Marlene DumasDark2021oil on canvas50 x 60 cm
Marlene DumasCharles Baudelaire2020oil on canvas40 x 30 cm
Marlene DumasHelena and Eden2020oil on canvas60 x 50 cm
Marlene DumasShèrkènt and Eden2020oil on canvas60 x 50 cm
Marlene DumasBaby Eden2020oil on canvas40 x 30 cm
Marlene DumasJeanne Duval2020oil on canvas40 x 50 cm
Marlene DumasTime and Chimera2020oil on canvas300 x 100 cm
Marlene DumasThe Making of2020oil on canvas300 x 100 cm
Marlene DumasThe Origin of Painting (The Double Room)2018oil on canvas300 x 100 cm
Marlene DumasNefertiti2020oil on canvas130 x 110 cm
Marlene DumasLady of Uruk2020oil on canvas130 x 110 cm
Marlene DumasDe Acteur (Portrait of Romana Vrede)2019oil on canvas130 x 110 cm
Marlene DumasThe Performer (Portrait of Romana Vrede)2019oil on canvas200 x 100 cm
Marlene DumasRat2020oil on canvas30 x 40 cm
Marlene DumasLandscape2020oil on canvas40 x 50 cm
Marlene DumasLe Désespoir de la Vieille (The Old Woman's Despair)2020oil on canvas190 x 130 cm
Marlene DumasHafid Bouazza2020oil on canvas50 x 40 cm
Marlene DumasBottle2020oil on canvas50 x 40 cm
Marlene DumasEden2020oil on canvas40 x 30 cm
Marlene DumasNuclear Family2013oil on canvas200 x 180 cm
Marlene DumasThe Trophy2013oil on canvas200 x 180 cm
Marlene DumasThe Artist and His Model2013oil on canvas200 x 100 cm
Marlene DumasMissing Picasso2013oil on canvas175 x 87 cm
Marlene DumasDouble2013oil on canvas200 x 100 cm
Marlene DumasStellina2012oil on canvas175 x 87 cm
Marlene DumasChild Waving2010oil on canvas200,3 x 100 cm
Marlene DumasWall Wailing2009oil on canvas180 x 300 cm
Marlene DumasDora Maar (the Woman Who Saw Picasso Cry)2008oil on canvas80 x 60,3 cm
Marlene DumasSelfportrait at Noon2008oil on canvas90 x 100 cm
Marlene DumasSad Romy2008oil on canvas100 x 90 cm
Marlene DumasMagnetic Fields (for Margaux Hemingway)2008oil on canvas30 x 40 cm
Marlene DumasGrief2008oil on canvas130 x 110 cm
Marlene DumasGlass Tears (for Man Ray)2008oil on canvas40 x 50 cm
Marlene DumasFor Whom the Bell Tolls2008oil on canvas100 x 90 cm
Marlene DumasIn-Finitum2008oil on canvas40 x 50 cm
Marlene DumasHelena's Dream2008oil on canvas130 x 110 cm
Marlene DumasIO2008oil on canvas100 x 90 cm
Marlene DumasMoshekwa2006oil on canvas130 x 110 cm
Marlene DumasThe Neighbour2005oil on canvas100 x 90 cm
Marlene DumasThe Kiss2003oil on canvas40 x 50 cm
Marlene DumasSleeping Nymph2003acrylic and ink on paper62 x 85 cm
Marlene DumasMeasuring Your Own Grave2003oil on canvas140 x 140 cm
Marlene DumasBlindfolded2002oil on canvas130 x 110 cm
Marlene DumasImaginary I2002oil on canvas125 x 70 cm
Marlene DumasThe Red Room2002oil on canvas200 x 100 cm
Marlene DumasHelena 2001 nr. 22001oil on canvas200 x 100 cm
Marlene DumasHelena 2001 nr. 32002oil on canvas200 x 100 cm
Marlene DumasSilk Stockings2000oil on canvas70 x 90 cm
Marlene DumasSatin Gloves2000oil on canvas40 x 50 cm
Marlene DumasD-rection1999oil on canvas100 x 56 cm
Marlene DumasThe Visitor1995oil on canvas180 x 300 cm
Marlene DumasNaomi1995oil on canvas150 x 110 cm
Marlene DumasMagdalena (Out of Eggs, Out of Business)1995oil on canvas280 x 100 cm
Marlene DumasMagdalena (Venus)1995oil on canvas200 x 100 cm
Marlene DumasThe Painter1994oil on canvas200 x 100 cm
Marlene DumasSacrifice1993oil on canvas90 x 70 cm
Marlene DumasPornoblues19936 watercolours on pape
Marlene DumasJustice1992oil on canvas25 x 20 cm
Marlene DumasGive the People What They Want1992oil on canvas40 x 30 cm
Marlene DumasHierarchy1992oil on canvas40 x 55 cm
Marlene DumasLosing (Her Meaning)1988oil on canvas50 x 70 cm
Marlene DumasHet Kwaad Is Banaal (Evil Is Banal)1984oil on canvas125 x 105 cm
Palazzo Grassi, Venice, Italy
