Editions

Print:Zero Bow Mask, 2021Archival inkjet-print, 310 g/qm, reworked with gouache28 x 28 cmEdition of 30 + 5 AP, each unique, signed on front Vinyl LP:Zero Bow Childreeen, 2021Black vinyl LPsigned and numbered on the back For his Spike edition, Seth Price created an 8-track LP, available as a standalone work or in conjunction with one of thirty unique prints (Prints are sold in order of edition number). Marrying human and mechanical forces of production, the work combines mass-reproducible media with individual touches. The LP’s back cover features a photo of the artist’s last-minute Halloween costume from 2018, when he dressed as the Marciano Museum, his spooky masked persona foreshadowing the grisly detail that the museum would close, after laying off its entire staff for their attempt to unionise, almost exactly one year later. For the print, Price photographed the notorious mask and drew over the image with gouache, generating 30 different riffs on the same underlying image. Recent solo exhibitions of his work have taken place at Sadie Coles HQ, London (2022); Galerie Gisela Capitain, Cologne (2021); Galerie Isabella Bortolozzi, Berlin (2020); Petzel Gallery, New York, Aspen Art Museum (both 2019); MoMA PS1, New York (2018); ICA London and Stedelijk Museum, Amsterdam (both 2017); Seth Price (*1973, East Jerusalem) lives in New York. Published by Spike Vienna/Berlin in 2021 in a vinyl pressing of 500 copies, with 30 special editions including a print. All tracks recorded in 2013 with the exception of Exoxtixa (2005).

Print: Zero Bow Mask, 2021 Archival inkjet-print, 310 g/qm, reworked with gouache 28 x 28 cm Edition of 30 + 5 AP, each unique, signed on front
Vinyl LP: Zero Bow Childreeen, 2021 Black vinyl LP signed and numbered on the back
For his Spike edition, Seth Price created an 8-track LP, available as a standalone work or in conjunction with one of thirty unique prints (Prints are sold in order of edition number).
Marrying human and mechanical forces of production, the work combines mass-reproducible media with individual touches. The LP<meta charset="utf-8">’s back cover features a photo of the artist’s last-minute Halloween costume from 2018, when he dressed as the Marciano Museum, his spooky masked persona foreshadowing the grisly detail that the museum would close, after laying off its entire staff for their attempt to unionise, almost exactly one year later. For the print, Price photographed the notorious mask and drew over the image with gouache, generating 30 different riffs on the same underlying image.
Recent solo exhibitions of his work have taken place at Sadie Coles HQ, London (2022); Galerie Gisela Capitain, Cologne (2021); Galerie Isabella Bortolozzi, Berlin (2020); Petzel Gallery, New York, Aspen Art Museum (both 2019); MoMA PS1, New York (2018); ICA London and Stedelijk Museum, Amsterdam (both 2017); Seth Price <meta charset="utf-8">(*1973, East Jerusalem) lives in New York.
Published by Spike Vienna/Berlin in 2021 in a vinyl pressing of 500 copies, with 30 special editions including a print. All tracks recorded in 2013 with the exception of Exoxtixa (2005).

Seth Price »Zero Bow Mask«, 2021 – Unique Print & Vinyl LP

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Zero Bow Childreeen, 2021Black vinyl LPEdition of 500 For his Spike edition, the artist Seth Price created an 8-track LP. The LP’s back cover features a photo of the artist’s last-minute Halloween costume from 2018, when he dressed as the Marciano Museum, his spooky masked persona foreshadowing the grisly detail that the museum would close, after laying off its entire staff for their attempt to unionise, almost exactly one year later. Recent solo exhibitions of his work have taken place at Sadie Coles HQ, London (2022); Galerie Gisela Capitain, Cologne (2021); Galerie Isabella Bortolozzi, Berlin (2020); Petzel Gallery, New York, Aspen Art Museum (both 2019); MoMA PS1, New York (2018); ICA London and Stedelijk Museum, Amsterdam (both 2017); Seth Price (*1973, East Jerusalem) lives in New York. Published by Spike Vienna/Berlin in 2021 in a vinyl pressing of 500 copies. All tracks recorded in 2013 with the exception of Exoxtixa (2005).

Zero Bow Childreeen, 2021 Black vinyl LP Edition of 500
For his Spike edition, the artist Seth Price created an 8-track LP. The LP’s back cover features a photo of the artist<meta charset="utf-8">’s last-minute Halloween costume from 2018, when he dressed as the Marciano Museum, his spooky masked persona foreshadowing the grisly detail that the museum would close, after laying off its entire staff for their attempt to unionise, almost exactly one year later.
Recent solo exhibitions of his work have taken place at Sadie Coles HQ, London (2022); Galerie Gisela Capitain, Cologne (2021); Galerie Isabella Bortolozzi, Berlin (2020); Petzel Gallery, New York, Aspen Art Museum (both 2019); MoMA PS1, New York (2018); ICA London and Stedelijk Museum, Amsterdam (both 2017); Seth Price <meta charset="utf-8">(*1973, East Jerusalem) lives in New York.
Published by Spike Vienna/Berlin in 2021 in a vinyl pressing of 500 copies. All tracks recorded in 2013 with the exception of Exoxtixa (2005).

Seth Price »Zero Bow Childreeen«, 2021 – Vinyl LP

international dance 1000 pieces, 2021Puzzle: 1.9 mm cardboard, 1000 pieces, linen embossed paper, digital print, 48 x 68 cmBox: 1.1 mm cardboard, linen embossed paper, digital print, 27 x 37 x 5.5 cmEdition of 200 + 20 APs, signed and numbered For this edition of Spike, Jana Euler’s (*1982, Germany) recent painting, International Dance (2020), is transformed into a 1000-piece puzzle. Inverting a traditional hierarchy of classical painting compositions (and also puzzle images) where the centre is the focus, international dance 1000 pieces (2021) highlights the periphery and margins of an image. Couples dance close to the edge, pushing each other into the corners of the work. This claustrophobia is amplified by a mirroring effect between the borders of the canvas and the figure’s colourful dresses. In one corner, the dance even turns deadly. The centre of international dance 1000 pieces, just murky greens and yellows, greys and purples, combine in abstraction; little if any difference between pieces can be gleaned. This makes puzzling both a challenge and a revelation. Completing the task will not be easy, but you experience the process of an image emerging through your own hands, and once you’re done, you can even take credit for it. Recent exhibitions have taken place at the 59th International Art Exhibition of La Biennale di Venezia, Venice, Stedelijk Museum, Amsterdam (both 2022); Greene Naftali, New York (2021); Artist Space, New York (2020); Galerie Neu, Berlin (2019) and Dépendance, Brussels (2018). Jana Euler lives in Frankfurt am Main. Read a portrait of the artist in issue #60, available here.

international dance 1000 pieces, 2021 Puzzle: 1.9 mm cardboard, <meta charset="utf-8">1000 pieces, linen embossed paper, digital print, 48 x 68 cm Box: 1.1 mm cardboard, linen embossed paper, digital print, 27 x 37 x 5.5 cm Edition of 200 + 20 APs, signed and numbered
For this edition of Spike, Jana Euler’s (*1982, Germany) recent painting, International Dance (2020), is transformed into a 1000-piece puzzle. Inverting a traditional hierarchy of classical painting compositions (and also puzzle images) where the centre is the focus, international dance 1000 pieces (2021) highlights the periphery and margins of an image. Couples dance close to the edge, pushing each other into the corners of the work. This claustrophobia is amplified by a mirroring effect between the borders of the canvas and the figure’s colourful dresses. In one corner, the dance even turns deadly. The centre of international dance 1000 pieces, just murky greens and yellows, greys and purples, combine in abstraction; little if any difference between pieces can be gleaned. This makes puzzling both a challenge and a revelation. Completing the task will not be easy, but you experience the process of an image emerging through your own hands, and once you’re done, you can even take credit for it. 
Recent exhibitions have taken place at the 59th International Art Exhibition of La Biennale di Venezia, Venice, Stedelijk Museum, Amsterdam (both 2022); Greene Naftali, New York (2021); Artist Space, New York (2020); Galerie Neu, Berlin (2019) and Dépendance, Brussels (2018). <meta charset="utf-8">Jana Euler lives in Frankfurt am Main. 
Read a portrait of the artist in issue #60, available <a href="https://shop.spikeartmagazine.com/product/immorality-60-summer-2019" title="Spike Issue 60" style="color: #2b00ff; text-decoration: underline;">here</a>. 
 
