgallery.com tutorials, the so called food-porn € 10.000.– Versteigerungsbedingungen für die Auktion am 8. Juli 2020

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Lot 1: © Conny Maier, courtesy the Artist Lot 2: © Bunny Rogers, courtesy the artist and Société. Photo: Uli Holz. Lot 3: © Umut Yasat, courtesy Gnyp gallery and the artist. Photo: Ludger Paffrath Lot 4: © Hannah Sophie Dunkelberg, courtesy the artist and Office Impart Lot 5: © Kaspar Müller, courtesy Société and the artist Lot 6: © Jeremy Shaw, courtesy the Artist and König Galerie Berlin, London, Tokyo. Photo: Timo Ohler Lot 7: © Martin Eder, courtesy Galerie Eigen + Art Leipzig/Berlin. Photo: Uwe Walter, Berlin Lot 8: © Thea Djordjadze, courtesy Sprüth Magers. Photo: Ingo Kniest Lot 9: © Ella Littwitz, courtesy the artist and Alexander Levy Lot 10: © Alicja Kwade, courtesy the Artist and König Galerie Berlin, London, Tokyo. Photo: Roman März Lot 11: © Claudia Comte, courtesy the Artist and König Galerie Berlin, London, Tokyo. Photo: Damian Griffith Lot 12: © Julius von Bismarck, courtesy the artist and Alexander Levy Lot 13: © David Ostrowski, courtesy Sprüth Magers. Photo: Mareike Tocha Lot 14: © Alfredo Jaar, courtesy the artist and Galerie Thomas Schulte Lot 15: © Petra Cortright, courtesy the artist and Société. Photo: Petra Cortright Studio Lot 16: © Jeppe Hein, courtesy the Artist and König Galerie Berlin, London, Tokyo. Photo: Roman März Lot 17: © Idris Khan, courtesy the artist and Galerie Thomas Schulte Lot 18: © Axel Hütte, courtesy the artist and Daniel Marzona Lot 19: © Katharina Grosse, courtesy the Artist and König Galerie Berlin, London, Tokyo and VG Bild-Kunst. Photo: Jens Ziehe Lot 20: © Yngve Holen, courtesy the artist and Galerie Neu, Berlin. Photo: Stefan Korte Lot 21: © Olaf Holzapfel, courtesy the artist and Daniel Marzona Lot 22: © Birgit Megerle, courtesy the artist and Galerie Neu, Berlin 17th – 26th June 2020 Lot 23: © Jorinde Voigt, courtesy the Artist and König Galerie Berlin, London, Tokyo and VG Bild-Kunst. Photo: Roman März ST. AGNES | ART FAIR Lot 24: © Neo Rauch, courtesy Galerie Eigen + Art Leipzig/Berlin. Photo: Uwe Walter, Berlin Mon – Sat 10 AM – 6 PM Lot 25: © Elmgreen & Dragset, courtesy the Artist and König Galerie Berlin, London, Tokyo and VG Bild-Kunst Lot 26: © Ulrike Theusner, courtesy Galerie Eigen + Art Leipzig/Berlin Sun 12 PM – 6 PM Lot 27: © Antje Majewski, courtesy the artist and neugerriemschneider, Berlin. Photo: Gunter Lepowski Tickets on koeniggalerie.com Lot 28: © Jonathan Meese, courtesy the artist and Sies + Höke. Photo: Roman März ST. AGNES T +49.30.261 030 80 Lot 29: © Sofia Hultén, courtesy the artist and Daniel Marzona ALEXANDRINENSTR. 118–121 [email protected] Lot 30: © Susumu Kamijo, courtesy Gnyp gallery and the artist. Photo: Ludger Paffrath D-10969 BERLIN MESSEINSTAGNES.COM Lot 31: © Richard Deacon, courtesy the artist and Galerie Thomas Schulte Lot 32: © Carolein Smit, courtesy the artist and Galerie Michael Haas. Photo: Winifred Limburg Lot 33: © Olafur Eliasson, courtesy the artist and neugerriemschneider, Berlin. Photo: Jens Ziehe, Berlin Lot 34: © Maria Loboda, courtesy the artist and Galerie Thomas Schulte Lot 35: © Maria Loboda, courtesy the artist and Galerie Thomas Schulte Buchhandlung Walther und Franz König Lot 36: © Jonas Weichsel, courtesy the artist and Galerie Thomas Schulte Lot 37: © Gina Beavers, courtesy Gnyp gallery and the artist. Photo: Ludger Paffrath Anspruch verbindet

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