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Grace SchwindtGuard2022ceramic and bronze (edition of 3 + 1 AP)53 x 9 x 9 cm
Grace SchwindtOrchid2021bronze (edition of 3 + 1 AP)69,5 x 71 x 31,5 cm
Grace SchwindtBloom2021bronze (edition of 3 + 1 AP)19 x 23 x 12 cm
Grace SchwindtSenusret III2020watercolour and pencil on paper61 x 46 cm
Grace SchwindtTulip2020watercolour and pencil on paper61 x 46 cm
Grace SchwindtDismal Sheen2019ceramic, glaze and silver bronze48 x 38 x 19 cm (unique)
Grace SchwindtBloody Sun2019ceramic, glaze and silver bronze19 x 42 x 30 cm (unique)
Grace SchwindtPink Dance2019transparent and coloured glass25,5 x 11 x 5,7 cm (unique)
Grace SchwindtGravity2019bronze and ceramic (edition of 3 + 1 AP)45 x 22 x 16 cm
Grace SchwindtAfter the Dance2019bronze (edition of 3 + 1 AP)31,5 x 32 x 32 cm
Grace SchwindtSnake2019bronze (edition of 3 + 1 AP)14 x 45 x 31 cm
Grace SchwindtBlue2019watercolour and ink on paper40 x 50 cm
Grace SchwindtEagle2018bronze, ceramic, copper carbonate (edition of 3 + 1 AP)17 x 13 x 19 cm
Grace SchwindtResting2018bronze, ceramic, copper carbonate, cobalt carbonate, glaze (edition of 3 + 1 AP)15 x 25 x 15 cm
Grace SchwindtSwan2018watercolour and Indian ink on paper50 x 40 cm
Grace SchwindtDancer2018watercolour and Indian ink on paper49,9 x 40 cm
Grace SchwindtBalance (Dancer on Rock)2018watercolour and Indian ink on paper49,9 x 40 cm
Grace SchwindtFor the Afterlife2018glass, ceramic (5 pieces)20,8 x 35,3 x 27,9 cm
Grace SchwindtHome2018ceramic, glaze (10 pieces)60,5 x 100 x 90 cm
Grace SchwindtStork2018watercolour and Indian ink on paper40 x 50 cm
Grace SchwindtSilent Dance2018watercolour and ink on paper50 x 40 cm
Grace SchwindtCrocodile and Girl2018watercolour and ink on paper40 x 50 cm
Grace SchwindtDance Machine2018watercolour and Indian ink on paper50 x 40 cm
Grace SchwindtWhen She Travels2017ceramic, copper glaze13 x 64 x 9 cm
Grace SchwindtWhen She Fights2017ceramic, copper glaze21,7 x 9,2 x 5 cm
Grace SchwindtWhen She Prays2017ceramic, copper glaze19 x 12 x 3,5 cm
Grace SchwindtWhen She Stands2017ceramic, copper glaze14 x 11 x 4,6 cm
Grace SchwindtIn Five Parts2017drift wood, birtch, leather, polymer-clay, twine, aluminum, steel and wax90 x 50 x 44 cm
Grace SchwindtThis Magic2017wood, charcoal and porcelain34 x 59,1 x 11,1 cm
Grace SchwindtFigure for a Dance2015pencil, acrylic on paper42 x 29,7 cm
Grace SchwindtThe Tiffany Vase 72014burned wood and porcelain141 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 62014steel and porcelain140 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 42014acrylic, wood and porcelain137 x 26 x 26 cm
Grace SchwindtFamily House2014burned wood and ceramic163 x 66 x 47 cm
Grace SchwindtOnly a Free Individual Can Create a Free Society2014full HD Video, ribbon installation (edition of 5 + 2 AP)80'
Grace SchwindtBlue Dress2014steel, clay bricks, ceramic, silk and cotton211 x 110 x 70 cm
Grace SchwindtClean Air2013live performance27'
Grace SchwindtDress and Burned Furniture2013burned wood, ceramic, steel, wax and silk105 x 202 x 63 cm
Grace SchwindtBlue Ribbons2013acrylic on paper42 x 29,7 cm
Grace SchwindtBlue Ribbons and Purple Shadow2013acrylic on paper42 x 29,7 cm
Grace SchwindtWoman and Crocodile2013steel, aluminium, leather, wool, polystyrene, sawdust, wood and acrylic246,5 x 140 x 140 cm
Grace SchwindtGlass and Honey2012live performance and live video projection in english and german30'
Grace SchwindtFloating2012acrylic on paper41 x 32 cm
Grace SchwindtCape2012acrylic on paper41 x 32 cm
Grace SchwindtTenant2012HD Video, single channel video, sound, colour (edition of 5)78'
GRACE SCHWINDT: DEFIANT BODIES
Kunstmuseum St.Gallen, Sankt Gallen, Switzerland September 17, 2022 - February 5, 2023
BUSAN BIENNALE 2022: WE, ON THE RISING WAVE
Museum of Contemporary Art, Busan, Korea September 3 - November 6, 2022
GRACE SCHWINDT: YOUR MOVEMENT
Kunsthal Gent, Ghent, Belgium May 27 - August 28, 2022
Grace Schwindt speaks about her practice in the context of the exhibition 'Refugees: Forced to Flee'.
