Door Cycle, 2006

From Door Cycle
Wooden door panel with color-effect filter and light; bucket. Size: door 210 x 90 x 12 cm (82¾ x 35½ x 4¾ in), bucket 28 x 30 cm dia. (11 x 12 in). Edition: 15, signed and numbered on separate label.

This edition, Sunset Door, is a reference to the large-scale installation Olafur Eliasson created for the Turbine Hall in the Tate Modern, London, shown October 2003 through March 2004 (see second image). In this installation, The Weather Project, representations of the sun and sky dominated the expanse of the Turbine Hall. A fine mist permeated the space, as if creeping in from the environment outside. At the far end of the hall was a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produced a sphere of dazzling radiance linking the real space with the reflection. Mono-frequency lamps emitted light at such a narrow frequency that colors other than yellow and black were invisible, thus transforming the visual field around the sun into a vast duotone landscape.

EUR 25,000

From Door Cycle
Wooden board with white painted (acrylic) fiber glass resin on polyurethane foam. Size: 200 x 100 x 40 cm (78¾ x 39½ x 15¾ in). Edition: 15, signed and numbered on separate label.

Belly Door was Elmgeen & Dragset’s contribution to the group project Door Cycle. Inspired by Willem de Kooning’s Door Cycle (1964-1966), a series of female figures painted on hollow-core doors, Schellmann Art invited 16 artists to create artworks on prefabricated hollow-core doors. For their edition, Elmgreen & Dragset transformed the door, an everyday architectural element that we all experience in a direct, physical way, into a partially human form. Visibly female, it directly reminds us of the original inspiration for the project: de Kooning's "Woman" paintings. 

From Door Cycle
Screenprint on both sides of an Amphibolin-primed wooden door panel. Size: 200 x 90 x 4 cm (78¾ x 35½ x 1½ in). Edition: 15, signed and numbered on separate label.

The sculptures of Katharina Fritsch (born 1956 in Essen, lives and works in Düsseldorf) have a way of imprinting themselves on one's mind. With their simple outlines and bold use of color, they have the clarity of icons or pictographs. Her figures and objects are reminiscent of fairy tales, fables and myths. The attention Fritsch pays to the surfaces of the sculptures, and to their color, scale, and the space in which they are presented creates a strange tension between the familiar and the uncanny. A life-size elephant is anatomically exact down to the last fold of skin, but painted in an unearthly blue-green. A man, tucked up in bed, is confronted by a giant black mouse that squats on his chest. The effect of giving solid reality to the visionary and fantastic is unsettling. It is a relationship that Fritsch is keen to explore: "I find the play between reality and apparition very interesting," she says, "I think my work moves back and forth between these two poles." Her sculptures open up dark areas of our collective consciousness and confront deep-seated anxieties, although this is often tempered by humor. Their iconography is drawn from many different sources, including Christianity, artist history and folklore, without being reducible to a single source or meaning.
"My 'drawings' were based on illustrations from a 1936 edition of the Duden pictorial lexicon. The book (...) always fascinated me as a child. It actually shows every aspect of life from birth to death in a dry, standardized form in little pictures. I was interested in this kind of standard drawing. What is a drawing? For me a drawing is first of all a sheet of white paper with black lines on it that represent something (...)« The Lexikonzeichnungen show »a strong, firmly fixed world order, borrowed from a nineteenth-century Romantic Germany that didn't exist at the time either. That is the second plane of these drawings for me: black lines on a white background, (...) representing a completely intangible illusion."

EUR 12,000

From Door Cycle
Stainless steel on laminated wooden door panel with silkscreen in three color variations: white, black and orange. Size: 200 x 90 x 4.2 cm (78¾ x 35½ x 1½ in). Edition: 15 (5 in each color), signed and numbered on separate certificate.

The title of this edition refers to Liam Gillick's eponymous exhibition at the Palais de Tokyo, Paris, and La Casa Encendida, Madrid, in 2005. Both the exhibitions and this work reference an ongoing text-based project that examines post-industrial developments in consensus-based European societies. In the form of a door, Liam Gillick’s edition manifests as a visual and conceptual reference to a key passage of the text: Former workers of a decommissioned Swedish car factory return to their former workplace to reorganize signage and information – an act of appropriation and transformation that gives rise to a new architecture of desire and rejection.

EUR 15,000

From Door Cycle
Acrylic on wood door, hand painted by the artist. Size: 198.5 x 86 x 4 cm (78 x 34 x 1½ in). Edition: 15, each painting unique, signed and numbered on verso.

Inspired by Willem de Kooning’s Door Cycle, Schellmann Art initiated a group project exploring the door as a symbolic and painterly-sculptural object. Various artists created works using different techniques and materials, all in the dimensions of a standard door panel. Katharina Grosse applied her signature spray technique to turn the door into a dynamic field of color, making each piece in her edition a unique artwork.

From Door Cycle
Acrylic glass sculpture in painted wooden door panel. Size: door 200 x 90 x 4 cm (78¾ x 35½ x 1½ in). Sculpture 62 x 25 x 11 cm (24½ x 10 x 4¼ in). Edition: 15, signed and numbered on separate label.

