• photo credit: Sebastiano Pellion (Larger version of this image opens in a popup).
    photo credit: Sebastiano Pellion (Larger version of this image opens in a popup).
    photo credit: Sebastiano Pellion (Larger version of this image opens in a popup).
    photo credit: Sebastiano Pellion (Larger version of this image opens in a popup).

    photo credit: Sebastiano Pellion

  • Douglas Gordon

    Douglas Gordon

    Douglas Gordon born 1966, Glasgow, Scotland. Lives and works in Berlin, Glasgow and Paris.

    Gordon’s practice encompasses video, film, installation, sculpture, photography and text. Through his work, the artist investigates human conditions of memory, passage of time, ambiguity and the disruption of the normal as well as the binary nature and the tendency to split things into opposites: black / white, good / evil.

    He won the Turner Prize in 1996, the Premio 2000 at the 47th Venice Biennale in 1997 and the Hugo Boss Prize in 1998.

    Gordon’s work has been exhibited globally, in major solo exhibitions including: the Museum of Modern Art in New York, USA; TATE Britain in London, UK; Musée d’Art moderne de la Ville de Paris, France; ARoS Aarhus Art Museum in Denmark; Dunedin Public Art Gallery in New Zealand; Prisons of the Palazzo Ducale in Venice, Italy; K20, Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany; the Tel Aviv Museum of Art in Israel; the National Gallery of Scotland in the UK; the Hayward Gallery in London, UK; as well as the MOCA in Los Angeles and the Neue Nationalgalerie in Berlin, Germany. His film works have been invited to the Festival de Cannes, Toronto International Film Festival (TIFF), Venice Film Festival, Edinburgh International Film Festival, BFI London Film Festival, Festival del Film Locarno, New York Film Festival, among many others.

  • Douglas Gordon, Paradise, 2021, exhibition view, Dvir Gallery Brussels (Larger version of this image opens in a popup).
    Douglas Gordon, Paradise, 2021, exhibition view, Dvir Gallery Brussels (Larger version of this image opens in a popup).
    Douglas Gordon, Paradise, 2021, exhibition view, Dvir Gallery Brussels (Larger version of this image opens in a popup).

    Douglas Gordon, Paradise, 2021, exhibition view, Dvir Gallery Brussels

  • Belongs to...
    Belongs to...

    Gordon’s 'Belongs to' serie utilise acetone printing to transfer provocative softcore images from early 1960s issues of Playboy magazine onto burnt, unlevelled, and asymmetrical canvases marked by biomorphic drips of wax, acrylic paint, and unknown liquids. The transfers dilute the visibility and definition of the images to the point they become a semi-transparent superfluous tissue evaporating through the interlaced threads of the canvas that both consumes and materialises them. The new paintings juxtapose the cyclical movement of time conducted by the intermittent appearance and disappearance of the images with a sense of change and extension implied by the vague contours and positions of the canvases and the flowing drips of wax and paint.

    The unpredictable topography is further intensified when observing the mirror panels against which the canvases are placed. In almost every work segments of mirror exceed the unravelled edges of the canvas or are revealed through holes in the canvas. Incorporated into the topography of the works, the mirrors expose the backside of the images and canvases as well as reflecting the dynamic scenery in front of them. The mirrors unveil the void concealed within the works, the void they emerge from and are in danger of falling into.

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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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  • David Maljkovic

    David Maljkovic

    David Maljkovic born 1973, Rijeka, Croatia. Lives and works in Zagreb, Croatia.
    Maljkovic’s work questions repeatedly the status of the studio, creating a different visual dialog with it. Using the studio as raw material for the creation of new relations, peeling the content and recycling the form, the methodology of image-building becomes more important than the content, rejecting the notion of a motif as a completed issue. Driving the investigation to the border between architecture, painting and sculpture, Maljkovic practice takes the shape of two-and three-dimensional works of different medium: prints on canvas or archival cardboard, wooden, plexiglas and plastic structures, films, photographs and collages. 
  • Yet to be Titled
    Yet to be Titled

    The series ‘Yet to be Titled’ extends Maljkovic’s practice of using his earlier works as “raw material” for new creations, exploring the nature of working, living, and city spaces. By recycling content and form, Maljkovic delves into the collective and individual experience of time and space, presenting works that create their own unique context. He often leverages the intuitive possibilities of various mediums, achieving a high level of complexity through collage and self-referentiality. The series features a network of subtle signs, fragments, and transformations, where photographs serve as backdrops for fine laser-drawn lines that echo the artist’s ongoing metamorphoses. This interplay between different realities creates the overarching theme, leading to hybrid artifacts that invite new experiences and perspectives.