October 20, 2021 – January 2, 2022
CHARLES BAUDELAIRE - LE SPLEEN DE PARIS
ILLUSTRATED BY MARLENE DUMAS
Translations by Hafid Bouazza
Published by Querido, 2022
LE SPLEEN DE PARIS
Musée d’Orsay, Paris, France
October 11, 2021 – January 30, 2022
MOONRISE. MARLENE DUMAS & EDVARD MUNCH
Munch Museum, Oslo, Norway
September 29 - January 13, 2019
Albertinum, Dresden, Germany
October 19, 2017 - January 14, 2018
Marlene Dumas, b. 1953 in Cape Town (ZA), lives and works in Amsterdam (NL).
Known for her unique approach to canvas and for her thought-provoking subject matter, Marlene Dumas is widely considered one of today’s most important painters. Her work is characterized by a sensual and gestural technique that is swift, dry and minimal, as if under pressure to leave only what is necessary. Although she lives and works in the Netherlands, the artist was born and raised in South Africa, and her paintings have often drawn on her own experience of living under apartheid. For more than thirty years, Dumas has merged political discourse, personal experience and art-historical references in a richly layered body of work. Her paintings integrate complex themes – ranging from segregation, eroticism and, more generally, the politics of love and war – to explore how image-making is implicitly involved not only in the cultural processes of objectification, but also in the way in which events are documented and collectively understood.
Marlene Dumas has had solo exhibitions at Palazzo Grassi (Venice), Fondation Beyeler (Basel), MoMA (New York), Stedelijk Museum (Amsterdam), The Menil Collection (Houston), Haus der Kunst (Munich), The Art Institute of Chicago, Centre Pompidou (Paris), ICA Boston, Museum of Contemporary Art (Tokyo), MOCA (Los Angeles) and Tate Modern (London).
Marlene Dumas participated in documenta in 1982 and 1992. In 1995 she represented the Netherlands at the Venice Biennale. Her work has featured in group shows at MCA Chicago, Van Abbemuseum (Eindhoven), MASP (São Paulo), Fondazione Prada (Milan), MUNCH (Oslo), Kunsthaus Graz, National Portrait Gallery (London), WIELS (Brussels) and SFMOMA (San Francisco).
Marlene Dumas joined the gallery in 1993.
Zeno X Gallery is celebrating its 40th anniversary with a series of exhibitions that shed light on the different decades of the gallery. From April 2 onwards, '40 YEARS Zeno X Gallery: the nineties' presents the seven artists who joined the gallery in the 1990s: Luc Tuymans (1990), Marlene Dumas (1993), Mark Manders (1994), Cristof Yvoré (1994), Anton Corbijn (1996), Dirk Braeckman (1999) and Johannes Kahrs (1999). The show brings historical works into dialogue with recent pieces created specially for this exhibition.
Zeno X Gallery is pleased to present the new exhibition by Marlene Dumas. Double Takes marks the 25th anniversary of the artist’s collaboration with the gallery and is her fifth solo exhibition at Zeno X Gallery.
double take (noun):
a delayed reaction to a surprising or significant situation after initial failure to notice anything unusual – usually used in the phrase ‘do a double take’
an act of quickly looking at something that is surprising or unusual a second time after looking at it a moment earlier
For more than thirty years already, Marlene Dumas has used her paintings and drawings to touch upon existential subjects that often refer to art-historical motifs and topical political subjects. She has been inspired by images found in magazines and newspapers as well as by personal photographs which she has taken of her loved ones. Through her work she tries to explore the social, psychological and emotional aspects of images.
