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Germany_Switzerland Charity Auction Philara Collection, Düsseldorf 29 September 2017, 6pm

Armin Boehm Ulla von Brandenburg Julian Charrière and Julius von Bismarck Tony Cragg Paul Czerlitzki Julien Deiss Marcel Dzama Jens Einhorn Elmgreen & Dragset Jan Paul Evers Christian Falsnaes Berta Fischer Gembalies Monika Grabuschnigg Thomas Grünfeld Keith Haring Michael von Hassel Henning Fehr and Philipp Rühr Gregor Hildebrandt Robert Holyhead Georg Hornemann & 22/4 HOMMES FEMMES Leiko Ikemura Thomas Kiesewetter Terence Koh Azade Köker Arik Levy Fabian Marti Jonathan Meese Mike Meiré Seungmo Park Manfred Pernice Laure Prouvost Timm Rautert Anahita Razmi David Renggli Hossein Rezvani Robin Rhode Susanne Rottenbacher Thomas Ruff Michael Sailstorfer Tomás Saraceno Thomas Scheibitz Andreas Schmitten SEO Avery Singer Andreas Slominski Haim Steinbach Henning Strassburger Wolfgang Tillmans Paloma Varga Weisz Wim Wenders Nicole Wermers Claudia Wieser

Armin Boehm Ulla von Brandenburg Julian Charrière and Julius von Bismarck Tony Cragg Paul Czerlitzki Julien Deiss Marcel Dzama Jens Einhorn Elmgreen & Dragset Jan Paul Evers Christian Falsnaes Berta Fischer Gembalies

Arik Levy Monika Grabuschnigg Fabian Marti Thomas JonathanGrünfeld Meese Keith Haring Mike Meiré Michael von Hassel Seungmo Park Henning and Philipp Manfred Fehr Pernice Rühr Laure Prouvost Gregor Hildebrandt Timm Rautert Robert AnahitaHolyhead Razmi Georg Hornemann & David Renggli 22/4 HOMMES Hossein RezvaniFEMMES Leiko Robin Ikemura Rhode Thomas SusanneKiesewetter Rottenbacher Terence Thomas Koh Ruff Azade Köker

Contact Bettina Böhm Director Outset Germany_Switzerland Valeska Hageney Patrons Relations & Programme Manager Outset Germany_Switzerland Benita Röver Development & Programme Manager Outset Germany_Switzerland Bernd Degner Communications Manager Outset Germany_Switzerland Kathrin Luz Press Coordinator Dr. Alice Trier Phillips Specialist, Director 20th Century and Contemporary Art Regional Representative – Germany

Philara is a private collection of contemporary art comprising more than 1,300 works in such genres as painting, sculpture, installation, photography, and works on paper. In the mid-1990s, Gil Bronner began to build his collection, which, with its strong connection to the Duesseldorf Art Academy, has set itself the task of promoting local emerging artists. During a continuous extension of his collection emerging local talents meet established Duesseldorf artists like Thomas Ruff, Katharina Fritsch, Andreas Gursky and Hans-Peter Feldmann as well as international artists like Alicja Kwade, Kris Martin, Pae White, Rashid Johnson and Monika Sosnowska. Over the past two decades, the collection has continuously grown, many of the works being acquired from art galleries that are neighbours to the new home of the collection. The exhibition space, which is hidden in a rear courtyard was once a rather derelict industrial space. It is integrated in such a way that its significant area of 1,700 square meters of exhibition space with a varying height of 5 to 9 meters is submerged into the surrounding structures making it nearly invisible from the outside. The elaborate conversion of this building, a former glass factory, has created a range of smaller and larger exhibition and performance halls, living spaces for artists and a café. Most of the rooms are dedicated to the permanent exhibition and some are designed individually to host specific installations by artists. Artists in the Collection Matthias Bitzer, Shannon Bool, Peter Buggenhout, Natalie Czech, Björn Dahlem, Jose Dávila, Hans-Peter Feldmann, Ceal Floyer, Jonah Freeman & Justin Lowe, Katharina Fritsch, Sabrina Fritsch, Nicolás Guagnini, Lothar Götz, Andreas Gursky, Gregor Hildebrandt, Erika Hock, Rashid Johnson, Markus Karstieß, Thomas Kiesewetter, Alicja Kwade, Leigh Ledare, Kris Martin, Florian Meisenberg, Thomas Rehberger, David Renggli, Christoph Ruckhäberle, Thomas Ruff, Michael Sailstorfer, Leunora Salihu, Karin Sander, Tomás Saraceno, Andreas Schmitten, Daniel Steegman Mangrané, Taryn Simon, Monika Sosnowska, Pae White, Johannes Wohnseifer etc. Philara Collection Birkenstraße 47a 40233 Düsseldorf Photo: Stefan Müller, Berlin

