Joanna Malinowska, Boli, 2009, Wood, plaster, clay, scraps of Spinoza's •Ethics•, sweater of Evo Morales, 1 litre of water from the Bering Strait, 254 x 264 x 396 cm.

John Baldessari, Beethoven's Trumpet (With Ear) Opus # 133, 2007, Resin, fibreglass, bronze, aluminium, and electronics, 186 x 183 x 267 cm.

In a First, Saatchi Gives over Gallery Space to New Sculpture

Matthew Monahan, Riker's Island, 2005, mixed media, 205 x 110 x 45 cm.

Peter Buggenhout, The Blind Leading The Blind #26, 2008, Mixed media and disposable material covered with household dust, 134.5 x 166 x 150 cm.

Anselm Reyle, Untitled, 2005, Bronze, chrome, varnish, 242.5 x 120 x 120 cm.

Matthew Brannon, Hair of the Dog, 2006, Silkscreen on paper, 76 x 58.5 cm.

Matthew Brannon, Police Officer Giving Up, 2006, Silkscreen on paper, 76 x 58.5 cm.

David Altmejd, The Healers (detail), 2008, Wood, foam, plaster, burlap, metal wire, paint, Installed dimensions 239 x 367 x 367 cm, work dimensions 206 x 326 x 326, plinth dimensions 33 x 367 x 367 cm.

Berlinde De Bruyckere, Marthe, 2008, Wax, epoxy, metal, wood and glass, 280 x 172.5 x 119.5 cm.

Folkert de Jong, Seht der Mensch; The Shooting Lesson (detail), 2007, 7 figures, installation variable approx. 800 x 800 x 300 cm.

Dirk Skreber, Untitled (Crash 1), 2009, Red Mitsubishi Eclipse Spider 2001, 292.1 x 322.6 x 236.2 cm.

Rebecca Warren, SHE – The Lady With The Little Dog, 2003, unfired clay, MDF, turntable and wheels, 178 x 100 x 88 cm.

Roger Hiorns, Untitled, 2010, Polyurethane, polyester and brain matter, Two parts:142.2 x 152.4 x 30.5 cm & 180.3 x 106.7 x 28 cm.

David Batchelor, Parapillar 7 (Multicolour), 2006, Steel support with plastic, metal, rubber, painted wood and feather objects, 267 x 78 x 78 cm.

Berlinde De Bruyckere, K36 (The Black Horse), 2003, Polyurethane foam, horse hide, wood, iron, Overall size:295 x 286 x 158 cm.

Roger Hiorns, Copper Sulphate Chartres & Copper Sulphate Notre-Dame, 1996, Card constructions with copper sulphate chemical growth; mounted on glass and wood trestle table with Perspex cover underlit by two strip lights, 137 x 125 x 65 cm.

Martin Honert, Riesen (Giants), detail, 2007, Styrodur, polyurethane rubber, wool, clothing, leather, 300 x 100 x 80 cm.

David Thorpe, Endeavours (detail), 2010, Wood, ceramic tiles, steel, 309.2 x 262.3 x 120 cm.


Saatchi Gallery
Duke of York's HQ
King's Road
020 8968 9331
The Shape of Things to Come: New Sculpture
May 27-October 16, 2011

