2022
David Shrigley, Proposals for Record Covers
December 3, 2022 – January 28, 2023
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, David Shrigley, Proposals for Record Covers, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
David Shrigley, Untitled (Red Line), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Please Forgive My Absence), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (You Are Imprisoned by Your Own Foolishness), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Photographers Lack True Purpose), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (I Threw a One for the Hundreth Time in a Row), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (You Are Not Ready to See Behind the Curtain), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Proposal, Old Wheel for New Car), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Proposal), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Drive Fast, Until You Crash), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Sit Down), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Cat Odyssey), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Beans for All, No One to Go Without), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Here), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Socks), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (I Still See Him When I Close My Eyes), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Emotional Pancake), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Do Not Unravel It), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (I Am Rarely Seen and Widely Misunderstood), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (We Should Leave Him in the Sea), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Everything Is Shit, But Do Not Lose Hope), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Good Good), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Gold Watch, Tells the Time, Nothing More), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Ride No Other Horse but This), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (I'm Not Angry, I'm Disappointed), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Punk Cannot Be Created or Destroyed), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Pinnacle of Human Endeavour), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Donut for Sale, Partly Eaten), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (You Must Wear These Boots), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (My Body Is a Canvas), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Look at My Ass), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Centre Parting), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Just Passing Through), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (It's Fine, the Worm Has Gone), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (He Did Not Need It), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Man In the Mirror), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (I Like It), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Red Guitar, Do Not Be Afraid of It), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Look at the Wall), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (You Dance Here, We Will Clap and Cheer), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Consider Your Failings), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Time to Emerge From Your Hole), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (He Tells Me What to Do), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (The Dog Beat Me Again), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Old Dog, We Still Love You), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Resist Bad Stuff), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Ice Cubes for Dinner), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Tennis Ball), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (The Rain Is Delicous), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Pizza Is the Problem), 2022, Acrylic on paper, 55 x 55 cm
David Shrigley, Untitled (Cigarettes Are Good for You, In a Way), 2022, Acrylic on paper, 55 x 55 cm
2022
Dozie Kanu
October 15 – November 26, 2022
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, Knuckle crate (rejected Vitra design), 2022, Birch wood, stainless steel, Ed. of 50 (+5 AP), 39.85 x 39.37 x 35.3 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, unresolved design marathon dance continua (Hermès, Houston) (detail), 2022, Polished stainless steel, United States of America 1 cent pennies, grout, varnish, 2 parts, 5 x 140 x 280 cm each