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Jana Euler, »international dance 1000 pieces«, 2021

Picture Post Card Posted From Post Box Pictured (Vienna) Spike Art Magazine – Vienna/Berlin, 2020 14.8 x 10.5 cm Open edition, signed by the artist Jonathan Monk’s (*1969, England) edition for Spike belongs to the artist's ongoing project, "Picture Post Card Posted From Post Box Pictured", and features a postbox in Vienna’s Margareten district on the front. The verso is signed, and the card is mailed from the box pictured in Vienna – to wherever you live. Recent solo exhibitions of his work have taken place at Casey Kaplan, New York, Koenig2, Vienna (both 2022); Lisson Gallery, London (2021); Galerie Meyer Riegger, Karlsruhe (2020); CCA Tel Aviv, KINDL, Berlin (both 2019); and Vox, Montreal (2017). Jonathan Monk lives in Berlin. Read an interview with the artist here.

Picture Post Card Posted From Post Box Pictured (Vienna) Spike Art Magazine – Vienna/Berlin, 2020 14.8 x 10.5 cm Open edition, signed by the artist
<meta charset="utf-8">Jonathan Monk’s (*1969, England) edition for Spike belongs to the artist's ongoing project, "Picture Post Card Posted From Post Box Pictured", and features a postbox in Vienna’s Margareten district on the front. The verso is signed, and the card is mailed from the box pictured in Vienna – to wherever you live.
Recent solo exhibitions of his work have taken place at Casey Kaplan, New York, Koenig2, Vienna (both 2022); Lisson Gallery, London (2021); Galerie Meyer Riegger, Karlsruhe (2020); CCA Tel Aviv, KINDL, Berlin (both 2019); and Vox, Montreal (2017). Jonathan Monk lives in Berlin.
Read an interview with the artist <a style="color: #2b00ff; text-decoration: underline;" href="https://spikeartmagazine.com/articles/what-goes-around-comes-around">here</a>.

Jonathan Monk, »Picture Post Card Posted From Post Box Pictured (Vienna)«, 2020

In-N-Out Burger, 2020Digital print on fine art paper with hand-made acrylic emoji appliqué 61 x 61 x 1 cm Edition of 30 + 5 AP, each unique, signed and numbered Gina Beavers (*1974, Greece) is known for her inflated object-like paintings of Instagram pics that circulate widely around the web. Beavers tends to enter the circulation of these digital images – from screen to screen – and pull something very meaty and palpable out of them. One of her most talked-about works is the playfully bulging cheeseburgers and fries, In-N-Out Burger (2014), taken from an up-close shot of one of the fast food chain’s signature dishes. For her edition for Spike, Beavers turned her painting back into a 2-D image, each print adorned with a sculptural burger emoji made out of masses of paint acrylic sits on top of the flat picture. These unique editions – not one is alike – prove that Beavers can just as well flatten her own images, and make them swell all over again. Recent solo exhibitions of her work have taken place at Carl Kostyál, Stockholm (2022); Neuer Essener Kunstverein (2021); Marianne Boesky Gallery, New York (2020); MoMA PS1, New York, Gnyp Gallery, Berlin (both 2019) and Michael Benevento, Los Angeles (2018). Gina Beavers lives in Newark, New Jersey. Read a portrait of the artist in issue #63, available here.

a digital print  of  two cheesburger with fries by the artist gina  beavers

Gina Beavers, »In-N-Out Burger«, 2020

Untitled, 2020 Piezo-pigment print on Hahnemühle paper 35 x 27 cm (image), 42 x 30 cm (paper) Edition of 30 + 5 AP, signed and numbered on back For her new edition for Spike, Rachel Rose (*1986, USA) catches a shimmering moment of metamorphosis between two egg-shaped objects – blown glass and rock – both formed out of sand. She used pigments, oils, and water to create a darkly abstract egg, emblazoned in dazzling black and white, that appears like an x-ray or early era photograph, glowing with the fiery rays of creation. Solo exhibitions of her work have taken place at Gladstone Gallery, New York, LUMA Foundation, Arles (both 2022); Lafayette Anticipations, Paris (2020), Fridericianum, Kassel (2019), Philadelphia Museum of Art (2018). Rachel Rose lives in New York. Read Rachel Rose’s writing in Spike here.

Rachel Rose, »Untitled«, 2020

You Are Standing in an Open Field (Mount Adams, Washington) Spike Edition, 2019Archival pigment print on Hahnemühle photo rag paper80 x 107 cmEdition of 30 + 5 AP, signed and numbered on back Considering himself an artist-archivist, Jon Rafman (*1981, Canada) appropriates images from the internet to critique real and virtual worlds, seeking to document how our perception of images changes as technology advances. Internet subcultures, modernist painting, and the tactility of flat screens play a large role in his work, often resulting in violent yet sublime photographs and videos. Rafman’s edition for Spike, from his series »You are standing in an open field«, is a print of a cluttered desktop and keyboard. Where the computer screen would be, an image of a majestic snowy mountain stands partially obscured by the ephemera of daily life. Cigarette butts, plastic cups, crumpled receipts, and other detritus strewn across the workspace juxtapose the »higher« and »lower« planes, or the real and the ideal. The image thus portrays both our aspirations and the banalities of our existence; at once a portrait, a still life, and a landscape, the tableaux captures the human experience. Recent solo exhibitions include Sprüth Magers, Berlin, Schinkel Pavillon, Berlin (both 2022); MAXXI, Rome, La Casa Encendida, Madrid (both 2021); Centraal Museum, Utrecht (2020); Fri Art Kunsthalle, Fribourg (2019); Fondazione Modena Arti Visive (2018); Tel Aviv Museum of Art (2017); and the Stedelijk Museum, Amsterdam (2016). He lives in Montreal.

You Are Standing in an Open Field (Mount Adams, Washington) Spike Edition, 2019 Archival pigment print on Hahnemühle photo rag paper 80 x 107 cm Edition of 30 + 5 AP, signed and numbered on back
 
Considering himself an artist-archivist, Jon Rafman (*1981, Canada) appropriates images from the internet to critique real and virtual worlds, seeking to document how our perception of images changes as technology advances. Internet subcultures, modernist painting, and the tactility of flat screens play a large role in his work, often resulting in violent yet sublime photographs and videos.  
<meta charset="utf-8">Rafman’s edition for Spike, from his series »You are standing in an open field«, is a print of a cluttered desktop and keyboard. Where the computer screen would be, an image of a majestic snowy mountain stands partially obscured by the ephemera of daily life. Cigarette butts, plastic cups, crumpled receipts, and other detritus strewn across the workspace juxtapose the »higher« and »lower« planes, or the real and the ideal. The image thus portrays both our aspirations and the banalities of our existence; at once a portrait, a still life, and a landscape, the tableaux captures the human experience.
Recent solo exhibitions include Sprüth Magers, Berlin, Schinkel Pavillon, Berlin (both 2022); MAXXI, Rome, La Casa Encendida, Madrid (both 2021); Centraal Museum, Utrecht (2020); Fri Art Kunsthalle, Fribourg (2019); Fondazione Modena Arti Visive (2018); Tel Aviv Museum of Art (2017); and the Stedelijk Museum, Amsterdam (2016). He lives in Montreal.

Jon Rafman, »YOU ARE STANDING IN AN OPEN FIELD (MOUNT ADAMS, WASHINGTON) SPIKE EDITION«, 2019

Crybaby, 2019 Foot-scrub pumice stone, faux gemstone earrings Approx. 8 x 7 x 5 cm Edition of 30 + 5 AP, each unique, signed and numbered on cardboard box Nina Beier (*1975, Denmark) has developed her own lexicon to negotiate the shifting relationship between objects, representation, and value in our image-saturated world. Juxtaposing and repurposing the languages of advertising, stock photography, and art history, she lets the artwork itself turn into a moving target that flips between image and idea and meme. In this edition for Spike, Beier has inserted a pair of fake diamond earrings into the holes of a pumice stone. The title of the work, Crybaby, suggests it’s a face, morose even with its sparkling eyes, but at the same time it’s a surrealist image or a conceptual sculpture that makes one wonder about the relationship between its constituent parts: where is it that volcanic lava meets the world of commodity production, geology meets (imitation) jewellery? Solo shows include Highline commission, New York (2022); Palace Enterprise, Copenhagen (2021); PAOS GDL, Guadalajara (2020); Kunsthal Gent, Croy Nielsen, Vienna (both 2019), and Metro Pictures, New York, Kunstverein München (both 2018). Nina Beier lives in Copenhagen. Read Nina Beier’s Artist’s Favourites in Issue #48, available here.