Bettina Bรถhm The proposition of a charity auction that is at the same time supported by artists while also supporting others is not commonplace. In this respect, the idea of holding this particular auction is both ambitious and necessary. It felt as though each of the artists and gallerists that we asked to participate in this endeavour appreciated from the outset that with their generosity in giving works into an auction would strengthen our cultural landscape. And unquestionably, we all benefit by the value of a strong cultural landscape. Individuals who understand and support this key philanthropic idea are needed now and will be needed even more in the future, as public institutions become less financially equipped than they once were and as much as they desire to be. As long as the acquisition budgets of our museums remain at their current standard, our support and engagement is needed, people acting altruistically are needed, Outset is needed. The works that we were able to bring together for this good purpose are of great contemporary timeliness as well as great quality. We feel incredibly supported by all the names that appear in this catalogue, and are very honored and strengthened in our undertaking. Bettina Bรถhm, Director Outset Germany_Switzerland Photo: Schah Photography

Cheyenne Westphal Phillips applauds Outset Germany_Switzerland’s incredible achievement in presenting this very special Benefit Auction. As part of an art world increasingly looking for new models of philanthropy, Outset Germany_Switzerland’s work in gifting artworks to the collections of the best German museums is so important. Phillips is proud to have this opportunity to continue our support of this effort, demonstrating our commitment to supporting contemporary arts and culture through our global programme of Arts Partnerships. We are driven to explore what an auction house can be in the 21st century, both through patronage of cultural institutions and groups such as Outset, and as a marketplace for a new generation of collectors and artists. Cheyenne Westphal, Chairman Phillips

Udo Kittelmann Outset is an international institution that one would hope to encounter more often. Outset embodies sincere idealism, which has become a rare quality even in the art-world. Outset possesses a strong and consequently unpretentious voice that supports the arts, the artists and cultural institutions. Outset is a trustworthy partner that one could only wish for when working toward establishing a cultural future. Briefly said: Outset demonstrates passion and courage! Udo Kittelmann, Director of the Nationalgalerie, Berlin Udo Kittelmann Š Staatliche Museen zu Berlin, Nationalgalerie Photo: Juliane Eirich

Yilmaz Dziewior The collaboration with Outset was not only an enrichment for the Museum Ludwig, because its collection was expanded with an important work by Avery Singer, but also because our interpersonal exchange was defined by a high level of professionalism and a particularly binding and amicable contact. This is cultural sponsoring at the highest degree. Thank you very much, dear Bettina BÜhm! Yilmaz Dziewior, Director of the Museum Ludwig, Cologne Š Museum Ludwig, Albrecht Fuchs

Krist Gruijthuijsen The necessity of Outset Germany is crucial for the development of philanthropy, especially in a city like Berlin. It enriches the possibility of broadening a dialogue in terms of art production and its contextualization, which is for an institution such as KW pivotal. Krist Gruijthuijsen, Director KW Institute for Contemporary Art Photo: Photo Ali Kepenek

Jan Fischer Being one of the first patrons to have joined, since the founding of Outset Germany_Switzerland, I am continuously taken by surprise by the dynamic and high quality events organized by the new leadership. I believe that Outset Germany_Switzerland is currently the most exciting, privately lead and independent funding institutions in all of Germany. Their first auction will inevitably underline this statement. Jan Fischer, Trustee Outset Germany_Switzerland, Munich

