ARCO MADRID 2020 PREVIEW OF SELECTED WORKS - GALERIE THOMAS SCHULTE | BOOTH 9D07 SPECIAL PROJECT: ALFREDO JAAR 26 FEBRUARY TO 1 MARCH 2020 ...
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ARCO MADRID 2020
Preview of Selected Works
Galerie Thomas Schulte | booth 9D07
SPECIAL PROJECT: Alfredo Jaar
26 february to 1 march 2020
• Alfredo Jaar, Public Interventions (Studies on Happiness: 1979-1981), 1981 (detail)
Artists on view Also represented Contact
Alice Aycock Dieter Appelt Galerie Thomas Schulte
Angela de la Cruz Richard Deacon Charlottenstraße 24
Rebecca Horn Hamish Fulton 10117 Berlin
Julian Irlinger David Hartt fon: +49 (0)30 2060 8990
Alfredo Jaar Paco Knöller fax: +49 (0)30 2060 89910
Idris Khan Jonathan Lasker mail@galeriethomasschulte.de
Maria Loboda Iñigo Manglano-Ovalle www.galeriethomasschulte.de
Allan McCollum Robert Mapplethorpe
Michael Müller Fabian Marcaccio Julia Ben Abdallah
Leunora Salihu Gordon Matta-Clark PA to Thomas Schulte
Iris Schomaker João Penalva julia@galeriethomasschulte.de
Juan Uslé Albrecht Schnider
Katharina Sieverding Gonzalo Alarcón
Pat Steir +49 (173) 66 46 623
Jonas Weichsel gonzalo@galeriethomasschulte.de
Stephen Willats
Robert Wilson Eike Dürrfeld
+49 (172) 30 89 074
eike@galeriethomasschulte.de
Luigi Nerone
+49 (172) 30 89 076
luigi@galeriethomasschulte.de
Nick Schulte
+49 (172) 30 89 073
nick@galeriethomasschulte.de
This brochure represents a selection of available works at our booth. For
further information about individual artists and to learn more about works
which are not represented here, please do not hesitate to contact us.
Please note that all information in this preview can be subject to changes. 2,3
ALICE AYCOCK
Works by Alice Aycock (born 1946, Harrisburg, PA, USA) can be found
in the collections of MoMA, the Whitney Museum of American Art, the
Brooklyn Museum, the Louis Vuitton Foundation, LACMA, the National
Gallery of Art, Washington D.C., and many others. She first gained inter-
national recognition in 1977 with her contribution to documenta 6.
Much of Aycock’s work in both the public and private spheres has
been a meditation on the philosophical ramifications of technology from
the simplest tool (the arrowhead and the plow) to the computer. Like
many of her more recent works, her sculpture “Alien Twister” incorpo-
rates the images of references to energy in the form of spirals, whirlwinds,
whirlpools and spinning tops and in particular visualizes the movement of
wind energy. It also relates to a series of monumental sculptures, which
were first presented in a spectacular installation on New York’s Upper East
Side in 2014 under the title Park Avenue Paper Chase.
In the summer of 2020 a selection of these sculptures will be pre-
sented by the recently founded Princess Estelle Cultural Foundation at
Royal Djurgården in Stockholm.
Alice Aycock
Alien Twister, 2018
Aluminum, powder coated white
213.4 x 189.8 cm | 84 x 74 3/4 in
Edition 1/3 + 1AP
Alice Aycock Alien Twister, 2018 Alice Aycock Aluminum, powder coated white Fortress of Solitude, 2019 213.4 x 189.8 cm | 84 x 74 3/4 in Digital inkjet print on fine art paper Edition 1/3 + 1AP 210.8 x 126.4 cm | 83 x 49 3/4 in 6,7
REBECCA HORN
Rebecca Horn (born 1944, Michelstadt, Germany) is one of a generation
of German artists who came to international prominence in the 1980s,
practicing body art and working in different media, including perfor-
mance, installation art, sculpture and film. She is one of very few artists
who participated in documenta on four separate occasions and throughout
her career has received numerous awards including Kaiserring der Stadt
Goslar, Praemium Imperiale Tokyo, Pour le Mérite for Sciences and the
Arts and, most recently in 2017, the Wilhelm Lehmbruck Prize. During
2019, two major exhibitions of her work took place simultaneously at
Centre Pompidou Metz and Museum Tinguely in Basel.