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, aro pillars chukwu dinners, 2022, Found steel pipes, burnt pine wood, spray paint, powder-coated steel keyhole plates, 45 x 65 x 76 cm
Dozie Kanu, aro pillars chukwu dinners (detail), 2022, Found steel pipes, burnt pine wood, spray paint, powder-coated steel keyhole plates, 45 x 65 x 76 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, Chair [ xix ] (head hunt), 2022, Steel, acrylic polyurethane enamel primer paint, 440 x 106 x 102 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, hang something metric, 2022, Found water pump component, steel, coat hanging clips, 150 cm measuring stick, 250 x 150 x 40 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, youtu.be/vrqLrxWUBXc, 2022, LCD Screen, Raspberry Pi, electrical wiring, 13 x 8 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, three / four useless flagpoles playing with gaud, 2022, Mixed media, 340 cm height
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, TESIA JONES, 2022, Glass mirror, found glass mirror in polished steel frame, steel, acrylic polyurethane enamel paint, ironing board, 168 x 148 x 60 cm
Dozie Kanu, Untitled, 2022, Steel, acrylic polyurethane enamel paint, 83 x 67 x 50 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, Knuckle crate (rejected Vitra design), 2022, Birch wood, stainless steel, Ed. of 50 (+5 AP), 39.85 x 39.37 x 35.3 cm
Dozie Kanu, Chair [ xviii ] (cooler), 2022, Found cooler, steel, concrete, epoxy sculpting clay, foam, acrylic polyurethane enamel paint, 80 x 60 x 50.5 cm
Dozie Kanu, brooks, 2022, Found steel pipes, internal scale components, stainless steel, acrylic polyurethane enamel paint, 67 x 50 x 83 cm
Dozie Kanu, Explosion Proof, 2022, Found explosion proof light case, found steel sheet, steel, electrical wiring, 57 x 57 x 40 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Dozie Kanu, Headboard (Love Crime), 2022, Found mahogany head board, found chrome plated steel, inkjet prints on matte photopaper, artist's frames, epoxy sculpting clay, 136 x 58 x 7 cm
Dozie Kanu, Headboard (Love Crime) (detail), 2022, Found mahogany head board, found chrome plated steel, inkjet prints on matte photopaper, artist's frames, epoxy sculpting clay, 136 x 58 x 7 cm
Dozie Kanu, weighing forgiveness in light of, 2022, Found weighing scale, steel plates, electrical wiring, found cone lamp shade, acrylic polyurethane enamel paint, 152 x 67 x 50 cm
Dozie Kanu, Chair [ iii ] (Dark), 2022, Poured concrete, steel, rims, Ed. of 7 (+ 2 AP), 91.4 x 41.9 x 52.1 cm
Installation view, Dozie Kanu, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
2022
Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich
September 3 – October 8, 2022
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Cherri Foytlin of the Navajo Diné Nation, leader of the Bayou Bridge Pipeline opposition movement and founder of Water is life Camp. Protecting Mother Earth Conference, Wa He Lut Indian School, Olympia, Washington, July 1, 2018
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 157 x 126 x 5 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Inhabitants, Aguascalientes F. Gomez (Chiapas), 1996
Framed Cibachrome print mounted on aluminum, 158.5 x 129 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Park Jun Kyu, Hwang Yi Min, Yu Man Hyeong (in a meeting room at KCTU headquarters), Seoul, 2001
Framed Ilfochrome print mounted on aluminum, 128 x 159 cm, Ed. 1/3 + 2 AP
Tahar Abidi, Tunisian journalist, political refugee in France, WSIS, Geneva, December 10, 2003
Framed ilfochrome print mounted on aluminum, 158.5 x 129 cm, 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
For life (the Zapatista journey has already begun), Paris, May, 29, 2021
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 51 x 63 x 5 cm, Ed. 1/5 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
ZAD of Notre-Dame-des-Landes, November 5, 2016
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 63 x 51 x 5 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Sunday Afternoon, 1999
57 vintage silverprints, framed, each 32 x 25 cm, Ed. 3/3 + 2 AP
Sunday Afternoon, 1999 (detail)
57 vintage silverprints, framed, each 32 x 25 cm, Ed. 3/3 + 2 AP
Sunday Afternoon, 1999 (detail)
57 vintage silverprints, framed, each 32 x 25 cm, Ed. 3/3 + 2 AP
Sunday Afternoon, 1999 (detail)
57 vintage silverprints, framed, each 32 x 25 cm, Ed. 3/3 + 2 AP