Refugees: Forced to Flee Imperial War Museum, London, United Kingdom September 24, 2020 - June 13, 2021
FIVE SURFACES ALL WHITE
CCA Glasgow, United Kingdom September 7 - October 13, 2019
IN SILENCE
Rozenstraat, Amsterdam, The Netherlands March 10 - May 19, 2018
Grace Schwindt, b. 1979 in Offenbach (DE), lives and works in London (UK).
Grace Schwindt works with film, live performance, sculpture and drawing. Through her work she unfolds visual narratives that explore the effects of capitalist culture on the body and psyche of the individual. She analyses the role that bodies, language and objects play in the construction of history and memory. Her process often originates from specific research and conversations with a wide range of people, including activists, artists, musicians, politicians, refugees and her own relatives. Many of her works examine aspects of historical events with an emphasis on social relations. The different media employed are connected and intertwined, shapes from costumes reappearing in drawings while sculptures echo performative gestures.
Schwindt's works have been shown in museums and galleries as well as in theatres and other performance contexts. She has had solo exhibitions at Kunstmuseum St.Gallen (St. Gallen), Kunsthal Gent (Ghent), Centre for Contemporary Arts (Glasgow), Rozenstraat – a rose is a rose is a rose (Amsterdam), Rose Lejeune Gallery (London), Institute of Contemporary Interdisciplinary Arts (Bath), MARCO (Vigo), Tramway (Glasgow), The Showroom (London), Site Gallery (Sheffield), Badischer Kunstverein (Karlsruhe), Contemporary Art Gallery (Vancouver) and Eastside Projects (Birmingham).
Live performances have been presented at Volksbühne (Berlin) and Kunstmuseum St.Gallen (St. Gallen), David Robert Arts Foundation (London) and Frascati Theatre (Amsterdam), Kaaitheater (Brussels), Royal Academy of Arts as part of Block Universe Performance Festival (London), Museum M (Leuven) and South London Gallery (London). Grace Schwindt has participated in the Busan Biennale (2022), the Anren Biennale (2017) and the Istanbul Biennial (2015). Her work has featured in group shows at Tate Britain (London), WIELS (Brussels), Imperial War Museum (London), Arko Art Center (Seoul), Garage (Rotterdam), Yorkshire Sculpture Park and Weserburg Museum in (Bremen).
Grace Schwindt joined the gallery in 2013.
Zeno X Gallery presents Grace Schwindt’s third solo exhibition, Lacuna. The show includes a large selection of sculptures and drawings created by the artist on the occasion of her recent solo exhibition at Kunstmuseum St.Gallen.
In her practice, Grace Schwindt (b. 1979 in Offenbach) brings together various disciplines, including performance, sculpture, drawings, installations and film. The interaction between these different media generates a multifaceted oeuvre whose different components keep inspiring and influencing each other. A central element of her work is her research into the vulnerability of the body, the relationship between humans and their environment, and the way history and memories are constructed in Western, capitalist society. She often draws on personal stories to explore how social relations and power structures determine the actions of individuals.
The title of the exhibition, Lacuna, is a term borrowed from the field of conservation and restoration. It refers to an absence, a void caused by damage or ageing. The surface is disrupted at the site of the void, which may or may not be restored. As such, the void creates potential for change or an opening to a new narrative.
