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B O O T H A 1 8
FR I EZELONDON
Artists
Atelier Van Lieshout, NL 1963Matti Braun, GER 1968 Jose Dávila, MX 1974 Yann Gerstberger, FR 1983Candida Höfer, GER 1944Artur Lescher, BR 1962 Jorge Méndez Blake, MX 1974 Gabriel Rico, MX 1980 Troika, UK 2003
Troika is a London-based studio known for their experimental practice that employs a cross-disciplinary approach, intersecting between sculpture, architecture, and contemporary installation. With a particular interest in perception and spatial experience, many of Troika’s works employ technology and draw inspiration from fundamental scientific, optical and mechanical principles. Exploring the intersection of rational thought and observation, they consider the changing nature of reality and human experience.
We are pleased to present new works from the series Borrowed Light, which includes a large-scale installation bearing the same name currently on view in the Barbican Centre, London as part of the Level G commissions. These works are comprised of custom-printed photographic filters whose gradient motifs create an infinite loop of sunrises and sunsets.
Troika often applies high and low technology to the use of non-material or ephemeral media such as light, colour or water to frame experience as something fractured and transitory rather than absolute. With this installation, Troika continue their research into the ways technology mediates our relationship with reality and how the digital world increasingly reaches out into the physical one.
The work takes inspiration from the strange and mysterious intertwined ontology of reality, photography, cinema, virtual and augmented reality, and technologies whose role it is to effectively double, alter, recompose and edit reality and the duration of things in the world.
Selected Exhibitions and Projects: Borrowed Light, Barbican Centre, London (2018); Coder le Monde, Centre Pompidou, Paris (2018); Labyrith Konkret, Museum im Kulturspeicher Würburg, Würzburg (2018); Compression Loss, Galería OMR, Mexico City, (2017); Glitches, Galerie Ron Mandos, Amsterdam, (2017); Corridor III: Valdemar Daa, Viborg Kunsthal, Viborg, DK (2017); Art Light, Carpenters Workshop Gallery, London (2017); Everyday Abstract, Vejle Museum of Art, Vejle, DK (2017); The Hum, Caustic Coastal, Salford, UK (2017); Drawing Biennial 2017, Drawing Room, London (2017); ARTEFACT EXPO: The Act of Magic, STUK, Leuven, BE (2017); Everything Is and Isn’t at the Same Time, Galerie Huit, Hong Kong (2016); Limits of a Known Territory, NC Arte, Bogotá, CO (2017).
Selected collections: Centre Pompidou; Israel Museum; The Art Institute of Chicago; MoMA; British Council Collection; Victoria & Albert Museum, London; M+, Hong Kong; Jumex Collection; Drake Collection, Wassenaar, NL; Collection of Rafael Nieto Loaiza, Bogotá, COL.
TROIKATroika was founded in 2003Live and work in London, UK
TROIKABorrowed Light, 2018 (artist render)Custom-printed photographic filters, acrylic box90 x 70 x 10 cm(TROI 0228)
TROIKABorrowed Light, 2018 (artist render)Custom-printed photographic filters, acrylic box90 x 70 x 10 cm(TROI 0228)
TROIKABorrowed Light, 2018 (artist render)Custom-printed photographic filters, acrylic tubes180 x 127 x 15 cm(TROI 0224)
Installation view: Borrowed Light, Barbican Centre, London - 2018
From the beginning of his career, Jorge Méndez Blake has explored the connections between literature and fine arts, developing a large and varied body of work that alludes to the great masters of universal literature. In his work, Méndez Blake develops a visual language to engage classical literature through installations, drawings and interventions based on a multifaceted concept of the “library.”
In his new series of neon works, The Adages of Erasmus (Power and War) (2018), the artist gathered of a selection of Latin phrases out of the more than 3,000 adages compiled by Erasmus of Rotterdam. Published in 1540, Adagiorum Chiliade became one of the most popular books in the first half of the 16th century, until it was prohibited – like all Erasmus’ artworks – by the Council of Trent in 1562. Méndez Blake’s selection alludes to the timely relevance of the phrases in reference to war and abuse of power, a theme far too present in the 21st Century.