Sunday Afternoon, 1999 (detail)
57 vintage silverprints, framed, each 32 x 25 cm, Ed. 3/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Pastor Harry Joseph of Mount Triumph Baptist Church in front of his church, Saint James, Louisiana, August 7, 2017
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 126 x 157 x 5 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Boubacar Diallo, elected member of the consultation committee of the ADEF residence in Saint-Ouen, led the fight for a dignified rehousing of the residents following their evacuation to allow the destruction of the residence, which is located within the perimeter of the future Olympic village, Saint-Ouen, January 23, 2021
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 126 x 157 x 5 cm, Ed. 2/5 + 2 AP
Kim Sung-ok, Seoul, 2001
Framed ilfochrome print mounted on aluminum, 128 x 159 cm, Ed. 1/3 + 2 AP
Campfire, Calais, December 2008
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 51 x 63.5 x 5 cm, Ed. 2/5 + 2 AP
Marcus Mitchell of the Navajo Diné Nation, shot on January 19, 2017, by a Norton County deputy sheriff at a protest against construction of the Dakota Access Pipeline in Standing Rock. Hit in the head, he lost his left eye and hearing in his left ear. Protecting Mother Earth Conference, Nisqually Nation reservation, Wa He Lut Indian School, Olympia, Washington, July 1, 2018
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 126 x 157 x 5 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
V Tube, Water is Life Camp, Rayne, Louisiana, July 7, 2018
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 51 x 63 x 5 cm, Ed. 1/3 + 2 AP
Jardins des Vertus, at the foot of a straw wall, Aubervilliers, May 8, 2021
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 63 x 51 x 5 cm, Ed. 1/5 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Afghan refugee encampment on waste ground near the the hospital, Calais, July 16, 2020
Diptych, inkjet prints (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas boxes, each 126 x 157 x 5 cm, Ed. 1/3 + 2 AP
Afghan refugee encampment on waste ground near the the hospital, Calais, July 16, 2020
Diptych, inkjet prints (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas boxes, each 126 x 157 x 5 cm, Ed. 1/3 + 2 AP
Afghan refugee encampment on waste ground near the the hospital, Calais, July 16, 2020
Diptych, inkjet prints (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas boxes, each 126 x 157 x 5 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Ahmed, heading for the Jules Ferry day centre, Calais, Thursday 16 April 2015
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 63.5 x 51 x 5 cm, Ed. 1/5 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
'La Fanfare Climatique' (climate brass band) playing to support the occupancy of the Jardins Ouvriers des Vertus (community gardens) threatened with destruction to allow the building of a swimming pool for the Olympic Games, Aubervilliers, May 8, 2021
Inkjet print (Canson Baryta Photographique paper) mounted on Dibond, Plexiglas box, 126 x 157 x 5 cm, Ed. 1/5 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
La vie ici, Foyer Adef, 82 rue de Saint-Denis, Saint-Ouen, January 7, 2020 - November 6, 2021 (in the months preceding its destruction to make way for the athletes' village of the Olympic Games Paris 2024)
50 inkjet prints behind glass, each 20 x 25 cm, Ed. 1/3 + 2 AP
La vie ici, Foyer Adef, 82 rue de Saint-Denis, Saint-Ouen, January 7, 2020 - November 6, 2021 (in the months preceding its destruction to make way for the athletes' village of the Olympic Games Paris 2024)
50 inkjet prints behind glass, each 20 x 25 cm, Ed. 1/3 + 2 AP
La vie ici, Foyer Adef, 82 rue de Saint-Denis, Saint-Ouen, January 7, 2020 - November 6, 2021 (in the months preceding its destruction to make way for the athletes' village of the Olympic Games Paris 2024)
50 inkjet prints behind glass, each 20 x 25 cm, Ed. 1/3 + 2 AP
La vie ici, Foyer Adef, 82 rue de Saint-Denis, Saint-Ouen, January 7, 2020 - November 6, 2021 (in the months preceding its destruction to make way for the athletes' village of the Olympic Games Paris 2024)
50 inkjet prints behind glass, each 20 x 25 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Group (road workers and villagers), 12.08.2004
Framed Ilfochrome print with passe-partout, 67 x 77 cm, Ed. 1/3 + 2 AP
Group (Brickworks) Jinan, 13.08.2004
Framed Ilfochrome print with passe-partout, 67 x 77 cm, Ed. 1/3 + 2 AP
Group (CNHTC, Volvo Truck), Jinan, 13.08.2004
