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Ryan Gander

Biography

Presentation

Ryan Gander Born 1976, Chester, UK Lives and works in London, UK

Blurring the boundaries between reality and fiction, Ryan Gander assembles seemingly disparate objects, actions and texts to develop his own narrative systems. Characterized by conceptual rigor, visual simplicity and allusive text, Ryan Gander's works probe the processes of emergence and the mechanisms of perception entailed by the work of art. Installations, photographs, performances, publications and press inserts are his means of following up a train of thought concerning art's discursive potential and its transmission systems. His practice, which makes extensive use of language and work with other artists, aims at “making the invisible visible” and providing the “possibility and preconditions for things to happen”.

Biography

Ryan Gander Born in 1976 in Chester, UK Lives and works in London, UK

Education:

2001 – 2002 Rijksakademie van Beeldende Kunsten, Amsterdam

1999-2000 Jan van Eyck Akademie, Maastricht

1996-1999 Manchester Metropolitan University, Manchester

Awards:

2009 Nominee for The Times / South Bank Show Breakthrough Award, UK

Winner of the Zurich Art Prize, Haus Konstruktiv, CH*

Shortlist for Bishops Square Public Art Commission, Spitalfields, UK

2008 Paul Hamlyn Award, UK

2007 DENA Foundation Art Award, F*

2006 ABN AMRO Prize, NL*

Baloise Art Statements Prize, Basel Art Fair, Basel

2005 Becks Futures Shortlist, ICA, London*

2004 Cocheme Fellowship, Byam Shaw School of Art, London

2003 Prix De Rome for Sculpture, NL*

2001-2003 Arts Council of England International Fellowship, UK*

Solo Exhibitions: (* catalogue)

2012

The Magnificent Seven, CCA Wattis Institute for Contemporary Arts, San Francisco.

Really shiny things that don't mean anything, public commission, Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw.

2011

Locked Room Scenario, Artangel, London

Meaning...surrounds me now, Kenzo 1223, Tokyo

No there is not enough of it to get around, Annet Gelink Gallery, Amsterdam

Attempting to remain light on ones feet: Work from Daiwa Collection, Okinawa Prefectural Museum, Okinawa

You have my word , Dazaifu Tenmangu, Fukuoka

Saying something is made of something when it is actually made of something else, YU-UN, Tokyo

Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, Taro Nasu Gallery, Tokyo

2010

The Happy Prince, Public Art Fund Commission, Central Park, New York

Intervals: Ryan Gander, Solomon R Guggenheim Museum, New York

Approach it slowly from the left, Haus Konstruktiv, Zurich*

You walk into a space, any space, Lisson Gallery, London

I am an Aurefilian, Taro Nasu Gallery, Tokyo

2009

The die is cast, Villa Arson, Nice *

We Are Constant, Frieze Art Fair Projects, London

Its a right Heath Robinson affair, gb agency, Paris *

Its a right Heath Robinson affair, Kadist Art Foundation, Paris *

As it presents itself, Picture This, Bristol

Heralded as the new black, Museum Boijmans Van Beuningen, Rotterdam *

I let somebody get under my skin, Annet Gelink Gallery, Amsterdam

2008

Heralded as the new black, Ikon Gallery, Birmingham *

Heralded as the new black, South London Gallery, London *

Something Vague, Bonner Kunstverein, Bonn

Somebodys playing me 1998 – 2008, Taro Nasu Gallery, Tokyo

Championed by Rigour, Tanya Bonakdar Gallery, New York

And it came to life, Marz Galleria, Lisbon

Basquiat, STORE Gallery, London

2007

How I learnt to use my senses, how I learnt to think and how I learnt to feel,Taro Nasu Gallery, Tokyo

More than the weight of your shadow, Daiwa Press Viewing Room, Hiroshima

Short cut through the trees, MUMOK, Vienna*

The Last Work, Stedelijk Museum, Amsterdam

Of Any Actual Person, Living or Dead (with Aurélien Froment) STORE, London

2006

Ryan Gander, Massimo De Carlo, Milan

Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami

Didactease, Marc Foxx, Los Angeles

Cinema Verso, Whitechapel East Wing, London

Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel

The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich

IsThis Guilt In You Too – (The study of a car in a field), MUMOK, Vienna

Your clumsiness is the next mans stealth, Annet Gelink Gallery, Amsterdam

Nine Projects for the Pavilion de lEsprit Nouveau, MAMbo, GAM, Bologna

2005

But it was all green, Artists Space, New York

Of Any Actual Person, Living or Dead, Les Laboratoires dAubervilliers (with Aurélien Froment) *

IsThis Guilt in You Too – (The Study of a Car in a Field), Art Basel Statements with Annet Gelink Gallery, Basel

IsThis Guilt in You Too – (The Study of a Car in a Field), Annet Gelink Gallery, Amsterdam

Somewhere between 1886 and 2030, Store, London *

2004

An Incomplete History of Ideas, Cornerhouse, Manchester *

But it was all green, Annet Gelink Gallery, Amsterdam

La Galerie dans ma Poche, Leeds and London

2003

But it was all green, STORE, London

The Death of Abbé Faria, Stedelijk Museum Bureau, Amsterdam *

2002

Marie Aurore Sorry, The International 3, Manchester *

In Return, (with Shahryar Nashat), Centre Pasquart, Bienne

Group Exhibitions: (* catalogue)

2011

Le sentiment des choses / The feeling of things, Le Plateau, Frac Ile de France, Paris

ILLUMInations, 54th Biennale di Venezia, Venice

One Magic Hour, Yokohoma Triennale, Yokohama

Politics is Personal, Stonscape, Napa Valley

gb agency, Art 42 Basel, Basel

Invocations of the blank page, Project Space, Spike Island, Bristol, NICC, Antwerp

Independent Art Fair, gb agency, New York

Notice: Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot, curated by Tim Lee, Johnen Galerie, Berlin

Humid but cool, I think, curated by Ryan Gander, Taro Nasu, Tokyo

Two versions of the imaginary, curated by Maria Barnas, Annet Gelink Gallery, Amsterdam

Glaze, curated by George Henry Longly, Bischoff/Weiss, London,

Two Times Once – An exhibition by Mr Rossi’, Limoncello, London

Nul si Découvert/Void if removed, (Érudition concrète 4) curated by Guillaume Désanges, Le Plateau, Frac Île-de-France, Paris

Commercial Break, presented by Garage Center for Contemporary Culture, Moscow & POST

The Lake of Fire, Den Frei Udstillingsbygning, Copenhagen

Ryan Gander & Michael Marriot, The Russian Club, London

Art Zuid, Amsterdam

The Aldeburgh Beach South Lookout, Aldeburgh

Le Slurm, Haute Ecole d'art, Geneva University, Geneva

Paysages Avec Objets Absents, Centre d'art contemporain de Fribourg, Fribourg

Fat Chance to Dream (Una oportunidad para soñar/ Tania Pardo, Galeria Maisterra Valbuena, Madrid

The Shape We’re In, 176 Zabludowicz Collection, London

The missing part, La Sorbonne, Paris

Art + Drama, Whitechapel Gallery, London

Radical Autonomy, Netwerk, Aalst

2010

Exhibition, Exhibition, Castello di Rivoli, Torino *

Auto-Kino!, Berlinale, Kunsthalle Berlin, Berlin

Hors dOeuvre, Campagne Première, Berlin

About us, Johann König, Berlin

Tatton Park Biennial, Tatton Hall, Knutsford

Same and difference, Russian Club Gallery, London

Present is a thing of the past, now, GAMeC, Bergamo

Art Parcours, Art 41 Basel, Basel

Art Basel Unlimited, Art 41 Basel

Les Interlocuteurs, Beaux Arts, Toulouse

Ecce Homo Ludens, Musée Régional d'Art Contemporain Languedoc-Roussillon, Sérignan

Okay, I have had enough, what else can you show me? , DOCVA, Milano

It is it, Espacio 1414, Santurce

Motage, Maison dArt Bernard Anthonioz, Paris

The Storyteller, Art Gallery of Toronto, Ontario

A performance cycle, Nomas Foundation, Rome

Double Bind, Villa Arson, Nice

Dark After After Dark, Khastoo Gallery, Los Angeles

Che cosa sono le nuvole?, Museion – Museum of modern and contemporary art Bolzano, Bolzano

The Library of Babel, 176 Collection, London

The Boy Who Cried Wolf (Lefty Loosey, Righty Tighty), gb Agency, Paris

Les Belles Images: Second Scenario, La Box, Bourges

FAX, Para/Site Art Space, Hong Kong

Artprojx Presents, Wimbledon College of Art, London

The Library of Babel / In and Out of Place, 176 Gallery, London

Répétition dans lÉpilogue, Super # 11, Galerie Lucile Corty, Paris

Gallery, Galleria, Gallerie, Norma Mangione Gallery

Production Site: The Artists Studio Inside-Out, MCA, Chicago

The Storyteller, Anna-Maria and Stephen Kellen Gallery, New York

2009

Lisson Presents 6, Lisson Gallery, London,

Forms of Enquiry, Architects Association, London

British Subjects: Identity and Self-Fashioning, Neuberger Museum, Westchester County, New York