For Schwindt, the void is like a wound that carries the mark of history, but it can also be a source of strength. The body is central to her work. Bodies – of people, animals and plants – bear traces of trauma, which is often historically rooted. Schwindt exposes these injuries and makes them visible. The wounded body appears fragile yet peaceful at the same time, and the injuries are accepted as part of life. In the bronze sculptures, the artist has applied a patina which functions like a skin that shows the traces of transformation. The glaze of the ceramics emphasises the wound as the site of potential for recovery and change. Works such as Head and Figure, In Two Parts and Becoming a Figure testify to Schwindt’s recent interest in broken sculptures, antique or medieval, which can in turn be linked to her broader focus on care and touch. For her, the fracture is a witness to time and to the interaction between the sculpture and its environment. The care provided by the conservator consists in weighing different options: showing the fracture as it is, replacing the lost element or restoring the broken parts. It is important to consider how to deal with this fracture and what possibilities the created void offers. In addition, the broken or injured bodies confront us with our view of our own bodies and, in doing so, the artist questions the generally accepted ideals of health and beauty.
Based on her fascination with nature’s adaptability, Schwindt often depicts bodies in a state of transformation. Adaptation is a necessary survival strategy in an unpredictable and ever-changing world. The liquid watercolour shapes, the fine pencil lines, the pools of black ink and the multi-layered patina and glaze seem to change and flow into each other. The materials and techniques used refer to the delicate balance between strength and fragility, violence and tenderness.
The large-scale sculptures Resting Point and Remembered Position were produced at Kunstgiesserei St.Gallen during her residency in Switzerland. These sculptures refer to The Boxer, a 2018 performance based on the story of Schwindt’s Jewish grandfather, who had to flee Nazi Germany by posing as a German soldier and who, when he was eventually captured, organized secret boxing matches as a survival strategy. The injuries he sustained in the process were the result of his own choice and symbolised for him a form of freedom: the realisation that his body was still his own. The large sculptures appear calm and resilient in their particular state of being. Their power seems to lie in their invitation to imagine transition and movement.
Besides her recent solo exhibition Defiant Bodies at Kunstmuseum St.Gallen, Switzerland, the artist was invited by Kunsthal Gent for a residency and accompanying solo presentation in 2022 and she participated in the Busan Biennial in South Korea. Other solo exhibitions took place at the Centre for Contemporary Arts (Glasgow), Rozenstraat – a rose is a rose is a rose (Amsterdam), Rose Lejeune Gallery (London), Institute of Contemporary Interdisciplinary Arts (Bath), MARCO (Vigo), Tramway (Glasgow), The Showroom (London), Site Gallery (Sheffield), Badischer Kunstverein (Karlsruhe), Contemporary Art Gallery (Vancouver) and Eastside Projects (Birmingham).
Performances have been staged at Volksbühne (Berlin), The Roberts Institute of Art (London), Frascati Theatre (Amsterdam), Kaaitheater (Brussels), Royal Academy of Arts as part of the Block Universe Performance Festival (London), Museum M (Leuven) and South London Gallery (London). Her work has further been included in group exhibitions at Tate Britain (London), WIELS (Brussels), Imperial War Museum (London), Arko Art Center (Seoul), Garage (Rotterdam), Yorkshire Sculpture Park, and Weserburg Museum (Bremen) and is in the permanent collections of Kunstmuseum St.Gallen, Kunsthaus Zürich, Teylers Museum (Haarlem), Arts Council Collection, Southbank Centre (London) and Kiyosato Museum of Photographic Arts (Hokuto).
Grace Schwindt (b. 1979, Germany) works not only across different themes and stories but also across different media. While in her first exhibition at the gallery she presented a film and a sculptural installation with vases, she now focuses on her drawing and sculptural practice. All of her works are connected by topics such as the fragility of the body, the importance of objects in the construction of memory and history, and the influence of capitalism on society.
In 2015 Schwindt went on a research trip to the Shetland Islands, where she talked to a birdwatcher who monitored the local seabird population for oil contamination. The moment the birder picks up a bird or part of a bird that has washed ashore and checks it for oil stains became for her a symbol of fragility and caring. The act of touching and getting in touch with the wounded or ‘broken’ animal, purposely without gloves, is understood by Schwindt as an optimistic gesture. The man accepts the animal with its injury and without prejudice, and this can be seen as a metaphor for a society in which citizens long to get in touch with strangers without the fear of the unknown.
The animals and human figures on show in this exhibition are often in a state of transformation or mutation. Prostheses – functioning as tools – emphasize rather than hide the absence of a body part. Wounds are included and are not seen as something that needs to be overcome. The drawings speak of a desire to go on, even when injured. Moreover, Schwindt does not perceive fragility and strength as antagonistic nouns, but rather as closely connected notions which appear together quite often.