Méndez Blake deepened his research on literature and complexities of language by focusing on the Irish writer Samuel Beckett (1906-1989), winner of the Nobel Prize for Literature in 1969. The Mexican artist based his research on the very short play Ohio Impromptu which contains some of the major Beckett themes: isolation, a communication gap, duality, rehashing of words, contemplation of emptiness, allusion to death.
The large drawing of a curtain, Telón V (2018), the theatrical artifice par excellence, opens the question of representation: what to show/what to say? What to watch? Who to listen to? The curtain is a mask and arouses curiosity.
Selected Exhibitions: Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); The Unwritten Library. The Last Reader, Annex M, Athens (2018); De la línea al movimiento, Blueproject Foundation, Barcelona (2018); A Message From the Emperor, Marfa Contemporary, Marfa, Texas (2017); Apollinaire’s Misspell and Other Calligrams, Meessen De Clercq, Brussels (2017); Derniers usage de la littérature, Frac Franche-Comté, France (2017); Du verbe à la communication, Carré d’art, Nîmes, (2017); NGV Triennal, National Gallery of Victoria, Australia (2017); The Queen Falls, Galería OMR, Mexico City (2017); Ventana Poniente, Galería OMR, Mexico City (2016).
Selected Collections: Jumex Collection. Colección Televisa. Colección Coppel. Colección Suro. National Gallery of Victoria, Australia. Museo Amparo. r/e Collection. 21C Museum. Fundación Calosa. MUAC (Museo Universitario de Arte Contemporáneo), Mexico. Queensland Art Gallery, Australia. Deutsche Bank Collection. Sayago & Pardon Collection.
JORGE MÉNDEZ BLAKEGuadalajara, Mexico, 1974Lives and works in Guadalajara, Mexico
Jorge Méndez BlakeAdages of Erasmus (Power and War), 2018NeonDimensions variable(JMB 0427)
Jorge Méndez BlakeAdages of Erasmus (Man is Wolf to Man), 2018Neon8 x 96.21 cm(JMB 0439)
Jorge Méndez BlakeTelón V, 2018 (detail)Coloured pencil on paper120 x 150 xm(JMB 0443)
Jorge Méndez BlakeTelón V, 2018 (installation render)Coloured pencil on paper120 x 150 xm(JMB 0443)
Jorge Méndez BlakeCartas de Kafka (Milena Jesenska), 2018Acrylic on linen260 x 200 cm(JMB 0442)
YANN GERSTBERGERCagnes sur Mer, France, 1983Lives and works in Mexico City
Yann Gertsberger’s series of paintings and textile tapestries depict narratives inspired by patterns, imagery and colours found in Mexican popular culture, art history and nature. Through these works, the artist builds a vernacular vocabulary by referencing the Fábulas Pánicas of Chilean-French artist Jodorowsky, the fantasy of the tropical as experienced from a purely European perspective, post-graffiti and the history of abstraction and its repertoire of ambiguous and mystical shapes.
Gerstberger’s new compositions, including BPRMX (2018), are painted on wood panel with oil pastels and chalk, bringing to mind Mexico’s rich history of muralism and ‘the big three’ painters: Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Through his immersion into the Mexican culture, the artist finds himself at a point of rupture, aligning his visual vocabulary with the artistic history of post-colonial Mexico while finding inspiration from its architecture, imagery and motifs, and daily-life.
Selected Projects & Exhibitions: Museo Querétaro, Mexico (upcoming); Juan Soriano Museum, Mexico (upcoming); L’Almanach 2018, Le Consortium, Dijon (2018); Attaraya, Sorry We’re Closed, Brussels, BE (2018); Dwelling Poetically: Mexico City, a Case Study, Australian Centre for Contemporary Art, Southbank (2018); Black Palms, Salon Acme, Mexico City (2018); TT52, with Trudy Benson, Lyles and King, New York City (2017); Travis, Michael Jon Gallery, Miami, (2017); Gravillons, with Julien Goniche, Tonus, Paris, (2015); GUERRE DU FEU STYLE, Sorry We Are Closed, Brussels, BE (2014).
Collections: Pérez Art Museum, Miami. Kamel Lazaar Foundation, National Gallery of Victoria, Fundación Alumnos, Mexico.