The title Double Takes refers not only to the relevance of taking a second look at something, but also to the importance of ambivalence and of mutual influence. In addition, Double Takes suggests that the exhibition can be divided up into two themes. Some of the works were inspired by – and are also in the spirit of – Charles Baudelaire’s Le Spleen de Paris. Other works consist mainly of portraits of people from the artist’s immediate surroundings as well as of portraits of ‘icons’.
Some time ago Marlene Dumas was asked by the writer Hafid Bouazza to illustrate his Dutch translation of Charles Baudelaire’s Le Spleen de Paris. A few years earlier she had created pictures for his translation of Shakespeare’s Venus and Adonis, pictures which David Zwirner exhibited in New York in 2018 in the exhibition Myths & Mortals. While Shakespeare’s poem foregrounds eroticism, melancholy and the passing of time are central in the works now on display in the gallery.
Baudelaire’s most famous collection of poems, Les Fleurs du Mal, was immediately censored upon publication on account of its contents, which were considered immoral and scandalous. Le Spleen de Paris, which the poet worked on for ten years, appeared posthumously. It is closely related thematically to his previous publication: mortality, the hustle and bustle of city life, crowds, and the pleasures of the flesh are all dealt with in a morbid but humorous style.
Some of the paintings in the exhibition freely depict the characters and objects from these fifty prose poems, such as Le Désespoir de la Vieille and Le Joujou du Pauvre. The painting Bottle attempts to represent the contradictions so inherent to Baudelaire’s worldview:
In this reduced world, so full of disgust, just one familiar object consoles me: the phial of laudanum, old and frightful mistress - and like all lovers, alas, abundant with caresses and betrayals. (‘The Double Room’, translation Martin Sorrell)
Other paintings, such as The Making Of, Time and Chimera and The Origin of Painting, rather represent imaginary figures or abstract moods even, states of mind inspired by the stories. Chance played an important role in these large works: Dumas placed the canvases on the floor and let the paint interact with the surface in an unpremeditated manner. On account of their genesis, and in formal terms too, the works follow naturally from her ink drawings.
For its part, Jeanne Duval is a portrait of Charles Baudelaire’s Haitian lover and muse, to whom he devoted several poems in this series and who was famous for her luxuriant hairdos.
The other group of works consists mainly of portraits of people from the artist’s immediate surroundings as well as portraits of ‘icons’. For instance, Dumas painted the famous Nefertiti Bust, on display at the Neues Museum in Berlin. What is special about this bust are the colourful pigments on the porous limestone and the missing inlay in the left eye. Lady of Uruk depicts the ‘Mask of Warka’, which dates from 3100 BC and is believed to be one of the oldest representations of the human face. The marble face is in the National Museum of Iraq and probably represents a goddess.
Portraits such as Helena and Eden and Shèrkènt and Eden bear witness to the intimate bond between the artist and the portrayed: they are her daughter, son-in-law and grandson.
The painting reproduced on the invitation, De acteur, is a portrait of the Dutch actor Romana Vrede. In 2017 she won the ‘Theo d’Or’ acting award, whose winners receive a portrait by an artist of their choice. Vrede thus contacted Dumas, who ultimately made not one, but five portraits of the actor. Two of these paintings are included in this exhibition. They show Vrede’s versatility: The Performer shows the actor on stage, while De acteur emphasizes the androgynous expressivity of her face.
Lastly, the exhibition also includes works that connect both categories more explicitly. For instance, Hafid Bouazza is related to Baudelaire, but it is also a painting of a good friend. Likewise, the rat that features in Baudelaire’s poems can also serve as a symbol of the current pandemic. All paintings are related to different individuals: the writer, the actress, but also the gallerist. Dumas connects all the works in one way or another – to see how, you might need to do a double take.
Marlene Dumas (b. 1953 in Cape Town, lives and works in Amsterdam) has had solo exhibitions at Fondation Beyeler in Basel, Tate Modern in London, Stedelijk Museum in Amsterdam, Haus der Kunst in Munich, The Menil Collection in Houston, MoMA in New York, MOCA in Los Angeles, MOT in Tokyo, the Art Institute of Chicago, Centre Pompidou in Paris, MMK in Frankfurt, among others.