The Shape of Things to Come: New Sculpture, the first time that Saatchi Gallery has been devoted entirely to three-dimensional works is a show of 20 leading and emerging international artists working in sculpture today.
The Shape of Things to Come: New Sculpture provides an unprecedented look at some of the most exciting sculptural works created in recent years. From granite monoliths to neon structures, buckled cars to stuffed horse hide, the exhibition demonstrates the diversity and dynamism of the medium.
Composed, assembled, sewn, nailed, glued, stacked or layered from materials as varied as clay, polished metal, fabric, plywood, dirt, horse hide, Styrofoam and found objects, the works in the exhibition push the notions of the already expanded field of sculpture. The pieces here are united in the strength of their formal innovations and force of their engagement with contemporary issues. Running from the monumental to the miniature, many of the works play with scale creating a disorienting and charged space between viewer and work. Figurative forms, both human and animal, are used as sites of anxiety and instability challenging art historical archetypes to create a rich new sculptural vocabulary.
The Shape of Things to Come features a selection of works by David Altmejd, John Baldessari, David Batchelor, Peter Buggenhout, Berlinde De Bruyckere, Matthew Brannon, Bjorn Dahlem, Folkert de Jong, Roger Hiorns, Martin Honert, Thomas Houseago, Joanna Malinowska, Kris Martin, Matthew Monahan, Dirk Skreber, Anselm Reyle, Sterling Ruby, David Thorpe, Oscar Tuazon and Rebecca Warren.
In October 2008, the Saatchi Gallery re-opened in the 70,000 sq. ft Duke of York’s HQ building on King’s Road in the heart of London. With free admission to all shows, the aim of Saatchi Gallery is to bring contemporary art to the widest audience possible.

Artists in the exhibition:
David Altmejd (Born1974, Montreal – Lives and works in New York) makes large-scale sculptures of anthropomorphic figures cast in a state of metamorphosis. His works explore the boundaries of traditional figuration by embedding his subjects with otherworldly elements and reconceptualizing how to represent the human figure in all its spatial, spiritual and psychological multiplicity.

The New North (2007) is approximately four metres tall; its colossal dimension allows the artist to create microcosmic worlds within it. It is covered in patches of fuzzy horse hair, wires, mirrored rhomboid shapes and quartz crystals; it also has a mysterious staircase with stalagmites that hang from its steps.

Winding its way through the hollow body shape, the stairs are suggestive of mutual ascent and descent, as if inviting an exploration through an ancient cave or ruined architecture. The quasi-taxidermied structure has its own complex logic and systems, like a conceptual city or a building, living and breathing, and self-sufficient.

Altmejd has recently exhibited (2011) at Andrea Rosen Gallery, New York, March 12-April 23); (2010) Xavier Hufkens, Brussels, Le guide; Vanhaerents Art Collection, Brussels, Colossi; (2009) Les Abattoirs, Toulouse, curated by Pasca Pique Magasin, Grenoble; (2008) Stuart Shave/Modern Art, London; Andrea Rosen Gallery, New York.

The practice of John Baldessari (Born 1931, National City, California – Lives and works ian Santa Monica California) explores ideas around communication. Some of his signature works are conceptual juxtapositions of text and images that demonstrate the enormous associative power of language in the way that art is interacted with and understood. His works have paired statements with found photographs to humorously exploit the game-like way in which narrative can be arbitrarily created by language and visuals.

Beethoven’s Trumpet (With Ear) Opus # 133 (2007) is a large-scale work about the paradox of communication’s incomplete nature — a sculptural sound piece about a deaf composer. It was one of the artist’s first sculptures. “I was asked to do a retrospective show in 2007 in Bonn with all the works I’d done about music. Bonn is the birthplace of Beethoven and I visited his house and he had a whole cabinet of ear trumpets that he used. I was really fascinated with them as sculptural forms, especially one that he had designed himself that I thought was quite beautiful. And then for maybe four or five years I’ve been doing these works about body parts and I think it started out with noses and ears, so ears were on my mind. And then probably there was one of those three o’clock in the morning moments when you are awake and all of a sudden I thought, ‘wait a minute — ear/ear trumpet.'”