Yann GerstbergerBPRMX, 2018Pastel oil and chalk on wood150 x 122 cm(YG 0018)
Yann GerstbergerIABBS, 2018Pastel oil and chalk on wood150 x 122 cm(YG 0019)
Yann GerstbergerAGUAJE, 2018Pastel oil and chalk on wood150 x 122 cm(YG 0021)
Since the 1970’s, the recurrent approach of Candida Höfer is to visualizethe architectonic space as a frame of human relations. Her work consists of identifying and perceiving compositions that existed before she was aware of them and that she leaves unabridged. In photographs of indoor spaces, of public and semi-public buildings, the order and disorder that derive from their communitarian function are revealed.
Known for her meticulously composed, large-scale color images, Höfer’s oeuvre explores the structure, presentation, and influence of space. Interested in the psychological impact of design and the contrast between a room’s intended and actual use, Höfer has focused her lens on cultural and institutional buildings such as libraries, hotels, museums, concert halls, and palaces. Whilst devoid of people, the images allow us to consider the role of their missing inhabitants. The large-scale nature of the work invites the viewer to linger over the architectural details and contemplate the subtle shifts in light that make up the character of the space.
On her decision to exclude people from her photographs, Höfer has said, “…it became apparent to me that what people do in these spaces – and what these spaces do to them – is clearer when no one is present, just as an absent guest is often the subject of a conversation.”
Selected Exhibitions: The Fabric of Felicity, Garage Museum of Contemporary Art, Moscow (upcoming); Paris revisited, VNH Gallery, Paris (2018); Spaces of Enlightenment, Kukje Gallery, Seoul (2018); Candida Höfer en México, North Carolina Museum of Art, Raleigh (2018); Candida Höfer en México, Antiguo Colegio de San Ildefonso, Mexico City (2017); Candida Höfer en México, Museo Amparo, Puebla (2017); Candida Höfer en México, Centro de las Artes del Parque Fundidora, Monterrey (2017); Candida Höfer, Pinacoteca do Estado de Sao Paulo, Brasil (2017); Candida Höfer. In Mexiko: Primer Acto, OMR, Mexico City (2016); Nach Berlin, Neuer Berliner Kunstverein (n.b.k.), Berlin (2016); Candida Höfer. Memory: Selected works from the State Hermitage Museum (2015).
Selected Collections: Centre Pompidou, Centro de Arte Reina Sofia, DG Bank Collection, The J. Paul Getty Museum, Museum of Modern Art (MOMA), Kunsthalle Basel, San Francisco Museum of Modern Art, Staatliches Museum für Kunst und Design, St. Louis Art Museum, St. Louis, ZKM Karlsruhe.
CANDIDA HÖFEREberswalde, Germany, 1944Lives and works in Cologne, Germany
Candida HöferDia: Beacon New York II, 2005 (detail)C-print120 x 151 cmEdition 3 of 6(CHO 0230)
Candida HöferDia: Beacon New York II, 2005 (installation render)C-print120 x 151 cmEdition 3 of 6(CHO 0230)
Candida HöferLe Sénat Paris VIII, 2007 (detail)C-print120 x 137 cmEdition 2 of 6(CHO 0233)
Candida HöferLe Sénat Paris VIII, 2007 (installation render)C-print120 x 137 cmEdition 2 of 6(CHO 0233)
The work of Jose Dávila reflects upon the legacy of major movements in art and architecture in the twentieth century. Informed by his training as an architect, Dávila approaches the crucial contradictions between form and function. Located between homage, imitation, and critique, the artist references modern architecture, urbanism, and milestones in mid-century and contemporary art, pointing to both their forecasts and failures.
Dávila’s photographic cut-outs, including the new work Untitled (Orange Under Table) II (2018), attest an interest in the indeterminacy of viewing as consuming, when the proliferation of images is constantly testing our sense of place or time, as viewers, in order to construct history. By piercing or ‘cutting-out’ the central subject of the image, Dávila compels the viewer to imagine, as an act of creativity, that which appeals to the common universal.
In the artwork, Dávila directly references Alexander Calder’s Orange Paddle Under the Table (1949), removing Calder’s iconic sculptural form from the composition, leaving only its void to be filled by the viewer’s imagination. In this sense, the spectator takes on the role of the creator, through the natural impulse to fill the blank space of the image, allowing for a unique experience drawing from one’s own memory, art historical knowledge, or pure imagination.