The catalogue published on the occasion of this exhibition presents an overview of all the works that have been shown during the 25 years of the artist’s collaboration with Zeno X Gallery. Since 1993 Dumas has presented five solo exhibitions in the gallery, respectively titled Give the People What They Want, Time and Again, For Whom the Bell Tolls, Twice (a duo exhibition with Luc Tuymans) and Double Takes. The catalogue also includes texts by the artist to accompany her exhibitions as well as newspaper articles and archival photographs.
curator: Leontine Coelewij
chief curator: Kasper König
We are very proud to announce our upcoming exhibition of works by Marlene Dumas and Luc Tuymans. This is the third exhibition in our new gallery space, which was renovated by the Belgian architects Coussée & Goris.
Since 1993 works by Marlene Dumas (°1953, Cape Town) and Luc Tuymans (°1958, Mortsel) have often been included in the same group exhibitions but they have never had a major presentation together. Now, for the first time ever, these two artists will be showing a complete body of work alongside each other in ‘TWICE’.
Both artists have always paid special attention to the titles of their exhibitions. Currently work from 1978 until 2011 by Luc Tuymans is on view in a solo exhibition, ‘NICE. Luc Tuymans’, at the Menil Collection in Houston. Consequently ‘TWICE AS NICE’ seemed like a logical possible title for this joint exhibition. After a brief discussion the artists agreed to the title ‘TWICE’. Although they are exhibiting their work together, there is no general theme that connects their works. Dumas and Tuymans decided in advance to create no more than six works each in order to keep it compact. When you look at these two solo exhibitions together certain similarities and differences become even more apparent, which, in turn, stimulates the dialogue about painting.
Dumas and Tuymans each have a very different approach. Marlene Dumas does not have a pre-established plan when she starts to work on a new series. Her main focus gradually begins to take shape while she paints. Her approach tends to be organic, leaving space and time for coincidences and her creative process is very different from Tuymans’s. He clearly defines the concept for his exhibition, explores the theme and decides in advance what the paintings should look like. The actual painting process is concentrated, fast, structured and most of the work is done in one day.
Both artists have an ambiguous relation to the photographic, cinematographic or painted image and its meaning. According to Marlene Dumas:
The Artwork as Misunderstanding There is a crisis with regard to representation.They are looking for meaning as if it was a thing.As if it was a girl required to take her panty off.As if she would want to do so, as soon as the true interpreter comes along.As if there was something to take off.
Dumas also often refers to the notion of “couples” in art or pokes fun at male/female oppositional thinking:
I have painted more women than menI paint women for menI paint women for womenI paint the women of my men
Luc Tuymans always mistrusts images because they can be easily manipulated or taken out of context. The image is just a perception, an interpretation of the reality. Tuymans explains: ‘The small gap between the explanation of a picture and the picture itself provides the only possible perspective on painting. My comments refer only to its ambiguity’.
The idea for Tuymans’s new group of works originated in a small painting he made in 1987 of a cook. This work remained unfinished and ended up in his archives. For ‘TWICE’ he reused this old image but chose to create a large-scale painting. In ‘Cook’ we see a man stirring a liquid mass in a large pot. The man’s face is blurry either due to the steam emanating from the pot or because of a light that shines behind him. A chiaroscuro divides the painting in a dark and light mass. The background is darker and more difficult to define. The colours Tuymans uses are warm and vibrant, contrasting with Dumas’s cold and bright palette. Tuymans further explored the theme of the cook in ‘In the Kitchen’, ‘Good advice’ and ‘Containers’.
All these works are close-ups of a large photo he took in the kitchen of a famous old restaurant in Warsaw. It is a very masculine subject, with chefs often being portrayed as machos. The cook is a dominant figure who controls all the operations in the kitchen and who attaches great importance to a hierarchic structure. This ensemble elicits reflections on the representation of politics, monopoly and power.
‘Containers’ is the only work that has a more feminine feel to it. A group of cans and bottles have been arranged together as a still-life. But questions arise about their content. Do they belong in the kitchen? Or are they cosmetics for the bathroom?