Baldessari's recent solo exhibitions include: (2011) Baldessari, Sprüth Magers Berlin; John Baldessari: Your Name in Lights, Australian Museum façade, Sydney, Australia; (2010) John Baldessari: Sediment, Margo Leavin Gallery, Los Angeles; John Baldessari: Foot and Stocking (With Big Toe Exposed) Series, Gemini G.E.L., Los Angeles; (2009) John Baldessari: Pure Beauty, Tate Modern, London; Museu d'Art Contemporani de Barcelona, Barcelona; Los Angeles County Museum of Art, Los Angeles; Metropolitan Museum of Art, New York; John BaldessarI: Hands and/or feet (Part One), Marian Goodman Gallery, Paris; John Baldessari: Ear Sofa; Nose Sconces with Flowers (in Stage Setting), Sprüth Magers, London; John Baldessari: A Print Retrospective from the collections of Jordan D. Schnitzer and his family foundation, Fine Arts Museums of San Francisco, Legion of Honor, San Francisco; John Baldessari: Raised Eybrows / Furrowed Foreheads: Part IV, Mai 36 Galerie, Zurich; John Baldessari: Raised Eybrows / Furrowed Forheads: Part III, Galerie Greta Meert, Brussels; John Baldessare: Raised Eyebrows / Furrowed Foreheads: Part II, Christina Guerra Contemporary Art, Lisbon; John Baldessari: BRICK BLDG, LG WINDOWS W / XLNT VIEWS, PARTIALLY FURNISHED, RENOWNED ARCHITECT Museum Haus Lange Krefeld.

David Batchelor (Born 1955, Dundee Scotland – Lives and works in London) makes sculptural installations from objects found in the streets of London, hollowed, stacked and given a new life as empty but brightly coloured light boxes or as unlit composites. Consistent throughout his works is the lurking familiarity of the material leftovers of modern life, from factory scrap to disused or broken domestic items, re-purposed into hypnotic, beautifully patterned objects presenting a distillation of colour’s presence in our everyday environment.

Recent exhibitions include (2010) Chronophilia, Paco Imperial, Rio de Janeiro; (2008) Backlights Galeria Leme, Sao Paulo; (2007) Unplugged (Remix), Wilkinson Gallery, London.

Matthew Brannon (Born 1971 in St. Maries, Idaho – Lives and works in New York: utilises the aesthetics of graphic art and explores the gulf between social ideals and personal crisis. Using screen printing as a form of analogue reproduction, Brannon’s images carry both the suggestion of mass replication and aura of original artworks. Directly challenging the void between language and actuality, Brannon often combines text and image to illustrate the potential for dysfunction. In •Police Officer Giving Up•, Brannon juxtaposes a neutral symbol of a houseplant with a statement of desperation. Exuding the inadequate sentiment of greeting cards, Brannon offers decoration as a feeble mask for emotional depletion.

Brannon's recent exhibitions include: (2011) Portikus, Frankfurt am Main, Germany; The Inevitable and the Unnecessary, Gió Marconi Gallery, Milan; (2010) Mouse Trap, Light Switch, Museum M, Leuven, Belgium; (2009) Nevertheless, The Approach, London; (2008) The Question is a Compliment, Friedrich Petzel Gallery, New York; Grandmothers, Gallery Gió Marconi, Milan.

At first glance, Peter Buggenhout’s (Born 1963, Dendermonde, Belgium – Lives and works in Ghent, Belgium) large fuzzy masses, seemingly covered in thick layers of dust, look like readymade objects, rubble found in the aftermath of a building site, an archaeological dig, or at the scene of a cataclysm — an earthquake, explosion or other force of violent destruction (natural disasters or terrorist attacks?).

Consider his series entitled The Blind Leading the Blind (2008) and Gorgo (2005), charred rotting hulks bearing traces of what looks like steel building beams jutting from concrete fragments. Or Eskimo Blue (1999) that recalls the sun-bleached remains of a prehistoric creature of unknown dimensions, preserved as if for classification in a museum cabinet. Uncomfortably "real," but dissected and presented for study by future generations.

Buggenhout's recent exhibitions include: (2009), Herzliya Museum of Contemporary Art, Herzliya (Israel); (2008); Museum Dhondt-Dhaenens, Deurle (Belgium); Gallery Maskara at Warehouse on 3rd Pasta, Mumbai (India); (2007) Individual presentation, new works acquired by the Flemish Community, SMAK, Ghent.

