Andreas Gursky
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17
C-Print, Diasec
288 × 204 cm
113 3/8 × 80 1/4 inches
307 × 223 × 6.2 cm (framed)
120 7/8 × 87 7/8 × 2 3/8 inches (framed)
Edition of 6 + 2 AP

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KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17
C-Print, Diasec
288 × 204 cm
113 3/8 × 80 1/4 inches
307 × 223 × 6.2 cm (framed)
120 7/8 × 87 7/8 × 2 3/8 inches (framed)
Edition of 6 + 2 AP

Andreas Gursky
Pyongyang VII, 2007/17
C-Print, Diasec
288 × 204 cm
113 3/8 × 80 1/4 inches
307 × 223 × 6.2 cm (framed)
120 7/8 × 87 7/8 × 2 3/8 inches (framed)
Edition of 6 + 2 AP

KIAF Seoul
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

KIAF Seoul
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

KIAF Seoul
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

KIAF Seoul
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

KIAF Seoul
KIAF Seoul

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

Andreas Gursky
Pyongyang VII, 2007/17 (detail)

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Andreas Gursky (*1955, Leipzig) is considered one of the most important photographers in the world, an artist who has expanded the boundaries of the photographic medium like few before him. His complex, large-format images—some of which have attained iconic status—show spectacular landscapes and elaborate interiors, combining technical virtuosity with a painterly eye. His work casts a relentless gaze on the age of globalization, rigorously dissecting the effects of modernity. The Dusseldorf-based artist has been associated with the gallery since 1993.

 

KIAF Seoul

Andreas Gursky
Installation view, Hayward Gallery, London, UK, January 25—April 22, 2018

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KIAF Seoul

Andreas Gursky
Installation view, Hayward Gallery, London, UK, January 25—April 22, 2018

Sterling Ruby
KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021
Oil, elastic, and cardboard on canvas
320 × 243.8 × 5.1 cm
126 × 96 × 2 inches
327.5 × 251.3 × 8.3 cm (framed)
128 15/16 × 98 15/16 × 3 1/4 inches (framed)

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KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021
Oil, elastic, and cardboard on canvas
320 × 243.8 × 5.1 cm
126 × 96 × 2 inches
327.5 × 251.3 × 8.3 cm (framed)
128 15/16 × 98 15/16 × 3 1/4 inches (framed)

Sterling Ruby
TURBINE. HORAE DANCE., 2021
Oil, elastic, and cardboard on canvas
320 × 243.8 × 5.1 cm
126 × 96 × 2 inches
327.5 × 251.3 × 8.3 cm (framed)
128 15/16 × 98 15/16 × 3 1/4 inches (framed)

KIAF Seoul
KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

KIAF Seoul
KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

KIAF Seoul
KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

KIAF Seoul
KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (scale image)

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (scale image)

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KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

Sterling Ruby (*1972, Bitburg, Germany) has created a complex, ever-evolving artistic universe that oscillates between raw abjection and aestheticizing abstraction. His ceramics, sculptures, installations, textile works, videos and paintings are associated with a post-humanist view on culture. The Los Angeles-based artist is working on a map of our collective unconscious, with a particular focus on social topologies, as well as traumas and ruptures in post-war art history.

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KIAF Seoul

Sterling Ruby
TURBINE. HORAE DANCE., 2021 (detail)

Sterling Ruby (*1972, Bitburg, Germany) has created a complex, ever-evolving artistic universe that oscillates between raw abjection and aestheticizing abstraction. His ceramics, sculptures, installations, textile works, videos and paintings are associated with a post-humanist view on culture. The Los Angeles-based artist is working on a map of our collective unconscious, with a particular focus on social topologies, as well as traumas and ruptures in post-war art history.