‘Dad’s Heat’ features an old heater that Tuymans received from his father. The contrast between the cool background colours and the vibrant red tones give the impression of radiant warmth emanating from the appliance.
One work, ‘My Door I-VI’, is more autonomous. It is a series of six watercolours in which a dark background is lit up by a bright, white stain. This painting is based on several snapshots he took at home of a ray of sun falling onto a door. The painting’s subtle balance between figuration and abstraction creates an ambiguous impression of a mysterious cave.
Both Luc Tuymans and Marlene Dumas have created works with references to political and historical events. While Tuymans focused on the Belgian involvement in the assassination of Congo’s first president, Patrice Lumumba, in his previous series ‘Mwana Kitoko: Beautiful White Man’ (2000) Dumas is more interested in the apparent grief of Lumumba’s wife Pauline in a news image from 1961. In 1982 Dumas used this image in a collage called “3 vroue en ek’. In a new work, ‘The Widow’, she uses the same image again but now the woman even appears twice. Although the same scene is repeated in the diptych the mood is different. In the larger work, we zoom in closer to focus on the figure of Pauline Lumumba and the two men dressed in white on either side of her. She is bare-breasted as a sign of protest and mourning and provocative and vulnerable at the same time. In the small painting we zoom out to see the wider context. Now the relationship with the crowd and the military surroundings demand our attention. In ‘The Trophy’ Dumas also revisits an existing piece. It is another version of her work ‘The Woman of Algiers’ from 2001. The painting is based on a photo of a young naked girl held captive by two soldiers during the Algerian War of Independence in 1960. Dumas fell upon this image, which was published 40 years later in ‘L’ Express’ with censorship bars across her breasts and pubic area. In ‘Nuclear Family’ a family poses naked. Only the children are wearing underpants. It is the first time that Dumas paints a family, a harmonious group portrayed against the backdrop of a landscape that is steeped in unnatural light.
In the ‘The Artist and his Model’ Dumas again plays with the notion of twice, the second, the double and in this sense also with the title of this exhibition. She reflects on her position as an artist and the relation between the artist and the model. Here Luc Tuymans appears as her model. In the background we see a spectre of his model, the former Queen of the Netherlands, whom Tuymans painted. The work is in the collection of the Stedelijk Museum in Amsterdam and was officially presented to the public during the re-opening of the Stedelijk Museum in 2012. In ‘Double’ we see her daughter, who has often been featured as a model in her body of work, now as a young woman, with her reflection, look-alike or double. The only painting to feature only one figure is ‘Missing Picasso’. But then again the title refers to a second presence, the master of ‘the female nude’.
Currently several of Marlene Dumas’s works are on show in the group exhibition ‘Prima Materia’ at Punta Della Dogana in Venice. In September 2014 the Stedelijk Museum in Amsterdam will host a retrospective of Marlene Dumas’s work. This major exhibition will travel to Tate Modern in London and the Beyeler Foundation in Basel.
Doha, the capital of Qatar, commissioned a gigantic mosaic by Luc Tuymans. The inauguration is scheduled for the end of 2015. A solo exhibition of Tuymans’s work will simultaneously be held at the Museum of Doha. Earlier Tuymans donated a mosaic of 1600 sq.m. for the square in front of the MAS museum in Antwerp. ‘Dead Skull’ is based on a memorial tablet for Quentin Massys (1466-1529), an important painter who founded the painters’ guild, which can be found on the wall next to the entrance of the Cathedral of Antwerp. Tuymans used this image before in a painting dating from 2002. This mosaic is Tuymans’s first public work to be permanently on display.