Björn Dahlem's (Born 1974, Münich – Lives and works in Berlin) Schwarzes Loch (M-Sphären) (Black Hole (M-Spheres), 2007, is part of a series of hovering constructions composed of wooden polyhedron shapes to which incandescent and fluorescent lights have been attached. At its core is a smaller, black polyhedron, a disarming version of the real thing, a black hole — popular scientific knowledge turned into a mysterious, self-defined new.

Recent exhibitions include: (2007) The Milky Way, Galerie Guido W. Baudach, Berlin; (2006) The Homunculus Saloon, Engholm Engelhorn Galerie, Vienna; (2005), Strange Attractor, Gallery Hiromi Yoshii, Tokyo; Der Nie-Mehr-Morgen-Raum, Galerie Luis Campana, Cologne.

In Marthe (2008) Berlinde De Bruyckere (Born 1964, Ghent – Lives and works in Ghent) shows a body in duality, disgusting but still half-human, a hand found in its twig-like limbs reminiscent of Ovidian-style transformation; it too, despite its lifelike physicality, is sexless, headless, inert, a re-imagined object. “It is not because you never see a head that it looks like it has been cut off. It is, rather, that I no longer think the presence of a head is necessary. The figure as a whole is a mental state. The presence or absence of a head is irrelevant.”

Their lack of eyes and sex emphasised the importance of seeing each body as a whole. A few years later she turned to the horse as subject, covering pseudo-anatomical works in familiar materials that inspire both a sense of nightmarish displacement and of visual comfort, of animal suffering and material abstraction.

The horse pieces are eyeless [K36 (The Black Horse)], 2003) and sometimes headless too (K21, 2006). The glossiness of their skin underscores all of the things that are covered and hidden, a sensual, almost tender casing for these uncomfortable shapes.

Recent exhibitions include: (2007) DA2, Domus Artium, Salamanca; (2006) Hauser & Wirth, London; (2005) La Maison Rouge, Fondation Antoine de Galvert, Un, Paris; De Pont, Stichting voor hedendagse kunst / Fondation for Contemporary Art, Tilburg.

Thematically, Folkert De Jong’s (born 1972 in Egmond aan Zee, The Netherlands, – Lives and works in Amsterdam) carefully decayed constructions often deal with unfair deals, profiteering, and the ghosts of colonialism and imperialism. There is something inherently perverse about making such carefully crafted figures out of a material so trashy, fragile and ephemeral. The desolate figures in •The Shooting Lesson• (2007) recreate characters taken from Picasso's Les Saltimbanques, melancholy harlequins reminiscent of the cycle of life and of human powerlessness. “We humans have to face the fact that we are part of a natural process, no matter who or where you are on planet earth. It is embedded in our system, but there is hope! Morality, intelligence and compassion can save us.”

Recent exhibitions include: (2011) Operation Harmony, James Cohan Gallery, New York; Brandnew Gallery, Milan; (2010) The Balance, Luis Adelantado Gallery, Mexico City; (2009) Circle of Trust, Selected Works 2001-2009, Groninger Museum, Groningen; Luis Adelantado Gallery, Valencia; A Thousand Years of Business as Usual, James Cohan Gallery Shanghai; The Shooting, Wadsworth Atheneum.

Roger Hiorns’ (born 1975, Birmingham – Lives and works in London) sculptural practice meditates on the act of artistic creation, observing what happens when the process is handed over to reactive, “living” material and its metamorphoses. Copper Sulphate Chartres Copper Sulphate Notre-Dame and Leaning Chartres With Cobalt and Copper Crystals, both from his Goldsmiths degree show in 1996, as well as his more recent large-scale installation Seizure, highlight his apparently no-hands method: a chemical solution is allowed to precipitate and take over an existing object or space, and a found form and its meaning is transformed, as if by self-design. The way crystal formations shape themselves on these cardboard models creates a living sculpture, reminiscent of creeping ivy on statues, of historical ruin; it also undoubtedly recalls the slow-forming processes of geology, suggesting a latent constant potential for material transformation.