Where water comes together with other water, Chapter 3, gb agency, Paris

7 Words, Am Nuden Da Session, London

Double Bind, Villa Arson, Nice

Space as Medium, Miami Art Museum, Miami

Can Art Save Us, Millennium Galleries, Sheffield

Mille e Tre, Musée du Louvre, Paris

The Store, Artissima16, Torino

Radical Autonomy, Le Grand Café, Saint Nazaire

TV, Mercer Union, Mercer Union, Toronto

The Storyteller, Salina Art Centre, Kansas

Eleanor Antin, Marcel Broodthaers, Peter Friedl, Ryan Gander, Erna Hecey, Gallery Temporary Space, Koln

Still Nacht, Outlet, Manchester

7a Bienal do Mercosul, Porto Alegre

Sculpture of the Space Age, David Roberts Foundation, London

Chasing Napolean, Palais de Tokyo, Paris

Assembly, Yvon Lambert, Paris

Richard Prince and the Revolution, Projecte SD, Barcelona

Era New Horizons Film Festival, Warsaw

Pete and Repeat, 176 Gallery, London *

Paper Show, David Risley Gallery, Copenhagen

Trying to cope with things that arent human, Cell Projects Space, London *

The Space of Words, MUDAM, Luxembourg *

Talk Show, ICA, London

The Happy Interval, Tulips & Roses, Vilinus

Fax, The Drawing Center, New York *

Natural Wonders, Baibakov Art Projects, Moscow

Contested Ground, 176 Gallery, London

Trying to cope with things that arent human, David Cunningham Projects, San Francisco *

The Malady of Writing, MACBA, Museu dArt Contemporani, Barcelona

Younger than Jesus, New Museum, New York

Lisson presents 4, Lisson Gallery, London

Places to be, Annet Gelink Gallery, Amsterdam

The Little Shop on Hoxton Street, Limoncello Gallery, London

Mirrors, MARCO, Vigo

Several Silences, The Renaissance Society, Chicago

Desiring Necessities, John Hansard Gallery, Southampton

Trying to cope with things that arent human, AirSpace Gallery, Stoke on Trent *

The Making of Art, Schirn Kunsthalle Frankfurt, Frankfurt

The Storyteller, ICI, New York

2008

Never let the truth get in the way of a good story, Site Gallery, Sheffield

A Recent History of Drawing & Writing, ICA, London

Playtime, Betonsalon, Paris

Panorámica ciclo de video, Bailando sin salir de casa, Museo Tamayo arte contemporáneo, Bosque de Chapultepec, Mexico

Wouldnt it be nice, Somerset House, London

Out of sight, Proyectos Monclova, Mexico City

AWOL – Biennale of Young Artists, META Cultural Foundation, Bucharest

Wouldnt it be nice, Centre dart Contemporain, Zurich *

Self Storage, Curatorial Industries, San Francisco

I desired what you were, I need what you are, Galleria Maze, Torino

Within the big Structure, Megastructure, Berlin-Mitte, Berlin

Delirious Beijing, PKM Gallery, Beijing

Life on Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh

Revolutions – forms that turn, 16th Biennale of Sydney, Sydney

As it presents itself, Whitstable Biennale, Whitstable

Featuring, Galerie Chez Valentin, Paris

The flight of the Dodo, Project Arts Centre, Dublin

One of these things is not like other things, Unosunove Gallery, Roma

Art Now Curate, Tate Modern, London

Inaugural Show, Marz Galleria, Lisbon

The show is not a void, Galeria Luisa Strina, Sao Paulo

Future Landscape, Royal Academy, London

2007

Appendix Appendix Radio Play, Performa 07, New York

In the Stream of Life, Betonsalon, Paris

For Sale, Cristina Guerra Contemporary Art, Lisbon *

Wouldnt it be nice, Centre d'art contemporain, Geneva *

Words fail me, MoCAD, Detroit

Projecktion, Lentos Art Museum, Linz

How soon is now, Luis Seoane Foundation, Coruna

Language of Vision, mima Middlesborough Institute of Modern Art, Middlesborough

Without, Yvon Lambert, Paris

Zero, Zero, S, Lyon Biennale, Lyon

Plankjes, tak, Atelier als Spermedium, Artist Space for Contemporary Art, Den Haag

Twice told tales, Galerie Michel Rein, Paris

You have not been honest, Museo DArte Donnaregina, Naples

Kit Bashing, Western Bridge, Seattle

On the Future of Art School, Store, London

2006

Constellations, Tanya Bonakdar, New York

Curating the Library, de Singel, Antwerp

Projektion, Museum of Art Lucerne *

Éclipses du Réel, Centre dart contemporain, Fribourg *

How soon is now?, Fundación Luís Seoane, Coruna

Wrong, Klosterfelde, Berlin

The show will be open when the show will be closed, Store, London

Radio Transmitted Time Capsule with Francesco Manacorda, Radio Gallery, Whitstable Biennale, Whitstable,

Le Confort Moderne La Space Station, Poitiers

Le Spectre des Armatures, Glassbox, Paris

El Albergue, Holandés, La Station, Nice

Trial Balloons, MUSAC,Musei de Arte Contemporáneo de Castillia y León, León *

Don Quijote, Witte de Witte, Rotterdam

Objet a Part, Centre dart Contemporain, Noisy le sec *

Group show: Pierre Bismuth, Ryan Gander, Karl Haendel and T. Kelly Mason, Cohen and Leslie, New York

Untouchable, Villa Arson, Nice

Tate Triennial, Tate Britain, London *

The Standard Hotel, The Standard Hotel, Miami

2005

Spectator T, Sheffield *

T1 Triennial, Castello di Rivoli Museo dArte Contemporanea, Torino *

Free Library, M + R Gallery, London

Romance – A Novel, Cristina Guerra Contemporary Art, Lisbon

Jaybird, ZERO... Milan

Post No Bills, White Columns, New York

An Exhibition Amongst Friends, GB Agency, Paris

Invisible Script, W139, Amsterdam

Becks Futures, CCA, Glasgow *

In This Colony, Kunstfort bij Vijfhuizen *

Becks Futures, ICA, London *

A Show Without Works, Project Room, Spazio Lima, Milano *

The World, Abridged, Kettles Yard, Cambridge *

Timeline, The Store & Window 32, Paris

2004

Romantic Detachment, PS1, New York *

Romantic Detachment, Chapter Arts, Cardiff *

Romantic Detachment, Q Arts, Derby *

Romantic Detachment, Folly Gallery, Lancaster *

Making Public, CBK, Dordrecht

Summer Pursuits, Store, London

Loose Associations, Centre Pompidou Beaubourg, Paris

Loose Associations, Foksal Gallery, Warsaw

Artist House, The Round Foundry, Leeds

2003

Catch Me, Onufri, National Gallery of Albania, Tirana

Tourettes, W139, Amsterdam *

RDV, Résonance, Galerie des Terreaux, Lyon Biennale, Lyon

Prix de Rome (Winner), Museum voor Actuele Kunst, The Haag *

Grizedale Artist in Residence, Grizdale, Cumbria

2002

Unloaded, (Disused Military Bunkers), Oberschan *

2001

Record Collection, Forde Gallery, Geneva

In a language, Project ruimte zuid en oost, Amsterdam

On the trams, The Lowry, Manchester

2000

The Oriel Mostyn Open, Llandudno

Square City, Holden Gallery, Manchester

Goethes Oak Has Woodworm, Static Gallery, Liverpool

Unfortunately Last Sunday, Museum Het Domain, Sittard *

Free Space, Nieuw Internationaal Cultureel Centrum, Antwerpen

Bibliography

Bibliography

Artist's Publications / Monographs

2010

Ryan Gander: Catalogue Raisonnable Vol. 1, JRP Ringier/ Westreich/Wagner, published on the occasion of the exhibition "Ryan Gander—Zurich Art Prize Winner 2009" at Haus Konstruktiv, Zurich. The publication is part of the series of artists' projects edited by Christoph Keller.

2008

The Viewing Room, Volume, 5, Daiwa Press Co. Ltd (with Taro Nasu)

Heralded as the new black, various authors, Ikon Gallery

2007

Appendix Appendix - A Proposal for a TV Series, JRP Ringier (with Stuart Bailey and Christoph Keller)

Intellectual Colours, Silvana Editoriale and Dena Foundation of Contemporary (with Will Holder), ABN AMRO Award

Parallel Cards, (with Mia Frostner, Robert Sollis, Paul Tisdell, Rasmus Spanggaard Troelsen)

Loose Associations and other lectures, One Star Press, Paris (with EUROPA)

New New Alphabet, poster, (with Rasmus Spanggaard Troelsen)

2005

From The Alpinist Fort Vijfhuizen / Artimo

It’s Like the Spoilt Brat of the Dictionary...,STORE (with Alice Fisher)

2004

The boy that always looked up, Cornerhouse (with Sara De Bondt)

2003

Appendix, Artimo (with Stuart Bailey)

2002

In a language, (with Sara De Bondt)

Downloadable press articles

Click on the underlined parts to download the texts in pdf

2010

Artforum, Ryan Gander, special project, November.