Galerie Thomas Schulte opened with a solo exhibition by Rebecca
Horn in 1991. Having collaborated on several other exhibition projects
over the years, the gallery is very proud to be able to announce the opening
of a solo exhibition showing some of the artist’s most well-known kinetic
sculptures from the 1990s alongside new works (Friday, 1 May 2020).
Rebecca Horn
Der Traum des Chinesen, 2006
Glass, steel, stone, butterfly, elec-
tronic parts, motor, branch cast in
bronze, painting on glass
151 x 100 x 30 cm | 59 1/2 x 39 1/3 x
11 3/4 in
Rebecca Horn Rebecca Horn Untitled, 2015 Untitled, 2015 Acrylic and pencil on paper Acrylic and pencil on paper 40 x 30 cm | 15 3/4 x 11 3/4 in 40 x 30 cm | 15 3/4 x 11 3/4 in Framed: 64 x 52 cm | 25 1/4 x 20 1/2 in Framed: 64 x 52 cm | 25 1/4 x 20 1/2 in 10,11
IDRIS KHAN
Idris Khan OBE (born 1978, Birmingham, England) in the last few years
has become one of the UK’s most successful young artists and has also
gained great international acclaim. In 2017, he was awarded the American
Architecture Prize for the design of his Memorial Monument and Pavilion
of Honour in the new Memorial Park in Abu Dhabi. In October 2018, he
revealed a major commission of twenty-one paintings, which are now on
display in the new Albukhary Foundation Gallery of the British Museum
in London. Most recently, in October 2019, Khan’s monumental sculpture
“65,000 Photographs” was installed at the new public plaza in Blackfriars
in London and is the artist’s first permanent public artwork in the UK.
Currently, Khan is preparing a solo show for the MoCa Westport in
Connecticut. In 2022 he will stage a major solo exhibition at the Milwaukee
Art Museum in Wisconsin.
Exploring philosophical and theoretical ideas surrounding global
displacement and conflict, Khan demonstrates his profound interest in
language and meaning over a wide array of media, including painting,
sculpture, photography, works on paper or glass. Khan has developed
a unique narrative, drawing on diverse cultural sources including art,
literature, philosophy, and music. His densely-layered imagery inhabits
the space between abstraction and figuration encompassing aspects of
history, cumulative experience, and the metaphysical collapse of time into
a single moment.
Idris Khan
Lost Happiness, 2019
Digital C-type print on aluminum
238 x 180 cm | 93 2/3 x 70 3/4 in
Framed: 251.3 x 193.4 x 7.6 cm | 99 x 76 1/4 x 3 in
Edition 7/7 + 2AP 12,13
Idris Khan White Window; April 2017 - January 2019, 2019 Bromide print 127 x 101.6 cm | 50 x 40 in Framed: 148.6 x 123.2 x 7 cm | 58 1/2 x 48 1/2 x 2 3/4 in Edition 5/7 + 2AP 14,15
Idris Khan Quartet, 2019 Gesso and oil stick on black and white fibre print mounted on aluminum panel 77.3 x 52.7 x 1.5 cm | 30 1/2 x 20 3/4 x 2/3 in Framed: 79 x 54.4 x 4 cm | 31 x 21 1/2 x 1 2/3 in
Angela de la cruz
Angela de la Cruz (born 1965 La Coruña, Spain) in her work confronts the
boundaries of traditional painting and sculpture by devising works, which
are “neither painting nor sculpture but something in between” (Donald
Judd). De la Cruz was nominated for the Turner Prize in 2010. Having
received the National Award for Fine Arts of her country of origin, Spain,
in 2017, her work was recently on view in a major mid-career retrospective
at Azkuna Zentroa in Bilbao, traveling to the Galicia Contemporary Art
Center in Santiago de Compostela, Spain.
In her new series “Layers” the works consists of three superimposed
layers of canvas, each painted with a square and a border in specific color
combinations. The different layers of canvas appear to fall from the frame
revealing underneath an identically glossy layer, as if the painting was
reproducing, renewing itself; a representation of a metamorphosis, so to
speak, of the picture’s own creation.
