Not All That Falls Has Wings
Phyllida Barlow
Installation view: "Phyllida Barlow: scree", Des Moines Art Center, Des Moines IA, 2013
Photo: Paul Crosby
Phyllida Barlow
Untitled: stage, 2011
Timber, polystyrene, paint, 330 x 1350 x 500 cm
Photo: Stefan Altenburger Photography Zürich
Phyllida Barlow
Installation view: "Phyllida Barlow. dock" Duveen Commission, Tate Britain, London, England, 2014
Photo: Alex Delfanne
Phyllida Barlow
Installation view: "Phyllida Barlow: set", The Fruitmarket Gallery, Edinburgh, Scotland, 2015
Photo: Ruth Clark
Bas Jan Ader
Fall 1, Los Angeles, 1970
16mm film, black and white, silent, 24''
© The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2016 / The Artists Rights Society (ARS), New York.
Courtesy of The Estate of Bas Jan Ader and Meliksetian | Briggs, Los Angeles
Bas Jan Ader
Fall 2, Amsterdam, 1970
16mm film, black and white, silent, 19''
© The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2016 / The Artists Rights Society (ARS), New York.
Courtesy of The Estate of Bas Jan Ader and Meliksetian | Briggs, Los Angeles
Bas Jan Ader
Fall 1, Los Angeles, 1970
16mm film, black and white, silent, 24''
© The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2016 / The Artists Rights Society (ARS), New York.
Courtesy of The Estate of Bas Jan Ader and Meliksetian | Briggs, Los Angeles
Bas Jan Ader
Fall 2, Amsterdam, 1970
16mm film, black and white, silent, 19''
© The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2016 / The Artists Rights Society (ARS), New York.
Courtesy of The Estate of Bas Jan Ader and Meliksetian | Briggs, Los Angeles
Cyprien Gaillard
Pruitt Igoe Falls, 2009
Video, 6'55"
Courtesy of Laura Bartlett Gallery, London / Bugada ve Cargnel, Paris / Sprüth Magers Berlin London
Ryan Gander
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes, 2010
Arrows, dimensions variable
© Ryan Gander
Courtesy of Lisson Gallery
Photo: Ken Adlard
Ryan Gander
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes, 2010
Arrows, dimensions variable
© Ryan Gander
Courtesy of Lisson Gallery
Photo: Ken Adlard
Ryan Gander
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes, 2010
Arrows, dimensions variable
© Ryan Gander
Courtesy of Lisson Gallery
Photo: Ken Adlard
Ryan Gander
Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes, 2010
Arrows, dimensions variable
© Ryan Gander
Courtesy of Lisson Gallery
Photo: Ken Adlard
Mikhail Karikis & Uriel Orlow
Sounds from Beneath, 2011–2012
Single channel video with stereo sound, 6'47''
Mikhail Karikis & Uriel Orlow
Sounds from Beneath, 2011–2012
Single channel video with stereo sound, 6'47''
Mikhail Karikis & Uriel Orlow
Sounds from Beneath, 2011–2012
Single channel video with stereo sound, 6'47'' Installation view: Manifesta 9, Genk, Limburg, Belgium, 2012
Photo: Kristof Vrancken
Mikhail Karikis & Uriel Orlow
Sounds from Beneath, 2011–2012
Single channel video with stereo sound, 6'47'' Installation view: Manifesta 9, Genk, Limburg, Belgium, 2012
Photo: Kristof Vrancken
VOID

Bruit blanc, 2016

Resin discs, wood, PVC cones, DC motors, dimensions variable
Courtesy of VOID
VOID

Bruit blanc, 2016

Resin discs, wood, PVC cones, DC motors, dimensions variable
Courtesy of VOID
VOID

Bruit blanc, 2016

Resin discs, wood, PVC cones, DC motors, dimensions variable
Courtesy of VOID
VOID

Bruit blanc, 2016

Resin discs, wood, PVC cones, DC motors, dimensions variable
Courtesy of VOID
Anne Wenzel
Attempted Decadence (blossoms, large purple), 2014
Ceramic, metal plinth, 224 x 123 x 123 cm
Courtesy of AKINCI Amsterdam and the artist
Photo: John Stoel
Anne Wenzel
Silent Landscape, 2006
Ceramic, plinth, water, mural with Indian ink, 160 x 300 x 500 cm
Courtesy of AKINCI Amsterdam and the artist
Photo: John Stoel
Anne Wenzel
Attempted Decadence (blossoms), 2014
Ceramic, metal plinth, curtains
Installation view: Anne Wenzel, "The Opaque Palace", solo exhibition at TENT Rotterdam, 2014 Courtesy of AKINCI Amsterdam and the artist
Photo: John Stoel