Kaléidoscope, #5, Ryan Gander, by Luca Cerizza.

2009

Le Monde, Jeu de piste avec Ryan Gander, August 29th.

ArtPress, #358, Ryan Gander : gb agency, Kadist Art Foundation, by Erik Verhagen, July-August.

Art 21, #22, Ryan Gander, Portrait de l'artiste en artiste, by Nicolas Fourgeaud, Spring.

Exit Express, #42, Ryan Gander, by Guillaume Désanges, April.

Les Inrockuptibles #696, Short cuts, by Jean-Max Colard, March.

2008

Frieze Where to begin?, by Dan Fox, June / August.

2007

CAC Interviu, #7-8, english, Answer is never the same, interview by Raimundas Malasauskas, Summer.

Frieze, #107, Co-pilots, by Dan Fox, May.

Janus, #22, Back to the future, interview with Hans Ulrich Obrist, January.

Publications

Ryan Gander : Catalogue Raisonnable Vol. 1

Exhaustive monograph

Edited by

Abäke

Ryan Gander

Dorothea Strauss

Author(s)

Chris Evans

Douglas Fogle

Ryan Gander

Midori Matsui

François Piron

Dorothea Strauss

Richard Wentworth

Edition

English

July 2010

ISBN: 978-3-03764-146-0

Hardcover, 252 x 304 mm

368 pages

Images 640 color / 280 b/w

CHF 90 / EUR 60 / £ 45 / US 90

"Ryan Gander: Catalogue Raisonnable Vol. 1" was conceived by Åbäke as a "reasonable alternative" to a catalogue raisonné for the artist (i.e. a monograph giving a comprehensive and exhaustive catalogue of artworks by an artist). Documenting over 500 works made during a ten-year period, the "Catalogue Raisonnable" is intended to be navigated freely and illogically, in a non-linear fashion by its reader, echoing the "para-possible thinking" and "associative methodologies" on which much of Gander's practice is based. For those readers who wish to draw some logic from its content, it is suggested that the book is navigated through its index.

The "Catalogue Raisonnable" consists of two sections. The first is a complete index/catalogue of the artist's practice, while the second is made up from a collage of by-products, off-cuts, transcriptions, scripts, conversations, and material related to the works in the index.

The publication "Ryan Gander: Catalogue Raisonnable Vol. 1" has been co-published by Westreich/Wagner Publications on the occasion of the exhibition “Ryan Gander—Zurich Art Prize Winner 2009” at Haus Konstruktiv, Zurich.

The publication is part of the series of artists' projects edited by Christoph Keller.

In a language you don’t understand

Includes an interview with the artist. Ryan Gander is one of today's most compelling young artists. This publication follows his first solo exhibition in the UK, and presents an A-Z of his work from 1998 to the present. Gander's installations, sculptures and photographs tell

parts of a continuing story whose threads run through all of his artistic output. Using characters such as artist Spencer Anthony, writer Terrance White and the band Perl Gray,

we are presented with a series of disjointed catalysts from which narratives begin to emerge... through a diversity of forms and vehicles: objects, obstacles, adjustments to architectural space, design briefs, scripts, fragments of stories...

Includes an interview with the artist. Ryan Gander is one of today's most compelling

young artists. This publication follows his first solo exhibition in the UK, and presents an A-Z of his work from 1998 to the present. Gander's installations, sculptures and photographs tell parts of a continuing story whose threads run through all of his artistic output. Using

characters such as artist Spencer Anthony, writer Terrance White and the band Perl Gray,

we are presented with a series of disjointed catalysts from which narratives begin to emerge. These fragments are delivered to us through a diversity of forms and vehicles: objects, obstacles, adjustments to architectural space, design briefs, scripts, fragments of stories...

Appendix Appendix A Proposal for a TV Series

Appendix Appendix is conceived as the sequel to Ryan Gander and Stuart Bailey's 2003 book Appendix. Like its predecessor, it attempts ‘a translation of practice’ based on Ryan Gander's recent body of work. Neither straight

documentation, nor an ‘artist's book’, it pushes for a third way, editing and presenting each individual piece of work in a manner appropriate to its specific nature. In the years since Appendix, Gander's work has increasingly encompassed sound and the moving image in addition to the earlier objects and installations. This shift will directly affect the form of this

new TV series project. Ryan Gander lives and works in London and Amsterdam. His photographs, films, installations and sculptures draw on multiple layers of facts and fiction.

Appendix Appendix is conceived as the sequel to Ryan Gander and Stuart Bailey's 2003 book Appendix. Like its predecessor, it attempts ‘a translation of practice’ based on Ryan Gander's recent body of work. Neither straight documentation, nor an ‘artist's book’, it pushes for a third way, editing and presenting each individual piece of work in a manner appropriate to its specific nature. In the years since Appendix, Gander's work has increasingly encompassed sound and the moving image in addition to the earlier objects and installations. This shift will directly affect the form of this new TV series project. Ryan Gander lives and works in London and Amsterdam. His photographs, films, installations and sculptures draw on multiple layers of facts and fiction.

The boy who always looked up

Ryan Gander's book The Boy Who Always Looked Up tells its own story in the distinctive style of a children’s book. The narrative takes place through the eyes of a child who describes the life and death of the modernist architect Erno Goldfinger, who built Notting Hill's Trellick Tower. The failure of late twentieth century utopian ideals is heightened through the innocent protagonist. Gander plays upon the artist’s use of constructed fictions that are or could be based upon actual realities or occurrences within the everyday. To Gander, the past, and by inference, the present are open to a state of imagined disturbance or articulation through a strategy that places fictional characterisation at the core of his practice.

Ryan Gander's book The Boy Who Always Looked Up tells its own story in the distinctive

style of a children’s book. The narrative takes place through the eyes of a child who describes the life and death of the modernist architect Erno Goldfinger, who built Notting Hill's Trellick Tower. The failure of late twentieth century utopian ideals is heightened through the innocent protagonist. Gander plays upon the artist’s use of constructed fictions that are or could be based upon actual realities or occurrences within the everyday. To Gander, the past, and by inference, the present are open to a state of imagined disturbance or articulation through a strategy that places fictional characterisation at the core of his practice.

Intellectual Colours

Intellectual colours reveals how Gander successfully merges architecture and art in his

project Nine Projects for the Pavilion de l’Esprit Nouveau. For this project Gander used the pavilion of the Esprit Nouveau in Bologna designed by Le Corbusier by conceptually bringing it back to life by revealing all projects that have taken place there up to its reconstruction in 1977. It enables the mind to travel back and forth in time and space, from 1925 to 1977, only to return to the present day and attempt a vertiginous leap into the future (to the year 2056). Published on occasion of the exhibition "Nine Projects for the Pavillion de l'Esprit Nouveau" held at MAMbo, Bologna.

Intellectual colours reveals how Gander successfully merges architecture and art in his

project Nine Projects for the Pavilion de l’Esprit Nouveau. For this project Gander used the pavilion of the Esprit Nouveau in Bologna designed by Le Corbusier by conceptually

bringing it back to life by revealing all projects that have taken place there up to its reconstruction in 1977. It enables the mind to travel back and forth in time and space, from 1925 to 1977, only to return to the present day and attempt a vertiginous leap into the future (to the year 2056). Published on occasion of the exhibition "Nine Projects for the Pavillion de l'Esprit Nouveau" held at MAMbo, Bologna.

Appendix

This publication accompanies his first solo exhibition in the Netherlands at the Stedelijk Museum Bureau in Amsterdam. It presents an form of dictionary or a readers guide to a selection of the works produced over the previous two years. Designed and Edited by Stuart Bailey & Ryan Gander. Contributions from Again, Apprentices of the knowledge, Margaret Deva Barrett, Sara De Bondt, Will Bradley, Die Kunst,The Dow Jones, Bill Drummond, Paul Elliman, Ian Gander, goodwill, Melle Hammer, Hannah Hewetson, John Morgan, Shahryar Nashat, Paulina Olowska, Graham Parker, John Russell, Maud Vande Veire, Martin Vincent and Chikako Watanabe.

This publication accompanies his first solo exhibition in the Netherlands at the Stedelijk Museum Bureau in Amsterdam. It presents an form of dictionary or a readers guide to a selection of the works produced over the previous two years. Designed and Edited by Stuart Bailey & Ryan Gander. Contributions from Again, Apprentices of the knowledge, Margaret Deva Barrett, Sara De Bondt, Will Bradley, Die Kunst,The Dow Jones, Bill Drummond, Paul Elliman, Ian Gander, goodwill, Melle Hammer, Hannah Hewetson, John Morgan, Shahryar Nashat, Paulina Olowska, Graham Parker, John Russell, Maud Vande Veire, Martin Vincent and Chikako Watanabe.

Daiwa Press Viewing Room 05 - Ryan Gander

Complete walk through documentation of a retrospective solo exhibition at the Daiwa Press Viewing Room in Hiroshima, Japan. Essay by Midori Matsui. Photography Mami Iwasaki.

Complete walk through documentation of a retrospective solo exhibition at the Daiwa Press Viewing Room in Hiroshima, Japan. Essay by Midori Matsui. Photography Mami Iwasaki.