Angela de la Cruz
Layers - Small (Sap Green/Brilliant Pink), 2019
Acrylic and oil on canvas
70 x 50 x 7 cm | 27 1/2 x 19 2/3 x 2 3/4 in 18,19Angela de la Cruz Angela de la Cruz Angela de la Cruz Layers - Large (Cadmium Yellow/ Light Yellow), 2019 Layers - Large (Titanium White/Off White), 2019 Layers - Large (Red/Brilliant Pink), 2019 Acrylic and oil on canvas Acrylic and oil on canvas Acrylic and oil on canvas 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 20,21
MICHAEL MÜLLER
Michael Müller (born 1970, Ingelheim am Rhein, Germany) is a conceptual
artist whose manifold, proliferating oeuvre resists any straightforward or
one-way interpretation. Müller continuously broadens the methods of his
artistic expression, combining works on paper with painting, text-based
work, sculpture, found objects, music, and performance, and has even
developed a cosmetic line and fashion collection. He received great critical
and curatorial attention for his Eighteen Exhibitions cycle, which resulted
in solo exhibitions at two of Germany’s most progressive art institutions,
KW Institute of Contemporary Art, Berlin, and Staatliche Kunsthalle
Baden-Baden. In 2018, he was nominated for the prestigious Prize of the
Böttcherstrasse. Most recently, Müller has been invited by Städtische
Galerie Wolfsburg to—over the course of two years—reassess its collec-
tion, make a personal selection from the holdings of the museum and to
stage the selected works for the audience in new and innovative ways.
Through his series of works In front and behind the glass, Müller
seeks the confrontation with the medium of painting and explores the
possibilities of creating a relationship between the paintings and the space
that surrounds them. By painting onto the glass—usually seperating
the painting and reflecting the environment in front of it—the reflective
qualities of the glass are reduced to a minimum, while its transparency
opens up the possibility of integrating the space behind the painting as
part of the work. Thus, Müller creates an optical illusion: standing in front
of the painting, the different layers of paint appear to have been applied
“in front and behind the glass.”
Michael Müller
Asahreppur, 2018/19
Lacquer and acrylic on glass
186.5 x 146 cm | 73 1/2 x 57 1/2 in
Framed: 186.5 x 146 x 6 cm | 73 1/2 x 57 1/2 x 2 1/3 in 22,23Michael Müller Dekonstruktion von Radikal 10, 2018/19 Acrylic and lacquer on Belgian linen and glass 185.5 x 145.5 x 6 cm | 73 x 57 1/4 x 2 1/3 in Framed: 185.5 x 145.5 x 6 cm | 73 x 57 1/4 x 2 1/3 in 24,25
ALLAN MCCOLLUM
Allan McCollum (born 1944, Los Angeles, CA, USA) is among the best
and most profound American conceptual artists and has been represented
by Galerie Thomas Schulte for almost 30 years. McCollum’s works feature
in most major museum collections in the US and world-wide, including
MoMA, the Whitney Museum of American Art, the Metropolitan Museum
of Art, Solomon R. Guggenheim Museum, The New Museum, LACMA,
the Art Institute of Chicago, The Hirshhorn Museum, Louisiana Museum
of Modern Art, Centre Pompidou, MUMOK, Vienna, and the National
Museum of Contemporary Art, Seoul.
The “Plaster Surrogates”, of which McCollum has made hundreds,
are plaster structures painted with enamel—there is no frame and there
is no canvas. They are blank paintings cast from an absent original. Allan
McCollum produces a surrogate of painting, an empty signifier that stands
“in the place of social relations, objectifying them in a displaced way,“
as George Baker has astutely put it. The surrogate fulfills the task of
painting: it facilitates aesthetic engagement and economic exchange,
produces discourse, and takes up space on the wall. It does all the things
that a painting should do. But it is not a painting. It is a fraud, a fake, a
stand-in.
On 26 March, ICA Miami presents the first US museum retrospective
for Allan McCollum. In autumn The exhibition is traveling to the Mildred
Lane Kemper Art Museum in St. Louis, Missouri.
Allan McCollum
Fifteen Plaster Surrogates, 1983/1985
Enamel paint on cast Hydrostone
Allover dimensions variable (approx.
160 x 160 cm | approx. 63 x 63 in)JUAN USLÉ
Juan Uslé (born 1954 in Santander, Spain) has developed a rich painterly
oeuvre that operates in the space between pure abstraction and emo-
tionally intense subjective expression. Since the early 1980s he sought to
create paintings informed—on a meta-narrative level—by his personal
experience, while also reflecting the fundamental rules of his pictorial
vocabulary.