Ramin Salsali Outset is the most democratic, transparent and innovative philanthropic cultural platform supporting public institutions. Bettina Böhm, Phillips, artists and all involved parties deserve our admiration. It takes courage and passion to organize this auction, which intends to enhance a sustainable means of contributing to Outset, as a way of advancing the cultural infrastructure of our society.  Acquiring art from this auction is a unique opportunity to engage and become part of this process.  Ramin Salsali, Founder of Salsali Private Museum, Dubai and Trustee Outset Germany_Switzerland, Dubai, Hamburg, Berlin

Live & Online Auctions

Outset Germany_Switzerland Benefit Auction

Friday, 29 September 2017


Champagne Reception Accreditation Preview 6.30pm

Flying Dinner – 1st part


Welcome Bettina Böhm Outset Germany_Switzerland, Director

Gil Bronner PHILARA Collection Collector + Host

Udo Kittelmann Nationalgalerie Berlin, Director Cheyenne Westphal Phillips, Chairman 7.45pm

Live Auction Auctioneer: Henry Highley, Phillips


Flying Dinner – 2nd part


Midnight Snack


End of Silent / Online Auction by ARTSY

New York. London. Paris. Geneva. Hong Kong. Art. Design. Now. Phillips is proud to support Outset Germany_Switzerland Live auction and catalogue layout contributed and sponsored by Phillips.

Henry Highley Henry Highley joined Phillips at the start of 2008 and is Head of Contemporary Art Evening Sales in London and Specialist in the Contemporary Art Department. Henry is active in consigning and selling works at all levels. He also acts as a Phillips auctioneer, taking a variety of sales including Contemporary Art Evening and Day, Design, Photography, Editions, and New Now. Through his work as a charity auctioneer, Henry has helped raise millions of pounds at galas and philanthropic events.

Viewing 21 September - 29 September 2017 from 12am - 6 pm Live Auction Friday, 29 September 2017, 6 pm Auctioneer: Henry Highley, Phillips Online Auction 15 September - 29 September 2017 Online and Live Auction powered by Artsy Catalogue Online

Information for Bidders • No buyer’s premium will be charged for this benefit auction. • Paddle numbers are available for collection one hour before the auction. • Please register in advance. • Only bids using this personal paddle will be included in the auction. • Bidders must submit a written application no later than 24 hours before the auction. • We are pleased to accept written absentee bids or telephone bids on the enclosed bidding form. • All registrations for bidding at the auction should be received no later than 6 pm on 28 September 2017. • The Conditions of Sale are provided and attached separately in this catalogue. Catalogue online • The works will also be available for pre-bidding in an Online Auction powered by ARTSY. • Bids can be placed from 15 to 29 September 2017, respectively 30 September, 1 am for lots in the Online Auction. • End of auction for lots in the Live Auction is the end of Live Auction. • Closing for lots in the Online Auction is 30 September, 1 am.

Informationen für Bieter • Für diese Benefiz-Auktion wird kein Aufgeld erhoben! • Die Verteilung der Bieternummern erfolgt eine Stunde vor Beginn der Auktion. • Wir bitten um rechtzeitige Registrierung. • Nur unter der persönlichen Nummer abgegebene Gebote werden auf der Auktion berücksichtigt. • Spätestens 24 Stunden vor Beginn der Auktion benötigen wir eine schriftliche Anmeldung. • Sie haben auch die Möglichkeit, schriftliche oder telefonische Gebote an den Versteigerer zu richten. Ein entsprechendes Auftragsformular liegt dem Katalog bei. BLANK PAGE? • Wir bitten Sie in allen Fällen, uns dies bis spätestens 28. September 2017, 18 Uhr mitzuteilen. • Die Versteigerungsbedingungen liegen diesem Katalog als Anlage bei. Katalog online • Die Arbeiten können auch im Vorhinein in einer Online Auktion, ausgerichtet von ARTSY, beboten werden. • Gebote können in der Zeit vom 15. bis 29. September 2017 abgegeben werden. • Auktionsschluss für die Arbeiten der Live Auktion ist das Ende der Live Auktion. • Auktionsschluss für die Arbeiten der Online Auktion ist der 30. September, um 1 Uhr nachts.