Heralded as the new black

Touring catalogue for ‘Heralded as the new black’. A solo exhibition which toured to Ikon, Birmingham; South London Gallery, London and Museum Boijmanns, Rotterdam between 2008 and 2009. Texts by Nigel Prince, Rebecca May Marston and Brian Sholis. Foreward by Jonathan Watkins and Margot Heller.

Touring catalogue for ‘Heralded as the new black’. A solo exhibition which toured to Ikon, Birmingham; South London Gallery, London and Museum Boijmanns, Rotterdam between 2008 and 2009. Texts by Nigel Prince, Rebecca May Marston and Brian Sholis. Foreward by Jonathan Watkins and Margot Heller.

Pure Associations

In choosing Ryan Gander as the winner of the ABN AMRO Art Award 2006 ABN AMRO has made a statement. The award has thus gone to an artist who, in a short space of time, has built up an exciting monumental oeuvre, and to a body of work that is decidely multilayered and refuses to reveal its significance at a single glance. It is as a catalyst within the context of ABN AMRO and the bank’s art collection.

In choosing Ryan Gander as the winner of the ABN AMRO Art Award 2006 ABN AMRO has made a statement. The award has thus gone to an artist who, in a short space of time, has built up an exciting monumental oeuvre, and to a body of work that is decidely multilayered and refuses to reveal its significance at a single glance. It is as a catalyst within the context of ABN AMRO and the bank’s art collection.

Works

Like you would do - (Alchemy Box #31), 2011

A waist height box measuring 100w x 80h x 50d cm tiled in white 5cm sq mosaic tiles, with a 5cm recessed black tinted glass window in the front through which it is not possible to peer. The box contains objects and articles from the artist's collection on the theme of ‘the staged, the upstaged and the unstaged’. A rub down transfer text disclosing a description of theobjects within the bag is positioned on a wall at some distance from the object.

What you don’t know can’t inform you - (Alchemy box # 18), 2011

An Alchemy Box masquerading as a poof one would usually expect to find in a hotel lounge or lobby displayed next to a concrete bollard exactly the same size pebble dashed with small polished stones the same colour as the poof. The box is sealed containing objects from the collection of Ryan Gander associated with the theme of ‘Belief’. The ingredients within are hand written by the artist on the wall near to the objects – by the means of rubdown transfer.

True Simplcity (A study for ‘Who said this was true multiplcity anyway), 2011

A black and white photographic print showing a coloured pencil illustration commissioned

from a court room portrait artist, depicting the artist Ryan Gander as imagined and

visualised in the year

2038

Poison is a Women's Weapon Watson, 2011

A sixty second looped digital video clip of a girl jumping up and down on a hotel room bed in her pants in the Hilton, Canary Wharf, London, her head is cut form the shot leaving only her body visible. Details of the work, including sale price, the names of the galleries from which it can be purchased, the works title, stock number, year of execution etc scrolls across the bottom of the screen, making the work an advertisement for its self

I am nothing. I just have no mass (Alchemy Box #27), 2011

A Gömböc (self righting shape) containing objects and articles from the artist’s collection on the theme of ‘the failures that show their face between conception and realisation’. A rub down transfer text disclosing a description of the objects within the bag is positioned on a wall at some distance from the object. The object is not self righting due to the weight of the contents hidden within.

A Gömböc (self righting shape) containing objects and articles from the artist’s collection on the theme of ‘the failures that show their face between conception and realisation’. A rub down transfer text disclosing a description of the objects within the bag is positioned on a wall at some distance from the object. The object is not self righting due to the weight of the contents hidden within.

N.. n… n.. nostalgia - (Alchemy Box # 29), 2011

A fabricated Antique roman die containing objects and articles from the artist's collection

on the theme of ‘the belief in magic dust’. Positioned close to a wall on which is a vinyl

sticker depicting a two dimensional magical swirl around the object, akin to what one

may find in a comic book. A rub down transfer text disclosing a description of the objects

within the bag is positioned on a wall at some distance from the object.

A fabricated Antique roman die containing objects and articles from the artist's collection

on the theme of ‘the belief in magic dust’. Positioned close to a wall on which is a vinyl

sticker depicting a two dimensional magical swirl around the object, akin to what one

may find in a comic book. A rub down transfer text disclosing a description of the objects

within the bag is positioned on a wall at some distance from the object.

Awareness in Purple and Brown, 2010

Two identical resin cast of A1 sized 18mm plywood boards, screwed to the wall

side by side one another. The left one is painted a differing colour from the right

one. Both boards are identically worn and have suffered identical minor

damages, splintering, scratches and dinks.

A portrait of the artist conceiving this title, 2010

A portrait of the artist conceiving the title for this work produced using a thermal camera to show the heat signature of the artist’s head.

An absolute bereavement of the senses illustrated, 2010

Two large black and white framed photographs lean against the wall at opposite ends of the space, displaying a constructed still life made up of objects itemised in a lateral thinking problem explained in the book Design for the real world by Victor Papanek. The items include a Antique Rosewood table, a finely cut crystal pitcher of water, two crystal glasses, a silver tray a ping pong ball, a mop and bucket, a five foot long steel pipe one and a half inches in diameter one foot cast in a concrete block and a mop and bucket of water.

Best work EVER EVER EVER EVER EVER EVER, 2010

A 16 mm film projector with looping mechanism projects a computer manipulated 3 minute looping sequence of a mini DV tape floating through space. The sticker on the tape displays the title in blue ballpoint pen handwritten “The violent tapes” referring to the artwork of the same title by David Lamelas. With a self-confessional voiceover.

On Point, 2010

A prototype silk Hermes scarf designed by the artist, on which is printed a design made from

multiple Hermes belts making up a chain and an infinity loop.

The scarf is left in the gallery space as though it has fallen and been forgotten / mislaid by its

owner.

A prototype silk Hermes scarf designed by the artist, on which is printed a design made from multiple Hermes belts making up a chain and an infinity loop.The scarf is left in the gallery space as though it has fallen and been forgotten / mislaid by its owner.

Nail your colours as you will - (Alchemy Box No. 21), 2010

An Alchemy Box disguised as two low exhibition plinths/platforms one might expect to

find in a gallery or museum during installation. The Alchemy Box contains articles sealed

within relating to the theme of associative thought methodologies, collage, montage and

unintended and uncharted collisions of ideas. The ingredients within are listed on a transfer

on a near by wall.

An Alchemy Box disguised as two low exhibition plinths/platforms one might expect to

find in a gallery or museum during installation. The Alchemy Box contains articles sealed

within relating to the theme of associative thought methodologies, collage, montage and

unintended and uncharted collisions of ideas. The ingredients within are listed on a transfer

on a near by wall.

An Alchemy Box disguised as two low exhibition plinths/platforms one might expect to

find in a gallery or museum during installation. The Alchemy Box contains articles sealed

within relating to the theme of associative thought methodologies, collage, montage and

unintended and uncharted collisions of ideas. The ingredients within are listed on a transfer

on a near by wall.

An Alchemy Box disguised as two low exhibition plinths/platforms one might expect to

find in a gallery or museum during installation. The Alchemy Box contains articles sealed

within relating to the theme of associative thought methodologies, collage, montage and

unintended and uncharted collisions of ideas. The ingredients within are listed on a transfer

on a near by wall.

We never had a lot of $ around here, 2010

A newly invented 25 US dollar coin (a quarter centi-dollar) as envisaged as if

fallen from 2027, the amount of which in relation to denomination is taken from

a predicted average US area inflation rate. The coin is value side up and is glued

to the floor.

We never had a lot of Euro around here, 2010

A 25 Euro Swiss coin as envisaged as if fallen from 2037, the amount of which in relation

to denomination is taken from a predicted average European area inflation rate.

The coin is value side up and is glued to the floor.

A 25 Euro Swiss coin as envisaged as if fallen from 2037, the amount of which in relation to denomination is taken from a predicted average European area inflation rate.The coin is value side up and is glued to the floor.

Componenture (Lean to), 2009-2010

A selection of pieces from a set of components (26 small stage units, 7 Yucca Plants, 40 sand bags and 2 cushions) produced from an ‘invented ruler’, that tessellate into various constructions and formations, this one being based loosely on an imagined sun-bed for a dog. Most of which address the idea of the staged and the unstaged / the space of presentation and the space of production.

A selection of pieces from a set of components (26 small stage units, 7 Yucca Plants, 40 sand bags and 2 cushions) produced from an ‘invented ruler’, that tessellate into various constructions and formations, this one being based loosely on an imagined sun-bed for a dog. Most of which address the idea of the staged and the unstaged / the space of presentation and the space of production.

A selection of pieces from a set of components (26 small stage units, 7 Yucca Plants, 40 sand bags and 2 cushions) produced from an ‘invented ruler’, that tessellate into various constructions and formations, this one being based loosely on an imagined sun-bed for a dog. Most of which address the idea of the staged and the unstaged / the space of presentation and the space of production.

A selection of pieces from a set of components (26 small stage units, 7 Yucca Plants, 40 sand bags and 2 cushions) produced from an ‘invented ruler’, that tessellate into various constructions and formations, this one being based loosely on an imagined sun-bed for a dog. Most of which address the idea of the staged and the unstaged / the space of presentation and the space of production.