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  • Salon de Paris, 2022, exhibition view, Dvir Gallery Brussels
    Salon de Paris, 2022, exhibition view, Dvir Gallery Brussels
    • David Maljkovic, Yet to be titled, 2017
      David Maljkovic, Yet to be titled, 2017
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    • David Maljkovic, AAASSEMBLAGE 1, 2016
      David Maljkovic, AAASSEMBLAGE 1, 2016
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  • JONATHAN MONK

    JONATHAN MONK

    Jonathan Monk born 1969, Leicester, Great Britain. Lives and works in Berlin.
    British artist Jonathan Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, “Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realized that being original was almost impossible, so I tried using what was already available as source material for my own work.” Through wall paintings, monochromes, ephemeral sculpture and photography he reflects on the tendency of contemporary art to devour references, simultaneously paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nau-man and Lawrence Weiner, while demystifying the creative process.
     
    • Jonathan Monk, Butterflies Cut Out And Encouraged To Fly Away (12), 2016, size 30, 2016

      Jonathan Monk

      Butterflies Cut Out And Encouraged To Fly Away (12), 2016, size 30, 2016
    • Jonathan Monk, Butterflies Cut Out And Encouraged To Fly Away (15), 2016, size 30, 2016

      Jonathan Monk

      Butterflies Cut Out And Encouraged To Fly Away (15), 2016, size 30, 2016
    • Jonathan Monk, Butterflies Cut Out And Encouraged To Fly Away (1), 2016

      Jonathan Monk

      Butterflies Cut Out And Encouraged To Fly Away (1), 2016
      2 pages altered from American Vogue
      size 30.6 x 23.5 cm (each, framed)
  • Jonathan Monk, Butterflies Cut Out And Encouraged To Fly Away, 2016, pages altered from American Vogue, 30.6 x 23.5 cm (each, framed), unique
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  • Florian Pumhösl

    Florian Pumhösl

    Florian Pumhösl born 1971, Vienna, Austria, where he lives and works.
    Pumhösl’s work is constituted by a constellation of historical references encoded within a visual language that appears purely formal. The apparent abstraction of his paintings, films, and installations is anchored by specific archival sources: 17th-century kimono designs, avant-garde typography, WWI military uniform patterns, cartography, Latin American textiles, and early dance notations. Through the selection, reduction, rearrangement, and reproduction of his source materials—unsystematic and subjective modes of transcription—the artist arrives at a vocabulary that is at once abstract and semiotically motivated. Through attention to the social, political, and geographic genealogy of given forms, his works reveal the modernist fantasy of complete self-referentiality haunted by irreducible specificity and cultural instability. 
  • Relief (For Dresden Raum)

    El Lissitzky, Raum für abstrakte Kunst, Internationale Kunstausstellung Dresden, 1926

    Relief (For Dresden Raum)
    "Relief (For Dresden Raum)" is a series of plaster reliefs inspired by Abstract-Constructivist Avant-Garde artist El Lissitzky and his 1926 Dresden Room Project. This iconic design represents the evolution of architectural space in art history, influenced by cinematic and photographic thinking, modern museology, and innovative uses of color and materials. Pumhösl’s reliefs explore spatial and pictorial shifts, establishing connections with aspects traditionally marginalized in modern art. His work questions the modernist ideal of self-referentiality by highlighting social, political, and geographic influences. Pumhösl probes the extent to which an artist can define a space, considering the balance between his authorship and historical references. His compositions examine the interplay between formalism and historicity, abstraction and specificity.
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    • Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
      Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
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    • Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
      Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
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    • Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
      Florian Pumhösl, Relief (Studies for Dresden Raum), 2017
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  • Ariel Schlesinger

    Ariel Schlesinger

    Ariel Schlesinger born 1980, Jerusalem, Israel. Lives and works in Berlin, Germany and New York, USA. 
    Schlesinger’s work unfolds through a poetic gesture into a post-minimal conceptual practice, de-functionalizing everyday objects by sensible interventions. Using a kind of destructive-constructive strategy in many of his works, Schlesinger pushes and transforms the object, creating new possibilities of understanding and enabling surprising discoveries for the viewer within something that seemed utterly familiar. Through very precise interferences, Schlesinger points towards what is already gone into a new material existence, rescuing it from disappearance and creating a new presence. His numerous works using gas and flames also explore risk and neuter a hazardous situation into one that is beautifully controlled. 
     
  • Ariel Schlesinger, Untitled (Burnt canvas), 2022

    Untitled (Burnt Canvas)

    Untitled (Burnt canvas), 2022

    Untitled (Burnt Canvas) merges the two major themes and source of inspiration of Ariel Schlesinger. The first, a continuous metaphor for love and relationship and the second, creation through destruction and more specifically through fire. The canvases are forever burning each other and at the same time holding one another, thus creating an endless dance of pain and love.

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  • Frieze seoul 2024

    Booth c17

    contact: Chaya Hazan

    +33 6 23 77 45 93

    international@dvirgallery.com