On a figurative level the body is not only fragile in a physical or anatomical perspective, but also in a political, social and personal way. According to Schwindt, in a capitalist society it is easy to forget that our bodies are vulnerable because they seem quite abstract and death does not seem to exist – until it actually happens.
Schwindt explores the potential of the fragment to become a new whole by restoring its power. The injured body part should be honoured and it can also be conceived as a pars pro toto metaphor. Some of the sculptures seem to document or even contain movement as a way to preserve moments.
The When She… series of anthropomorphic sculptures, which in a sense resemble excavated antiquities, are made of ceramic mixed with stone. Schwindt is increasingly interested in developing techniques herself and in looking into the intrinsic qualities of materials. The past of a material is of great importance to her; she connects the histories and connotations of two materials, such as steel and wax, by literally bringing them together.
The ceramic sculptures and glass perfume bottles refer to the ancient tradition of offering different objects as gifts to the dead. For Schwindt the idea of the hereafter is a consequence of a desire to preserve life. In that sense her sculptural forms could also be read as containers of life, rendering an abstract idea graspable.
In 2018 Grace Schwindt will have a solo exhibition at Rozenstraat in Amsterdam. Her performance Opera and Steel, which premiered at the Kaaitheater in Brussels last year, will be reprised in March as part of the Something Raw festival in Amsterdam.
Schwindt has had solo exhibitions at Rose Lejeune in London, the Institute of Contemporary Interdisciplinary Arts in Bath, MARCO in Vigo, Tramway in Glasgow, Argos in Brussels, Contemporary Calgary, Site Gallery in Sheffield, Contemporary Art Gallery in Vancouver, The Showroom in London, Badischer Kunstverein in Karlsruhe and Eastside Projects in Birmingham, among many others. Her work has also been on view at the Anren Biennale of 2017, the Istanbul Bienniale of 2015, WIELS in Brussels, Arko Art Center in Seoul, Royal Academy of Arts in London, Weserburg Museum in Bremen, Tate Britain in London, Museum M in Leuven, Arnolfini in Bristol, etc.
We are delighted to introduce a first solo show by Grace Schwindt (°1979, Germany) at the gallery. Her new film installation Only a Free Individual Can Create a Free Society has already been shown at several institutions, often in relation to her sculptural work, and is now on view in Belgium for the first time. Only a Free Individual Can Create a Free Society was commissioned by FLAMIN Productions through Film London Artists’ Moving Image Network, Eastside Projects, Birmingham; The Showroom, London; Badischer Kunstverein, Karlsruhe; Contemporary Art Gallery, Vancouver; Site Gallery, Sheffield; Tramway, Glasgow; ICIA, University of Bath; and Zeno X Gallery, Antwerp. Supported by Arts Council England, Hessian Film Fund and The Jerwood Charitable Foundation.
With the thought-provoking title Only a Free Individual Can Create a Free Society, Grace Schwindt reflects on freedom. As often seen in her work, she digs into her own family history to question words, ideas, events or ideologies. She grew up in the region of Frankfurt at a time when the events of the Frankfurter School, the Outer Parliament Opposition and the Baader Meinhof Gang were a subject for political discussions in her family. In an attempt to revisit this particular period, she conducted an interview with a left-wing activist, a taxi driver, who reviews the political landscape of the 1960s and 1970s. This eight-hour-long conversation is one of the many components that structure the eighty-minute-long film. Everything, from the text to the camera movements, the dancers, the choreography, the objects, the light, the costumes, the architectural setting and the sound is equally important and must be seen as a whole, like a melody with a strict rhythm. The artist directs all these elements with great care and precision. In an interview, Schwindt describes her film as ‘a choreography’ or ‘score’ in which she develops a non-linear structure in which every movement, colour, shape and word is given a precise place. Although she deconstructs all these components into their most elementary appearance while eschewing expressive or emotional gestures or intonations in voices, nothing remains neutral. She is concerned with fixed visions and the idea of objectivity which is translated into a multi-layered perspective - according to her, a rather rare occurrence in capitalist society. She questions our current model of society and the way in which the individual is forced to navigate through it, both physically and mentally. Social relations and human behaviour are influenced by the structure and organisation of systems, spaces and life as such. This has an impact on one’s perception on freedom. The awareness of the body and its fragility always plays an important role in this research. The focus, in this respect, not only lies on the body of the performers, but on that of the viewer as well. For the first time, she approaches her new film as a film installation that consists of a wall of silk ribbons, organised according to a certain colour rhythm, which the viewer has to pass so as to enter into the darkened space to watch the film. Upon leaving the black box, viewers experience the sensation of the ribbons against their skin, heightening the awareness of their own body. In evoking a costume in the film, the intervention generates a déjà-vu effect. In this way, the artist seeks to expand and literally materialize the film and the experience thereof. Her designs for costumes, décor settings, objects and the movements of the bodies possess a sculptural quality, an aspect which she further explores in her autonomous sculptures. These are often connected to her films and performances and generally reference the same domestic context. Grace Schwindt meticulously combines and defines contrasting materials and forms in order to create tactile and suggestive sculptural works. She works with ceramic, burned furniture, glass, resin and several kinds of fabrics, with a preference for silk.