A sudden manifesto for a more ethically balance practice, 2010

A page from my notebook enlarged to 300cm x 200cm and made into a self

adhesive black vinyl cut out sticker, which is then stuck to the back wall of the

space, to make a wall drawing. The page represents the thought process involved

in inventing two fictional characters, who are both artists, one is called Santo

Sterne and one is called Aston Ernest, and they are rivals / nemesis’s of each

other. Their names are also anagrams of each other’s, one is my ideology of an

artist and practice and one represents my disdain of an artist and practice.

A page from my notebook enlarged to 300cm x 200cm and made into a self

adhesive black vinyl cut out sticker, which is then stuck to the back wall of the

space, to make a wall drawing, The page represents the thought process involved

in inventing two fictional characters, who are both artists, one is called Santo

Sterne and one is called Aston Ernest, and they are rivals / nemesis’s of each

other. Their names are also anagrams of each other’s, one is my ideology of an

artist and practice and one represents my disdain of an artist and practice.

Matthew Young falls from the 1985 into a white room, 2009

Pieces of the centre doors of the Serpentine Gallery, London, reproduced in Stuntsafe

sugar glass used in the film industry for special effects broken on the floor of the

gallery space as if there had been glazed doors set into the wall that someone had

fallen through. Meaning the glass would be shattered from the edge of the room in

the middle of the wall out into space dispersing the further it gets from the wall. The

title refers to a purely fictional exhibition ‘Sculpture of the Space Age’ mentioned in J.

G. Ballard’s short story ‘The object of the Attack’ (1984). Notdetailed in the text, the

exhibition was supposedly held at the Serpentine Gallery in the late 70’s and exists

only as a title in the short story.

Pieces of the centre doors of the Serpentine Gallery, London, reproduced in Stuntsafe

sugar glass used in the film industry for special effects broken on the floor of the

gallery space as if there had been glazed doors set into the wall that someone had

fallen through. Meaning the glass would be shattered from the edge of the room in

the middle of the wall out into space dispersing the further it gets from the wall. The

title refers to a purely fictional exhibition ‘Sculpture of the Space Age’ mentioned in J.

G. Ballard’s short story ‘The object of the Attack’ (1984). Notdetailed in the text, the

exhibition was supposedly held at the Serpentine Gallery in the late 70’s and exists

only as a title in the short story.

Everything we ever imagined and the only way in which we could materialise it, 2009

A A0 sized poster showing the tiles of the gallery floor levitating, made in collaboration with Mario Garcia Torres for the exhibition Sculpture of the Space Age for the David Roberts Foundation in September 2009.

A A0 sized poster showing the tiles of the gallery floor levitating, made in collaboration with Mario Garcia Torres for the exhibition Sculpture of the Space Age for the David Roberts Foundation in September 2009.

Investigation # 39 - Already aware of its own helplessness, 2009

A badge rendered in solid silver represents a hybrid of the Ferrari and Peugeot logos. It is mounted directly on the wall at eye level.

Only really applicable to those that can visualise it, 2009

Five seconds after the spectator leaves the space, a plume of smoke is emitted from the floor in the doorway of the gallery, making it seems as though the spectator disappeared into a puff of smoke. Although other visitors to the space have the opportunity to witness this remnant of the spectator’s presence, it is likely that the spectator activating the work never has the chance to observe it.

Five seconds after the spectator leaves the space, a plume of smoke is emitted from the floor in the doorway of the gallery, making it seems as though the spectator disappeared into a puff of smoke. Although other visitors to the space have the opportunity to witness this remnant of the spectator’s presence, it is likely that the spectator activating the work never has the chance to observe it.

Five seconds after the spectator leaves the space, a plume of smoke is emitted from the floor in the doorway of the gallery, making it seems as though the spectator disappeared into a puff of smoke. Although other visitors to the space have the opportunity to witness this remnant of the spectator’s presence, it is likely that the spectator activating the work never has the chance to observe it.

Five seconds after the spectator leaves the space, a plume of smoke is emitted from the floor in the doorway of the gallery, making it seems as though the spectator disappeared into a puff of smoke. Although other visitors to the space have the opportunity to witness this remnant of the spectator’s presence, it is likely that the spectator activating the work never has the chance to observe it.

Fickle Finger (Laure), 2009

A photographic print of Laure Prouvost, a student of Goldsmiths School of art London performing the Fickle Finger Illusion in her studio space, with a black compositional grid screenprinted on the interior surface of the frames glass.

A photographic print of Laure Prouvost, a student of Goldsmiths School of art London performing the Fickle Finger Illusion in her studio space, with a black compositional grid screenprinted on the interior surface of the frames glass.

Fickle Finger (Camille), 2009

A photographic print of Camille Stora, a student of Fine Art at the art school Villa Arson, Nice in the South of France performing the Fickle Finger Illusion whilst sketching in the gardens, with two circles screen printed on the interior surface of the frames glass.

A photographic print of Camille Stora, a student of Fine Art at the art school Villa Arson, Nice in the South of France performing the Fickle Finger Illusion whilst sketching in the gardens, with two circles screen printed on the interior surface of the frames glass.

Investigation # 79 - Baker, bookdealer, bookseller, butcher...2009

An antique lithographic print of a decorative border is produced to surround a city plan; two identical large rectangular Cokin Z series sepia coloured photographic filters are inserted into laser cut apertures in the frames glazing, directly over the area where the plan of the city should have been printed.

A round table, a fire crackles, a storm rages in the darkness outside..., 2009

An unfolded poster is pinned to the gallery wall representing a show plan for a ‘metaverse’ exhibition by Terence Alan Patrick Seán Milligan KBE (16 April 1918 – 27 February 2002), also known as Spike Milligan, an Anglo-Irish comedian, writer, musician, poet and playwright. The plan is written by a forensic graphologist in the handwriting of Spike Milligan as sampled from his diary entries from the year 1972.

An unfolded poster is pinned to the gallery wall representing two minutes and fifteen seconds of light from my window, overlooking Jardin Villemin, 10e, Paris, France, starting at 14:17 on 31 January 2009, for the duration of which I was attempting to devise a show plan for an exhibition possibly entitled The die is cast at Villa Arson, Nice, France, in May 2009.

An unfolded poster is pinned to the gallery wall representing a show plan for a ‘metaverse’ exhibition by Terence Alan Patrick Seán Milligan KBE (16 April 1918 – 27 February 2002), also known as Spike Milligan, an Anglo-Irish comedian, writer, musician, poet and playwright. The plan is written by a forensic graphologist in the handwriting of Spike Milligan as sampled from his diary entries from the year 1972.

An unfolded poster is pinned to the gallery wall representing two minutes and fifteen seconds of light from my window, overlooking Jardin Villemin, 10e, Paris, France, starting at 14:17 on 31 January 2009, for the duration of which I was attempting to devise a show plan for an exhibition possibly entitled The die is cast at Villa Arson, Nice, France, in May 2009.

Absorbing the sights and the sounds, 2009

A lucky charm pendant one might usually expect to find attached to a Japanese teenager’s mobile telephone. The pendant represents a cartoonified caricature of the fictional artist Aston Ernest, originally modelled by the father of the artist following conversations with his son about the artist’s appearance and demeanour. The model was miniaturised and reproduced with a rapid prototyping process.

A lucky charm pendant one might usually expect to find attached to a Japanese teenager’s mobile telephone. The pendant represents a cartoonified caricature of the fictional artist Aston Ernest, originally modelled by the father of the artist following conversations with his son about the artist’s appearance and demeanour. The model was miniaturised and reproduced with a rapid prototyping process.

Describe the effect of watching a Godard film - (Alchemy Box # 13), 2009

A black plastic wall mounted "Alchemy Box", the contents of which are sealed within, has a horizontal strip like window of tinted glass set into the front. The window is too dark to view through, however a bright blue LED is continuously lit from behind the glass. The ingredients within the box relate to thinking around the themes of duration, the freeze frame, the still life, motion, twining, the repetitious moment and the moving still.

A black plastic wall mounted "Alchemy Box", the contents of which are sealed within, has a horizontal strip like window of tinted glass set into the front. The window is too dark to view through, however a bright blue LED is continuously lit from behind the glass. The ingredients within the box relate to thinking around the themes of duration, the freeze frame, the still life, motion, twining, the repetitious moment and the moving still.

Absorbing the sounds and the sights, 2009

A lucky charm pendant one might usually expect to find attached to a Japanese teenager’s mobile telephone. The pendant represents a cartoonified caricature of the French curator François Piron, originally modelled by the father of the artist following conversations with his son about the curator’s appearance and demeanour. The model was miniaturised and reproduced with a rapid prototyping process.

A lucky charm pendant one might usually expect to find attached to a Japanese teenager’s mobile telephone. The pendant represents a cartoonified caricature of the French curator François Piron, originally modelled by the father of the artist following conversations with his son about the curator’s appearance and demeanour. The model was miniaturised and reproduced with a rapid prototyping process.