Live Auction

Thomas Ruff Jonathan Meese Berta Fischer Armin Boehm Gregor Hildebrandt Henning Fehr and Philipp Rßhr Wolfgang Tillmans Wim Wenders SEO Hossein Rezvani Claudia Wieser Laure Prouvost Manfred Pernice Julian Charrière and Julius von Bismarck Fabian Marti Tony Cragg Terence Koh Arik Levy Henning Strassburger Michael von Hassel Seungmo Park Timm Rautert Leiko Ikemura David Renggli Thomas Kiesewetter Thomas Scheibitz


Thomas Ruff press++25.96, 2016 Chromogenic print 36.9 x 30 cm 14 1/2 x 11 3/4 in. In artist’s frame 70 x 60 cm, framed 27 1/2 x 23 2/3 in, framed Edition 1/8 Signed 15.000 EUR Gallery Price

Thomas Ruff: ‘I try to find out how the image was created and in what context—historical, political, or social—the image belongs … There are a lot of different photographs, and different photographs have different intentions. Fine art, medical, propaganda, and of course the most influential image-production machine is advertisement. This transformation, let’s say, of the scientific photography into the art world, or advertising photography into politics (as seen in the last U.S. election)—this modification of images from one intention to another brings about interferences. The image, and the meaning of the image, changes.‘ Source:

Thomas Ruff was born 1958 in Zell am Harmersbach, Germany. He lives and works in Dusseldorf, Germany Donated by Thomas Ruff © Thomas Ruff / VG Bildkunst, Bonn 2017


Jonathan Meese DR. FRÄULEIN TRAUMBRATEN (KUNST TRÄUMT DICH TAFELSPITZ, WIE LUMPI), 2017 Acryl, acrylic putty, acrylic paste on canvas 60.7 x 50.5 x 3.3 cm 24 x 20 x 11/3 in. Signed 16.000 EUR Gallery Price

Jonathan Meese is one of the best-known contemporary German artists. His diverse, highly individual work, powerful and unsettling, polarises opinion. It is influenced partly by his study of personalities in world history, of ancient myths and heroic epics, which the artist intensifies into a fantastical whole, using elements taken from popular culture. Always walking the tightrope of humoresque distortion, as an artist he consciously takes the risk of causing offence.

Jonathan Meese was born 1970 in Tokyo, Japan. He lives and works in Berlin and Hamburg, Germany. Courtesy Jonathan Meese and Sies + Höke, Düsseldorf. Photo: Jan Bauer.Net


Berta Fischer Azelo, 2016 Acrylic glass 65 x 67 x 38 cm 25 2/3 x 26 1/3 x 15 in. Certificate of Authenticity 14.000 EUR Gallery Price

Lightness and beauty. Fischer has a knack to turn the rigid interior of a gallery into an almost inconceivable land of mind-boggling objects. They are both menacing mutants and luring creatures, and the inherent tension and sense of fragility that accompany them is characteristic to the artist, who has been working with synthetic materials for years, always testing the limits of their stability. (This was also put to the test at the show’s opening night, where a spidery piece lost some of its ends). While beauty and art may not always go hand-in-hand, here we see a convincing argument for sculptures both thought provoking and bedazzling at the same time. So much so, one would want to stare at them, touch them, and play with them, while losing one’s self-consciousness outside of the walls of the gallery. Source:

Berta Fischer was born 1973 in DĂźsseldorf, Germany. She lives and works in Berlin, Germany. Courtesy Berta Fischer and Galerie Barbara Weiss Photo: Jens Ziehe


Armin Boehm Voices, 2017 oil, fabrics on canvas 80 x 85 cm 31 1/2 x 33 1/2 in. Signed 13.000 EUR Gallery Price

Armin Boehm’s paintings oscillate between origination, presence and abstinence regardless of their sujet, that is not really tangible and finds itself somewhere between landscape and portrait painting. Existence and disappearance becomes valid in the haptic of the surfaces of Armin Boehm’s paintings, and compositions, too. The question points to the possibility of painting that the artist lets become subject while developing his painting between figuration and symbolic. Source:

Armin Boehm was born 1972 in Aachen, Germany. He lives and works in Berlin, Germany Donated by Armin Boehm and Meyer Riegger, Berlin/Karlsruhe. Photo: Gunter Lepkowski


Gregor Hildebrandt Le Vent est tombé (Santa Maria de Guadeloupe), 2016 Magnetic cassette coating, adhesive tape and acrylic paint on canvas 74 x 74 x 3 cm 29 1/4 x 29 1/4 x 1 1/4 in. Signed 14.000 EUR Gallery Price