Jenny Holzer
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020
Text: US government document
Diptych; Platinum and red gold leaf and oil on linen
147.3 × 111.8 × 3.8 cm
58 × 44 × 1 1/2 inches

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KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020
Text: US government document
Diptych; Platinum and red gold leaf and oil on linen
147.3 × 111.8 × 3.8 cm
58 × 44 × 1 1/2 inches

Jenny Holzer
mission-essential warfighting, 2020
Text: US government document
Diptych; Platinum and red gold leaf and oil on linen
147.3 × 111.8 × 3.8 cm
58 × 44 × 1 1/2 inches

KIAF Seoul
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

Jenny Holzer
mission-essential warfighting, 2020 (detail)

KIAF Seoul
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

Jenny Holzer
mission-essential warfighting, 2020 (detail)

KIAF Seoul
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

Jenny Holzer
mission-essential warfighting, 2020 (detail)

KIAF Seoul
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

Jenny Holzer
mission-essential warfighting, 2020 (detail)

KIAF Seoul
KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (scale image)

Jenny Holzer
mission-essential warfighting, 2020 (scale image)

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Jenny Holzer (*1950, Gallipolis, OH) has been probing the aesthetic and political intersection of language, installation, and painting since the late 1970s. Holzer displays her own and other texts in a variety of media, including LED tickers and light projections in public spaces, confronting current events and topics such as war and sexual violence in a way that defies didacticism and challenges the viewer’s passivity. The New York-based artist has been with the gallery since 1986, first represented by Galerie Monika Sprüth, then by Sprüth Magers.

KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

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KIAF Seoul

Jenny Holzer
mission-essential warfighting, 2020 (detail)

Jenny Holzer (*1950, Gallipolis, OH) has been probing the aesthetic and political intersection of language, installation, and painting since the late 1970s. Holzer displays her own and other texts in a variety of media, including LED tickers and light projections in public spaces, confronting current events and topics such as war and sexual violence in a way that defies didacticism and challenges the viewer’s passivity. The New York-based artist has been with the gallery since 1986, first represented by Galerie Monika Sprüth, then by Sprüth Magers.

John Baldessari
KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016
Varnished inkjet print and acrylic paint on canvas
241.9 × 126.4 cm
95 1/4 × 49 3/4 inches

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KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016
Varnished inkjet print and acrylic paint on canvas
241.9 × 126.4 cm
95 1/4 × 49 3/4 inches

John Baldessari
Miró and Life in General: Connected, 2016
Varnished inkjet print and acrylic paint on canvas
241.9 × 126.4 cm
95 1/4 × 49 3/4 inches

KIAF Seoul
KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (detail)

KIAF Seoul
KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (detail)

KIAF Seoul
KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (detail)

KIAF Seoul
KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (scale image)

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KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (detail)

John Baldessari (1932–2020) was a pioneer of American conceptual art. Through his rejection of traditional notions and boundaries, and his expansion of our understanding of what art can be, he became one of the best-known artists of our time. Baldessari was based in Los Angeles and profoundly impacted several generations of visual artists—from David Salle and Jack Goldstein to Cindy Sherman and Barbara Kruger. He has been associated with the gallery since 1995.

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KIAF Seoul

John Baldessari
Miró and Life in General: Connected, 2016 (detail)

John Baldessari (1932–2020) was a pioneer of American conceptual art. Through his rejection of traditional notions and boundaries, and his expansion of our understanding of what art can be, he became one of the best-known artists of our time. Baldessari was based in Los Angeles and profoundly impacted several generations of visual artists—from David Salle and Jack Goldstein to Cindy Sherman and Barbara Kruger. He has been associated with the gallery since 1995.

Gary Hume
KIAF Seoul

Gary Hume
Green Horizon, 2015
Acrylic and gold leaf on canvas with brass frame
76.3 × 61 cm
30 × 24 inches
77.5 × 62 cm (framed)
30 1/2 × 24 3/8 inches (framed)

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KIAF Seoul

Gary Hume
Green Horizon, 2015
Acrylic and gold leaf on canvas with brass frame
76.3 × 61 cm
30 × 24 inches
77.5 × 62 cm (framed)
30 1/2 × 24 3/8 inches (framed)

Gary Hume
Green Horizon, 2015
Acrylic and gold leaf on canvas with brass frame
76.3 × 61 cm
30 × 24 inches
77.5 × 62 cm (framed)
30 1/2 × 24 3/8 inches (framed)