Diversion (NOW SHOWING),2009

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Film footage is projected by a video projector on to the wall of a darkened gallery that is made inaccessible and the viewer is prevented from entering by a Gold and Red Stanchion at the entrance to the space. An ornate gilded mirror is positioned on the wall of the darkened space so that only a few spectators can view the footage at once visible as a reflection in the darkness. Outside this space in the main gallery or at the entrance to the gallery is positioned an A0 sized poster in a gilded frame that advertises the screening of a film. The film being a previously lost documentary entitled «The Magic and The Meaning», 2009, the original missing content to: Things that mean things and things that look like they mean things, 2009. A documentary by Ryan Gander that looks directly through the eyes of young artists and examines the romanticism of their gaze.

Porthole to Culturefield, 2009

Wall-mounted ladder rungs are positioned up high on the gallery wall, out of reach of the spectator, leading to the ceiling of the gallery where a metal porthole, painted the same matt white as the walls, has been inconspicuously installed. The porthole is bolted closed.

Wall-mounted ladder rungs are positioned up high on the gallery wall, out of reach of the spectator, leading to the ceiling of the gallery where a metal porthole, painted the same matt white as the walls, has been inconspicuously installed. The porthole is bolted closed.

I am born, I learn to read, walk and speak...,2009

A photograph shows a young woman sitting in café. On the table in front of her is a notepad on which are written the words "Rethink idea of self portrait" in a purple ink fountain pen.

A photograph shows a young woman sitting in café. On the table in front of her is a notepad on which are written the words "Rethink idea of self portrait" in a purple ink fountain pen.

Your life in seven acts, 2009

A reconstructed map of the City of Paris – usually made freely available by the tourist information office – reproduced here to include a number of streets existing before 1911. Most of the streets mark locations where town planners have replaced the cities organic structure with a formulaic interpretation of civic economy. Displayed in a cardboard box near to a door between the zones of the exhibition and other parts of the institution, the map is freely available for the visitor to take.

A reconstructed map of the City of Paris – usually made freely available by the tourist information office – reproduced here to include a number of streets existing before 1911. Most of the streets mark locations where town planners have replaced the cities organic structure with a formulaic interpretation of civic economy. Displayed in a cardboard box near to a door between the zones of the exhibition and other parts of the institution, the map is freely available for the visitor to take.

You can wander off in time and space, 2009

The work consists of three components: a transparent film placed in the window of the gallery, a photograph of the invigilator of the space and a book of matches in which an ISBN number has been noted. Rain droplets have been printed on a transparent film, which has been placed in the window of the space. In the centre of the film the rain droplets appear to have been wiped by someone’s hand, providing a framed viewable area into the gallery. Behind this wiped area sits the invigilator of the space. A small black and white photograph framed on the wall shows an image of the face of the invigilator gazing out of the window through the rain into the street. On the floor of the gallery is a book of matches, discarded and free for a visitor to pick up, investigate or take. Inside the book of matches the viewer finds a series of numbers written by hand that on first appearance seem to be a telephone number, but on further investigation materialises as ISBN classification of a reference book directing the viewers experience beyond the realms of the gallery, the work continues elsewhere, in the world outside.

The work consists of three components: a transparent film placed in the window of the gallery, a photograph of the invigilator of the space and a book of matches in which an ISBN number has been noted. Rain droplets have been printed on a transparent film, which has been placed in the window of the space. In the centre of the film the rain droplets appear to have been wiped by someone’s hand, providing a framed viewable area into the gallery. Behind this wiped area sits the invigilator of the space. A small black and white photograph framed on the wall shows an image of the face of the invigilator gazing out of the window through the rain into the street. On the floor of the gallery is a book of matches, discarded and free for a visitor to pick up, investigate or take. Inside the book of matches the viewer finds a series of numbers written by hand that on first appearance seem to be a telephone number, but on further investigation materialises as ISBN classification of a reference book directing the viewers experience beyond the realms of the gallery, the work continues elsewhere, in the world outside.

The work consists of three components: a transparent film placed in the window of the gallery, a photograph of the invigilator of the space and a book of matches in which an ISBN number has been noted. Rain droplets have been printed on a transparent film, which has been placed in the window of the space. In the centre of the film the rain droplets appear to have been wiped by someone’s hand, providing a framed viewable area into the gallery. Behind this wiped area sits the invigilator of the space. A small black and white photograph framed on the wall shows an image of the face of the invigilator gazing out of the window through the rain into the street. On the floor of the gallery is a book of matches, discarded and free for a visitor to pick up, investigate or take. Inside the book of matches the viewer finds a series of numbers written by hand that on first appearance seem to be a telephone number, but on further investigation materialises as ISBN classification of a reference book directing the viewers experience beyond the realms of the gallery, the work continues elsewhere, in the world outside.

The work consists of three components: a transparent film placed in the window of the gallery, a photograph of the invigilator of the space and a book of matches in which an ISBN number has been noted. Rain droplets have been printed on a transparent film, which has been placed in the window of the space. In the centre of the film the rain droplets appear to have been wiped by someone’s hand, providing a framed viewable area into the gallery. Behind this wiped area sits the invigilator of the space. A small black and white photograph framed on the wall shows an image of the face of the invigilator gazing out of the window through the rain into the street. On the floor of the gallery is a book of matches, discarded and free for a visitor to pick up, investigate or take. Inside the book of matches the viewer finds a series of numbers written by hand that on first appearance seem to be a telephone number, but on further investigation materialises as ISBN classification of a reference book directing the viewers experience beyond the realms of the gallery, the work continues elsewhere, in the world outside.

A portrait of Mark Leckey, 2009

A photographic portrait of the artist Mark Leckey.

A photographic portrait of the artist Mark Leckey.

The markings on the floor that suggest the evidence of a struggle, 2009

Several scuff marks are visible on the floor of the gallery from both black and dark blue rubber soled shoes.

With a smile on your face, 2009

A cardboard life-sized cut out, similar to one that might be expected to be found in the entrance to a cinema, stands in the corner of the room facing the wall so that only the reverse is visible to the viewer. The image on the front of the cut out is of the back of the fictional artist Santo Sterne; the image however has been spray-painted a sepia colour so that only the silhouette is visible.

A cardboard life-sized cut out, similar to one that might be expected to be found in the entrance to a cinema, stands in the corner of the room facing the wall so that only the reverse is visible to the viewer. The image on the front of the cut out is of the back of the fictional artist Santo Sterne; the image however has been spray-painted a sepia colour so that only the silhouette is visible.

Chaos mode - (Alchemy Box # 15)

An "Alchemy Box" disguised as a pebble dashed concrete pillar that one might expect to find in a pedestrianised street or a parking lot. The Alchemy Box contains articles sealed within relating to the theme of civic aesthetics and brutalist architecture, as well as imagined, unrealised, failed or unsustainable ideas for buildings and lifestyles. The ingredients within are listed on the wall as a text near to the pillar.

An "Alchemy Box" disguised as a pebble dashed concrete pillar that one might expect to find in a pedestrianised street or a parking lot. The Alchemy Box contains articles sealed within relating to the theme of civic aesthetics and brutalist architecture, as well as imagined, unrealised, failed or unsustainable ideas for buildings and lifestyles. The ingredients within are listed on the wall as a text near to the pillar.

Accenture? (Tentative Title), 2009

An antique scrabble board has tiles, which have been replaced with fabricated and aged replica tiles, produced using an alphabet made from the handwriting of the American writer, cartoonist and neologist (an inventor of words) Theodor Seuss Geisel, otherwise known as Dr Suess. The board is presented with its pieces scattered across the floor having been purposefully upturned part way through a game. The title “Accenture? (Tentative Title)”, 2009, refers to a recently invented word meaning ‘accent on the future’, a term used in the advertising world.

An antique scrabble board has tiles, which have been replaced with fabricated and aged replica tiles, produced using an alphabet made from the handwriting of the American writer, cartoonist and neologist (an inventor of words) Theodor Seuss Geisel, otherwise known as Dr Suess. The board is presented with its pieces scattered across the floor having been purposefully upturned part way through a game. The title “Accenture? (Tentative Title)”, 2009, refers to a recently invented word meaning ‘accent on the future’, a term used in the advertising world.

Having done more work - (Alchemy box # 11), 2009

An Alchemy Box appropriating the vessel of a locked cigar humidor handcrafted from Macassar Ebony. The box is presented on the floor in a corner of the gallery against the wall. The ingredients contained within the box relate to the themes of practice, work ethic, class conflict, legacy and inheritance. The ingredients within are listed on the wall as a text

near to the box.

An Alchemy Box appropriating the vessel of a locked cigar humidor handcrafted from Macassar Ebony. The box is presented on the floor in a corner of the gallery against the wall. The ingredients contained within the box relate to the themes of practice, work ethic, class conflict, legacy and inheritance. The ingredients within are listed on the wall as a text

near to the box.

Casting, 2009

An image of a architectural computer model, produced by Bell, Travers, Willson Architects Ltd, of The New School of Art and Design, 2004, conceived and designed by Ryan Gander. The image is made up by overprinting on existing messages and notices found on a notice board in the Fine Art department of Ecole nationale supérieure des beaux-arts, Paris, and then replacing these on a new notice board in the gallery.

