View of A code that copies itself, in the artist's studio in Mexico City, 2020 Above: Portrait of Frieda Toranzo Jaeger. Both photos by Bruno Ruiz Nava
View of A code that copies itself , in the artist's studio in Mexico City, 2020 Above: Portrait of Frieda Toranzo Jaeger. Both photos by Bruno Ruiz Nava
Frieda Toranzo Jaeger
"Lonley-ness” the deepest loneliness is the one shared, 2020
Oil on canvas and embroidery
Fully extended panels: 74 3/4 x 98 3/8 inches (190 x 250 cm)
Installation view, No history in a room filled with people with funny names 5, 2018, Carlos/Ishikawa, London Above: Portrait of Korakrit Arunanondchai. Photo: Benjamin Bechet (J1, Marseille)
Installation view, No history in a room filled with people with funny names 5 , 2018, Carlos/Ishikawa, London Above: Portrait of Korakrit Arunanondchai. Photo: Benjamin Bechet (J1, Marseille)
Sung Tieu
Checkmate Puzzle, Variation 1, 2020
2 pencil drawings on 2 documents
Framed in 2 parts, each: 12 5/8 x 9 1/4 inches (32.1 x 23.4 cm)
Installation view, On Vulnerability and Doubt, Australian Centre for Contemporary Art, Melbourne, 2019. Photo: Andrew Curtis Above: Portrait of Andrea Büttner. Photo: Julia Zimmermann
Installation view, On Vulnerability and Doubt , Australian Centre for Contemporary Art, Melbourne, 2019. Photo: Andrew Curtis Above: Portrait of Andrea Büttner. Photo: Julia Zimmermann
Florian Meisenberg
Uptown Ikebana (how to fold your soul into a camel, which looks like swan), 2020
L.A. downtown grime, airbrush, oil paint on canvas
Installation view, Tainted Love, Le Confort Moderne, Poitiers, France, 2017. Photo: Pierre Antoine Above: Celia Hempton, Seoul, South Korea, 18th September 2019 (detail), 2019. Photo: Benjamin Westoby
Installation view, Tainted Love , Le Confort Moderne, Poitiers, France, 2017. Photo: Pierre Antoine Above: Celia Hempton, Seoul, South Korea, 18th September 2019 (detail), 2019. Photo: Benjamin Westoby
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