Through her oeuvre, Grace Schwindt investigates the meaning and location of live-ness in performances, film and sculptures. Live-ness, here, affects both the actor and the observer. Walking around one of her sculptures or through a film installation animates and activates the work and amplifies the experience. She envisions a broader and more intertwined relation between performer, observer and object, like actors that take on different roles and positions.
We are very proud to announce that the work Only a Free Individual Can Create a Free Society has been selected for Art Basel Unlimited 2015. During the festival Performatik in Brussels, her new film will be screened at Kaaitheater; other works will be on view at Argos Centre for Art and Media. At Kaaitheater, on March 26, Austrian dancer and choreographer Philipp Gehmacher will talk with Grace Schwindt on the use of props versus objects.
Grace Schwindt followed the residence programme at WIELS in 2012, during which she presented her film Tenant and a sculpture in two different group exhibitions. In 2013, she was invited by Museum M to present a new performance, Clean Air, at the Playground festival. Her films have been presented in several institutions, including, among others, Whitechapel in London, Nomas Foundation in Rome, Tate Britain in London, and the Centre for Contemporary Arts in Glasgow. In 2012 she had solo projects at Void Gallery in Derry and Collective Gallery in Edinburgh. Earlier, she was invited for a solo project at ICA London.
Courtesy of MadBlue and Centro de Cultura Contemporánea Condeduque, MadridInstallation view Grace Schwindt
Courtesy of MadBlue and Centro de Cultura Contemporánea Condeduque, Madrid
Grace SchwindtBird with Drip2022patinated bronze (edition of 3 + 1 AP)20,5 x 6,5 x 11,5 cm
Grace SchwindtIn Two Parts2022glazed ceramic, patinated bronze(11,9 x 10,7 x 21,2 cm) + (7,9 x 8,5 x 9 cm)
Grace SchwindtArch2022patinated bronze (edition of 3 + 1 AP)33,5 x 18,5 x 9,5 cm
Grace SchwindtHeliconia2020watercolour and Indian ink on paper61 x 46 cm
Grace SchwindtNefertiti2020watercolour and Indian ink on paper61 x 46 cm
Grace SchwindtDeppea Splendens2023watercolour, ink and pencil on paper61 x 45,6 cm
Grace SchwindtCattleya Labiata2023watercolour, ink and pencil on paper61 x 45,6 cm
Grace SchwindtBrugmansia Versicolor2023watercolour, ink and pencil on paper61 x 45,6 cm
Grace SchwindtBecoming a Figure2022patinated bronze (edition of 3 + 1 AP)22,5 x 11,5 x 6 cm
Grace SchwindtSpine2022glazed ceramic33,8 x 12,5 x 10 cm
Grace SchwindtHead and Figure2022glazed ceramic23,4 x 12,2 x 14,7 cm
Grace SchwindtButterfly2022SGS2022_003 (edition of 3 + 1 AP)36 x 53 x 44 cm
Grace SchwindtUpright2021patinated bronze (edition of 3 + 1 AP)26 x 5 x 14,5 cm
Grace SchwindtNefertiti and Drips2020watercolour and pencil on paper61 x 46 cm
Grace SchwindtLight2022watercolour, ink and pencil on paper61 x 46 cm
Grace SchwindtAegopodium Podagraria2023watercolour and pencil on paper61 x 45,6 cm
Grace SchwindtJasminum Scandens2023watercolour and pencil on paper61 x 45,6 cm
Grace SchwindtOrchid2020watercolour, Indian ink and pencil on paper61 x 46 cm
Grace SchwindtFritillaria Imperialis2020watercolour and pencil on paper 61 x 46 cm
Grace SchwindtRemembered Position2022patinated bronze, natural rope and steel (edition of 3 + 1 AP)variable dimensions
Grace SchwindtResting Point2022patinated bronze, natural rope, steel (edition of 3)variable dimensions