Many of Hiorns’ three-dimensional projects yield to the autonomous generative properties of his chosen substance (crystallising fluid, detergent foam, fire) to ‘isolate’ objects, to make us conscious of their origins and their contexts. His diptych Untitled (2010) combines ordinary and esoteric materials — polyurethane, polyester and brain matter — to explore transparency as a sculptural property.

Hiorns says, “We're surrounded by codified practices consistently imposed on us by dominant objects. We're under a narrow coercion from the objects that we design for ourselves. Of course, this question is strikingly obvious: Are we a balanced society? Can we retool our objects, perhaps? What would that involve, and is it possible to transgress the continuous production of next-generation objects, to insert transgressive stimulus, the cross of semen and the light bulb, for example? To retool, simply to ask: Do we live in a society where we make objects towards the darker side of our psyche? Is it useful to continue this procedure even further, with more necessity and speed?"

Hiorns' recent exhibitions include (2009) Turner Prize, Tate Britain, London; Marc Foxx, Los Angeles; (2008) Corvi-Mora, London; Seizure, Harper Road, An Artangel/Jerwood Commission, London; (2007) The Church of Saint Paulinus, Richmond, North Yorkshire; Glittering Ground, Camden Arts Centre, London, Marc Foxx, Los Angeles.

Martin Honert’s (born 1953 in Bottrop, Germany – Lives and Works in Düsseldorf) meticulously rendered sculpture Riesen (2007) is inspired by memories of his childhood. "Childhood is a theme for me because I think it's important to discover what's way past but still in the memory as an image."

His large-scale human figures manage to capture a vivid immediacy and sense of wonder achieved by recreating the world from a child’s point of view. Instead of looking back from an adult’s nostalgic perspective, the artist bases his works on family photographs and illustrations from schoolbooks, as well as his own childhood drawings, using scale and illusion to "save an image before it dies within me".

A feeling of being afraid in a huge and empty exhibition space originally inspired Honert to make his oversized figures entitled Riesen (which translates as ‘trek’ or ’journey’). The sculpture is composed of two bearded men, dressed in ordinary, contemporary clothing. The fact that they are each 2.72 metres high is not entirely fantastical or arbitrary; Honert took this specific measurement from the tallest man of the 20th century, an acromegalic American named Robert Wadlow.

The figures wear backpacks, trekking boots and hoodies; their clothes bear marks of wear and dirt, and one of them holds a walking staff. But despite their unremarkable appearance, and their conventional realism, something about their purpose remains unexplained to the viewer.

Like Cyclops-sized giants that have strayed into the gallery, they could be updated mythical wandering characters from a fairytale set in the wilderness, or social outsiders, fearsomely fending for their own survival.

Honert's recent exhibitions include (2007) Martin Honert, Staatliche Kunstsammlungen, Dresden; (2006) Under Cover — aus dem Verborgenen: Berlinde de Bruyckere and Martin Honert, Kunsthalle Düsseldorf; (2005) Martin Honert, Deutsche Gesellschaft fur Christliche Kunst, Munich; Konrad-von-Soest-Preis 2004, Landesmuseum fur Kunst und Kulturgeschichte; Münster.

Thomas Housago’s (born 1972 in Leeds – Lives and Works in Los Angeles) work playfully subverts the expectation of sculpture. Drawing reference to a multitude of styles such as Classicism, Cubism, and Futurism, Houseago’s intentionally clumsy forms trade the imperious and enduring qualities of traditional bronze or marble for the humble aesthetic of plaster and various found materials. Lacking the weighty physical stature associated with three dimensional media, Houseago’s ‘monumental’ structures appear almost comically flimsy, reducing the grandiose weight of art history into sympathetic effigies.