Crybaby, 2019
Foot-scrub pumice stone, faux gemstone earrings Approx. 8 x 7 x 5 cm Edition of 30 + 5 AP, each unique, signed and numbered on cardboard box
Nina Beier (*1975, Denmark) has developed her own lexicon to negotiate the shifting relationship between objects, representation, and value in our image-saturated world. Juxtaposing and repurposing the languages of advertising, stock photography, and art history, she lets the artwork itself turn into a moving target that flips between image and idea and meme. 
In this edition for Spike, Beier has inserted a pair of fake diamond earrings into the holes of a pumice stone. The title of the work, Crybaby, suggests it’s a face, morose even with its sparkling eyes, but at the same time it’s a surrealist image or a conceptual sculpture that makes one wonder about the relationship between its constituent parts: where is it that volcanic lava meets the world of commodity production, geology meets (imitation) jewellery? 
Solo shows include Highline commission, New York (2022); Palace Enterprise, Copenhagen (2021); PAOS GDL, Guadalajara (2020); Kunsthal Gent, Croy Nielsen, Vienna (both 2019), and Metro Pictures, New York, Kunstverein München (both 2018). <meta charset="utf-8">Nina Beier lives in Copenhagen. 
Read Nina Beier’s Artist’s Favourites in Issue #48, available <a style="color: #2b00ff; text-decoration: underline;" title="Spike Issue 48" href="https://shop.spikeartmagazine.com/product/erase-the-traces-48-summer-2016" data-mce-style="color: #2b00ff; text-decoration: underline;">here</a>.

Nina Beier, »Crybaby«, 2019

Extinction Hedge Avatar (King Island Brown Thornbill), 2019Silk screen on paper53 x 41 cm (image), 78 x 56 cm (paper)Edition of 30 + 5 AP, signed and numbered on front Simon Denny (*1982, New Zealand) takes critical look at the cultural impact of new technologies and the people that drive them through his sculptures, installations and videos. He appropriates material from tech culture, including its self-promotional language, internal memos, and trade show booth aesthetics, emulating the mise-en-scène of product launches and tech conferences while deconstructing their aesthetic values and testing the limits of experimental freedom in art. Denny’s edition for Spike is a silk-screen print of a collage of 360-degree renders of a nearly extinct Tasmanian bird known as the King Island brown thornbill. The bird has only been spotted five times since 1972, and the visualisation that is the source of this proto-AR avatar – created by Blair Burke of Art Processors in Melbourne – is based on the only two images ever taken of it. Citing the notion of a “mirror world” – the emergence of a possible internet of virtual doubles – the artist imagines his silk screen as a kind of “virtual hedge against extinction” that dangles the possibility of preserving rare species through a virtual copy. Exhibitions of his work have taken place at Kunsthalle Zürich, Zurich (2022); Petzel Gallery, New York (2021); T293 Rome (2020), Galerie Buchholz (2018), OCAT, Shenzhen (2017), Hammer Museum, Los Angeles (2017), MoMA PS1, New York (2015), Serpentine Galleries, London (2015), and elsewhere. Simon Denny lives in Berlin. Read an interview with Simon Denny here.

Extinction Hedge Avatar (King Island Brown Thornbill), 2019 Silk screen on paper 53 x 41 cm (image), 78 x 56 cm (paper) Edition of 30 + 5 AP, signed and numbered on front
Simon Denny (*1982, New Zealand) takes critical look at the cultural impact of new technologies and the people that drive them through his sculptures, installations and videos. He appropriates material from tech culture, including its self-promotional language, internal memos, and trade show booth aesthetics, emulating the mise-en-scène of product launches and tech conferences while deconstructing their aesthetic values and testing the limits of experimental freedom in art.  
Denny’s edition for Spike is a silk-screen print of a collage of 360-degree renders of a nearly extinct Tasmanian bird known as the King Island brown thornbill. The bird has only been spotted five times since 1972, and the visualisation that is the source of this proto-AR avatar – created by Blair Burke of Art Processors in Melbourne – is based on the only two images ever taken of it. Citing the notion of a “mirror world” – the emergence of a possible internet of virtual doubles – the artist imagines his silk screen as a kind of “virtual hedge against extinction” that dangles the possibility of preserving rare species through a virtual copy.
Exhibitions of his work have taken place at Kunsthalle Zürich, Zurich (2022); Petzel Gallery, New York (2021); T293 Rome (2020), Galerie Buchholz (2018), OCAT, Shenzhen (2017), Hammer Museum, Los Angeles (2017), MoMA PS1, New York (2015), Serpentine Galleries, London (2015), and elsewhere. <meta charset="utf-8">Simon Denny lives in Berlin. 
Read an interview with Simon Denny <a href="https://spikeartmagazine.com/articles/i-wanted-protocol-identify-community" style="color: #2b00ff; text-decoration: underline;">here</a>.

Simon Denny, »Extinction Hedge Avatar (King Island Brown Thornbill)«, 2019

Delusional Crime and Punishment Wheel, 2019Digital print on Hahnemühle paper37 x 37 cm (image), 40 x 40 cm (paper)Edition of 30, signed on back, numbered In Lu Yang’s work Delusional Crime and Punishment Wheel, a genderless, CGI-rendered avatar of the artist and various symbols dissect the meaning of existence through metaphors of theological determinism. Lu (*1984, China) suggests that if humankind was created by a God, our propensity to sin was preordained, and our arrival in hell inevitable. Exhibitions have taken place at the 59th International Art Exhibition of La Biennale di Venezia, Venice, Deutsche Bank Artist of the Year, Palais Populaire, Berlin (both 2022); Jane Lombard Gallery, New York (2021); Centre Pompidou (2020); CCA Tel Aviv (2019); Spiral, Tokyo (2018) among others. Lu Yang lives in Shanghai. Read a portrait of Lu Yang in Issue #58, available here.

Delusional Crime and Punishment Wheel, 2019 Digital print on Hahnemühle paper 37 x 37 cm (image), 40 x 40 cm (paper) Edition of 30, signed on back, numbered
<meta charset="utf-8">In Lu Yang’s work Delusional Crime and Punishment Wheel, a genderless, CGI-rendered avatar of the artist and various symbols dissect the meaning of existence through metaphors of theological determinism. Lu (*1984, China) suggests that if humankind was created by a God, our propensity to sin was preordained, and our arrival in hell inevitable.
Exhibitions have taken place at the 59th International Art Exhibition of La Biennale di Venezia, Venice, Deutsche Bank Artist of the Year, Palais Populaire, Berlin (both 2022); Jane Lombard Gallery, New York (2021); <meta charset="utf-8">Centre Pompidou (2020); CCA Tel Aviv (2019); Spiral, Tokyo (2018) among others. <meta charset="utf-8">Lu Yang lives in Shanghai.
Read a portrait of Lu Yang in Issue #58, available <a href="https://shop.spikeartmagazine.com/product/magic-58-winter-2019" title="Spike Issue 58" style="color: #2b00ff; text-decoration: underline;">here</a>.

Lu Yang, »Delusional Crime and Punishment Wheel«, 2019

Infolounge, Biennale of Sydney 2004 [detail], 2018 C-Print 42.5 x 30 cm Edition of 30 + 10 AP, signed on back, numbered This C-print brings back an image originally used for a foldout poster in the first-ever issue of Spike; it inaugurates a new series of editions from artists who have been affiliated with Spike over its fourteen-year history. The image shows a close-up of a work that Heimo Zobernig (*1958, Austria) created for the 2004 Sydney Biennale and reflects the artist’s ongoing investigations of the increasing power of language over the visual since Minimalism. With a stark arrangement of cheaply constructed tables and benches, the room offered visitors a space to read catalogues and related material about the exhibition. But this was not the enlightened reading room of Rodchenko’s Workers Club, and there was too much ironic detachment for relational aesthetics. Rather – as this photograph eloquently conveys – the space evoked the oppressive surveillance apparatus of a high-security prison. Recent solo exhibitions of his work have taken place at Galerie Bärbel Grässlin, Frankfurt am Main (2022); Mumok, Vienna (2021); Galerie Meyer Kainer (2020); Galerie Johann Widauer, Innsbruck and Simon Lee Gallery, Hong Kong (both 2019). Heimo Zobernig lives in Vienna. Read a portrait of Heimo Zobernig in Issue #43, available here.