Uslé participated in the 51st Venice Biennale and exhibited at
documenta in 1992. In 2002, he was awarded the National Award for
Fine Arts, Spain. His work is part of various public collections, including
Museo Reina Sofía, Foundation “La Caixa”, Museum Boijmans van
Beuningen, MUMOK, Migros Museum, MUDAM, Pinakothek der
Moderne, Staatsgalerie Stuttgart, Moderna Museet, New York Public
Library, Serralves Museum, Sammlung Goetz, Marugame Hirai Museum,
Museo de Bellas Artes de Santander, and the Saatchi Collection.
Juan Uslé
Sur Cruzado, 2018/19
Vinyl dispersion and dry pigment on canvas
56 x 41 cm | 22 x 16 1/4 in 28,29IRIS SCHOMAKER
Iris Schomaker (born 1973, Stade, Germany) is known for her originally
unframed, often large-scale paintings on paper of landscapes and figures.
To her, the images represented in the paintings themselves are secondary
to the themes she explores through the process of painting. Herein, she
focusses on forms of representation, the potential of painting, and the
reproduction of atmospheric content. These themes find expression in
Schomaker’s own visual language, which is characterized by the tension
between figurative representation and painterly abstraction. Schomaker’s
palette is quiet, with little divergence between pastel hues and black, white
and grey tones. The softness of her palette gives her work a drawing-like
quality, which is emphasized further by pencil marks and other left-over
traces of the working process.
Iris Schomaker studied fine arts in Kiel and Hamburg, as well as in
Trondheim and Bergen in Norway. She has participated in various na-
tional and international exhibitions, including Kunstverein Schwimmhalle
Schloss Plön (2016), Beijing International Art Biennale (2015), Mediation
Biennal, Poznan (2014), Museum Sinclair-Haus, Bad Homburg (2014),
Frankfurter Kunstverein (2013), Kunsthaus Stade (2013), Berlinische
Galerie (2007; 2010), Schloss Salzau (2009), Staatliche Galerie, Zoppot
(2001), and Villa Manin in Passariano (2001). Her works can be found in
several public and many private collections.
Iris Schomaker
Untitled, 2017
Oil and watercolour on paper
240 x 161 cm | 94 1/2 x 63 1/2 in
Framed: 242.2 x 165 x 5 cm | 95 1/3 x 65 x 2 in 30,31Iris Schomaker Iris Schomaker Untitled, 2020 Untitled, 2020 Watercolour and oil on paper Watercolour and oil on paper 51.6 x 44 cm | 20 1/3 x 17 1/3 in 51.6 x 44 cm | 20 1/3 x 17 1/3 in Framed: 65 x 59 x 4 cm | 25 2/3 x 23 1/4 x 1 1/2 in Framed: 65 x 59 x 4 cm | 25 2/3 x 23 1/4 x 1 1/2 in 32,33
Leunora Salihu
Leunora Salihu (born 1977, Prishtina, Kosovo) works with various ma-
terials, often combining and relating two different materials, either to
create tension or harmony within a piece of work. In her ceramics, the
inherent tension, however, first and foremost resides in the relationship
between the whole and the individual parts. In the fashion of a modular
construction, Salihu uses the rhythmic repetition of an array of round and
square elements to create an irresolvable link between the form and its
compound segments, thus opening a vast and complex field of associations
ranging from architecture, furniture and design to the anatomy of insects,
their hives or nests—associations that place Salihu’s work on the verge of
the uncanny. The ceramics bear titles that are as short and thus obtuse as
the objects they refer to—titles rendering the work reminiscent of sur-
realist riddles. Turm (Tower), Kette (Chain), Bogen (Arc) and Propeller
highlight the contradiction intrinsic to the work: Ceci n’est pas un… the
objects are not what their titles so readily promise: neither the propeller
turns, nor the joints of the chain move.
Leunora Salihu studied at the Academy for Fine Arts in Prishtina,
Kosovo. In 1999, she fled to Germany, moving her studies to the Muthesius
Kunsthochschule in Kiel and then further to the Art Academy in Düssel-
dorf, where she worked with Tony Cragg, and from which she graduated in
2009. Since then, she has received several awards and has been included in
a number of group exhibitions at institutions including The National Gal-
lery of Kosovo (2017), Philara Stiftung (2015), Herzliya Museum of Con-
temporary Art (2015), Temporary Art Centre, Eindhoven (2015), Museum
Kunstpalast Düsseldorf (2014/15), and Kunstraum Düsseldorf (2012).