Grace SchwindtEchinacea2023watercolour, ink and pencil on paper61 x 45,6 cm
Grace SchwindtAngel II202361 x 45,6 cm
Grace SchwindtPassing2022watercolour, ink and pencil on paper61 x 46 cm
Grace SchwindtInside Out2022patinated bronze, steel (edition of 3)3 x (147 x 51 x 19 cm)
Grace SchwindtRight Shoulder Blade2021watercolour and pencil on paper32,5 x 25 cm
Grace SchwindtLeaf and Figure2021watercolour and pencil on paper32,5 x 25 cm
Grace SchwindtDancing Leaf2021watercolour and pencil on paper32,5 x 25 cm
Grace SchwindtLeaf with a Red Spine2021watercolour and pencil on paper32,5 x 25 cm
Grace SchwindtLeft Shoulder Blade2021watercolour and pencil on paper32,5 x 25 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp
Photo: Jens GerberCourtesy of Hessische KulturstiftungInstallation view Grace Schwindt
Martin MargielaBodypart b&w2018 - 2020oil pastel on projection screen123 x 222 x 8 cm
N. DashUntitled2022earth, acrylic, canvas, fabric, silkscreen ink, jute151,13 x 78,74 cm59,5 x 31 in
Pietro RoccasalvaStudy for Giocondità2022oil on canvas48 x 64 cm
Kim JonesUntitled2001 - 2007acrylic and ink on photograph45,7 x 30,5 cm
Jenny ScobelAmanda (II)2011pencil, watercolour and wax on gessoed wood81,3 x 61 cm
Pélagie GbaguidiCare2020dry pastel and wool on paper21 x 29 cm
Pélagie GbaguidiCare2020dry pastel on paper29 x 21 cm
Mircea SuciuStudy for "Empathy for Destruction"2022oil, acrylic, liquin, charcoal and varnish on linen70 x 50 cm
Marina RheingantzSexy X2022oil on canvas130 x 110 cm
Jockum NordströmCat Dog Cat2016collage, watercolour and graphite on paper40 x 50 cm
Hyun-Sook Song9 Brushstrokes2017tempera on canvas130 x 70 cm
Jan De MaesschalckImpersonation (based on a photo by Johan Jacobs)2022oil on canvas65,2 x 55,2 cm
Yun-Fei JiThe Dead Are also Moving2007mineral pigments and ink on rice paper89,5 x 97 cm
Kees GoudzwaardOn Display2022oil on canvas70 x 60 cm
Susan HartnettOct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Jack WhittenSilver Centerfold2015acrylic on panel3 x (30,5 x 30,5 cm)
Philip Metten2203222022oil and thread on canvas23,1 x 23,2 cm
Paulo MonteiroUntitled2016oil on bronze (edition of 3 + 1 AP)56 x 2 x 4 cm
Paulo MonteiroUntitled2018oil on bronze (edition of 3)16,6 x 10,5 x 4,8 cm
Paulo MonteiroUntitled2016bronze (edition of 2 + 1 AP)18,5 x 62 x 22,5 cm
Naoto KawaharaNaked Girl2022oil on canvas72,8 x 53,4 cm
Bart StolleUntitled (Heat upon Heat)2022acrylic on canvas40 x 40 cm
Photo: Sebastian StadlerCourtesy the artist and Zeno X Gallery, AntwerpInstallation view
Photo: Sang-tae KimCourtesy of Busan Biennale Organizing CommitteeInstallation view Mounira Al Solh
Photo: Sang-tae KimCourtesy of Busan Biennale Organizing CommitteeInstallation view Grace Schwindt
Photo: PH. GJ. Van RooijInstallation view
Grace SchwindtSword2018ceramic, glaze65 x 18 x 2,8 cm (unique)
Grace SchwindtDefiance2018watercolour and Indian ink on paper50 x 40 cm
Grace SchwindtPointe2018bronze (edition of 3 + 1 AP)15 x 30 x 36 cm
Grace SchwindtBird with Stretched Neck2018bronze, ceramic, copper carbonate (edition of 3 + 1 AP)23 x 28 x 49 cm
Grace SchwindtPosition2018bronze (edition of 3 + 1 AP)17 x 15 x 31 cm
Grace SchwindtWoman and Table2018watercolour and Indian ink on paper45,9 x 55,9 cm
Grace SchwindtBallet Shoe2018ballet shoe, resin, ink5,9 x 49,9 x 7,7 cm (unique)
Grace SchwindtWhen She Listens, Dances, Looks, Loves, Sings, Walks, Stands, Prays, Travels, Rests, Works, Laughs, Fights, Thinks, Plays, Speaks, Dreams2017ceramic, copper glaze (17 pieces)variable dimensions