An image of a architectural computer model, produced by Bell, Travers, Willson Architects Ltd, of The New School of Art and Design, 2004, conceived and designed by Ryan Gander. The image is made up by overprinting on existing messages and notices found on a notice board in the Fine Art department of Ecole nationale supérieure des beaux-arts, Paris, and then replacing these on a new notice board in the gallery.

L’art pour les o-o, 2009

A maquette produced using a rapid prototype method for the proposal of a public sculpture. The public sculpture would be representation of the demolished statue of "the Happy Prince" and swallow as featured in the final part of the children’s story The Happy Prince by Oscar Wilde. Made from a single piece of stone the sculpture would consist of one solid piece representing the rubble of a ruined work of public art, including details of the forms of the prince’s heart, sword and helmet, as well as the dead swallow.

A maquette produced using a rapid prototype method for the proposal of a public sculpture. The public sculpture would be representation of the demolished statue of "the Happy Prince" and swallow as featured in the final part of the children’s story The Happy Prince by Oscar Wilde. Made from a single piece of stone the sculpture would consist of one solid piece representing the rubble of a ruined work of public art, including details of the forms of the prince’s heart, sword and helmet, as well as the dead swallow.

Here is a work (for the crows to pluck), 2009

A mobile presented with a broken thread, fallen to the floor. The mobile is an assemblage of laser cut pieces taken from four various sources: an Alexander Calder print purchased from the book shop of Pompidou, Paris; impact stars from the cartoon Tintin photographed from the television, used to suggest that Tintin’s canine sidekick Snowy is drunk; pieces cut from a print of a painting by Bruno Munari re-documented on the artist’s studio wall; and pieces that make up the components of Didactease logo devised by Gander as featured in work “There exists only one definition for anything anywhere at anyone time”, 2007.

A mobile presented with a broken thread, fallen to the floor. The mobile is an assemblage of laser cut pieces taken from four various sources: an Alexander Calder print purchased from the book shop of Pompidou, Paris; impact stars from the cartoon Tintin photographed from the television, used to suggest that Tintin’s canine sidekick Snowy is drunk; pieces cut from a print of a painting by Bruno Munari re-documented on the artist’s studio wall; and pieces that make up the components of Didactease logo devised by Gander as featured in work “There exists only one definition for anything anywhere at anyone time”, 2007.

Investigation # 100 - X is for XyloPhone, 2009

A number of black and white XyloPhone keys sit piled on top of one another balanced on the top right corner of an empty white frame. The keys in ascending order from the bottom represent the order of the notes of the Windows XP Start-up theme followed by the Windows XP shut-down theme.

A number of black and white XyloPhone keys sit piled on top of one another balanced on the top right corner of an empty white frame. The keys in ascending order from the bottom represent the order of the notes of the Windows XP Start-up theme followed by the Windows XP shut-down theme.

The pen marks on the page suggest the characters head does a double take...2009

A number of public death announcements in the form of black and white A1 sized photocopied posters are pasted onto the gallery wall. It is visible that there are two types of posters and that each type has been produced in reverse as well as the correct way around.One poster is for the death of the character J. Moriarty – from the stories of Sherlock Holmes by Sir Arthur Conan Doyle – one of the brothers of Holmes’s arch-nemesis Professor Moriarty, whilst the other poster is for the character Mycroft Holmes, the brother of Sherlock Holmes. Both characters are mentioned but never visible in any of the adventures of Sherlock Holmes. The texts on the posters read: Colonel J. Moriarty has expired after a long and difficult struggle grappling with that to which he was the most susceptible. The funeral will take place on the 4th of May at Englische Kirche Meringen, Kirchgasse, Meiringen 3860 and Mycroft Holmes, Gentleman and extraordinary artist has passed away in full serenity, without regrets or unfinished business. The funeral will take place on the 4th of May at Englische Kirche Meringen, Kirchgasse, Meiringen 3860.

A number of public death announcements in the form of black and white A1 sized photocopied posters are pasted onto the gallery wall. It is visible that there are two types of posters and that each type has been produced in reverse as well as the correct way around.One poster is for the death of the character J. Moriarty – from the stories of Sherlock Holmes by Sir Arthur Conan Doyle – one of the brothers of Holmes’s arch-nemesis Professor Moriarty, whilst the other poster is for the character Mycroft Holmes, the brother of Sherlock Holmes. Both characters are mentioned but never visible in any of the adventures of Sherlock Holmes. The texts on the posters read: Colonel J. Moriarty has expired after a long and difficult struggle grappling with that to which he was the most susceptible. The funeral will take place on the 4th of May at Englische Kirche Meringen, Kirchgasse, Meiringen 3860 and Mycroft Holmes, Gentleman and extraordinary artist has passed away in full serenity, without regrets or unfinished business. The funeral will take place on the 4th of May at Englische Kirche Meringen, Kirchgasse, Meiringen 3860.

Eventually on the 4th of May, the public death announcements are to be pasted to a wall in the Bahnhofplatz in the town of Meiringen, neighbouring Reichenbach Falls, to coincide with the anniversary of the death of Sherlock Holmes and a mass pilgrimage to the town by Sherlock Holmes fans. Reichenbach Falls is the location where Sir Arthur Conan Doyle’s hero, Sherlock Holmes, apparently died locked in mortal combat with his arch-nemesis, Professor Moriarty, at the end of the novel The Adventure of the Final Problem.

Associative Template # 29 ('Of The Fall’s record sleeves’), 2009

An associative photograph numbered 29 from a series of 31, containing articles from research on the theme of censorship, precedence, mimetics, associative methodologies, authorship, ownership and appropriation. A template of the articles from the previous image in the series has been cut out by laser to reveal the gallery wall behind the photograph. The cut out pieces including the mount board, photograph and glazing are also presented, on the floor in the vicinity of the photograph.

An associative photograph numbered 29 from a series of 31, containing articles from research on the theme of censorship, precedence, mimetics, associative methodologies, authorship, ownership and appropriation. A template of the articles from the previous image in the series has been cut out by laser to reveal the gallery wall behind the photograph. The cut out pieces including the mount board, photograph and glazing are also presented, on the floor in the vicinity of the photograph.

Template for ‘What the fuck is a mood board anyway?', 2009

A rubdown transfer of standardised printer’s crop and registration marks identify and frame an A4 sized portrait area on the gallery wall. The title of the printer’s file for this empty space is also visible on the wall, it reads: ‘Walk back two paces and half close your eyes’.

A rubdown transfer of standardised printer’s crop and registration marks identify and frame an A4 sized portrait area on the gallery wall. The title of the printer’s file for this empty space is also visible on the wall, it reads: ‘Walk back two paces and half close your eyes’.

How I learnt to feel, 2009

Three silhouettes on the exterior of the windows of the gallery are produced from a layering of a variety of hundreds of existing children’s stickers. The three silhouettes are of a newly invented Francophile cartoon character of an artist named Aston Ernest and existing cartoon characters Mr. Magoo and Bécassine. The three characters between them also hold the same characteristics of the monkeys from the fable of the three wise monkeys with the inability to hear, see and speak respectively.

Three silhouettes on the exterior of the windows of the gallery are produced from a layering of a variety of hundreds of existing children’s stickers. The three silhouettes are of a newly invented Francophile cartoon character of an artist named Aston Ernest and existing cartoon characters Mr. Magoo and Bécassine. The three characters between them also hold the same characteristics of the monkeys from the fable of the three wise monkeys with the inability to hear, see and speak respectively.

You can see straight through it (‘Arguably, Sir, Arguably’), 2009

A cover of a record by the band The Fall, loaned from the writer and film maker Dan Fox and photographed on the wall of the artist’s studio. The cover has then been cut out of the photograph by laser, revealing the wall of the gallery on which the photograph is hung. The cut out image of the record cover complete with mount board and glazing is left on the floor somewhere in the vicinity of the photograph. The act of hanging a record cover of The Fall on the wall of the gallery has been decribed frequently in art press during the year prior to the execution of the work as an analogy for ‘validation through association’. Instigated by the artist Nathaniel Mellors, the idea escalated after a conversation over dinner with Dan Fox and Ryan Gander on the 16th of September 2007 in Lyon, France.

A cover of a record by the band The Fall, loaned from the writer and film maker Dan Fox and photographed on the wall of the artist’s studio. The cover has then been cut out of the photograph by laser, revealing the wall of the gallery on which the photograph is hung. The cut out image of the record cover complete with mount board and glazing is left on the floor somewhere in the vicinity of the photograph. The act of hanging a record cover of The Fall on the wall of the gallery has been decribed frequently in art press during the year prior to the execution of the work as an analogy for ‘validation through association’. Instigated by the artist Nathaniel Mellors, the idea escalated after a conversation over dinner with Dan Fox and Ryan Gander on the 16th of September 2007 in Lyon, France.

Announcement for the book ‘The Sitting’, 2009

A small bundle placed near the entrance to the space, containing newsprint flyer announcing calls for subjects for commissioned conceptual portraits, describing the process and procedure of the commission, including time frame, description of the book of ‘The Sitting’. This work is to be taken by people, but is also available to sell as a sculpture. When the pile is empty the collector must order more flyers to be printed. And visitors are allowed to take a leaflet each, the reverse of the leaflet contains the pattern of peacocks feathers that is printed also on the inside of the end papers of the book, ‘The Sitting’.