Houseago's recent solo exhibitions include (2007), David Kordansky Gallery, Los Angeles; (2004) Solo presentation, Art Brussels, with gallery Xavier Hufkens, Brussels, Belgium; 2003 Thomas Houseago, I Am Here, Selected Sculptures 1995-2003, S.M.A.K., Ghent, Belgium.

It’s impossible to ignore the presence of Joanna Malinowska’s (born 1972 in Gdynia, Poland – Lives and works in Brooklyn) Boli (2009) an oversized, confounding sculptural "elephant in the room" holding court in the centre of the gallery. The rough animal shape is similar to a traditional object of significance to the Bamana culture in West Mali of the same name, also vaguely bovine but usually much smaller.

Traditional bolis represent the Bamanan cosmos and are held in a special location by village elders. They can be made out of earth, blood, cattle dung, kola nuts and other material related to spiritual ritual. Malinowska’s hypertrophied version of the talisman is made out of plaster, clay, hay, wood, scraps from Spinoza’s Ethics, a litre of water from the Bering Strait, and a sweater belonging to Evo Morales, the Bolivian president. Just like with traditional bolis, its materials could be interpreted, but the whole is more than the sum of its parts.

Inspiration for Malinowska’s sculpture, performance and video-based projects comes from her fascination with anthropology, and her works often playfully suggest her own take on anthropological field work and interpretation. “Before choosing art, I had considered becoming a cultural anthropologist, but eventually decided that what made me interested in anthropology was not so much the research that aspires to scientific objectivity, but rather the sense of relativity of a cosmic order of one’s own culture in comparison to other possible systems.”

Malinowska’s Boli re-creates the Bamanan original with a new set of materials, and embodies the artist’s interest in re-imagining the way objects are charged with meaning. “If asked to find a common denominator in my recent works,” the young Polish, New York-based artist says, “I would say it is an interest in methodically testing and engaging the invisible, hidden aspects or powers of an object, revitalizing its metaphysical potential, and simply giving it the benefit of the doubt.”

Malinowska's recent exhibitions include (2009) Time of Guerilla Metaphysics, Canada, New York, NY; Mother Earth, Sister Moon (in collaboration with Christian Tomaszewski), Performa’09, New York, NY; (2008) Les aventures dans le code § 120.45, Smack Mellon, Brooklyn, NY; String Quintet for 2 cellos, 2 violas and a corpse, performance of a piece commissioned by Malinowska from composer Masami Tomihisa, organized by Venetia Kapernekas Gallery, New York, NY; (2007) 20 Spojrzen (20 Gazes), Dobra Witryna, Warsaw, Poland; Umanaqtuaq, Venetia Kapernekas Gallery, New York, NY .

Standing on top of each of the large megalith-like boulders that comprise Summits (2009), Kris Martin’s (born 1972 in Kortrijk, Belgium – Lives and Works in Ghent) eight-part found rock installation, is a small marker. When, and if, spotted, these identifiers change the viewer’s perspective and turn the room’s vaguely prehistoric ambiance into less numinous territory.

A small paper cross crowning each peak indicates that they have all been conquered, and by using a charged symbol whose real-life application connotes a range of meanings — of man conquering the limits of awe-inspiring nature, of a civilisation conquering another civilisation, of death conquering all — Martin sets in motion a stark thinking process.

Within the artist’s visual pun there’s also perhaps a metaphor for the importance of process in art-making itself. “The top is nice when you haven't reached it,” Martin has said. “But once you get [there], the potential is gone. Dreams are what keep people going.”

Martin’s conceptual installation, repeating the same conceit eight times over, is a comment both on the futility of human ambition — what is left once seemingly unreachable summits have been conquered? — and also on the oppressive and absurd spread of consensual, hegemonic belief.

Reminiscent in their exotic roughness of the blue, impossibly steep and faraway mountains that steal the fantastic landscapes of Joachim Patinir and his 16th century contemporaries, these lifeless stand-ins humorously exaggerate the heights to which human foolishness and its quixotic desire can rise. “For me, they're all very dangerous, mountains … They're filled with a dangerous power, especially for puny little human beings, like we are.”

