FACES, 2024

From FACES
Two digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, signed on label verso of the first work, numbered on each print. 

This edition by Cory Arcangel borrows from an image of the painting by Johannes Vermeer from 1665. Employing a technique referred to as "deep frying", Cory Arcangel has written code to recursively tweak an image using common image manipulation techniques such as compression, re-sizing, and modulation. Arcangel's manipulation of the original source material ultimately reaches a transformational breaking point surfacing new representational possibilities at the intersection of figuration and abstraction. The resulting works are thus a very contemporary interpretation of Vermeer's famous painting, with the two images representing different stages of the distortion process.

Diptych EUR 2,000

From FACES
Diptych of two digital pigment prints on Hahnemühle 300g rag paper, each 60 x 50 cm. Edition of 45 + 8 AP, signed and numbered on label verso of the second work. 

The edition All the Pretty in the Sky is a diptych featuring a fusion of elements drawn from some of Monica Bonvicini's iconic artworks. Embedded within this composition is the unmistakable outline of a cowboy bust, instantly recognizable as the “Marlboro Man”. Against a backdrop of blue skies, vivid hues of red emerge, echoing the vibrant tones of the desert landscape. The two prints of this edition mirror each other in an interplay of reflection and repetition.

Diptych EUR 3,000

From FACES
Three digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed and numbered on label verso. 

The three prints are animated by the ambivalence between physical and psychic form. From the finely graduated, blurred abstract-painterly images, representational biomorphic appearances emerge when viewed. A body? An eye? A face? We see a myriad of complex configurations.

Each EUR 1,100
Triptych EUR 3,000

From FACES
Two digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed on label verso and numbered on the print.

Both works of this edition by Liam Gillick are a framework with either horizontal or vertical bars. Framed within the bars are cartoonized eyes, each with different colored scleras – or whites of the eye. The disembodied eyes look down upon us, framed by vestiges of abstraction that are derived from the contemporary language of cladding, renovation, building systems and optimization. The eyes represent characters referred to in the essay for The Philosopher. Artist A - + and Artist A + - alongside their critical doubles – theorist, curator and gallerist.

Each EUR 1,200
Diptych EUR 2,300

From FACES
Three digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed on label verso and numbered on the print. 

This series of photographs by Mona Hatoum was made with a large-scale Polaroid camera during a residency at MassArt in Boston. Out of the frame, each subject holds onto a Van de Graaff generator that creates a static current, causing his or her hair to stand on end.

Each EUR 1,500
Triptych EUR 4,200

From FACES
Two-part digital pigment print on Hahnemühle 300g rag paper, hand-torn, each 50 x 60 cm. Edition of 45 + 8 AP, signed on label verso of the second work, numbered on the print itself. 

The Rwanda Project, a six-year project that served as a tribute to the victims lost in the Rwandan genocide and a critique of the Western world's indifference to one of the most violent conflicts of recent history, is one of Alfredo Jaar's best known works. On this project and the powerful image that his two-part edition The Eyes of Gutete Emerita is based on, the artist says: "I visited Rwanda to witness the genocide of a million people in less than 100 days, in the face of the barbaric indifference of the so-called 'world community'. I took thousands of pictures, some of the most harrowing scenes I had ever experienced. But I discovered later that I could not exhibit them. I had to create a new strategy to attempt representing the horror. This work for Faces is one such exercise."

EUR 3,000

From FACES
Two digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 50 x 60 cm. Edition of 45 + 8 AP, signed and numbered on label verso of the second work. 

This diptych edition by Shirin Neshat, based on stills from her film Roja, captures a moment of quiet intensity and psychological tension. Set against the stark, sculptural backdrop of a monumental architectural form, the female figure – Roja – appears both grounded and isolated, her gaze conveying a mixture of vulnerability and resolve. As in much of Neshat’s work, the visual composition emphasizes contrast and duality: modernity and tradition, self and society, presence and absence. The diptych format reinforces the fragmented nature of memory and identity, reflecting the film’s exploration of fear, longing, and cultural displacement through a poetic and symbolic lens.

Diptych EUR 4,200

From FACES
Three digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed and numbered on label verso.

Tony Oursler's contribution to the group edition FACES consists of a triptych of three very different faces – or rather, facial configurations. Works A and B from the Recognition project highlight Oursler’s interest in the relationship between humans and machines, exemplified through the development and proliferation of facial recognition technology. Work C is taken from b0t / fl0w - ch@rt, where robotic mixed media glass sculptures with artificial intelligence, miniature flat screens and exposed computer circuitry and a variety of other materials were figuratively arranged and shown next to two dimensional screens based on flow charts. The chimerical bots relate to Oursler's ongoing interest in our day to day interactions with technology and question the intelligence of the A.I.-systems. 