A small bundle placed near the entrance to the space, containing newsprint flyer announcing calls for subjects for commissioned conceptual portraits, describing the process and procedure of the commission, including time frame, description of the book of ‘The Sitting’. This work is to be taken by people, but is also available to sell as a sculpture. When the pile is empty the collector must order more flyers to be printed. And visitors are allowed to take a leaflet each, the reverse of the leaflet contains the pattern of peacocks feathers that is printed also on the inside of the end papers of the book, ‘The Sitting’.

Investigation # 34 - Amend Amend Amend, 2008

An antique print of an illustration of a rural scene with an additional flap is added over the print to amend a broken branch of a tree in the background of the illustration

Your upbringing really brought you down, 2009

A broken 16 mm film projector with a flickering hair, which has got lodged into the

machinery. On the floor beneath the projector lies a film that has come unravelled from

its spool, the images on the film are of a giant puppet of Samson from the Museum in

the town of Tamsweg in Austria.

A broken 16 mm film projector with a flickering hair, which has got lodged into the

machinery. On the floor beneath the projector lies a film that has come unravelled from

its spool, the images on the film are of a giant puppet of Samson from the Museum in

the town of Tamsweg in Austria.

Felix provides a stage # 2, 2008

One of eleven photographs of the artist's studio portraying the research and development of the work. A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor.

Available in three different sizes and four different colours, 2008

A neon sign depicts the phrase “Say ____ ___ see”. The sign is installed and then broken by the artist.

Flashes of beautiful thinking – 15 July 2008

This work consists of one crystal ball containing a laser-etched image of a piece of paper on which I was about to draw when it slipped from the table and fell to the floor. Shown together with a sealed lightproof black polythene bag containing 8 ‘page-per-day’ 2010 calendar pages for the 4 March 2010 (the birth date of the work - that being the first time the work was shown. The calendars included are ‘Insult a Day’, ‘Argyle Sweater’, ‘The 365 Stupidest Things Ever Said’, ‘The Original 365 Jokes, Puns, Riddles’, ‘365 New Words a Year’, ‘Origami’, ‘Mind Benders and Brainteasers’ and ‘1000 places to see before you die’.

This work consists of one crystal ball containing a laser-etched image of a piece of paper on which I was about to draw when it slipped from the table and fell to the floor. Shown together with a sealed lightproof black polythene bag containing 8 ‘page-per-day’ 2010 calendar pages for the 4 March 2010 (the birth date of the work - that being the first time the work was shown. The calendars included are ‘Insult a Day’, ‘Argyle Sweater’, ‘The 365 Stupidest Things Ever Said’, ‘The Original 365 Jokes, Puns, Riddles’, ‘365 New Words a Year’, ‘Origami’, ‘Mind Benders and Brainteasers’ and ‘1000 places to see before you die’.

Both before and after, I had to write your obituary, 2008

Two obituaries float mounted, side-by-side in the same frame. Ryan Gander writes one obituary about the life, death and legacy of friend and collaborator Bedwyr Williams and the other is written by Bedwyr Williams about the life, death and legacy Ryan Gander. Both obituaries are fictional. The Obituary’s are typeset by Åbäke as imagined in Newspapers of the future in accordance with the obituaries themselves.

Two obituaries float mounted, side-by-side in the same frame. Ryan Gander writes one obituary about the life, death and legacy of friend and collaborator Bedwyr Williams and the other is written by Bedwyr Williams about the life, death and legacy Ryan Gander. Both obituaries are fictional. The Obituary’s are typeset by Åbäke as imagined in Newspapers of the future in accordance with the obituaries themselves.

Christmas according to *Palmtree*, 2008

A mobile containing seven different viewing cards, each presenting a differently proportioned aperture of the most frequently used aspect ratios from painting, film and photography. The aspect ratios from painting are represented by reproductions of viewing cards carried in the top pocket of Gustav Klimt his entire life. The aspect ratios from film are represented by 16:9, 4:3 and Cinescope black laser-cut metal masks and the aspect ratios from photography are represented by a 35mm panoramic aluminium GEPE slide mount, a 6 x 6” medium format aluminium GEPE slide mount and a 6 x 7” aluminium GEPE slide mount.

A mobile containing seven different viewing cards, each presenting a differently proportioned aperture of the most frequently used aspect ratios from painting, film and photography. The aspect ratios from painting are represented by reproductions of viewing cards carried in the top pocket of Gustav Klimt his entire life. The aspect ratios from film are represented by 16:9, 4:3 and Cinescope black laser-cut metal masks and the aspect ratios from photography are represented by a 35mm panoramic aluminium GEPE slide mount, a 6 x 6” medium format aluminium GEPE slide mount and a 6 x 7” aluminium GEPE slide mount.

Man on a bridge - (A study of David Lange), 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot

Things that mean things and things that look like they mean things, 2008

The work consists of a work inside a work. The spectator is presented with a commissioned

documentary on a flat-screen TV on the subject of the production of the making of an artwork that doesn’t exist entitled The magic and the meaning, 2008. The imaginary film The magic and the meaning, 2008, is described only within the documentary, which follows parts of the making of the film, extracts from interviews with the writer and film maker Dan Fox and the artist and maker of the work Ryan Gander, as well as showing short slow-motion sections of the film that does not exist. The imaginary film The magic and the meaning, 2008, is described as taking the form of a 16mm black and white film study of young art students in an exhibition of Francis Bacon at Tate Britain, London. The film documents the students drawing

and sketching the paintings that they see on the walls in their sketchbooks, an act of association to the world of art a through a romanticisation of it.

The work consists of a work inside a work. The spectator is presented with a commissioned

documentary on a flat-screen TV on the subject of the production of the making of an artwork that doesn’t exist entitled The magic and the meaning, 2008. The imaginary film The magic and the meaning, 2008, is described only within the documentary, which follows parts of the making of the film, extracts from interviews with the writer and film maker Dan Fox and the artist and maker of the work Ryan Gander, as well as showing short slow-motion sections of the film that does not exist. The imaginary film The magic and the meaning, 2008, is described as taking the form of a 16mm black and white film study of young art students in an exhibition of Francis Bacon at Tate Britain, London. The film documents the students drawing

and sketching the paintings that they see on the walls in their sketchbooks, an act of association to the world of art a through a romanticisation of it.

Basquiat, 2008

A single channel video is presented on a monitor placed on the floor of the space. The video shows gallerist Niru Ratnam riding a bicycle in a park wearing a pair of pyjamas. The work is a loose reconstruction on a scene from the film Basquiat, 1996, by Julian Schnabel. The audio element of the video consists of a voiceover of Ratnam reading a press release he had written for the work following the production of the visual element of the video. The press release was written with the full knowledge that it would become the voiceover for the final edit.

A single channel video is presented on a monitor placed on the floor of the space. The video shows gallerist Niru Ratnam riding a bicycle in a park wearing a pair of pyjamas. The work is a loose reconstruction on a scene from the film Basquiat, 1996, by Julian Schnabel. The audio element of the video consists of a voiceover of Ratnam reading a press release he had written for the work following the production of the visual element of the video. The press release was written with the full knowledge that it would become the voiceover for the final edit.

A Whole Hole, 2008

A wall-mounted bookshelf veneered with Ebony Maccassar, Oak Bog, and Indian Rosewood, to represent an outline of where ten books may have previously stood. The scale and order of the books refers to a previous work by Aurelien Froment entitled ‘A hole in the shelf’. This work measures 40 (h) x 27 (l) x 18,5 cm (d) (timber thickness 3 cm)

A wall-mounted bookshelf veneered with Ebony Maccassar, Oak Bog, and Indian Rosewood, to represent an outline of where ten books may have previously stood. The scale and order of the books refers to a previous work by Aurelien Froment entitled ‘A hole in the shelf’.

Investigation # 6 Wabbit, 2008

Diamond Playboy poster adjusted with a black and white permanent chalk marker pen to delete all the diamonds and to replace the title with an underscore and speech marks in the manner one would expect to see in the New Yorker Magazine cartoon caption competition.

Diamond Playboy poster adjusted with a black and white permanent chalk marker pen to delete all the diamonds and to replace the title with an underscore and speech marks in the manner one would expect to see in the New Yorker Magazine cartoon caption competition.

Corkboard photograph F - So we began to change the side of each bricks, 2006

A colour photograph of the original research used for thework A rumour of rest, 2006. Three hundred and twenty cork tiles previously used as a pinboard to display research, and form relationships between documents relating to the production of a legend around the idea of ‘concrete cancer’.

In the shadow of the Alpinist, 2005

A down object that are usually used to prevent coastal erosion, placed in the exhibition space along with a rubdown transfer of one we of the lunar calendar, showing the phases of the moon for the year 2031.

A down object that are usually used to prevent coastal erosion, placed in the exhibition space along with a rubdown transfer of one we of the lunar calendar, showing the phases of the moon for the year 2031.