Gregor Hildebrandt makes great use of pre-recorded cassette tapes as material in his pictures and installations. The tapes are applied directly onto canvases and photographic prints and in room-sized installations. Although Hildebrandt’s work makes formal reference to Minimalism, the addition of a great number of subjective and autobiographical citations actually deliberately repudiates this strategy. For Hildebrandt, the cassette tape as artistic medium, especially in its original function of storage medium, fulfils an important function: it enables the artist to add a further “invisible” dimension to his pictures. Playing with perception in this way is a major characteristic of his work; the picture is completed in the head of the viewer. If the contemplation of his art incorporates the heterogeneous cosmos of Gregor Hildebrandt’s references to music, film, literature and, last but not least, art history, his works turn out to be complex montages, in which pictorial associations from different spheres combine and interpenetrate. Hildebrandt employs the material of his every-day environment without aesthetic or theoretical inhibition and playfully links aspects of conceptual art and minimal art with his personal life and experience of pop culture. Source:

Gregor Hildebrandt was born 1974 in Bad Homburg, Germany. He lives and works in Berlin, Germany. Donated by Gregor Hildebrandt and Wentrup Gallery, Berlin. Photo: Roman März


Henning Fehr and Philipp Rühr Festival Sculpture (Absent Healing), 2016 Wood, burning pen 204 x 170 x 170 cm 80 1/3 x 67 x 67 in. Signed 12.500 EUR Gallery Price

[T]he works revolve around techno and the history of the culture of the outside, festival produc- tion, the esthetics of escapism and desire in late capitalism since the Beatniks. Monterey and Land Art. Fehr and Rühr who are not sculptors but filmmakers had objects reconstructed, which were the creation of others. They present the beauty and happiness of sculptures at festivals, sculptures that are made by artists, construction managers, professionals and fantasy fans, anonymously or in groups, of short-lived existence and bound for destruction either by recycling or burning (Burning Man, Nevada). It is Festival Art, previously called Folk Art. The titles originate from a list of exceptional human experiences, the branded phrases from the book “Idols of the Tribe. Group Identity and Political Change” by Harold R. Isaacs, the geometric shapes from mathematical systems whose idealist aesthetics probably also mean social structures and individual psychological processes.

Times, spaces and places are caught in a slur. [...] In the objects formal languages shift. It’s about longing motives, promises of happiness. The position of this work process is both inside and outside. It refers to what motivates. Thus, of any possible origin, which is both fractal and mono, reality and construction. Source: Excerpt from a text by Susanne Titz for the exhibition “Henning Fehr / Philipp Rühr – We made up our own origin” at Galerie Meyer Kainer on the occasion of curated by_vienna 2016

Henning Fehr was born 1985 in Erlangen, Germany. Philipp Rühr was born 1986 in Brüh, Germany. They live and work in Cologne and Düsseldorf, Germany. Donated by Bettina Böhm, Berlin and Galerie Max Mayer, Düsseldorf


Wolfgang Tillmans Plant life, c, 2013 Inkjet print mounted on aluminum, in artist’s frame 71.9 x 94.1 x 3.3 cm (in artist frame) 28 1/3 x 37 x 1 1/3 in. (in artist frame) Edition 1/3 + 1 AP Signed 30.000 EUR Gallery Price

The artist’s studio, a classic trope from art history, here takes the form of an inventory, not a peek behind the scenes but an attempt to create a cartographical representation of what this space and its constituents mean to Wolfgang Tillmans. The studio’s role as a complex entity or apparatus that is itself generative reflects back into the production. “Studio” suggests a spectrum of designations: a photographic darkroom, a place for manual production, a viewing space where artworks are hung and seen (for the first time, but also revisited or viewed over a duration), a testing ground to place works in different configurations; a model room for developing projects; a social space in which different practices are carried out in immediate proximity to one another; and an archive in which the history of the artist’s own work, and its present, are managed, engaged with, and housed. Source:

Wolfgang Tillmans was born 1968 in Remscheid, Germany. He works and lives between London, United Kingdom and Berlin, Germany. Donated by Jan Fischer, Munich and Galerie Buchholz, Berlin