Using reduced materials and an intense color palette, Anish Kapoor creates sculptures of striking formal elegance that explore human corporeality and the concept of emptiness. The edition Reverse Perverse references Wyn Evans’ installation Inverse Reverse Perverse (1996) and features a sculptural, red-gloss vulva form made of acrylic glass, mounted on a pink-lacquered wooden door panel.
The work was created as part of the group edition Door Cycle, which draws on Willem de Kooning’s painting series of the same name from the 1960s. By combining an organic form with an architectural support, Kapoor addresses the interplay between body, space, and perception – a central theme in his oeuvre.

From Door Cycle
Silkscreen on metal door panel 211 x 90 x 4.5 cm (83 x 35½ x 1½ in). Edition: 15, signed and numbered on separate label.

This silkscreen edition on metal is part of Sarah Morris’s Los Angeles series, a multifaceted exploration of the city’s architecture, culture, and identity. Endeavor takes its name from the legendary LA-based talent and media agency, and through its abstract composition of flat planes of color, it offers a nuanced commentary on the interplay between space, power, and cultural symbolism in the city.

From Door Cycle
Polyurethane, CNC-milled, lacquered white, on a wood door panel. Size: 196 x 88 x 4.8 cm (77 x 34½ x 2 in). Edition: 15, signed and numbered on separate label.

In this monochromatic relief edition, Paul Morrison translates his characteristic botanical imagery into a sculptural language. Rendered entirely in white, the intricate composition features wild and ornamental plant forms – thistles, seed pods, and flowering heads – subtly raised from the surface, inviting a sensory engagement beyond the purely visual. The absence of color directs attention to form, texture, and depth, allowing light and shadow to animate the surface as the viewer moves around the work. Morrison’s interplay of precision and distortion remains central here: scale is manipulated, and familiar flora takes on an unfamiliar presence, occupying a space between scientific illustration, historical landscape, and imagined environment. The result is a work that feels both delicate and monumental, minimal in palette yet rich in detail – one that underscores Morrison’s ongoing exploration of the psychological and symbolic dimensions of landscape.

EUR 12,000

From Door Cycle
Solid core MDF and chipboard door, custom paint in different colors. Size: 203 x 107 x 9.5 cm (80 x 42 x 3¾ in). Edition: 15, signed and numbered on separate label.

Jorge Pardo creates objects that alternate between art, design, and architecture. His work raises questions about the effects that objects have when they are perceived. He is interested in the question: What does this object do? In exploring the crossover of private rooms, institutional spaces, and exhibition venues, Pardo is fundamentally investigating the characteristics of exhibition situations.

EUR 9,000

From Door Cycle
Screenprint (glossy black) on white painted wood door panel. Size: 200 x 90 x 4 cm (78¾ x 35½ x 1½ in). Edition: 15, signed and numbered on separate label.

This edition by Wilhelm Sasnal presents a stark, glossy black screenprint of a serpent suspended from a taut cord, rendered on a white, painted wooden door panel. True to Sasnal’s signature visual language, the image is stripped down to its essential elements – minimal, quiet, and unsettling. The serpent, both symbolically charged and graphically isolated, hangs limply in a vertical format that emphasizes its vulnerability and ambiguity. At once enigmatic and charged with latent narrative, the piece typifies Sasnal’s ability to distill complex emotion and symbolism into a deceptively simple image.

EUR 8,000

From Door Cycle
Metal sign (cast aluminum relief) on galvanized iron door with hardware. Door size 198.5 x 98 x 12 cm (78 x 38½ x 4¾ in). Edition: 15, signed and numbered on separate label.

As part of the Door Cycle edition project, this work by Santiago Sierra presents a galvanized iron door onto which his powerful Door Plate has been mounted. The text on the aluminum sign lists an overwhelming and contradictory set of exclusions – barring entry to individuals ranging from “pregnant women” to “employees”, “non-English speakers” to “people with computer skills”. With this, Sierra pushes the absurdity of bureaucratic gatekeeping to its logical extreme. This edition expands on the themes of Sierra’s controversial 2003 Venice Biennale project, where access to the Spanish Pavilion was granted only to holders of a Spanish passport, and only via a side entrance. Here, however, the door stands alone as a sculptural object, one that embodies the physical and psychological thresholds imposed by systems of authority. With biting irony and minimalist clarity, Aviso Público / Public Notice confronts viewers with the mechanisms by which access is regulated – not only in galleries or national pavilions, but across society at large.

EUR 12,000

From Door Cycle
Thermo enameling on security glass plate. Size: 200 x 90 x 0.9 cm (78¾ x 35½ x ¼ in). Edition: 15, signed and numbered on separate label.

In the early 2000s, Luc Tuymans focused on artificial light, produced by projectors, lamps, and televisions, as a subject. This edition, aptly or ironically titled Slide, is based on Tuymans’s series of paintings depicting a slide projection on the wall of his studio. Without an actual slide, all that is visible is the projector’s soft, milky area of light on the wall.

EUR 15,000

From Door Cycle
Three silkscreens on Saunders Watercolor paper 410 g. Size: 207 x 127 cm (81½ x 50 in). Edition: 9; each of three images (I - III) printed in three shades of rose: light, medium, and dark. All signed and numbered.

Christopher Wool created the edition Three Women for the group project Door Cycle, in homage to de Kooning’s 1964-66 Women paintings that were famously painted on wooden door panels. The use of erasure and overlaying through loose graffiti-like gestures as well as the use of silkscreen as a medium reflect Christopher Wool’s distinctive process of using silkscreen to duplicate paintings and subsequently work on these reproductions further (the artist refers to these finished works as “painted silkscreens”). 
This edition is part of the permanent collection of the Museum of Modern Art, New York.