Images from Johannes Albers exhibition Heilung at Schinkel Pavillon.
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The exhibition catalogue of Gavin Turk at Newport Street Gallery. Currently showing – until 19th March 2017. RRP £25
Visit our New York Space
This fully illustrated catalogue is published on the occasion of ‘Now’, a solo show of work by Jeff Koons presented at Damien Hirst’s exhibition space, Newport Street Gallery, London (May – October 2016). RRP £50
Visit our Ilfracombe Space
Polly Morgan is an accomplished taxidermist who uses her skills to create work in a contemporary context. In this work she continues her series, using taxidermy snakes.
The Complete Spot Paintings is the first and most significant documentation of Damien Hirst’s iconographic spot paintings and this comprehensive publication spans his career. Every spot painting Hirst has produced is included in this substantial publication with over 99% of them illustrated. RRP £195
Images from Johannes Albers exhibition Heilung at Schinkel Pavillon.
There aren’t many people that don’t adore colette, the preeminent Parisian fashion and style boutique on Rue Saint-Honoré. Likewise, London based Other Criteria is establishing an international fan club for its eclectic array of artist editions, books and multiples and a range of artist designed merchandise. So when colette invited Other Criteria to present a window display and provide a limited amount of items to be sold through the fashion, art and music mecca, Other Criteria jumped at the opportunity.
Launching 27th September and installed until 30th October, Other Criteria at colette will display Damien Hirst’s previously unseen new print, titled, Big Love. A diamond dusted blood red coloured heart with his signature butterflies, available otherwise only in Other Criteria’s New Bond St and Hinde St stores. Also available will be a selection of Hirst prints, signed posters, spot clocks, T-shirts, books, keyrings, and a cashmere blanket.
Launched in 2005, Other Criteria began life as a web company and continues to have an expanding catalogue available online. Created by Damien Hirst and Hugh Allan with design director Jason Beard, as Hirst says “Other Criteria has created something great and new – the concept of a shop that sells high end, high quality art that looks spectacular and doesn’t need a gallery to show it. It comes direct from the artists we work with and is made by the best people.”
Renowned for their unique and original array of merchandise that includes books, music, accessories and clothing, colette will showcase a selection of quintessential Other Criteria publications and prints. Highlights will include Damien Hirst’s new Big Love print, and Psalm prints plus signed posters, Hirst spot clocks, a cashmere blanket, and T-shirts.
For more information on other Other Criteria stores, please click here.
For more information on Colette, please contact: Guillaume Salmon email@example.com
Press release: For this landmark project, Damien Hirst has intensified his career-long fascination with the beauty, fragility and symbolism of butterflies to create a spectacular and multi-allusive evocation of mortality. More than that of any contemporary artist, and in a modern lineage that includes the work of Andy Warhol and Francis Bacon, the art of Damien Hirst confronts the balances between life and death, vanity and transience, value and worth, faith and existential alienation with a visceral and terrifying immediacy. Hirst’s choices of media, his innovations within them and the sheer scale on which he works, are integral to the philosophical depth and empathetic charge of his art; and to this end, Hirst has always pioneered in his work the uses, aesthetics and allegorical meanings of science and technology, as well as refining a highly sophisticated engagement with craft and technique.
In total ‘The Souls’ is made up of 4 butterflies, in 80 different colourways, each one in an edition of 15. Vibrant with hue, the finished effect of each print is that of a resonant tension between the stillness of death and the trembling, iridescent life that the individual butterflies convey. ‘The Souls’ is therefore quintessentially Hirstian, combining the impact of visual spectacle with a powerfully eloquent confluence of medium and visual language.
“This comes from an idea to fill the gallery with butterflies, an idea that I've had before. When I think of "The Souls" I think of Judgment Day and "Jacob’s ladder". Many souls work better than one, so to hang them … and (to) use all the available space is a great way of doing it theologically”.
Hirst’s fascination with butterflies derives in large part from the way in which these beautiful insects embody both the beauty and the impermanence of life, becoming symbols of faith and mortality. Of ‘The Souls’ he has said: “I love butterflies because when they are dead they look alive. The foilblock makes the butterflies have a feel similar to the actual butterflies in the way that they reflect the light. After ‘The Dead’ I had to do the butterflies because you can’t have one without the other”.