Wim Wenders Sauerkraut Factory, Montana 2003, 2015 C-Print 127 x 153 cm (framed) 50 x 60 1/4 in (framed) Edition 2/ 6 + 2AP Signed 25.000 EUR Gallery Price

Wim Wenders is one of the most important figures to emerge from the New German Cinema period of the 1970s. Alongside directing atmospheric auteur films, the artist works with the medium of photography, and his poignant images of desolate landscapes engage themes including memory, time, loss, nostalgia and movement. Sauerkraut Factory was shot 2003 in the middle of the American Midwest. About his experiences of the American and German roadside Wim Wenders states: “I think I had wide-open eyes for America, and „the American landscape“ in a general sense seemed extremely attractive to me, both as a photographer and a filmmaker. But maybe that long absence from Germany of altogether 15 years has enabled me to see places here with the same wide-open eyes now. What has remained the same: in those landscapes, German or American, I’m still looking for the traces of civilization, of history, of people.” Source: Blain | Southern, Berlin

Wim Wenders was born 1945 in Düsseldorf, Germany. He lives and works in Berlin, Germany. Courtesy Wim Wenders and Blain|Southern, Berlin


SEO Raum für Dich III (Room for you III), 2016 Acrylic on canvas 160 x 130 cm 63 x 51 1/4 in. Signed 41.000 EUR Gallery Price

The Korean-born artist SEO who now lives in Berlin artistically deals with the themes of “globalization” and “technologization” and their impact on our surrounding world, on our culture and on what moves us as human beings. With our continually advancing technical capabilities, we are driven by the desire to always create something new. Globalization changes our actions, thoughts, feelings and life; worlds and values become blurred. Internationally SEO is known for her large-scale, brightly colored rice paper collages in which she is dealing with these issues thematically. Her most recent works are extensively elaborated acrylic paint works that contain rice paper elements sporadically. They consistently show architectural, surreal spatial compositions of clear geometric shapes and figurative elements. Looking at these, we wake up in a digital, colorful world, in a diffuse intervention of vastness, emptiness, nothingness, color surfaces and water, sky, mountains and meadow. Source: Galerie Michael Schultz

SEO was born 1977 in Gwangju, Seoul, Korea. She lives and works in Berlin, Germany. Courtesy SEO and Galerie Michael Schultz, Berlin Photo: Eric Tschernow


Hossein Rezvani FRENCHIE TURQUOISE, 2014 Hand knotted with 400.000 knots per sqm in Isfahan, Iran, with persian highland wool and pure natural silk 300 x 200 cm 118 x 78 3/4 in. 11.500 EUR

About the Frenchie Design: French nostalgia. The series picks up the pattern of classically hand-woven Aubusson, but designs it more minimalistically. “You don’t find the faded vintage look in my collections otherwise, but here you do”, explains Rezvani. “Because here it fits perfectly.” Frenchie is offered with a knot density of 400.000 knots per sqm, using Persian highland wool with 35% pure natural silk. About the artist: Deeply influenced by the elegance of the Persian rug culture, Hossein Rezvani grew up to appreciate its intrinsic role in Iranian art and culture. Woven into the fabric of Iranian history, religion, society and culture, the Persian rug is as much part of Iran’s philosophy as it is of its culture. Persian carpets have always been and remain profoundly entrenched in Iranian culture and the daily lives of its people. For generations, the Rezvani‘s have produced and distributed masterpieces from their home country. Hossein, who is the third generation of a family to be involved in this profession, is dedicated and passionate about the rug industry and he gives the traditional Persian rug a contemporary twist. Each single rug designed by Hossein has the desire to bring forth something new that holds an emotionally touching and enduring value. During manufacture, a significant value is placed on reinterpreting classic craftsmanship and combining this with design that is contemporary and simultaneously elegant. Another main aspect is to avoid mass production and rather to produce a bespoke rug that may be inherited by future generations of families. Thus, creating a modern classic for the 21st century.