Each EUR 1,100
Triptych EUR 2,700

From FACES
Digital pigment print with collage on Hahnemühle 300g rag paper, hand-torn, 60 x 50 cm. Edition of 45 + 8 AP, signed on label verso, numbered on the print itself. 

Giulio Paolini’s edition A prima vista (At First Sight) captures a moment of timeless enchantment. At the center, two classical figures – Bacchus and Ariadne, whose "love at first sight" was captured in 16^th-century sculpture and later in the famous oil painting by Titian – are shown in an embrace of marble stillness, their gazes frozen in an eternal first encounter. Above them, a photographic fragment of a clear blue sky introduces a burst of light and openness, contrasting with the solidity of the stone and suggesting a metaphysical space of longing or transcendence. True to Paolini’s conceptual practice, the work is less a narrative than a meditation on perception and presence. The title evokes not only romantic immediacy but also the act of seeing itself – of the viewer encountering the artwork and the figures encountering each other.

EUR 2,000

From FACES
Three digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed on label verso and numbered on the prints themselves. 

These three print editions by Thomas Ruff each stem from distinct bodies of work, offering a visual dialogue on the evolving history of photographic portraiture. The selection reflects Ruff’s enduring interest in how identity is constructed, mediated, and perceived through the camera lens. On the left, a negative-style portrait references early ethnographic or studio portrait photography, inviting a critical look at colonial image-making and its aesthetic codes. The central image, based on a manipulated archival photo, blends analog texture with digital intervention – underscoring Ruff’s engagement with found imagery and the layering of meaning over time. The rightmost portrait, starkly contemporary in style and clarity, belongs to Ruff’s signature series of head-on color portraits, known for their neutral expressions and clinical precision. Together, these works span different eras, techniques, and contexts, showcasing Ruff’s conceptual approach and his deep exploration of photography as both document and construction.

Each EUR 1,800
Triptych EUR 5,000

From FACES
Three digital pigment prints on Hahnemühle 300g rag paper, hand-torn, each 60 x 50 cm. Edition of 45 + 8 AP, each signed on label verso, numbered on the prints themselves. 
[The order of the three works as a triptych is determined by the artist.]

This edition by Thomas Scheibitz comprises three individual works, each portraying a stylized head rendered through an interplay of color, line, and geometry. Though abstract in appearance, each face is strikingly expressive, with forms that hint at psychological depth or narrative suggestion. The titles of the works may align with your interpretation – or deliberately defy it. As Scheibitz explains, “Portraits or heads are one of the most important sources for me when observing people. The transformation into a picture or a sculpture begins independently of patterns of similarity or direct recognisability. What interests me is a character that can become visible.” While conceived as separate pieces, the three prints may also be displayed together as a triptych – so long as they follow the exact sequence defined by the artist, as shown here.

Each EUR 1,200
Triptych EUR 3,200

From FACES
Digital pigment print on Hahnemühle 300g rag paper, hand-torn, 60 x 50 cm. Edition of 45 + 8 AP, signed and numbered on label verso.

This self-portrait edition by Santiago Sierra presents a stripped-down, quietly subversive image: the artist photographed from behind, his shaved head and dark sweater stark against a white wall. In line with a recurring theme throughout Sierra’s practice, the refusal to show the face is a deliberate act. “The idea that not showing is more powerful than doing so” underpins much of his work, in which subjects are frequently hidden, anonymized, or obscured. Here, the absence of identifiable features functions as a kind of anti-portrait – resisting the conventions of self-representation and reinforcing Sierra’s broader interrogation of visibility, control, and the dehumanizing systems embedded in both art and society.

EUR 1,000

From FACES
Digital pigment print in two parts, on clear acetate foil, each 50 x 60 cm. Edition of 45 + 8 AP, each signed and numbered on verso. 

In this edition, Rosemarie Trockel explores authorship and identity through the lens of artificial intelligence. Working from her own recent photographs, she used AI tools to generate two transformed portraits – figures that are both familiar and unfamiliar, intimate yet digitally altered. Furthermore, the somewhat androgynous appearance of the two figures, aptly titled Mavericks – i.e. someone who resists convention and operates independently from established norms – reflects the artist’s enduring critique of gender roles and societal norms.

EUR 2,000

From FACES
Digital pigment print on Hahnemühle 300g rag paper, hand-torn, 60 x 50 cm. Edition of 45 + 8 AP, signed on label verso and numbered on the print itself. 

This portrait is kept in subtle pastel colours where the face itself looks both blurry and illuminated. As a result, we focus on the subject's face without being able to read their expression, state of mind or even age. 

EUR 1,500