Kris Martin's recent exhibitions include (2010) White Cube, London; (2009) Aspen Art Museum, Aspen; Sies + Höke, Düsseldorf; Johann König, Berlin; (2008) Wattis Institute for Contemporary Arts, San Francisco; Museum Dhondt-Dhaenens, Deurle; •Eldorado•. Kris Martin. Inter pares, Galleria d`Arte Moderna e Contemporanea GAMeC, Bergamo; Marc Foxx, Los Angeles; White Cube, London.

Matthew Monahan’s (born 1972, Eureka – Lives and works in Los Angeles) work presents a futuristic archaeology. Drawing from a wide range of influences, from Modernist art to ancient totems, Monahan’s ‘artefacts’ are both familiar and strange. Filtering historical mythologies through his own personal system of reference, altered further through the experience of making, Monahan’s work alludes to a contemporary spirituality, where beauty and brutality coalesce as virtual monuments. In •Riker’s Island•, Monahan adorns his vitrine with hand-crafted "relics." Nondescript and clunky, their plausible function is secondary to their materiality: wax, paper, and plaster take on barbaric forms, their temporal media humorously suggesting timelessness. Their precious value is guarded by an over-sized sculptural "shard:" a monolithic goddess modernised and flat-packed in 2 dimensional card. Through his assemblages, Monahan offers a dark mysticism, where material trickery and abstracted form resurrect forgotten primal instincts.

Monahan's recent exhibitions include (2007) Focus: Matthew Monahan, Los Angeles Museum of Contemporary Art, Los Angeles; (2005) Anton Kern Gallery, New York; Galerie Fons Welters, Amsterdam, NL; (2003) Commission mural for Rehabilitation Center, Leiden, NL; Container, ArtBasel Miami, FL; Anton Kern Gallery, NY.

For Anselm Reyle (born 1970 Tübingen – Lives and works in Berlin), revisiting Modernism opens a wealth of possibilities. Resurrecting the styles, genres, and concepts of 20th century art history, Reyle adopts formalism whole-heartedly, embracing both the integrity of the original movements, as well as their contemporary renditions in the form of graphic design and Ikea décor. Addressing the commodification of culture, Reyle reclaims the cliché and the kitsch to create his own brand of ‘authenticity’, meeting the shifting aspects lifestyle and art industry demands. Untitled reworks Brancusi’s Africanism, creating an exotic ‘primitivism’ in space age funkadelic purple.

Reyle's recent exhibitions include (2006) Kunsthalle Zurich; Mexican Mushrooms, kurimanzutto, Mexico City; (2005) Life Enigma, Galerie Giti Nourbakhsch, Berlin; (2004) Trilogy Of Broken Light, The Modern Institute, Glasgow; Licht und Farbe, Neuer Aachener Kunstverein, Aachen; The Art Of Anselm Reyle, Gavin Brown's Enterprise, New York.

Sterling Ruby (born 1972 — Lives and works in Los Angeles) works prolifically in a wide range of mediums, from glazed biomorphic ceramics and poured urethane sculptures, to large-scale spray-painted canvases, nail polish drawings, collages and videos.

Through his varied practice he conducts an assault on materials and social structures, referencing subjects that include marginalised societies, maximum-security prisons, modernist architecture, artefacts and antiquities, graffiti, bodybuilders, the mechanisms of warfare, cults and urban gangs.

Ruby's recent exhibitions include (2008) KILN Works, Metro Pictures, New York; Chron, The Drawing Room, New York; (2007) Slasher Posters & Pillow Works, Bernier/Eliades Gallery, Athens; Super Overpass, Foxy Production, New York; (2006) Interior Designer, Marc Foxx Gallery, Los Angeles; Recombines, Galleria Emi Fontana, Milan; Supermax 2006, Galerie Christian Nagel, Cologne, Germany.