Salihu’s first noteworthy solo exhibitions were in 2011/12 at the Lehm-
bruck Museum in Duisburg and very recently at the K21 Kunstsammlung
Nordrhein-Westfalen (2017). In June 2018, another solo exhibition opened
at the Museum Lothar Fischer in Neumark i.d.OPf., which awarded her
the Lothar-Fischer-Preis 2017.
Currently, Salihu is preparing a solo show at the private collection
Philara in Düsseldorf opening in May and a second solo show at Tony
Cragg’s Foundation and sculpture park in Wuppertal starting in Septem-
ber.
Leunora Salihu
Bogen, 2016
Aluminum
204 x 45 x 30 cm | 80 1/3 x 17 3/4 x 11
3/4 inJULIAN IRLINGER
Julian Irlinger (born 1986, Erlangen, Germany) works with found objects
and images. In 2017, he graduated with an MFA from the Städelschule,
Frankfurt. Previously, from 2011 to 2014, he studied fine art at the
Hochschule für Grafik- und Buchkunst in Leipzig, Germany, and received
his BA in art history in 2011 from the Friedrich-Alexander-Universität
Erlangen-Nürnberg. In 2018, he was one of the participants of the Whitney
Museum Independent Study Program. The Wilhelm Hack Museum invited
him for a solo exhibition in 2019. His first institutional solo exhibition
was hosted by the Kunsthalle Darmstadt in 2017. His work has also been
included in exhibitions at the Kunsthalle Baden-Baden, Kunsthalle Wien,
Nassauischer Kunstverein, and Kunstverein Leipzig.
Julian Irlinger’s project Subjects of Emergency is dedicated to the
reconstruction of a historical relation between aesthetics and ideology
in artistic production. The artist’s source material is banknotes of the
emergency currency which circulated during inflation in Germany (1918-
1923) as a parallel currency to the Mark of the Reichsbank. Printed on the
bills were pictures by artists, which often had political backgrounds. The
details of the money reproduced by Irlinger have a seductive quality and
show a subtle sense of humor as well as the dark side of the pop culture of
the Weimar Republic.
Julian Irlinger
Fragments of a Crisis: Resources, 2018
Pigment print and plexiglas
Framed: 168.4 x 135.4 x 3.5 cm | 66 1/3 x 53 1/3 x 1 1/3 in
Edition 1/2 + 1AP 36,37MARIA LOBODA
Maria Loboda (born 1979, Krakow, Poland) composes installations and
sculptures with which the artist investigates cultural codes, represented
by pictorial signs and the grammar of various materials and objects.
Throughout her work, Loboda engages with the historical narratives
attributed to certain objects and juxtaposes them with contemporary
interpretations and modern references in order to address the
transformation of meaning of objects and images, tracing their paths from
conveyance to encounter. Her research stems from the fields of poetry and
history and leads to a formal equation of language and materiality, whose
interactions she examines and uses in order to question what they express
beyond their common readings. Loboda thus, through the deconstruction
and reorganisation of common forms and symbols, has become a unique
voice in what is described as contemporary archaeology. As a kind of re-
enacting of semiotics, Loboda’s works are subversive as well as critical
towards power structures.
Maria Loboda studied at the Städelschule in Frankfurt a.M., where
between 2003 and 2008 she was a student of Mark Leckey. From 2015 to
2016, she taught as a guest lecturer at Hochschule der Bildenden Künste,
Zurich. Loboda’s wide-ranging exhibition activities encompass the 58th
Venice Biennale (2019), Taipei Biennial (2014), and documenta 13 (2012).
Important solo exhibitions include Schirn Kunsthalle, Frankfurt a.M.
(2018/19), Ujazdowski Castle Centre for Contemporary Art, Warsaw
(2019), Kunsthalle Basel (2017), Institut d’art contemporain, Villeurbanne
(2017), The Power Plant, Toronto (2016), and Palais de Tokyo, Paris
(2012). Furthermore, she has participated in numerous group exhibitions,
including Contemporary Art Center, Singapore (2018), MADRE, Naples
(2018), Modern Art Oxford (2016), Sprengel Museum Hannover (2015),
Bundeskunsthalle, Bonn (2015), Ludlow 38, New York (2012), MMK in
Frankfurt, a.M. (2010).