KIAF Seoul
KIAF Seoul

Gary Hume
Green Horizon, 2015 (detail)

Gary Hume
Green Horizon, 2015 (detail)

KIAF Seoul
KIAF Seoul

Gary Hume
Green Horizon, 2015 (detail)

Gary Hume
Green Horizon, 2015 (detail)

KIAF Seoul
KIAF Seoul

Gary Hume
Green Horizon, 2015 (detail)

Gary Hume
Green Horizon, 2015 (detail)

KIAF Seoul
KIAF Seoul

Gary Hume
Green Horizon, 2015 (scale image)

Gary Hume
Green Horizon, 2015 (scale image)

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Gary Hume (*1962, Tenterden) is one of the leading British painters and sculptors of his generation. His oeuvre, often executed with high-gloss industrial paint on surfaces that include aluminum panels, infuses high modernist abstract formalism with an emphatic, sign-like quality. The London and New York-based artist develops his works from found images and personal memories, giving rise to a pictorial idiom in which horror and beauty, eroticism and melancholy, glamour and alienation, go hand in hand. His works are meditations on the sublime of the everyday, the fleetingness of memory and the fragility of life.

 

KIAF Seoul

Gary Hume
Green Horizon, 2015 (detail)

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KIAF Seoul

Gary Hume
Green Horizon, 2015 (detail)

Hyun-Sook Song
KIAF Seoul

Hyun-Sook Song
9 Pinselstriche, 2020 VII
Tempera on canvas
160 × 180 cm
63 × 70 7/8 inches

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KIAF Seoul

Hyun-Sook Song
9 Pinselstriche, 2020 VII
Tempera on canvas
160 × 180 cm
63 × 70 7/8 inches

Hyun-Sook Song
9 Pinselstriche, 2020 VII
Tempera on canvas
160 × 180 cm
63 × 70 7/8 inches

KIAF Seoul
KIAF Seoul

Hyun-Sook Song
9 Pinselstriche, 2020 VII (detail)

KIAF Seoul
KIAF Seoul

Hyun-Sook Song
9 Pinselstriche, 2020 VII (scale image)

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In her practice, Hyun-Sook Song (*1952, Damyang, South Korea) has developed a distinctive style and technique, using tempera, a type of paint consisting of pigments mixed with egg yolk, as main material. Despite having lived in Germany for 50 years, Song’s artistic outlook has been strongly influenced by Eastern philosophy and calligraphy as well as by her approach to nature and the body. A reduced formal language, each brushstroke represents one unique movement and documents the artist’s inner state of mind – thus locating her firmly in the Post-Dansaekhwa movement. Reaching a state of utmost concentration and meditation, Song considers painting a performative happening.

 

George Condo
KIAF Seoul

George Condo
Abstract Head Composition, 2021
Oil, pastel, and crayon on canvas
172.7 × 157.5 cm
68 × 62 inches
183.5 × 167.6 × 9.8 cm (framed)
72 1/4 × 66 × 3 14/16 inches (framed)

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KIAF Seoul

George Condo
Abstract Head Composition, 2021
Oil, pastel, and crayon on canvas
172.7 × 157.5 cm
68 × 62 inches
183.5 × 167.6 × 9.8 cm (framed)
72 1/4 × 66 × 3 14/16 inches (framed)

George Condo
Abstract Head Composition, 2021
Oil, pastel, and crayon on canvas
172.7 × 157.5 cm
68 × 62 inches
183.5 × 167.6 × 9.8 cm (framed)
72 1/4 × 66 × 3 14/16 inches (framed)

KIAF Seoul
KIAF Seoul

George Condo
Abstract Head Composition, 2021 (detail)

George Condo
Abstract Head Composition, 2021 (detail)

KIAF Seoul
KIAF Seoul

George Condo
Abstract Head Composition, 2021 (detail)

George Condo
Abstract Head Composition, 2021 (detail)

KIAF Seoul
KIAF Seoul

George Condo
Abstract Head Composition, 2021 (scale image)