Selected Exhibitions: Somewhere Behind the Eyes, Sammlung Philara, Düsseldorf (2018); Non tutti quelli che vagano sono persi, Museo del Novecento, Florence (2018); Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); Mecánica de lo inestable, Galería OMR, Mexico City (2018); Sense of Place, LAND (Los Angeles Nomadic Division) as part of Pacific Standard Time: LA/LA, Los Angeles (2017/18); Die Feder und der Elefant, Kunsthalle Hamburg, Hamburg, Germany (2017); BALTIC Artists’ Award 2017, Baltic Centre for Contemporary Art, UK (2017); Every Blind Wandering Ends in a Circle, Blueproject Foundation Barcelona (2017); Jose Dávila: EL OBJETO Y EL ENTORNO, Museo Jumex, Mexico city (2016); The Elephant and the Feather, Marfa Contemporary, Marfa, TX (2016).
Selected Collections: Albright-Knox Museum. Coleccion DKV. Collection Inhotim. Colección FEMSA. Collection Krauss. Colección Teixeira da Freitas. Coleccion Patricia Phelps de Cisneros. Jumex Collection. La Caixa Foundation. The Marciano Art Collection. MUAC (Museo de Arte Contemporáneo), Mexico. MUDAM, Musee D’art Moderne Luxembourg. Museo Amparo, Puebla, Mexico. Reina Sofía Museo Nacional de Arte. Coleçao Pereira.
JOSE DÁVILAGuadalajara, Mexico, 1974Lives and works in Guadalajara, Mexico
Jose DávilaUntitled (Orange Under Table) II, 2018Archival Pigment Print184.6 x 148 x 8 cmEdition 1 of 4(JDA 0523)
GABRIEL RICOLagos de Moreno, Mexico, 1980Lives and works in Guadalajara, Mexico
Gabriel Rico’s work is developed in a zone in which one object crisscrosses with another in the inter-objective configuration space. Starting from his fascination with philosophical analogies and scientific disciplines, Rico creates pieces that fragment the composition of the contemporary human and evidence the geometric imperfection in nature utilizing the Gedanken-Experiment techinque. Rico’s sculptural works reflect on the nature of the materials used to produce them and their arrangement in the final composition.
The artist has been influenced by the sciences that study form and space; he considers himself a believer in matter, an ontologist with a heuristic methodology - sometimes using technological tools and scientific models as metaphors for our collective memory. Deconstruction and recontextualization are methods by which he continues the development of his investigation in areas such as knowledge-materializations and the fragility of space.
The principle of the presented artworks is to achieve a syncopated rhythm from the elements that compose them. They are pieces that consider the abstraction generated by a measurement of the separate elements that comprise them, as a principle for the uncertainty that is presented when the mind begins to visualize the different forms between them - and after a few moments observing it, the different materials of which they are made are evidenced.
It is a visual game between the image generated by first impression when seeing the artwork and the last image you saw - as if the process of observation itself was the one that discovered, little by little, the aesthetic benefits of the elements that are used in the sculptures.
Selected Exhibitions: Cycles of Collapsing Progress, organised by Beirut Museum of Art BEMA, Tripoli (2018); Mrs. Spring Fragrance, Coma Gallery Sydney (2018); Almost Solid Light: New Work From Mexico, Paul Kasmin, New York (2018); Le Sud BB, Hangar J! New Art Center, Marseille (2018); Rooftop Playground, Michael Fuchs Galerie, Berlin (2018); One Law for the Lion &The Ox is Oppression, Galerie Perrotin, New York (2017); PROXIMIDAD, The Power Station, Dallas (2017); DEAD, DEAD, LIVE, DEAD, ASU Art Museum, Tempe (2017); The Queen Falls, Galería OMR, Mexico City (2017); VIS VIVA, Gyeonggi Creation Center, Asnan-do, South Korea (2016); +52. Paísajes recientes, Fundación Calosa, Guanajuato, Mexico (2016).
Selected Collections: Korean Ceramic Foundation (KOCEF). Patricia Marshall Collection. ArtNexus Foundation, Colombia/USA. Associated Collection Centro de Arte Tomas & Valiente / Museo Reina Sofía, Frans Mesereel Centrum (FMC), Belgium. Private collection Patrick Charpenel, Mexico.