From November 2019 to January 2020 Galerie Thomas Schulte
presented Woman observing the Alpha Persei Cluster, Maria Loboda’s
first exhibition project with the gallery.
Maria Loboda, Woman observing
the Alpha Persei Cluster, Galerie
Thomas Schulte, 16 November 2019
to 11 January 2020Maria Loboda Maria Loboda Some mysteries have no clues #1, 2019 Some mysteries have no clues #3, 2019 Stainless steel Stainless steel 17.5 x 8.1 x 7.9 cm | 7 x 3 1/4 x 3 in 17.5 x 11.1 x 8.5 cm | 7 x 4 1/3 x 3 1/3 in 40,41
ALFREDO JAAR
At the booth at ARCOmadrid 2020, Galerie Thomas Schulte presents as
a special project a group of rarely presented, early works of Alfredo Jaar
(born 1956, Santiago de Chile) created from the late 1970s throughout
the 1980s that deal with his birthplace, Chile, and the aftermath of the
1973 Chilean coup d’état. In Jaar’s interventions in public space at that
time, he sought to take forms of resistance that had been developed in
other countries, adapted them artistically in Chile, and asserted their im-
possibility. Or he prompted contemplation about individual and national
situations by asking people on the street, “Are you happy?” He carried
out elaborate questionnaire actions about happiness, later put on display
as statistical diagrams.
Alfredo Jaar’s work has been shown extensively around the world. To
date more than fifty monographic publications have been published on his
work. Jaar became a Guggenheim Fellow in 1985 and a MacArthur Fellow
in 2000. Most recently, in 2019, he was awarded the Josef Svoboda Prize,
Macerata, Italy. In the previous year, he received the 11th Hiroshima Art
Prize. In 2006, he received Spain’s Premio Extremadura a la Creación.
He has participated in the biennales of Venice (1986; 2007; 2009; 2013),
São Paulo (1985; 1987; 2010), Sydney (1990), Istanbul (1995), and Johan-
nesburg (1997), as well as in documenta (1987; 2002). Retrospectives of
his work were organised in 2012 in Berlin by the Neue Gesellschaft für
bildende Kunst, in 2014 at the Museum of Contemporary Art Kiasma in
Helsinki, and in 2015/16 at the Museum of Contemporary Art in Marseille.
Important solo exhibitions include Yorkshire Sculpture Garden (2017),
Wits Art Museum, Johannesburg (2016), The San Diego Museum of Art
(2014), Malmö Konsthall (2013), the Art Institute of Chicago (2011), and
KW Institute of Contemporary Art in Berlin (2009).
Alfredo Jaar
September 11, 1973 (Coke), 1982
6 pigment prints mounted on 3mm Dibond
Framed: each 80.6 x 66 cm | 31 3/4 x 26 in
Edition 1/3 + 2AP 42,43Alfredo Jaar A Logo for America, 1987 5 pigment prints mounted on Dibond Framed: each 96.5 x 96.5 cm | 38 x 38 in Overall dimensions: 96.5 x 482.6 cm | 38 x 190 in Edition 3/6 + 3AP
Alfredo Jaar Public Interventions (Studies on Happiness: 1979-1981), 1981 8 pigment prints mounted on Dibond Framed: each 111.8 x 111.8 cm | 44 x 44 in Overall dimensions: 223.5 x 447 cm | 88 x 176 in Edition 1/3 + 2AP 46,47
Alfredo Jaar Alfredo Jaar Cien Anos de Soledad (No realmente), 1985 Faces, 1982 Neon 11 C-prints mounted on museum board 36 x 152 cm | 14 1/4 x 59 3/4 in Framed: each 50.8 x 73.7 cm | 20 x 29 in Edition 2/10 + 3AP Edition 3/3 + 2AP 48,49
Publisher Galerie Thomas Schulte GmbH Charlottenstraße 24 10117 Berlin fon: +49 (0)30 2060 8990 fax: +49 (0)30 2060 89910 mail@galeriethomasschulte.de www.galeriethomasschulte.de © 2020 the artists, the photographers and Galerie Thomas Schulte This dossier was published on the occasion of ARCOmadrid 2020.
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