Dirk Skreber was born 1961 in Lübeck, Germany. He lives and works in Düsseldorf and New York.

His recent solo exhibitions include (2010) Blum and Poe, Los Angeles; Exhibition No. 2, Graham Walker, Friedrich Petzel East, New York; (2009) Friedrich Petzel Gallery, New York; Frans Halsmuseum Haarlem, Haarlem; Museum Dhondt-Dhaenens, Ghent, Belgium; (2008) Museum Franz Gertsch, Burgdorf; Galerie Luis Campana, Cologne; Dirk Skreber. Blood Speed, Staatliche Kunsthalle Baden-Baden, Baden-Baden.

In the past David Thorpe (born 1972 in London – Lives and works in Berlin) has made elaborate collaged paintings, but his more recent work explores the actualisation of pattern through unusual three-dimensional renderings that highlight the tension between exquisite decorativeness and the aura of DIY home-craft manuals.

He graduated Humberside University, BA with honors in Fine Art in 1994 and received a Fine Art MA at Goldsmiths University in 998.

Thorpe's recent solo exhibitions include (2010) Casey Kaplan, New York, NY; Meyer Riegger, Karlsruhe, Germany; (2009) A Weak Light Flickering, Meyer Riegger, Berlin, Germanyl David Thorpe Veils and Shelters, Kunstverein Hannover, Hannover, Germany; (2008) Museum Kurhaus, Kleve, Germany.

Oscar Tuazon was born in 1975 in Seattle He lives and works in Paris and Tacoma.

Recent solo exhibitions include (2010) ICA, London; Kunsthalle, Bern; Parc St Leger – Centre d'Art Contemporaine, Pougues-les-Eaux, France; (2009) Kunstlerhaus, Stuttgart; Centre international d'art et du paysage, Ile de Vassiviere, France; Dependance, Brussels; David Roberts Foundation, London; (Ass To Mouth), BaliceHerting, Paris; Standard, Oslo; (2008) Michele Maccarone, New York; Kodiak; Seattle Art Museum, Seattle; Dirty Work, Jonathan Viner / Fortesqua Avenue, London; Oscar Tuazon, Howard House, Seattle.

In her work, Rebecca Warren (born 1965 in London – Lives and works in London) wryly addresses her fascination with artists who have overtly fetishised the female form: photographer Helmut Newton, cartoonist Robert Crumb, and abstract expressionist Willem de Kooning. Her earth mothers quote from their imagery, and from that of and modernist sculpture, highlighting a shared interest in sexualising women’s shape by discarding heads or any personal attributes, and filtering symbols of objectification — aggressively cartoonised buttocks, nipples and postures.

Warren's recent solo exhibitions include (2010) The Renaissance Society at The University of Chicago, Chicago; The Art Institute of Chicago, Chicago; (2009) Matthew Marks Gallery, New York; Serpentine Gallery, London; (2007) Galerie Max Hetzler, Berlin; Matthew Marks Gallery, New York.

Björn Dahlem, Schwarzes Loch (M-Sphären), 2007, Wood, lamps, light bulbs and neon lamps, 540 x 730 x 360 cm.

Sterling Ruby, Kiss Trap Kismet, 2008, PVC pipe, urethane, wood, expanding foam, aluminium, spray paint., 300 x 384 x 122 cm.

Thomas Houseago, Untitled, 2000, Plaster, jute, iron rebar, 190 x 110 x 75 cm.

Kris Martin, Summit, 2009, Found stone, paper cross, ink, 180 x 86 x 48 cm.

Oscar Tuazon, Bed, 2007-2010, Wood, metal and paint, Approx. 400 x 600 x 100 cm.

David Altmejd, The Healers, 2008, Wood, foam, plaster, burlap, metal wire, paint, Installed dimensions 239 x 367 x 367 cm, work dimensions 206 x 326 x 326, plinth dimensions 33 x 367 x 367 cm.