Gabriel RicoMetrodoro, 2018Coins, brass, neon, feathers, rock, bone-handled knife38 x 130 x 35 cm(GRI 0059)
Gabriel RicoMetrodoro, 2018 (detail)Coins, brass, neon, feathers, rock, bone-handled knife38 x 130 x 35 cm(GRI 0059)
Gabriel RicoAll things that are and will be and were before, 2018Found objects150 x 150 x 80 cm(GRI 0071)
ARTUR LESCHERSão Paulo, Brazil, 1962Lives and works in São Paulo, Brazil.
Artur Lescher’s works attest to his constant experimentation with materials, their physical qualities and objectual characteristics. Through his works, the artist makes constant reference to natural elements, which when reproduced impeccably by means of industrial processes, reveal and deny these real allusions.
Lescher’s sculpture Lilla #4 emerges subtly as a poetic gesture in space,transmitting force and instability, balance and movement, tension and silence. Neutralized, the functionality of the object ceases to exist and thepossibilities of interpretation and meaning multiply. Without an imposed sense of direction or purpose, the presence of the spectator alters the narrative course of the object on a physical and philosophical level.
Lescher’s new installation, Sextante (2018), was debuted in Asterismos, the artist’s third solo exhibition in OMR, July 2018. Utilising the pendulum form from his general repertoire, Lescher approaches a new direction in this work by incorporating the wall plane, in addition to that of the ceiling. In thinking of the infinite in its relation to archetectural lines, the artist extends the multifilament threads that anchor the pendulum to the ceiling, bringing them down to ground-level and blasting them through the wall, as if the sculpture has a life of its own and the ability to escape the confines of the modernist, white cube typical of exhibition spaces.
Selected Exhibitions: Asterismos, Galería OMR, Mexico City, Mexico (2018), Galería Nara Roesler, Sao Paulo (2018); Alignments, IK LAB, Tulum, Mexico (2018); Porticus, Palais d’léna as part of FIAC 2017, Paris (2017); Inner Landscape, Piero Atchugarry Gallery, Punta Del Este, Uruguay (2016); Provisório Permanente-Lux, Galeria Nara Roesler, São Paulo (2016); Universo, curated by Fábio Faisal, Carbono Gallery, São Paulo (2015); The Nostalgia of the Engineer, Galería OMR, Mexico City (2014).
Selected collections: Pinacoteca do Estado de São Paulo. Instituto Nacional de Belas Artes, Rio de Janeiro. Museu de Arte Moderna de São Paulo. Museu de Arte Contemporânea, São Paulo. Museum of Fine Arts, Houston. Philadelphia Museum of Art. The Patricia Phelps de Cisneros Collection.
Artur LescherSextante, 2018Stainless steel and miltifilament threadsInstallation: 540 x 650 cmPendulum: 540 x 11 cmVariable dimensions dependent on installationEdition 1 of 5, 2 AP(ALE 0095)
Artur LescherSextante, 2018 (detail)Stainless steel and miltifilament threadsPendulum: 540 x 11 cmVariable dimensions dependent on installationEdition 1 of 5, 2 AP(ALE 0095)
Artur LescherSextante, 2018Installation view: Asterismos, OMR, Mexico City.July 2018
Artur LescherSem título #1, 2017Aluminum and multifilament threads300 x 27 x 27 cmEdition 4 of 5, 2 AP(ALE 0084)
Artur LescherSem título #1, 2017 (detail)Aluminum and multifilament threads300 x 27 x 27 cmEdition 4 of 5, 2 AP(ALE 0084)
Artur LescherLilla #4, 2017Brass, inox220 x 12 x 12 cmEdition 2 of 5, 2 AP(ALE 0078)
Artur LescherLilla #4, 2017 (detail)Brass, inox220 x 12 x 12 cmEdition 2 of 5, 2 AP(ALE 0078)
Installation view: Asterismos, OMR, Mexico City - July 2018
Matti Braun’s work is characterized by a constant negotiation between concrete references and general allusions, between poetic ephemerality and an uncanny sense of visceral immediacy.
Braun has harnessed his interests to post-colonial discourse and notions of globalization: most of the works suggest the migration of goods, skills or ideas. This interest, combined with feverish research, allows Braun to move rapidly between motifs of trans-nationalism, from 19th century textile trading to the 20th-century Négritude movement. Yet, for all its expansiveness, the logic of these quick-fire references is very contemporary: the associative textuality of the Internet and modern communications technology.