George Condo
Abstract Head Composition, 2021 (scale image)

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KIAF Seoul

George Condo
Abstract Head Composition, 2021 (detail)

The paintings, drawings and sculptural work of George Condo (*1957, Concord, NH) offer a virtuosic examination of a wide range of art-historical idioms, which he transforms into his own visual language. He depicts grotesque, tragicomic and sometimes monstrous subjects with stylistic elements from seventeenth-century Venetian or Dutch painting, but also Cubism, Surrealism and Pop Art. The New York-based artist has been associated with the gallery for over three decades, having mounted one of the first solo exhibitions of his career at Galerie Monika Sprüth in 1984.

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KIAF Seoul

George Condo
Abstract Head Composition, 2021 (detail)

The paintings, drawings and sculptural work of George Condo (*1957, Concord, NH) offer a virtuosic examination of a wide range of art-historical idioms, which he transforms into his own visual language. He depicts grotesque, tragicomic and sometimes monstrous subjects with stylistic elements from seventeenth-century Venetian or Dutch painting, but also Cubism, Surrealism and Pop Art. The New York-based artist has been associated with the gallery for over three decades, having mounted one of the first solo exhibitions of his career at Galerie Monika Sprüth in 1984.

Otto Piene
KIAF Seoul

Otto Piene
Untitled, 2013
Glaze on clay
37 × 46 × 6 cm
14 5/8 × 18 × 2 3/8 inches

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KIAF Seoul

Otto Piene
Untitled, 2013
Glaze on clay
37 × 46 × 6 cm
14 5/8 × 18 × 2 3/8 inches

Otto Piene
Untitled, 2013
Glaze on clay
37 × 46 × 6 cm
14 5/8 × 18 × 2 3/8 inches

KIAF Seoul
KIAF Seoul

Otto Piene
Untitled, 2013 (detail)

Otto Piene
Untitled, 2013 (detail)

KIAF Seoul
KIAF Seoul

Otto Piene
Untitled, 2013 (detail)

Otto Piene
Untitled, 2013 (detail)

KIAF Seoul
KIAF Seoul

Otto Piene
Untitled, 2013 (scale image)

Otto Piene
Untitled, 2013 (scale image)

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Otto Piene’s (1928–2014) prodigious oeuvre includes his well-known smoke and fire paintings, “light ballet” installations and “Sky Art” events along with kinetic sculptures, ceramics, screen-prints and architectural interventions. Characterized by a combination of art and technology, his work demands that viewers play an active role in the artwork. A keen philosophical thinker, Piene also wrote a number of essays about art and perception.

KIAF Seoul

Otto Piene
Untitled, 2013 (detail)

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KIAF Seoul

Otto Piene
Untitled, 2013 (detail)

Otto Piene’s (1928–2014) prodigious oeuvre includes his well-known smoke and fire paintings, “light ballet” installations and “Sky Art” events along with kinetic sculptures, ceramics, screen-prints and architectural interventions. Characterized by a combination of art and technology, his work demands that viewers play an active role in the artwork. A keen philosophical thinker, Piene also wrote a number of essays about art and perception.

Robert Elfgen
KIAF Seoul

Robert Elfgen
Yvette, 2021
Metallic spray paint, wood stain, ink on wood, artist's frame
130 × 100 cm (framed)
51 1/8 × 39 3/8 inches (framed)

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KIAF Seoul

Robert Elfgen
Yvette, 2021
Metallic spray paint, wood stain, ink on wood, artist's frame
130 × 100 cm (framed)
51 1/8 × 39 3/8 inches (framed)

Robert Elfgen
Yvette, 2021
Metallic spray paint, wood stain, ink on wood, artist's frame
130 × 100 cm (framed)
51 1/8 × 39 3/8 inches (framed)

KIAF Seoul
KIAF Seoul

Robert Elfgen
Yvette, 2021 (detail)

Robert Elfgen
Yvette, 2021 (detail)

KIAF Seoul
KIAF Seoul

Robert Elfgen
Yvette, 2021 (scale image)

Robert Elfgen
Yvette, 2021 (scale image)

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Robert Elfgen (*1972, Wesseling) is acclaimed for a mytho-poetic artistic universe that revolves around the relationship between human beings and the world. His assemblages, collages, light objects, videos, floor- and wall works are frequently arranged in room-filling installations that resemble walk-in paintings. The Cologne-based artist makes use of objets trouvés from his everyday surroundings, but also draws upon such traditional artistic media as metal engraving, reverse glass painting, inlay and various printing-making techniques. The often-improvised combination of found objects, images and technical approaches conjures complex associations and interconnected layers of meaning.