Infolounge, Biennale of Sydney 2004 [detail], 2018 C-Print 42.5 x 30 cm Edition of 30 + 10 AP, signed on back, numbered
This C-print brings back an image originally used for a foldout poster in the first-ever issue of Spike; it inaugurates a new series of editions from artists who have been affiliated with Spike over its fourteen-year history.
The image shows a close-up of a work that Heimo Zobernig (*1958, Austria) created for the 2004 Sydney Biennale and reflects the artist’s ongoing investigations of the increasing power of language over the visual since Minimalism. With a stark arrangement of cheaply constructed tables and benches, the room offered visitors a space to read catalogues and related material about the exhibition. But this was not the enlightened reading room of Rodchenko’s Workers Club, and there was too much ironic detachment for relational aesthetics. Rather – as this photograph eloquently conveys – the space evoked the oppressive surveillance apparatus of a high-security prison.
Recent solo exhibitions of his work have taken place at Galerie Bärbel Grässlin, Frankfurt am Main (2022); Mumok, Vienna (2021); Galerie Meyer Kainer (2020); Galerie Johann Widauer, Innsbruck and Simon Lee Gallery, Hong Kong (both 2019). <meta charset="utf-8">Heimo Zobernig lives in Vienna. 
Read a portrait of Heimo Zobernig in Issue #43, available <a style="text-decoration: underline; color: #2b00ff;" title="Spike Issue 43" href="https://shop.spikeartmagazine.com/product/the-artist-43-spring-2015">here</a>.

Heimo Zobernig, »Infolounge, Biennale of Sydney 2004 [detail]«, 2018

Striped Girl on a Pool Ladder, 2018 C-Print on Kodak Endura Paper 35.6 x 28.6 cm Edition of 25 + 5 AP, signed on back, numbered In his new edition for Spike, the photographer Torbjørn Rødland (*1970, Norway) brings together three of his recurring motifs – stripes, a ladder, and a figure looking into the distance. In the mid-1990s, Rødland’s Rückenfigur – a figure turned away from the viewer – represented and mirrored both photographer and gallery visitor in front of an already mediated landscape. Ladders in Rødland’s work seem to represent consciousness evolving and devolving, and his consistent attraction to stripes may be a carry-over from his teenage career as a political and editorial cartoonist, putting black lines on white paper. Here and elsewhere, Rødland’s work makes use of discarded symbols, forms, and aesthetic ideals – including beauty itself – in an attempt to re-energize the art of photography in a world of memes. Recent solo exhibitions of his work have taken place at Fondazione Prada, Milan (2018), Serpentine Sackler Gallery (2017), C/O Berlin (2017), Kunsthall Stavanger, Norway (2014), and elsewhere. Torbjørn Rødland lives in Los Angeles. Read a portrait of Torbjørn Rødland in Issue 18, available here.

Striped Girl on a Pool Ladder, 2018 C-Print on Kodak Endura Paper 35.6 x 28.6 cm Edition of 25 + 5 AP, signed on back, numbered
<meta charset="utf-8">In his new edition for Spike, the photographer Torbjørn Rødland (*1970, Norway) brings together three of his recurring motifs – stripes, a ladder, and a figure looking into the distance. In the mid-1990s, Rødland’s Rückenfigur – a figure turned away from the viewer – represented and mirrored both photographer and gallery visitor in front of an already mediated landscape. Ladders in Rødland’s work seem to represent consciousness evolving and devolving, and his consistent attraction to stripes may be a carry-over from his teenage career as a political and editorial cartoonist, putting black lines on white paper. Here and elsewhere, Rødland’s work makes use of discarded symbols, forms, and aesthetic ideals – including beauty itself – in an attempt to re-energize the art of photography in a world of memes.
Recent solo exhibitions of his work have taken place at Fondazione Prada, Milan (2018), Serpentine Sackler Gallery (2017), C/O Berlin (2017), Kunsthall Stavanger, Norway (2014), and elsewhere. <meta charset="utf-8">Torbjørn Rødland lives in Los Angeles. 
 Read a portrait of Torbjørn Rødland in Issue 18, available <a href="https://shop.spikeartmagazine.com/product/18-winter-2008" title="Spike Issue 18">here</a>.

Torbjørn Rødland, »Striped Girl on a Pool Ladder«, 2018

The floral kingdom of the Renaissance, 2017 Fine art print on Hahnemühle paper 305 g/m2, reworked with diamond dust ultrafine glitter 54 x 65 cm Edition of 25 + 7 AP, each unique, signed and numbered Karen Kilimnik (*1955, USA) is widely admired for her poetic work that evokes a glamorous bygone world with romantic wistfulness. Her paintings, installations and videos seemingly transcend time, conjuring a collective memory or fantasy. Kilimnik’s edition for Spike embodies the nostalgia and magic common to her practice. Decorative flora and fauna cover a background of deep vermilion red. Each edition is sprinkled with glitter, a prominent motif in her oeuvre. Solo exhibitions of her work have taken place at Sprüth Magers (2019), 303 Gallery, New York (2019), and Galerie Eva Presenhuber (2017). She lives in Philadelphia. Read a portrait of Karen Kilimnik in Issue #52, available here.

The floral kingdom of the Renaissance, 2017 Fine art print on Hahnemühle paper 305 g/m2, reworked with diamond dust ultrafine glitter 54 x 65 cm Edition of 25 + 7 AP, each unique, signed and numbered
<meta charset="utf-8">Karen Kilimnik (*1955, USA) is widely admired for her poetic work that evokes a glamorous bygone world with romantic wistfulness. Her paintings, installations and videos seemingly transcend time, conjuring a collective memory or fantasy. Kilimnik’s edition for Spike embodies the nostalgia and magic common to her practice. Decorative flora and fauna cover a background of deep vermilion red. Each edition is sprinkled with glitter, a prominent motif in her oeuvre.
Solo exhibitions of her work have taken place at Sprüth Magers (2019), 303 Gallery, New York (2019), and Galerie Eva Presenhuber (2017). She lives in Philadelphia.
 Read a portrait of Karen Kilimnik in Issue #52, available <a href="https://shop.spikeartmagazine.com/product/what-exhibtions-do-52-summer-2017" title="Spike Issue 52" style="color: #2b00ff; text-decoration: underline;">here</a>.

Karen Kilimnik, »The floral kingdom of the Renaissance«, 2017

Untitled, 2014 Digital print on Claro Silk 170g matt paper, reworked with marker pen 50 x 70 cm Edition of 25, each unique, signed on front, numbered Since the late 1990s, Owens (*1970, USA) has been been developing a unique approach to the language of painting that expands its formal vocabulary to include speakers, collage elements, and appropriated drawings, among other things. Owens’ works are often site-specific, deriving their proportions and dimensions from a given exhibition space, designing a complex visual space both within and outside of her images. The references are as wide ranging as her techniques, from art history to the classified section of the newspaper to the phone book, which is incorporated for her edition for Spike that features a ludic play on the artist’s signature that turns into a bespectacled feline perched on top of the yellow pages. Recent solo exhibitions include Cleveland Museum of Art (2021), House of Gaga, Mexico City (2020), Gavin Brown’s Enterprise, Rome (2019), and the Los Angeles Museum of Contemporary Art (2018). She lives in Los Angeles. Read a profile of Laura Owens in Issue #41, available here.

Untitled, 2014 Digital print on Claro Silk 170g matt paper, reworked with marker pen 50 x 70 cm Edition of 25, each unique, signed on front, numbered
Since the late 1990s, Owens (*1970, USA) has been been developing a unique approach to the language of painting that expands its formal vocabulary to include speakers, collage elements, and appropriated drawings, among other things. Owens’ works are often site-specific, deriving their proportions and dimensions from a given exhibition space, designing a complex visual space both within and outside of her images. The references are as wide ranging as her techniques, from art history to the classified section of the newspaper to the phone book, which is incorporated for her edition for Spike that features a ludic play on the artist’s signature that turns into a bespectacled feline perched on top of the yellow pages.
<meta charset="utf-8">Recent solo exhibitions include Cleveland Museum of Art (2021), House of Gaga, Mexico City (2020), Gavin Brown’s Enterprise, Rome (2019), and the Los Angeles Museum of Contemporary Art (2018). She lives in Los Angeles.
Read a profile of Laura Owens in Issue #41, available <a title="Spike Issue 41" href="https://shop.spikeartmagazine.com/product/the-anniversary-issue-41-autumn-2014" style="color: #2b00ff; text-decoration: underline;">here</a>.