Framed Ilfochrome print with passe-partout, 67 x 77 cm, Ed. 1/3 + 2 AP
Installation view, Bruno Serralongue, Pour la vie, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Counting of the Great Crested Newt. Photograph taken during the field trip of the 'Naturalistes en lutte' (Naturalists strike back) on the ZAD of Notre-Dame-des-Landes on Sunday, April 9, 2017
Framed inkjet print (Canson Baryta Photographique paper) with passe-partout, 48.5 x 62.5 cm, 3/3 + 2 AP
2022
Alvin Baltrop, Wade Guyton, Heimo Zobernig
June 3 – July 23, 2022
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Heimo Zobernig, Ohne Titel (HZ 2012-090), 2012, Pressboard, 137.5 x 137.5 x 66 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Wade Guyton, Untitled, 2020, Epson UltraChrome HDX inkjet on linen, 91.4 x 68.6 cm
Alvin Baltrop, The Piers (exterior with two figures), n.d. (1975–1986), Silver gelatin print, 11.4 x 17.1 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Heimo Zobernig, Ohne Titel (HZ 2012-122), 2012, Acrylic, Kriptonite, Polyester, Steel, 182 x 50 x 62 cm
Heimo Zobernig, Ohne Titel (HZ 1988-025), 1988, Dispersion, Pressspan, 120 x 60 x 60 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Alvin Baltrop, The Piers (man leaning), n.d. (1975–1986), Silver gelatin print, 25.4 x 20.2 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Heimo Zobernig, Ohne Titel (HZ 1988-025), 1988, Dispersion, pressboard, 120 x 60 x 60 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Heimo Zobernig, Ohne Titel (HZ1988-016), 1988, Pigment, foam, 10 x 200 x 100 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Alvin Baltrop, The Piers (body under cloth), n.d. (1975–1986), Silver gelatin print, 17.8 x 11.4 cm
Alvin Baltrop, The Piers (exterior with two figures), n.d. (1975–1986), Silver gelatin print, 20.3 x 25.4 cm
Alvin Baltrop, The Piers (exterior view), n.d. (1975–1986), Silver gelatin print, 11.3 x 17.7 cm
Alvin Baltrop, The Piers (man lying in room), n.d. (1975–1986), Silver gelatin print, 11.4 x 20 cm
Alvin Baltrop, The Piers (exterior with two figures), n.d. (1975–1986), Silver gelatin print, 18.4 x 11.4 cm
Alvin Baltrop, The Piers (man looking in window), n.d. (1975–1986), Silver gelatin print, 25.5 x 20.5 cm
Installation view, Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
2022
Philippe Decrauzat, No Journey Ends
April 9 – May 21, 2022
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Philippe Decrauzat, no journey ends, 2022, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, no journey ends (detail), 2022, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, no journey ends (detail), 2022, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, returned (indigo), 2022, Acrylic on canvas, 128 × 128 cm
Philippe Decrauzat, returned (indigo) (detail), 2022, Acrylic on canvas, 128 × 128 cm
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Philippe Decrauzat, Take On / No Take, 2017, 16mm black-and-white film, mirror, motor, loop
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Philippe Decrauzat, a closed placed (carbon black), 2021, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, a closed placed (carbon black) (detail), 2021, Acrylic on canvas, 175 × 175 cm
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Philippe Decrauzat, supreme indifference (gris de Payne), 2021, Acrylic on canvas, 175 × 192 cm
Philippe Decrauzat, supreme indifference (gris de Payne) (detail), 2021, Acrylic on canvas, 175 × 192 cm
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Installation view, Philippe Decrauzat, No Journey Ends, Galerie Francesca Pia, Zurich, 2022. Photo: Cedric Mussano
Philippe Decrauzat, something that stands for what it is not (anthracite), 2021, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, something that stands for what it is not (anthracite) (detail), 2021, Acrylic on canvas, 175 × 175 cm
Philippe Decrauzat, something that stands for what it is not (anthracite) (detail), 2021, Acrylic on canvas, 175 × 175 cm
2022
Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich
A six venue exhibition at Bridget Donahue, New York; Candice Madey, New York; Nina Johnson, Miami;
Francesca Pia, Zurich; Campoli Presti, Paris; Hannah Hoffman, Los Angeles
February 11 – April 2, 2022
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, We Love You, 2004, Oil, aluminum paint on canvas, 121.9 x 162.6 cm / 48 x 64 in.
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Love is Over, 2008, Silkscreen glass ink, mirror on canvas board, framed, 122 x 104 cm / 48 x 41 in.