curator Connie Butler
Anh TrầnSearching the Sky for Dreams (And the night was dark and it illuminated the night)2023acrylic, oil and Flashe (vinyl paint) on linen244 x 366 cm
Marlene DumasPortrait of Jack Whitten2023oil on canvas60 x 50 cm
Miriam CahnSoldat1997oil on canvas30 x 22 cm
Miriam CahnRoh1998oil on canvas100 x 95 cm
Miriam CahnLanghaariger1998oil on canvas80 x 46 cm
Moshekwa LangaEmergence2022 - 2023coffee grounds, alabastine, acrylic paint, pigment, paint lacquer, ink, soil and collage on paper155 x 160 cm
Moshekwa LangaNtotoke2020 - 2023Indian ink, acrylic paint, iridescent pigment, pigment and ink on paper162 x 122 cm
Moshekwa LangaNandemone2020 - 2023Indian ink, acrylic paint, iridescent pigment, pigment and ink on paper162 x 122 cm
Jack WhittenSoul Map2015acrylic on canvas114,3 x 488,7 cm
Leah Ke Yi ZhengFusée (sanity)2023acrylic, ink, bleach on silk over mahogany stretcher213 x 160 cm
Leah Ke Yi ZhengUntitled (fusée)2023pigments and acrylic on silk over mahogany stretcher29,8 x 25,4 cm
Leah Ke Yi ZhengUntitled (Helmut Kolle)2023pencil and ink on silk over mahogany stretcher22,9 x 17,8 cm
Leah Ke Yi ZhengNo.162023oil on silk over mahogany stretcher98,4 x 73,7 cm
Mary HeilmannThe Glass Bottomed Boat1995oil on canvas152,5 x 120 cm
Mary HeilmannJohngiorno1995oil on canvas196 x 146 cm
Rosalind NashashibiHeavy Moth2022oil on linen120 x 150,5 cm
Rosalind NashashibiPunch in Love (She’s Getting Stronger)2023oil on linen110 x 85 cm
Dan ZhuTake off and run2022 - 2023acrylic on paper287 x 456 cm
Dan ZhuMountains2023pigment and watercolor on birch panel50 x 40 cm
Dan ZhuEars speak2023watercolour on paper70 x 99 cm
Sanya KantarovskyFather2023oil on linen40,6 x 30,5 cm
Mounira Al SolhMusic Cover of an Inexistent Song2023collage, pen, ink, soft pastels and oil on canvas24 x 18 cm
Mounira Al SolhMusic Cover of an Inexistent Song2023collage, pen, ink, soft pastels and oil on canvas23,8 x 18 cm
Strauss Bourque-LaFranceAfter the Witches of Spa2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas203,2 x 193 cm
Strauss Bourque-LaFranceServing in the Swell2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas203,2 x 193 cm
Mounira Al SolhShe Woke up the Radio2022oil on canvas86 x 68 cm
Mounira Al SolhPassion Teapots and the Birth of Al Hamza, On Fire2023oil, charcoal, pencil, pigment and turmeric on canvas119 x 171,5 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpSoul Mapping - installation view
Luc TuymansHappy Birthday2023oil on canvas218 x 131 cm
Jack WhittenSeven Loops For Elizabeth Murray2011acrylic on canvas
Marina RheingantzMaria Ruth2023oil on canvas150 x 130 cm
Raoul De KeyserSketch (La Mancha)2006oil on canvas, charcoal and gesso100 x 125 cm
Marlene DumasBermuda Triangle2000oil on canvas100 x 56 cm
Marina RheingantzBraquiaria2022oil on linen130 x 110 cm
Salman ToorLoincloth Man2023oil on panel61 x 45,7 cm
Strauss Bourque-LaFranceLA L'AGUNA2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas30,5 x 40,6 cm
Strauss Bourque-LaFranceDusk Chain2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas50,8 x 40,6 cm
Strauss Bourque-LaFranceOld Yolk2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas38,1 x 50,8 cm
Raoul De KeyserRests2007acrylic and gesso on canvas56 x 71 cm
Photo: Christine ClinckxCourtesy M HKAInstallation view Anne-Mie Van Kerckhoven
Photo: Christine ClinckxCourtesy M HKAInstallation view Marlene Dumas
Cristof YvoréUntitled2012oil on canvas100,5 x 125 cm