Grace SchwindtCrow2018watercolour and Indian ink on paper40 x 50 cm
Grace SchwindtSignaling2018watercolour and Indian ink on paper50 x 40 cm
Grace SchwindtDancer on Stage2018watercolour and Indian ink on paper50 x 40 cm
Grace SchwindtKneeling Figure2017steel, fabric70 x 40 x 30 cm
Grace SchwindtHealed Shapes2017burned wood, resin, ink5 pieces with variable dimensions
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpInstallation view
Anton CorbijnJohnny Halliday, London1994inkjet print on Hahnemühle 285 grs. fine art pearl photo paper, mounted on dibond (edition of 5 + 2 AP)
Anton CorbijnKurt Cobain, Seattle1993inkjet print on Hahnemühle 285 grs. fine art pearl photo paper mounted on dibond (edition of 5 + 2 AP)
John KörmelingDrollie's Kamer (Drollie's Room)2015pencil on coloured paper21 x 29,7 cm
John KörmelingDe Wereld in Rechte Lijnen2016pencil on paper21 x 30 cm
John KörmelingDe Kloppende Kalender2017pencil on paper29 x 41,5 cm
Raoul De KeyserUntitled1999watercolour on paper16 x 11 cm
Anne-Mie Van KerckhovenModerne Anesthesie (Modern Anesthesia)2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenIl l'avait connu à port Said (He Had Known Him in Port Said)2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenUne italienne nommée Carmen (An Italian Woman Named Carmen)2015-2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenI Tried to Drown My Sorrows2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper32 x 24 cm
Anne-Mie Van KerckhovenSome Style Is Legendary2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 22,8 cm
Mircea SuciuStudy for Noumena (2)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (4)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (3)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (1)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Johannes KahrsUntitled (nude with shadow)2017charcoal and pastel on paper143,5 x 109,2 cm
Yun-Fei JiParty Secretary's Dream2015ink and watercolour on Xuan paper mounted on silk38,6 x 104,4 cm
Yun-Fei JiThe Meeting2015ink and watercolour on Xuan paper mounted on silk80,4 x 62,8 cm
Cristof YvoréUntitled2008collage, pencil and graphite on digital print27 x 39 cm
Cristof YvoréUntitled2013ballpoint pen and soft pastel on paper21,9 x 29,7 cm
Cristof YvoréUntitled2011gouache on paper14 x 11,5 cm
Jan De MaesschalckDeparture at the crack of day2016acrylic on paper68,5 x 52 cm
Jan De MaesschalckDomesticated #82015acrylic on newspaper30 x 44,4 cm
Jan De MaesschalckDomesticated #212015acrylic on newspaper30 x 22,2 cm
Anton CorbijnNick Cave (piano), London1997inkjet print on Hahnemühle 285 grs. fine art pearl photo paper, mounted on dibond (edition of 5 + 2 AP)125 x 125 cm
Bart StolleLFMS0502152015ink and pencil on paper21 x 13,2 cm
Bart StolleLFMS1508152015ink and pencil on paper13,2 x 21 cm
Bart StolleLFMS0608152015ink and pencil on paper13,2 x 21 cm
Bart StolleUntitledDBS2015_091pencil and ink on pape
Grace SchwindtThree Steel Sculptures and Salt in Corridor from Above2015pencil, acrylic on paper42 x 27,5 cm
Grace SchwindtDancer in Colour Dress2016pencil, acrylic on paper42 x 29,7 cm
Grace SchwindtFamily House2014pencil, acrylic on paper40,5 x 29,3 cm
Grace SchwindtDancer Pausing on Shape2016pencil, acrylic on paper29,7 x 42 cm
Grace SchwindtBlade2014pencil, acrylic on paper34,9 x 27,7 cm
Grace SchwindtRed Rectangle2014pencil, acrylic on paper34,2 x 27,7 cm
Jan De MaesschalckUntitled2009oil on wood74,6 x 59 cm