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Plein Air VII, 2021, Gold, aluminum leaf on dropcloth, 274.32 x 335.28 cm / 108 x 132 in.
Rochelle Feinstein, Love is Over, 2008, Mirror on masonite board, styrofoam bricks, 2 parts, 123.2 x 95.3 cm
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Shag, 2021, UV print on Dibond, 152.4 x 147.3 cm / 60 x 58 in.
Rochelle Feinstein, iTouch, 2021, UV print on canvas, 152.4 x 147.3 cm / 60 x 58 in.
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Boo Fucking Hoo & Ball and Chain, 2009, Gold and aluminum leaf, oil on canvas, 2-inch disco ball, rotating display, thread, battery, 188 x 200.7 cm / 74 x 79 in.
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Analog restrospective. 1992–2008, 2012, 80 diapositive slides, Kodak Ektagraphic projector, 5 min., loop, 19 x 33 x 27.9 cm
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Installation view, Rochelle Feinstein, You Again, Galerie Francesca Pia, Zurich, 2022. Photo: Annik Wetter
Rochelle Feinstein, Wonderful Weather, 2021, Oil on birch veneer, 83.8 x 83.8 cm / 33 x 33 in.
Rochelle Feinstein, Think, 1991, Oil relief prints on canvas, 106.7 x 106.7 cm / 42 x 42 in.
Rochelle Feinstein, Pick Pick Pick, 1993, Paper, oil and acrylic on canvas, 106.7 x 106.7 cm / 42 x 42 in.
Rochelle Feinstein, Wonderful Vacation, 1994, Oil on canvas, 83.3 x 83.3 cm / 33 x 33 in.
Rochelle Feinstein, Pinky, 1991, Oil on canvas, 106.7 x 106.7 cm / 42 x 42 in.
Rochelle Feinstein, Face Value, 1993, Oil, tape on canvas, 106.7 x 106.7 cm / 42 x 42 in.
Rochelle Feinstein, Wonderful Sex, 1992, Oil, fabric, printed dish towel on canvas, 83.8 x 83.8 cm / 33 x 33 in.
Rochelle Feinstein, Wonderful View, 1995, Oil on canvas, 83.8 x 83.8 / 33 x 33 in.
2021
Hans-Peter Feldmann
November 13, 2021 – February 5, 2022
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Mokkatassen, 1990s, 18 different ceramic mocha cups, 18 ceramic saucers, variable dimensions, each approx. 12 x 12 x 6 cm
Hans-Peter Feldmann, Fotos Autoradio, "Photos von Autoradios als schöne Musik spielte", 6 photographs, 58 x 85 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Family, 2000s, Oil painting on canvas, triptych, frames, each 45 x 38 cm
Hans-Peter Feldmann, Blumentöpfe an der Wand, 5 plastic flower pots, variable dimensions, each approx. 30 x 30 x 35 cm
Hans-Peter Feldmann, Blumentöpfe an der Wand, 5 plastic flower pots, variable dimensions, each approx. 30 x 30 x 35 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, 2 linke Schuhe, 1990s, Leather shoes, approx. 30 x 22 x 12 cm
Hans-Peter Feldmann, Kartenhaus, 1990s, Playing cards, cardboard, glitter, 44 x 39.5 x 21 cm
Hans-Peter Feldmann, Schuhe (Guess), Shoes, thumbtacks, 17 x 21 x 19 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Kanne mit Schatten, 1990s, Porcelaine teapot, cardboard, 13 x 29 x 20 cm
Hans-Peter Feldmann, Schachtelskulptur auf Sockel, 1990s, Cardboard boxes, 16 x 18 x 10 cm
Hans-Peter Feldmann, Zollstockhaus, 2000s, Folding rules, wire, 79 x 47 x 64 cm
Hans-Peter Feldmann, Betten, 11 b/w photographs, each 20.5 x 27 cm
Hans-Peter Feldmann, Betten, 11 b/w photographs, each 20.5 x 27 cm
Hans-Peter Feldmann, Verkehrspolizist, 2010s, Oil on canvas, 97 x 160 x 2 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, 1 Pfund Erdbeeren, 2000s, 34 photographs, each 10 x 10 cm
Hans-Peter Feldmann, Flugzeug, 2000s, Cardboard, 136 x 60 cm
Hans-Peter Feldmann, THANK YOU, b/w print, 63 x 118 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Brotbilder, 2000s, Photographs, each 100 x 100 cm
Hans-Peter Feldmann, Saxophon mit Text, 1990s, Photograph on paper, 30.5 x 22 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Zeit Serie, Fensterputzerin, 1970s, 31 b/w photographs, 9 x 13 cm