 

KIAF Seoul

Robert Elfgen
Yvette, 2021 (detail)

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KIAF Seoul

Robert Elfgen
Yvette, 2021 (detail)

Karen Kilimnik
KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009
Water soluble oil color on canvas
50.8 × 40.6 cm
20 × 16 inches

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KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009
Water soluble oil color on canvas
50.8 × 40.6 cm
20 × 16 inches

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009
Water soluble oil color on canvas
50.8 × 40.6 cm
20 × 16 inches

KIAF Seoul
KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

KIAF Seoul
KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

KIAF Seoul
KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (detail)

KIAF Seoul
KIAF Seoul

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (scale image)

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009 (scale image)

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In a diverse practice that draws upon the tradition of Romantic painting, Karen Kilimnik (*1955, Philadelphia, PA) utilizes painting, drawing, collage, photography, video and installation to produce nuanced and playful observations of historical codes and symbols. Reveling in both mass and high culture, George Stubbs, Jean-Baptiste Oudry and the ballet are as important for Kilimnik as The Avengers, Kate Moss and pop music, forcing such distinctions to collapse into her own specific mélange of cultural influence and production.

 

David Ostrowski
KIAF Seoul

David Ostrowski
F (After Modernism), 2021
Acrylic, lacquer and paper on canvas
200 × 151 cm
78 3/4 × 59 1/2 inches

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KIAF Seoul

David Ostrowski
F (After Modernism), 2021
Acrylic, lacquer and paper on canvas
200 × 151 cm
78 3/4 × 59 1/2 inches

David Ostrowski
F (After Modernism), 2021
Acrylic, lacquer and paper on canvas
200 × 151 cm
78 3/4 × 59 1/2 inches

KIAF Seoul
KIAF Seoul

David Ostrowski
F (After Modernism), 2021

David Ostrowski
F (After Modernism), 2021

KIAF Seoul
KIAF Seoul

David Ostrowski
F (After Modernism), 2021 (detail)

David Ostrowski
F (After Modernism), 2021 (detail)

KIAF Seoul
KIAF Seoul

David Ostrowski
F (After Modernism), 2021 (detail)

David Ostrowski
F (After Modernism), 2021 (detail)

KIAF Seoul
KIAF Seoul

David Ostrowski
F (After Modernism), 2021 (scale image)

David Ostrowski
F (After Modernism), 2021 (scale image)

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KIAF Seoul

David Ostrowski
F (After Modernism), 2021 (detail)

David Ostrowski (*1981, Cologne) has produced a body of work that revolves around the idea of the zero point—a place of nothingness or the beyond of cultural and painterly codes. Ostrowski’s paintings are products of a desire to eliminate painterly knowledge. They are expressions of the idea that in producing notions of emptiness, one also grapples with and comments on the history of painting. The Cologne-based artist’s light-handed and complex approaches to the non-motif open the space of the canvas to unique breaches of perception and an unexpected freedom of seeing.

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KIAF Seoul

David Ostrowski
F (After Modernism), 2021 (detail)

David Ostrowski (*1981, Cologne) has produced a body of work that revolves around the idea of the zero point—a place of nothingness or the beyond of cultural and painterly codes. Ostrowski’s paintings are products of a desire to eliminate painterly knowledge. They are expressions of the idea that in producing notions of emptiness, one also grapples with and comments on the history of painting. The Cologne-based artist’s light-handed and complex approaches to the non-motif open the space of the canvas to unique breaches of perception and an unexpected freedom of seeing.