Luc TuymansThe Cry1989oil on canvas37 x 45 cm
Luc TuymansDolls I2022oil on canvas102,5 x 66,5 cm
Luc TuymansDolls II2022oil on canvas102,5 x 67,5 cm
Luc TuymansDolls III2022oil on canvas103 x 82,5 cm
Anton CorbijnAllen Ginsberg, New York1996lithprint (edition of 20 + 2 AP)69 x 68 cm
Anton CorbijnWilliam S. Burroughs, Lawrence1993lithprint (edition of 20)68 x 69 cm
Anton CorbijnNaomi Campbell, London1994pigment print on Hahnemühle fine art paper, mounted on aluminium (edition of 5)142 x 142 cm
Mark MandersUnfired Clay Head2015 - 2016painted epoxy, wood, stainless steel, glass43,2 x 31 x 31 cm
Cristof YvoréLe tapis d'Edward1993oil on canvas33,5 x 31 cm
Dirk BraeckmanE.P.-S.V.-931993gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)120 x 80 cm
Johannes KahrsGirl with Yellow Wig2005oil on canvas63,0 x 56,4 cm
Dirk BraeckmanT.I.-A.B.-152015gelatin silver print reversibly mounted on aluminium support (edition of 5 + 1 AP)90 x 60 cm
Johannes Kahrsuntitled (zu bett gehen)2021oil on canvas45,2 x 80 cm
Johannes Kahrsuntitled (zu bett gehen)2020oil on canvas45,2 x 80 cm
Mark MandersFox / Mouse / Belt1993painted bronze, belt (edition of 3 + 2 AP)15 x 120 x 40 cm
Marlene DumasBaudelaire (double)2020oil on canvas40 x 30 cm
Photo: Peter CoxCourtesy Zeno X GalleryInstallation view
Photo: Marco Cappelletti con Filippo Rossi© Palazzo Grassi © Marlene DumasInstallation view
Photo: Robert Bodnar© The Albertina Museum, Vienna, 2022Installation view
Photo: Sophie CrépyCourtesy of the artist, David Zwirner and Zeno X GalleryInstallation view
Photo: Aurélien MoleCourtesy Bourse de Commerce - Pinault CollectionInstallation view Luc Tuymans
Marlene DumasCharlotte Rampling2018oil on canvas30 x 40 cm
Marlene DumasCandle2020oil on canvas50 x 40 cm
Marlene DumasLe Joujou du Pauvre (The Poor Boy's Toy)2020oil on canvas
Marlene DumasSeascapeoil on canvas30 x 40 cm
Marlene DumasCharlie and Romana2020oil on canvas30 x 40 cm
Marlene DumasLuana Carretto2020oil on canvas40 x 30 cm
Marlene DumasHelena Michel2020oil on canvas40 x 30 cm
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpInstallation view
N. DashCommuter (2)2019 - 2020acrylic, paper52,4 x 37,8 cm20,63 x 14,88 in
N. DashCommuter (1)2019 - 2020acrylic, paper39,4 x 51,6 cm15,51 x 20,31 in
Luc TuymansThe Owl2019acrylic ink on polyester tracing paper27 x (28,7 x 15,8 cm)
animated video: variable dimensions
Michaël BorremansThe Feast2019pencil and white ink on paper26,7 x 21,2 cm
Mark MandersUntitled1994pencil on paper29,6 x 21 cm
Mark MandersUntitled2000pencil on paper42 x 29,5 cm
Mark MandersDrawing with a Glass functioning as an O1999pencil on paper29,7 x 42 cm
Mark MandersUntitled2009pencil on paper21 x 29,7 cm
Mark MandersUntitled1994paint and pencil on paper32 x 25 cm
Mark MandersUntitled1995pencil on paper29,7 x 21 cm
Kees GoudzwaardTwo Connected Flag Fragments2015acrylic on cardboard29,6 x 21,1 cm
Anne-Mie Van KerckhovenZonder Commentaar2019collage on coloured paper3 x (32 x 24 cm)
Hyun-Sook SongUntitled2014 - 2018tempera on paper22,5 x 27,4 cm
Hyun-Sook SongUntitled2011tempera on paper30,8 x 20,5 cm
Hyun-Sook SongUntitled2018tempera on paper30,8 x 23,5 cm
N. DashUntitled2019acrylic, paper55,9 x 32,4 cm22,01 x 12,76 in
N. DashUntitled2019graphite, paper54,6 x 53,3 cm21,5 x 20,98 in
Kees GoudzwaardWorking Materials2019acrylic on cardboard50 x 40 cm
Kees GoudzwaardUntitled2019acrylic on paper65,1 x 49,9 cm
Anne-Mie Van KerckhovenZonder Woorden2019collage on coloured paper3 x (32 x 24 cm)