Hans-Peter Feldmann, Zeit Serie, Fensterputzerin (Detail), 1970s, 31 b/w photographs, 9 x 13 cm
Hans-Peter Feldmann, Zeit Serie, Schiff auf dem Rhein, 1970s, 35 b/w photographs, 10 x 15 cm
Hans-Peter Feldmann, Zeit Serie, Schiff auf dem Rhein (Detail), 1970s, 35 b/w photographs, 10 x 15 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Alle Kleider einer Frau, 1970s, 70 photographs, each 9 x 8.8 cm, 87 x 118 cm
Hans-Peter Feldmann, Alle Kleider einer Frau (Detail), 1970s, 70 photographs, each 9 x 8.8 cm, 87 x 118 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Collage, 2000s, Collage, 103 x 74 cm
Installation view, Hans-Peter Feldmann, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hans-Peter Feldmann, Ohne Titel, 2000s, Oil painting on canvas, frame, 60 x 51.5 cm
2021
Greg Parma Smith, Gems in the Temple
September 18 – November 6, 2021
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Greg Parma Smith, Gems in the Temple, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Greg Parma Smith, Transmundane Guardian: American Pitbull in Pigment Slurry, 2021, Oil on canvas, 137.2 x 132.1 cm
Greg Parma Smith, Banner Ducks Manifesting as Inter-Spatial Membrane, 2021, Oil on canvas, 132.1 x 132.1 cm
Greg Parma Smith, Angel of the Ecliptic (Sun), 2021, Oil on canvas, 111.8 x 111.8 cm
Greg Parma Smith, Four Pigment Eggs (Life’s Covenant), 2021, Oil on canvas, 101.6 x 111.8 cm
Greg Parma Smith, Beatified Salmon in Sheer Landscape, 2021, Oil on canvas, 101.6 x 203.2 cm
Greg Parma Smith, Lunar Panel with Stellar Array, 2021, Oil on canvas, 71.1 x 71.1 cm
Greg Parma Smith, Universal Flower in Situated Lapis Lazuli Firmament, 2021, Oil on canvas, 71.1 x 55.9 cm
Greg Parma Smith, Universal Flower in Situated Rose Mineral Firmament, 2021, Oil on canvas, 71.1 x 55.9 cm
Greg Parma Smith, Universal Flower in Situated Cerulean Mineral Firmament, 2021, Oil on canvas, 71.1 x 55.9 cm
2021
This city Is
Jenna Bliss, Hans-Christian Lotz, Alan Michael, Sam Pulitzer, Gili Tal
June 12 – September 11, 2021
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Sam Pulitzer, dashed with sarcasm, a scarlet standard threshold, 2019, Acrylic lacquer on wood, 215 × 97 × 12 cm
Alan Michael, Syn, 2015, Oil on canvas, 152 × 105 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Alan Michael, Present Day, 2016, Oil on canvas, 105 × 75 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Alan Michael, Generalized Secrecy, 2012, Oil on canvas, 101 × 152 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Gili Tal, Windows (Winter), 2021, UV print on canvas and blackout material, 160 × 150 × 25 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Sam Pulitzer, arbeit sans phrase, 2021, Metal, screen printing fire enameled, 59 × 75 cm
Sam Pulitzer, Under Erasure for Illustrative Purposes, 2021, Metal, screen printing fire enameled, 59 × 75 cm
Alan Michael, The Self is a Process, 2010, Oil on canvas, 101 × 76 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Hans-Christian Lotz, Untitled, 2021, Aluminum, acrylglass, 124 × 76 × 10 cm
Hans-Christian Lotz, Untitled, 2021, Aluminum, acrylglass, 124 × 76 × 10 cm
Hans-Christian Lotz, Scale, 2014, Mixed media, 30 × 40 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Jenna Bliss, Tribute In Light #3, 2021, Silver gelatin prints, scratched and exposed super8mm reversal film, 25.6 × 20.2 cm
Jenna Bliss, New York New York, 2019, Super8mm film, transfered to video, 01:38 min. looped
Jenna Bliss, Tribute In Light #6, 2021, Silver gelatin prints, scratched and exposed super8mm reversal film, 25.6 × 20.2 cm
Jenna Bliss, Tribute In Light #4, 2021, Silver gelatin prints, scratched and exposed super8mm reversal film, 25.6 × 20.2 cm
