10 Works to Collect at CHART
For its fourth edition, CHART—the leading fair for contemporary Nordic art—returns to the 17th-century halls of Kunsthal Charlottenborg, situated on the Nyhavn Canal in the heart of Copenhagen. Inside the ivy-clad
With this recent work by
Francesca Woodman, Untitled, New York, 1979-1980, 1979-1980
Andréhn-Schiptjenko, Booth 15
This large-scale painting by Regen Projects just closing, his work will also be on view this fall at the Louisiana Museum of Modern Art in Humlebæk, Denmark.
“Never too much” is the golden rule followed by Swiss-born designer duo Sarah Kueng and Lovis Caputo, who met as industrial design students at Zurich University of the Arts. Accordingly, their work is colorful yet minimal, lively yet understated, as in this hand-printed leather bowl, whose surface resembles a colorful marble slab or a vibrant watercolor painting. It was made with a time-honored technique used in Tuscan tanneries, in which skins are naturally dried and tanned and then stained with organic vegetable dyes.
Through his mixed-media work, said. This small but mesmerizing bronze sculpture of a male hand, poised to flip a real coin in a game of “heads or tails,” freezes a moment of uncertainty and spotlights the role of chance in our daily lives. Look out for more of Andersson’s work next year in a solo show at the José de Guimarães International Arts Centre in Portugal and a public art project in Le Havre.
group exhibition at Copenhagen’s Galleri Nicolai Wallner.
In advance of forthcoming solo shows at Ratio 3 in San Francisco and Blain Southern in Berlin, Feldman’s graphic, grey-on-white paintings make a show-stopping appearance at CHART. Accented with undulating lines and expressive drips, the canvases resemble stream-of-consciousness sketches enlarged to a monumental 72-by-72-inch scale. The impression of spontaneous, off-the-cuff gesture is important for Feldman, who has compared her paintings to the punchline of a joke. “I give myself one chance to make the work,” she’s explained. “It’s related to delivering the punchline in that respect—if you don’t get it right, the audience doesn’t laugh. Either it works or it doesn’t.”
Designer and interior architect
This shaped painting of an iceberg—which resembles both an element from a stage set and a glimpse into a faraway land— represents Palais de Tokyo, where a cluster of the craggy paintings stood upright on the floor of a large room like a mountainous obstacle course-cum-carnival game. The Reykjavik-based artist’s work is also on currently on view in a major survey at London’s Barbican Art Gallery.
Marc Quinn Iris
Explore the cup collection here.
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