Laura Owens, »Untitled«, 2014

CAMINO DEL SOL, 2014Black acrylic glass, engraved, finished in white, head screws, spacers15 x 21 x 0,5 cmEdition of 100 + 6 AP, signed and numbered certificateSylvie Fleury became known in the 90s for luxury cars, Louis Vuitton bags, and high heels – readymade objects cast in bronze or included as components of larger installations. Since then, she has become one of the most important figures in contemporary art. Her work focuses on the surfaces of consumer culture: their power to both manipulate and seduce. Fleury takes well known advertising slogans or brand names like “BE AMAZING”, “ETERNITY”, or “ÉGOÏSTE” and twists them in ironic and critical ways that give them deeper significance. Her new work “CAMINO DEL SOL”, however, abstains from any recognizable brand symbolism. Instead, the pictogram evokes a universal dynamic in which there is no distinct division between interior and exterior space. What do we see? Does the current flow in or out? The black plexiglass hangs on the wall like a cryptic sign reflecting both its setting and viewer; and much like a mirror, becomes a medium of awareness. Sylvie Fleury was born in 1961 in Geneva where she still lives.

CAMINO DEL SOL, 2014 Black acrylic glass, engraved, finished in white, head screws, spacers 15 x 21 x 0,5 cm Edition of 100 + 6 AP, signed and numbered certificate Sylvie Fleury became known in the 90s for luxury cars, Louis Vuitton bags, and high heels – readymade objects cast in bronze or included as components of larger installations. Since then, she has become one of the most important figures in contemporary art. Her work focuses on the surfaces of consumer culture: their power to both manipulate and seduce. Fleury takes well known advertising slogans or brand names like “BE AMAZING”, “ETERNITY”, or “ÉGOÏSTE” and twists them in ironic and critical ways that give them deeper significance. Her new work “CAMINO DEL SOL”, however, abstains from any recognizable brand symbolism. Instead, the pictogram evokes a universal dynamic in which there is no distinct division between interior and exterior space. What do we see? Does the current flow in or out? The black plexiglass hangs on the wall like a cryptic sign reflecting both its setting and viewer; and much like a mirror, becomes a medium of awareness. 
Sylvie Fleury was born in 1961 in Geneva where she still lives.

Sylvie Fleury, »CAMINO DEL SOL«, 2014

»Mass Murder, blue room #1«, 2014Digital pigment print37 x 24.5 cm (image size) / 40 x 30 cm (paper size)Edition of 100 + 6 AP, signed and numbered on reverse In installations like stage sets, Samara Golden generates subtle atmospheres that give rise to a wide variety of feelings, memories, and moods through different settings, lighting situations, and colour selections. These phantasmagoric spaces and many of the objects they contain – beds, tables, musical instruments – are constructed by Golden herself. In the installation “Mass Murder, blue room” (Night Gallery, L.A., 2014) reflective sofas stood on a blue carpet and hung from the ceiling. Bordering the setting, two mirrored walls produced multiple reflections of the salon-like interior with its grand piano and various other objects, considerably expanding the dimensions of the room. A video projection visible on the mirrored sidewall created the illusory impression of an enormous window flooding the room with the warm light of a sunset. The photograph “Mass Murder, blue room #1” shows an excerpt of this setting. Samara Golden was born in 1973 in Ann Arbor, Michigan and lives in Los Angeles.

»Mass Murder, blue room #1«, 2014 Digital pigment print 37 x 24.5 cm (image size) / 40 x 30 cm (paper size) Edition of 100 + 6 AP, signed and numbered on reverse
In installations like stage sets, Samara Golden generates subtle atmospheres that give rise to a wide variety of feelings, memories, and moods through different settings, lighting situations, and colour selections. These phantasmagoric spaces and many of the objects they contain – beds, tables, musical instruments – are constructed by Golden herself. In the installation “Mass Murder, blue room” (Night Gallery, L.A., 2014) reflective sofas stood on a blue carpet and hung from the ceiling. Bordering the setting, two mirrored walls produced multiple reflections of the salon-like interior with its grand piano and various other objects, considerably expanding the dimensions of the room. A video projection visible on the mirrored sidewall created the illusory impression of an enormous window flooding the room with the warm light of a sunset. The photograph “Mass Murder, blue room #1” shows an excerpt of this setting.
Samara Golden was born in 1973 in Ann Arbor, Michigan and lives in Los Angeles.

Samara Golden »Mass Murder, blue room #1«, 2014

11.62 EUR, 2014Dimensions variableEdition of 100 + 5 APs, signed certificate (below) At the 2014 Whitney Biennial in New York, Darren Bader showed two transparent, cylindrical donation boxes. Visitors could either donate money to “something” or “nothing”. Expressing a sometimes absurd freedom of choice in connection with tasks or instructions, Bader’s works often don’t follow a direct purpose or meaning. Including the audience and making them accomplices to his idea of art, he expands the historical notion of the readymade. Just as common ideas of authorship are rendered absurd, so too are the mechanisms of the art market. As stated on Bader’s certificate, the “11.62 EUR” can be spent, saved, or even forgotten. Independent of the fluctuations the work may experience in the art market, it remains at its nominal cash value. The “11.62 EUR” thus becomes a placeholder that resists market gain – at least on a formal level. Darren Bader was born in 1978 in Bridgeport, Connecticut and lives in New York.

11.62 EUR, 2014 Dimensions variable Edition of 100 + 5 APs, signed certificate (below)
At the 2014 Whitney Biennial in New York, Darren Bader showed two transparent, cylindrical donation boxes. Visitors could either donate money to “something” or “nothing”. Expressing a sometimes absurd freedom of choice in connection with tasks or instructions, Bader’s works often don’t follow a direct purpose or meaning. Including the audience and making them accomplices to his idea of art, he expands the historical notion of the readymade. Just as common ideas of authorship are rendered absurd, so too are the mechanisms of the art market. As stated on Bader’s certificate, the “11.62 EUR” can be spent, saved, or even forgotten. Independent of the fluctuations the work may experience in the art market, it remains at its nominal cash value. The “11.62 EUR” thus becomes a placeholder that resists market gain – at least on a formal level.
Darren Bader was born in 1978 in Bridgeport, Connecticut and lives in New York.

Darren Bader, »11.62 EUR«, 2014

Housewife, 2014 Digital print on Claro Silk 170g matte paper 50 x 70 cm / 20 x 27 inches Edition of 25, signed on front Bjarne Melgaard (*1967, Australia) is drawn to big subjects – violence, sexuality, destruction, aging, self-expression. His exhibitions are dense installations packed with paintings, sculptures, readymades, photographs and contributions from friends working with art, design, or literature. The screen capture that is the poster is from Melgaard’s personal iMac at home. On the desktop it shows a picture of Bjarne and his friend Omar. They are both intrigued by the notion of men fucking dinosaurs and have played with the idea of bringing dinosaurs back to the planet for just that purpose. Recent solo exhibitions of his work have taken place at Haugar Kunstmuseum, Tønsberg (2022); Museum of Modern Art Tbilisi (2021); Thaddaeus Ropac, Paris (2020), Julia Stoschek Collection (2019), and Astrup Fearnley Museet, Oslo (2018). Bjarne Melgaard lives in New York. Read an interview with the artist in Issue #39, available here.

Housewife, 2014 Digital print on Claro Silk 170g matte paper  50 x 70 cm / 20 x 27 inches Edition of 25, signed on front
Bjarne Melgaard (*1967, Australia) is drawn to big subjects – violence, sexuality, destruction, aging, self-expression. His exhibitions are dense installations packed with paintings, sculptures, readymades, photographs and contributions from friends working with art, design, or literature. 
The screen capture that is the poster is from Melgaard’s personal iMac at home. On the desktop it shows a picture of Bjarne and his friend Omar. They are both intrigued by the notion of men fucking dinosaurs and have played with the idea of bringing dinosaurs back to the planet for just that purpose. 
Recent solo exhibitions of his work have taken place at Haugar Kunstmuseum, Tønsberg (2022); Museum of Modern Art Tbilisi (2021); Thaddaeus Ropac, Paris (2020), Julia Stoschek Collection (2019), and Astrup Fearnley Museet, Oslo (2018). Bjarne Melgaard lives in New York.
Read an interview with the artist in Issue #39, available <a href="https://shop.spikeartmagazine.com/product/the-network-39-spring-2014" title="Spike Issue 39" style="color: #2b00ff; text-decoration: underline;">here</a>.