Jan De MaesschalckSave Them that Bear Witness to the Love for Him2015acrylic on paper58,5 x 42 cm
Bart StolleFake Preparatory Study2013acrylic on canvas60 x 90,3 cm
Bart StolleReality As It Is2015oil on canvas18 x 24 cm
Bart StolleEnviron CTR2015acrylic and wood on panel122 x 60 cm
Johannes KahrsFigure in a green room2015oil on canvas92,5 x 115,5 cm
Jan De MaesschalckLa Canicule2016acrylic on paper40,8 x 55 cm
Bart StolleUntitled2016acrylic on canvas60 x 90 cm
Johannes KahrsUntitled (portrait of a man with red hair)2016oil on canvas90,5 x 95,2 cm
Grace SchwindtLast Round of Magic2017wood, charcoal and porcelain29,3 x 64,7 x 11 cm
Bart StolleImperial Image #62016acrylic on canvas34,2 x 135 cm
Grace SchwindtTurn2017steel, wax, cheesecloth, screenprint ink155 x 65 x 61 cm
Jan De MaesschalckUntitled2016oil on wood36,8 x 40 cm
Jan De MaesschalckUntitled (the drift)2017acrylic on paper72,8 x 90,8 cm
Grace SchwindtFalcon Hoods2017porcelain, copper glaze, painted wood, wax124 x 120 x 50 cm
Photo: Sang Tae KimInstallation view
Photo: MARCO Vigo/Enrique TouriñoCourtesy the artist and Zeno X Gallery, AntwerpInstallation view
Grace SchwindtYour Ceramics2015resin, cermaic, wood, steel, concrete and silkvariable dimensions
Grace SchwindtThe Tiffany Vase 12014burned wood and porcelain138 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 22014glass, chalk and porcelain143 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 32014burned wood and porcelain137 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 52014burned wood and porcelain143 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 82014burned wood and porcelain135 x 26 x 26 cm
Grace SchwindtThe Tiffany Vase 92014paper, wood and porcelain140 x 26 x 26 cm
Grace SchwindtBird 22014aluminium29 x 48 x 16 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Photo: Felix GrünschlossCourtesy the artist and Zeno X Gallery, AntwerpInstallation view
Photo: Stuart WhippsCourtesy of the artist and Eastside Projects, BirminghamInstallation view
Arts Council Collection, Southbank Centre, London, United Kingdom Kunstmuseum St.Gallen, Sankt Gallen, Switzerland Kunsthaus Zürich, Zürich, Switzerland Kiyosato Museum of Photographic Arts, Hokuto, Japan Teylers Museum, Haarlem, The Netherlands
“Grace Schwindt Finds Strength in Fragility at Zeno X Gallery” Ocula, article by Annabel Downes (online) April 2023
“Aufstand der Liegenden Körper: Charlotte Mauer über Grace Schwindt im Kunstmuseum St.Gallen” Texte Zur Kunst, no.32, Heft 128, article by Charlotte Mauer (p. 205-209) December 2022
“Widerspenstige Vogelmenschen: Im Kunstmuseum St.Gallen sind poetische Skulpturen zu sehen – stark und verletzlich zugleich” www.tagblatt.ch, article by Christina Genova (online) October 2022
“A Guide to Arts and Culture this September: ‘Grace Schwindt: Defiant Bodies'” ArtReview, article by Liang Khong (online) September 2022
“Grace Schwindt Turns Illness Into a Weapon” www.frieze.com, article by Hussein Mitha (online) September 2019
“Keine Handschuhe, ungeschützt / No Gloves, Unprotected; Grace Schwindt” FLACC 17.1 – Workplace for Visual Artists, article by Hans Rudolf Reust (p.14-25) 2019
“Grace Schwindt – CCA Glasgow, UK” Frieze, no. 207, article by Hussein Mitha (p.165) November/December 2019
“Maybe it’s sadistic; perhaps we’re all a little sadistic when it comes down to it; Grace Schwindt” Elephant, issue 34, article by Alice Bucknell (p.36-39) February 2018
MARCO FundaciónVigo, Spain, 2016266 pages, ISBN 9788494352911