Like Warhol and Bacon, Hirst is in many ways, primarily, a great religious artist. His work – as further evidenced by ‘The Souls’ – deals directly with the timeless and endlessly renewing predicament of faith and belief in the face of mortality. In this, ‘The Souls’ can also be seen to connect directly to the allegories of mortality to be found throughout the history of art. As the butterfly itself is a traditional symbol of the soul, and of the soul’s residence on Earth prior to transmigration to an Afterlife, so ‘The Souls’ surrounds the viewer – chapel-like – with an art which is as meditational and contemplative as it is aesthetically forceful.
“I've always liked pictures of the Warhol show where he hung all the small flower paintings all over the gallery. I hope that this show will have a similar kind of feel. The butterflies will look like people, individual and unique - everybody's trying to get to heaven I guess, ...or hell”.
Press release: Other Criteria launch Rachel Howard’s ‘Human Shrapnel’ series
Thursday 23 September marks the launch of Rachel Howard’s first solo drawing show, ‘Human Shrapnel’, featuring a series of oil drawings on paper. Created by the artist for Other Criteria, these new works will be exhibited in their New Bond Street shop in London until 23 October.
The title for the series stems from Howard’s personal reaction to the violent terrorist attacks on London in 2005, ‘It was after the 7/7 bombings in London that these two words penetrated my psyche’.
Working with her sister as her muse and meticulously scouring source material from the internet and newspapers, Howard deals with images and symbols relating to conflict and the human body. Each oil drawing emanates both starkness and raw emotion, revealing how Howard dissected images of war by looking at the human anatomy from a different perspective; war and the body as a weapon, to inflict and be inflicted upon.
Thomas Scheibitz, Haus, 2008 À–l, Vinyl, Pigmentmarker auf Leinwand / oil, vinyl, pigment marker on canvas 235 x 168 cm © VBK, Wien / Vienna 2010, Foto / photo: Jens Ziehe Courtesy: Sprüth Magers Berlin London
Thomas Scheibitz, John Dodona Rocket, 2009/2010 À–l, Vinyl, Pigmentmarker auf Leinwand / oil, vinyl, pigment marker on canvas 190 x 150 cm © VBK, Wien / Vienna 2010, Foto / photo: Jens Ziehe Courtesy Tanya Bonakdar Gallery, New York
Thomas Scheibitz, Figurenstück, 2010 MDF, Vinyl, Lack, Harz / MDF, vinyl, lacquer, resin 117 x 70 x 26 cm © VBK, Wien / Vienna 2010, Foto / photo: Jens Ziehe Courtesy: Tanya Bonakdar Gallery, New York
14th September to 12th December 2010 Grand Apartment and Hall of mirrors, included in the tour of the Grand Apartment.
Takashi MURAKAMI - Flower Matango (d) - 2001 - 2006 FRP, peinture À l'huile, acrylique et métal - 315 x 204,7 x 263 cm ©2001 - 2006 Takashi Murakami/Kaikai Kiki Co., Ltd. All right reserved. Photo: Florian Kleinefenn - Galerie des Glaces / Château de Versailles
“For a Japanese like me, the Château de Versailles is one of the greatest symbols of Western history. It is the emblem of an ambition for elegance, sophistication and art that most of us can only dream of. Of course, we are aware that the spark that set fire to the powder of the Revolution came directly from the centre of the building.
But, in many respects, everything is transmitted to us as a fantastic tale coming from a very distant kingdom. Just as French people can find it hard to recreate in their minds an accurate image of the Samurai period, the history of this palace has become diminished for us in reality.
So it is probable that the Versailles of my imagination corresponds to an exaggeration and a transformation in my mind so that it has become a kind of completely separate and unreal world. That is what I have tried to depict in this exhibition.
I am the Cheshire cat that welcomes Alice in Wonderland with its diabolic smile, and chatters away as she wanders around the Château.
With a broad smile I invite you all to discover the wonderland of Versailles.”
Mercury Salon ; 2003 ; Fibreglass, steel and acrylic paint, 40cm (height) x 171.5cm (width) x 114.7cm (depth), 40cm (height) x 294.4cm (width) x 97cm (depth) All Artworks © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Photo: Gilles Truyens © EPV
Lucky Wide Studio near Tokyo, photo : Koichiro MATSUI. All Artworks © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Venus Salon; 2000 – 2005; Fibreglass, iron, synthetic resin, oil paint and acrylic paint 222cm (height) x 96cm (width) x 46cm (depth) All Artworks © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Photo: Gilles Truyens © EPV
For more information on the exhibition visit the Château de Versailles website.