Bjarne Melgaard, »Housewife«, 2014

Untitled, 2013 Digital print on Claro Silk 170g matt paper 50 x 70 cm Edition of 25, signed on back Whether in his video works, or in his collages, the textured surfaces of Ed Atkins (1982, England) celebrate the synthetic and the hyperreal in all their flawed glory. »The poster is excessive; it’s constitutive layers each operating at some shrill pitch of representational acuity. As in, it's all high def and super-saturated – excessively real in its sharpened artifice. It's all effect, of course. Lens flares, textures, tanned figure, a swatch of glistening wounds; all of them are fake, either computer generated or otherwise imitation. In their desire to convince they well describe their fraudulence. As a poster, I suppose it might advertise some gruesome sub-category of stock imagery – 'stock' understood as a reduction and an intensification. It also relates to a new video work completed around the same time, Warm, Warm, Warm Spring Mouths, from which the protagonist is taken – a CG model who goes under 'Dave'– is shorn of his luscious hair and tanned by the light of a digital sun.« (Ed Atkins) Recent solo shows of his work have taken place at Kunsthaus Bregenz (2019), Gallery Isabella Bortolozzi (2018), and Martin-Gropius Bau (2018). Ed Atkins lives in London. Read a portrait of Ed Atkins in Issue #35, available here.

Untitled, 2013 Digital print on Claro Silk 170g matt paper 50 x 70 cm Edition of 25, signed on back
<meta charset="utf-8">Whether in his video works, or in his collages, the textured surfaces of Ed Atkins (1982, England) celebrate the synthetic and the hyperreal in all their flawed glory.    »The poster is excessive; it’s constitutive layers each operating at some shrill pitch of representational acuity. As in, it's all high def and super-saturated – excessively real in its sharpened artifice. It's all effect, of course. Lens flares, textures, tanned figure, a swatch of glistening wounds; all of them are fake, either computer generated or otherwise imitation. In their desire to convince they well describe their fraudulence. As a poster, I suppose it might advertise some gruesome sub-category of stock imagery – 'stock' understood as a reduction and an intensification. It also relates to a new video work completed around the same time, Warm, Warm, Warm Spring Mouths, from which the protagonist is taken – a CG model who goes under 'Dave'– is shorn of his luscious hair and tanned by the light of a digital sun.« (Ed Atkins)
Recent solo shows of his work have taken place at Kunsthaus Bregenz (2019), Gallery Isabella Bortolozzi (2018), and Martin-Gropius Bau (2018). <meta charset="utf-8">Ed Atkins lives in London. 
Read a portrait of Ed Atkins in Issue #35, available <a href="https://shop.spikeartmagazine.com/product/materialising-the-unthinkable-35-spring-2013" title="Spike Issue 35" style="text-decoration: underline;">here</a>.

Ed Atkins, »Untitled«, 2013

2 Epiphanies, 2012 Digital print on Terraprint matt 80g paper 75 x 55 cm Edition of 25, signed on front »The work of Gelatin evolves from desires about situations we miss and we want to be in,« the collective once said of their objectives. These imagined scenarios have prompted unconventional works as dreamlike and playful as they are provocative. Since Gelatin has been founded 1993, they have staged numerous boxing matches and floggings, installed a giant plush bunny in the Italian Alps, made paintings of layered plasticine, designed a new typeface based on excrements, and engaged in incredibily messy, noisy performances. 2 Epiphanies originated as the invitation card for a project that they realised together with Franz West at Schloss Damtschach near Vienna. Gelatin installed a mighty gong that they had hand-forged over the course of the project, opposite a towering cactus by West in the palace gardens. It was the last time they worked with West before his death and the poster subsequently became a homage. Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither & Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at Massimo de Carlo, Paris (2022); Tiroler Landesmuseum, Innsbruck (2021); Kunstraum, London (2020); Kunsthalle Wien, Vienna and Galerie Meyer Kainer, Vienna (both 2019); Museum Boijmans Van Beuningen, Rotterdam (2018); Fondazione Prada, Milano (2017). Read an essay on Gelitin in Issue #53, available here.

2 Epiphanies, 2012  Digital print on Terraprint matt 80g paper 75 x 55 cm Edition of 25, signed on front
<meta charset="utf-8">»The work of Gelatin evolves from desires about situations we miss and we want to be in,« the collective once said of their objectives. These imagined scenarios have prompted unconventional works as dreamlike and playful as they are provocative. Since Gelatin has been founded 1993, they have staged numerous boxing matches and floggings, installed a giant plush bunny in the Italian Alps, made paintings of layered plasticine, designed a new typeface based on excrements, and engaged in incredibily messy, noisy performances. 
2 Epiphanies originated as the invitation card for a project that they realised together with Franz West at Schloss Damtschach near Vienna. Gelatin installed a mighty gong that they had hand-forged over the course of the project, opposite a towering cactus by West in the palace gardens. It was the last time they worked with West before his death and the poster subsequently became a homage.
Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither &amp; Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at Massimo de Carlo, Paris (2022); Tiroler Landesmuseum, Innsbruck (2021); Kunstraum, London (2020); <meta charset="utf-8">Kunsthalle Wien, Vienna and Galerie Meyer Kainer, Vienna (both 2019); Museum Boijmans Van Beuningen, Rotterdam (2018); Fondazione Prada, Milano (2017).
Read an essay on Gelitin in Issue #53, available <a href="https://shop.spikeartmagazine.com/product/the-real-53-autumn-2017" title="Spike Issue 53" style="text-decoration: underline; color: #2b00ff;">here</a>.

Gelitin, »2 Epiphanies«, 2012

Stepsister, 2012 Digital print on Claro Silk 170g matt paper 55 x 75 cm Edition of 25, signed on the backAndrogynous, sleepy-eyed youths drinking, smoking cigarettes or joints, looking blasé. These are the motifs with which American painter Brian Calvin (*1969, USA) made a name for himself. Stepsister belongs to a series dealing with the similarities of siblings. They are not lifelike portraits but based rather on principles of repetition of shapes like the eyes or mouth. As the painting process progresses the »sibling-image« departs ever further from its predecessor. Through the subtle variations he attempts to open up the infinite space of difference. Stepsister is a detail of an oil painting by Calvin. Recent solo exhibitions have taken place at Almine Recht, Shanghai (2020), Corbett vs. Dempsey, Chicago, and the Met Opera, New York (both 2019). Brian Calvin lives in Ventura, California.

Stepsister, 2012 Digital print on Claro Silk 170g matt paper  55 x 75 cm Edition of 25, signed on the back Androgynous, sleepy-eyed youths drinking, smoking cigarettes or joints, looking blasé. These are the motifs with which American painter Brian Calvin (*1969, USA) made a name for himself. Stepsister belongs to a series dealing with the similarities of siblings. They are not lifelike portraits but based rather on principles of repetition of shapes like the eyes or mouth. As the painting process progresses the »sibling-image« departs ever further from its predecessor. Through the subtle variations he attempts to open up the infinite space of difference. Stepsister is a detail of an oil painting by Calvin. 
Recent solo exhibitions have taken place at Almine Recht, Shanghai (2020), Corbett vs. Dempsey, Chicago, and the Met Opera, New York (both 2019). <meta charset="utf-8">Brian Calvin lives in Ventura, California.

Brian Calvin, »Stepsister«, 2012

LV Shoes for Double, 2012 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on front Originally intended for the cover of a French lifestyle magazine LV Shoes for Double was rejected on the grounds that it was »too commercial«. It is precisely this suspension between commercial and artistic photography that runs characteristically through the work of Roe Etheridge (*1969, USA). It’s like high-end glamour meets casual charm. Fashion shoots hang beside formal still lifes, alongside enlarged, pixelated images off the internet, and details of interiors or street scenes. Ethridge draws from an archive of self-produced and found images which he combines and recontextualises in a visual fugue - »fugueing out« he calls it. Recent exhibitions of his work have taken place at Gagosian, New York, Greengrassi, London (both 2021); Andrew Kreps Gallery, New York and Henie Onstad Kunstsenter, Høvikodden (both 2020); Gagosian Gallery, New York (2019); Marciano Art Foundation, Los Angeles (2018). Roe Ethridge lives in New York. Read a portrait of Roe Ethridge in Issue #32, available here.