Installation view, This city Is, Galerie Francesca Pia, Zurich, 2021. Photo: Flavio Karrer
Gili Tal, Spaces for Reflection, 2019, Lazertran and varnish on canvas, 170 × 120 cm
2021
Isabelle Cornaro
March 27 – June 5, 2021
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Isabelle Cornaro, Streams II (#11, Aluminum), 2019, Resin and aluminum powder, 23 x 23 x 4 cm
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Isabelle Cornaro, Streams II (#8, Aluminum), 2019, Resin with aluminum powder, 200 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#8, Aluminum), 2019, Resin with aluminum powder, 200 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#5, Aluminum), 2019, Resin with aluminum powder, 140 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#1, Aluminum), 2019, Resin with aluminum powder, 269.5 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#1, Aluminum), 2019, Resin with aluminum powder, 269.5 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#1, Aluminum), 2019, Resin with aluminum powder, 269.5 x 22.5 x 11.5 cm
Isabelle Cornaro, Streams II (#6, Aluminum), 2019, Resin with aluminum powder, 116.5 x 22.5 x 11.5 cm
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Isabelle Cornaro, Shimmers (film still), 2017, 16 mm film transferred to digital, color, silent, 16/9, 1:25 min
Isabelle Cornaro, Accumulation (film still), 2020, 16 mm film transferred to digital, color, silent, 16/9, 2:28 min
Isabelle Cornaro, Transient (film still), 2020, 16 mm film transferred to digital, color, silent, 16/9, 1:18 min
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Isabelle Cornaro, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
2021
Hollis Frampton
March 27 – June 5, 2021
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hollis Frampton, ADSVMVS ABSVMVS (II. JELLY), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (II. JELLY), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (III. CUTTLEFISH), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (IV. CHIMÆRA), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (V. LOTUS), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (VI. MIDSHIPMAN), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (VII. OYSTER SHELL), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (VIII. COMMON GARTER and EASTERN COACHWHIP), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (IX. GARDEN TOAD), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (X. PEPPER), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (XII. MOURNING DOVE), 1982, Ektacolor photograph, 40.6 x 50.8 cm
Hollis Frampton, ADSVMVS ABSVMVS (XI. GRASS FROG), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (XIII. BROWN RAT), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Hollis Frampton, ADSVMVS ABSVMVS (XIV. ROSE), 1982, Ektacolor photograph, 50.8 x 40.6 cm
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Hollis Frampton, Black & white spaghetti, 1964, Black & white photograph, 27.9 x 35.6 cm
Installation view, Hollis Frampton, Galerie Francesca Pia, Zurich, 2021. Photo: Annik Wetter
Marion Faller and Hollis Frampton, Rites of Passage (Empty cake), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (Stork/Birth), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (Car), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (Marriage), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (To War), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (Return/Peace), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
Marion Faller and Hollis Frampton, Rites of Passage (Retirement), 1983/84, Gelatin silver print, 35.6 x 27.9 cm
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