This new group of tableau-like works that result from experiments with pigmented concrete creates an intentional reversal of relations between inside and outside. The underlying narrative logic is not intended to explain the significance of the individual pieces but instead to demonstrate their polysemy. Braun’s work is about the inability of objects to contain the meaning with which we burden them, drawing attention to the multiplicity of interpretations with which our personal and cultural histories imbue perception.
Selected Exhibitions: Matti Braun, Vikram Sarabhai, Nouveau Musée National Monaco (NMNM), Monaco (2018); R.T./S.R./V.S., Rubin Museum of Art, New York (2018-2019); Singale Sugat, BQ, Berlín (2017); Sol Bol, Galería OMR, Mexico City (2016); Matti Braun, Kunstverein Heilbronn (2016); Bo Lak, Esther Schipper, Berlin (2014); Ave Vala, BQ, Berlin (2014); Gos Log, Arnolfini, Bristol (2014); Salo, Kunstverein Braunschweig, Braunschweig, Germany (2010); Salo, La Galerie, Contemporary Art Center, Noisy-le-Sec, France (2010).
Selected Collections: Bundeskunstsammlung / Art Collection of the Federal Republic of Germany. The Cranford Collection, London. KIASMA Museum of Contemporary Art, Helsinki. Kadist Foundation, Paris. The Dallas Cowboys Art Collection.
MATTI BRAUNBerlin, Germany, 1968Lives and works in Cologne, Germany
Matti BraunUntitled, 2018Concrete, ironoxide pigments and varnished steel130 x 105 x 1 cm(MBR 0033)
Matti BraunUntitled, 2018Concrete, ironoxide pigments and varnished steel130 x 105 x 1 cm(MBR 0034)
Joep van Lieshout lives and works in a large workshop in Rotterdam’s wharf district. He founded Atelier Van Lieshout (AVL) in 1995, assigning this moniker in an effort to break the myth of individual artistic genius. The collective workshop produces works that range from art, architecture and design. Van Lieshout’s practice criticizes power, politics and autarky, using the cycle of life and death as a central theme of his research.
Atelier Van Lieshout has created a series of artworks that symbolize the power of humanity over the natural world, the Domestikator series. These artworks pay tribute to the ingenuity, the sophistication and the capacities of humanity, to the power of organization, and to the use of this power to dominate and domesticate the natural environment
Our relationship with nature has become severely disrupted, whilst our needs seem to be growing nonetheless. In order to support 7 billion people, agriculture has become an industry, with factory farming and genetic manipulation a necessity. This provides us with an ethical dilemma, as this kind of farming seems to border on abuse. Domestication Lamp (2017) refers to the literal abuse of animals; bestiality is one of the last remaining taboos. Why is it that treating an animal like a fellow human is an unspeakable act, whilst treating an animal like a resource for industrial production is the norm?
Selected exhibitions: [upcoming] Pioneerworks, New York (2019); Ferrotopia, NDSW-Werf, Amsterdam (2018); Gartenschau, König Galerie, Berlin (2018); Domestikator, Centre Pompidou (2017); Der Hausfreund, Galerie Krinzinger, Vienna (2017); ST AGNES: Three positions. Six directions, König Galerie,Berlin (2017); Art Rotterdam, Rotterdam, the NL, GRIMM Gallery (2017); AVL-Mundo, Rotterdam, NL (2017); Poly Pluto Pluri, Galería OMR, México City (2017); The good, the bad & the ugly, Ruhrtriennale, Rotterdam (2017); Furnication, Carpenters Workshop Gallery, Paris (2017).
Selected collections: Jumex Collection, MoMA, New York, Walker Art Center, Hall collection, MAK Vienna, Prada Foundation, K20 K21 Kunstsammlung Nordrhein Westfalen, Sprengel Museum Hannover, Centre Pompidou, Stedelijk Museum, Caldic Collection, Museum Voorlinden, Museum Boijmans Van Beuningen, MACRO Roma.
ATELIER VAN LIESHOUTRavenstein, Netherlands, 1963Lives and works in Rotterdam, Netherlands
Atelier Van LieshoutDomestication Lamp, 2017Forged steel46 x 16 x 66 cmEdition 3 of 5(AVL 0103)