LV Shoes for Double, 2012  Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on front
<meta charset="utf-8">Originally intended for the cover of a French lifestyle magazine LV Shoes for Double was rejected on the grounds that it was »too commercial«. It is precisely this suspension between commercial and artistic photography that runs characteristically through the work of Roe Etheridge (*1969, USA). It’s like high-end glamour meets casual charm. Fashion shoots hang beside formal still lifes, alongside enlarged, pixelated images off the internet, and details of interiors or street scenes. Ethridge draws from an archive of self-produced and found images which he combines and recontextualises in a visual fugue - »fugueing out« he calls it.
Recent exhibitions of his work have taken place at Gagosian, New York, Greengrassi, London (both 2021); Andrew Kreps Gallery, New York and Henie Onstad Kunstsenter, Høvikodden (both 2020); Gagosian Gallery, New York (2019); Marciano Art Foundation, Los Angeles (2018). <meta charset="utf-8">Roe Ethridge lives in New York. 
Read a portrait of Roe Ethridge in Issue #32, available <a style="color: #2b00ff; text-decoration: underline;" title="Spike Issue 22" href="https://shop.spikeartmagazine.com/product/32-summer-2012">here</a>.

Roe Ethridge, »LV Shoes for Double«, 2012

untitled 2012 (fear eats the soul) (poster), 2012 Digital print on paper 26 x 62 cm Edition of 25, signed on back Rirkrit Tiravanija (*1961, Argentina) has repeatedly referenced Fassbinder’s iconic film Fear Eats the Soul in his work since 1994 – on t-shirts, on banknotes, in paintings and, most recently, in the title of an exhibition. In his poster for Spike, Tiravanija continues in the same vein, with a true-to-scale blow-up of a $10 bill bearing the film title, clashing with the truly one-dimensional platitude of the famous American motto »In God We Trust«. Recent solo exhibitions of his work have taken place at Galerie Chantal Crousel (2020), Institute for Contemporary Art, London (2019), Hirschhorn Museum, Washington DC (2019), and Fondazione Beyeler, Basel (2018). Rirkrit Tiravanija lives in New York and Chiang Mai. Read an interview with the artist in Issue #52, available here.

untitled 2012 (fear eats the soul) (poster), 2012 Digital print on paper 26 x 62 cm Edition of 25, signed on back
<meta charset="utf-8">Rirkrit Tiravanija (*1961, Argentina) has repeatedly referenced Fassbinder’s iconic film Fear Eats the Soul in his work since 1994 – on t-shirts, on banknotes, in paintings and, most recently, in the title of an exhibition. In his poster for Spike, Tiravanija continues in the same vein, with a true-to-scale blow-up of a $10 bill bearing the film title, clashing with the truly one-dimensional platitude of the famous American motto »In God We Trust«.
Recent solo exhibitions of his work have taken place at Galerie Chantal Crousel (2020), Institute for Contemporary Art, London (2019), Hirschhorn Museum, Washington DC (2019), and Fondazione Beyeler, Basel (2018). <meta charset="utf-8">Rirkrit Tiravanija lives in New York and Chiang Mai. 
Read an interview with the artist in Issue #52, available <a href="https://shop.spikeartmagazine.com/product/what-exhibtions-do-52-summer-2017" title="Spike Issue 52" style="color: #2b00ff; text-decoration: underline;">here</a>.

Rirkrit Tiravanija, »untitled 2012 (fear eats the soul) (poster)«, 2012

John’s Body, 2011 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on back »The mushrooms are a code for John Cage, to me. He was an amateur mycologist and there are some nice photos of him with mushrooms, I printed one in a catalogue a couple of years ago. I like mushrooms generally but also as a strange metaphor for objects multiplying. Mushrooms are such organic objects, objectlike organic beings. People often tell me that sometimes there is a resemblance between Cage and myself, our faces from certain angles ….« (Tom Burr on John’s Body) Solo exhibitions of his work have been held at Galerie Neu, Berlin (2022); Bortolami Gallery, New York (2021); Fondazione Converso, Milan (2020); Wadsworth Atheneum Museum of Art (2019); SCAD Museum of Art (2018) and elsewhere. Tom Burr (*1963, USA) lives in Norfolk, Connecticut and New York. Read an interview with Tom Burr in Issue #30, available here.

John’s Body, 2011 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on back
<meta charset="utf-8">»The mushrooms are a code for John Cage, to me. He was an amateur mycologist and there are some nice photos of him with mushrooms, I printed one in a catalogue a couple of years ago. I like mushrooms generally but also as a strange metaphor for objects multiplying. Mushrooms are such organic objects, objectlike organic beings. People often tell me that sometimes there is a resemblance between Cage and myself, our faces from certain angles ….« (Tom Burr on John’s Body)
Solo exhibitions of his work have been held at Galerie Neu, Berlin (2022); Bortolami Gallery, New York (2021); Fondazione Converso, Milan (2020); Wadsworth Atheneum Museum of Art (2019); SCAD Museum of Art (2018) and elsewhere. <meta charset="utf-8">Tom Burr (*1963, USA) lives in Norfolk, Connecticut and New York. 
Read an interview with Tom Burr in Issue #30, available <a href="https://shop.spikeartmagazine.com/product/30-winter-2011" title="Spike Issue 30" style="color: #2b00ff; text-decoration: underline;">here</a>.

Tom Burr, »John’s Body«, 2011

CMYK SPIKE 17, 2008 Offset print Set of four, each 225 x 280 mm Edition of 50, signed and numbered on the inside back cover »CMYK SPIKE 17« is an artist’s edition by German artist Michael Riedel (*1972, Germany), produced in collaboration with Spike. Michael Riedel had 50 copies of issue #17 printed in cyan, magenta, yellow and black. This is his second piece of this variety, the first being a collaboration with frieze art magazine. Riedel includes in his work all the things that are normally secondary in the artistic field in relation to the work: announcements such as posters and invitation cards, talking and writing about art, or the situation in which art is experienced. Solo exhibitions of his work have taken place at Gabriele Senn Galerie, Vienna (2022), Museum Haus Konstruktiv, Zürich (2021), Museum der bildenden Künste, Leipzig (2019), Michel Rein Gallery, Paris (2018), David Zwirner (2016), Fotomuseum Winterthur (2016), and elsewhere. Michael Riedel lives in Frankfurt.

CMYK SPIKE 17, 2008 Offset print Set of four, each 225 x 280 mm Edition of 50, signed and numbered on the inside back cover
<meta charset="utf-8">»CMYK SPIKE 17« is an artist’s edition by German artist Michael Riedel (*1972, Germany), produced in collaboration with Spike. Michael Riedel had 50 copies of issue #17 printed in cyan, magenta, yellow and black. This is his second piece of this variety, the first being a collaboration with frieze art magazine. Riedel includes in his work all the things that are normally secondary in the artistic field in relation to the work: announcements such as posters and invitation cards, talking and writing about art, or the situation in which art is experienced.
Solo exhibitions of his work have taken place at Gabriele Senn Galerie, Vienna (2022), Museum Haus Konstruktiv, Zürich (2021), Museum der bildenden Künste, Leipzig (2019), Michel Rein Gallery, Paris (2018), David Zwirner (2016), Fotomuseum Winterthur (2016), and elsewhere. <meta charset="utf-8">Michael Riedel lives in Frankfurt.

Michael Riedel, »CMYK SPIKE 17«, 2008

Not Yet Titled, 2008 Lambdaprint 37.4 x 28 cm Edition of 100 + 20 e.a., numbered and signed on back Not Yet Titled is an artist’s edition produced by Gelitin exclusively for Spike, situated somewhere between nonsense, provocation, fun, zero-statement and (anti-) machismo. Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither & Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at Massimo de Carlo, Paris (2022); Tiroler Landesmuseum, Innsbruck (2021); Kunstraum, London (2020); Kunsthalle Wien, Vienna and Galerie Meyer Kainer, Vienna (both 2019); Museum Boijmans Van Beuningen, Rotterdam (2018); Fondazione Prada, Milano (2017).

Not Yet Titled, 2008 Lambdaprint 37.4 x 28 cm Edition of 100 + 20 e.a., numbered and signed on back
<meta charset="utf-8">Not Yet Titled is an artist’s edition produced by Gelitin exclusively for Spike, situated somewhere between nonsense, provocation, fun, zero-statement and (anti-) machismo.
Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither &amp; Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at Massimo de Carlo, Paris (2022); Tiroler Landesmuseum, Innsbruck (2021); Kunstraum, London (2020); Kunsthalle Wien, Vienna and Galerie Meyer Kainer, Vienna (both 2019); Museum Boijmans Van Beuningen, Rotterdam (2018); Fondazione Prada, Milano (2017).

Gelitin, »Not Yet Titled«, 2008

Struck!, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached In his works Liam Gillick (*1964, England) refers to the conditions of modern live, to theory and critique. Struck! can be understood equally as a statement about the status quo of the labour struggle. Recent solo shows include »The Work Life Effect«, Gwangju Museum of Art, Gwangju, Korea (2021); »Standing on Top of a Building: Films 2008–2019«, MADRE–Museo d’Arte, Kunsthalle Wien (2019), and Gallery Baton, Seoul (2018). He lives in New York. Read an interview with Liam Gillick in Issue #56, available here.

Struck!, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">In his works Liam Gillick (*1964, England) refers to the conditions of modern live, to theory and critique. Struck! can be understood equally as a statement about the status quo of the labour struggle. 
Recent solo shows include »T<meta charset="utf-8">he Work Life Effect«, Gwangju Museum of Art, Gwangju, Korea (2021); »<meta charset="utf-8">Standing on Top of a Building: Films 2008–2019«, MADRE–Museo d’Arte, Kunsthalle Wien (2019), and Gallery Baton, Seoul (2018). He lives in New York.
Read an interview with Liam Gillick in Issue #56, available <a href="https://shop.spikeartmagazine.com/product/culture-wars" title="Spike Issue 56" style="color: #2b00ff; text-decoration: underline;">here</a>.

Liam Gillick, »Struck!«, 2007

Untitled, 2008 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached Untitled by Mircea Cantor (*1977, Romania) shows a cross made from a cowpat and dried flowers on the wall of a house in Romania, an ancient custom for protection against evil and disease. Cantor is interested in everyday objects, which he documents in passing, in order to preserve their transient beauty. Recent solo exhibitions have taken place at Base / Progetti per l’arte, Florence (2022); Villa Médici - Académie de France à Rome (2021); STUK Arts Center, Leuven (2020); Musee d’Arts de Nantes (2019); and Foundation Hermès, Tokyo (2018). Mircea Cantor lives in Cluj and Paris. Read a portrait of the artist in Issue #15, available here.

Untitled, 2008 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">Untitled by <meta charset="utf-8">Mircea Cantor (*1977, Romania) shows a cross made from a cowpat and dried flowers on the wall of a house in Romania, an ancient custom for protection against evil and disease. Cantor is interested in everyday objects, which he documents in passing, in order to preserve their transient beauty.
Recent solo exhibitions have taken place at Base / Progetti per l’arte, Florence (2022); Villa Médici - Académie de France à Rome (2021); STUK Arts Center, Leuven (2020); Musee d’Arts de Nantes (2019); and Foundation Hermès, Tokyo (2018). <meta charset="utf-8">Mircea Cantor lives  in Cluj and Paris. 
Read a portrait of the artist in Issue #15, available <a style="color: #2b00ff; text-decoration: underline;" href="https://shop.spikeartmagazine.com/product/15-spring-2008" title="Spike Issue 15">here</a>.

Mircea Cantor, »Untitled«, 2008

IN FUCK WE TRUST, 2007 Screen print on fine art paper 84 x 59.4 cm Edition of 100 + 20 e.a., signed on back The South African-born artist Kendell Geers (*1968) describes himself as a »Terrorealist«. His art borrows from the radical and insistent formal languages of violence and pornography, yet has an intelligent referential system as a subtext; a system that is often based on language and word-images, integrates references to art and mass culture – and leaves nothing up to chance. Recent solo shows include Eric Mouchet Gallery, Paris (2022); Voëlvry, Capital C, Amsterdam (2021); M77, Milan (2020); Stephen Friedman Gallery, London (2020); Goodman Gallery, Johannesburg (2019/2020); Rua Red, Dublin (2019). He lives in Brussels.

IN FUCK WE TRUST, 2007 Screen print on fine art paper 84 x 59.4 cm Edition of 100 + 20 e.a., signed on back
<meta charset="utf-8">The South African-born artist Kendell Geers (*1968) describes himself as a »Terrorealist«. His art borrows from the radical and insistent formal languages of violence and pornography, yet has an intelligent referential system as a subtext; a system that is often based on language and word-images, integrates references to art and mass culture – and leaves nothing up to chance.
Recent solo shows include Eric Mouchet Gallery, Paris (2022); Voëlvry, Capital C, Amsterdam (2021); M77, Milan (2020); Stephen Friedman Gallery, London (2020); Goodman Gallery, Johannesburg (2019/2020); Rua Red, Dublin (2019). He lives in Brussels.

Kendell Geers, »IN FUCK WE TRUST«, 2007

Poster, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached Gerwald Rockenschaub (*1952, Austria) was one of the first artists to engage in crossover between club culture and high culture. His works refer directly to everyday life and the present. He samples, quotes, mixes, reappropriates, shifts. In his work Poster (2007), he translated an already existing poster into abstract forms. Recent solo exhibitions of his work have taken place at Belvedere 21, Vienna (2022); Mehdi Chouakri, Berlin (2021); Krobath, Vienna (2020); Galerie Thaddaeus Ropac, London (2019); and Sammlung Goetz, Munich (2017). Gerwald Rockenschaub lives in Berlin. Read an interview with Gerwald Rockenschaub in Issue #10, available here.

Poster, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">Gerwald Rockenschaub (*1952, Austria) was one of the first artists to engage in crossover between club culture and high culture. His works refer directly to everyday life and the present. He samples, quotes, mixes, reappropriates, shifts. In his work Poster (2007), he translated an already existing poster into abstract forms.
Recent solo exhibitions of his work have taken place at Belvedere 21, Vienna (2022); Mehdi Chouakri, Berlin (2021); Krobath, Vienna (2020); Galerie Thaddaeus Ropac, London (2019); and Sammlung Goetz, Munich (2017). <meta charset="utf-8">Gerwald Rockenschaub lives in Berlin. 
Read an interview with Gerwald Rockenschaub in Issue #10, available <a href="https://shop.spikeartmagazine.com/product/10-winter-2006" title="Spike Issue 10" style="text-decoration: underline; color: #2b00ff;">here</a>.

the  artist  gerwald rockenschaub translated a poster into abstract forms

Gerwald Rockenschaub, »Poster«, 2007

Another One Bites the Dust, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached In his works, Cory Arcangel (*1978, USA) docks onto many kinds of art: new media, appropriation art, Pop, and Conceptual art. The protagonists of his video projections, »hacks« and sound works include Elton John, Super Mario, Bruce Springsteen, Dennis Hopper, the Beatles, Andy Warhol. For Another One Bites the Dust, Arcangel appropriates a picture of Axl Rose wearing custom-made sneakers from the back of the Guns N’ Roses album The Spaghetti Incident?, which features covers of songs by various punk idols. Recent solo shows of his work have taken place at Kunstverein in Hamburg (2022); Greene Naftali Gallery, New York (2021); Lisson Gallery (2020), Galerie Thaddaeus Ropac, Salzburg (2019), and The Kitchen, New York (2017). Cory Arcangel lives in New York. Read a portrait of Cory Arcangel in Issue #10, available here.

Another One Bites the Dust, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">In his works, Cory Arcangel (*1978, USA) docks onto many kinds of art: new media, appropriation art, Pop, and Conceptual art. The protagonists of his video projections, »hacks« and sound works include Elton John, Super Mario, Bruce Springsteen, Dennis Hopper, the Beatles, Andy Warhol. For Another One Bites the Dust, Arcangel appropriates a picture of Axl Rose wearing custom-made sneakers from the back of the Guns N’ Roses album The Spaghetti Incident?, which features covers of songs by various punk idols.
Recent solo shows of his work have taken place at Kunstverein in Hamburg (2022); Greene Naftali Gallery, New York (2021); Lisson Gallery (2020), Galerie Thaddaeus Ropac, Salzburg (2019), and The Kitchen, New York (2017). <meta charset="utf-8">Cory Arcangel lives in New York.  
Read a portrait of Cory Arcangel in Issue #10, available <a style="text-decoration: underline; color: #2b00ff;" title="Spike Issue 10" href="https://shop.spikeartmagazine.com/product/10-winter-2006">here</a>.

Axl Rose wearing custom-made sneakers from the back of the Guns N’ Roses album The Spaghetti Incident?