About the brand: “21ST-CENTURY PERSIAN CARPETS” This is what our carpets have been called many times, but our mission is more than just creating a carpet. We are the only brand to offer contemporary carpets Made in Iran, with up to 1.000.000 knots per square meter and we are very proud to bring this cultural heritage back into today‘s contemporary living spaces. We produce exclusively with the best raw materials. We use Persian cork- and highland wool, the most durable and best quality wool in the world and pure natural silk. We also refrain from using mechanical or chemical treatments. Natural dyes are a must, which not only preserves the sublime characteristics of the high quality natural materials but also underlines the vibrant colors and shine of these timeless masterpieces. The result is a unique craftsmanship that carries the seal of quality “Made in Isfahan”. Source:

Donated by Hossein Rezvani


Claudia Wieser Untitled, 2015 Mirror on wood d = 5 cm, Ø 132 cm d = 2 in, Ø 52 in. Certificate of Authenticity 14.000 EUR Gallery Price

Claudia Wieser creates works on paper, objects and installations that revolve around the contrast between old and new. In her work, traditional handicrafts and materials such as hand-blown glass sculptures, ceramics, tapestries, intricately coloured wood objects or complex drawings made of gold leaf and coloured pencil meet digital printing methods and clean cut geometric objects made of mirror or shiny metal.

Claudia Wieser was born 1973 in Freilassing, Germany. She lives and works in Berlin, Germany. Courtesy Claudia Wieser and Sies + Höke, Düsseldorf Photo: Achim Kukulies


Laure Prouvost Metal Man - Talking About Art, 2015 Video (2.09 min.) and metal sculpture 142 x 150 x 98 cm 56 x 59 x 38 2/3 in. Certificate of Authenticity This piece is unique 21.000 EUR Gallery Price

Laure Prouvost’s artistic output consistently returns to themes of escape into unfamiliar worlds or imaginings of unexpected alternative environments. A strong narrative impulse propels her practice, resulting in immersive, transmedial installations with interwoven story lines that combine fiction and reality. Her videos, installations, paintings and tapestries unhinge commonplace and expected connections between language, image, and perception. Stepping away from traditional linear narratives, the artist crafts sensual environments laden with playful mistranslation that open a space for the viewer to grapple with the unstable relationship between imagination and reality. The elasticity of the written word comprises a central element of Prouvost’s practice, stating: “Words for me are very visually powerful, because with words people create their own vision. I am just hinting and suggesting possibilities, the audience is making its own image in its head. It is also about misunderstanding, misinterpreting, miscommunicating - words also suggesting failure and other senses.” Source: carlier | gebauer

Laure Prouvost was born 1978 in France. She lives and works in London, UK and Antwerp, Netherlands. Courtesy Laure Prouvost and carlier | gebauer Photo: Trevor Good


Manfred Pernice eiffel/Recycled, 2015 Glass, metal, plastic 82 x 21 x 21 cm 32 1/4 x 8 1/4 x 8 1/4 in. Certificate of Authenticity 14.000 EUR Gallery Price

Manfred Pernice has a thing about cans. For the Berlin-based artist, each and every one of us is canned, our choices and decisions standardized and constrained by social conventions and norms. (.........) Sculptures and installations - assembled from cheap construction materials, found objects and texts or photographs, and evoking defunct public monuments or makeshift dysfunctional furniture - that seek to counter the insidious effects of social conditioning and rationalization that the can symbolizes. Source:, Rahma Khazam

Manfred Pernice was born 1963 in Hildesheim, Germany. He lives and works in Berlin, Germany. Courtesy Manfred Pernice and Galerie Neu, Berlin

14. Julian Charrière and Julius von Bismarck Objects in Mirror Might Be Closer Than They Appear, 2016/2017 Video, sound; 17‘ 17” Edition 3/5 + 2AP Certificate of Authenticity 25.000 EUR Gallery Price

Presented as a double-channel video installation with a semi-transparent mirror in the center, Objects in mirror might be closer than they appear is a new film by Julian Charrière and Julius von Bismarck. It alternates between found footage from NASA and other archives, showing some of the first images of Earth seen from space and close-up imagery as reflected in the eyes of a deer, which the artists recorded in the exclusion zone near Chernobyl, having mounted a small portable camera to the animal’s antlers. Both images present the viewer with scenarios where humans have extracted themselves from their natural habitat. Early space travelers’ unfiltered awe at the first sightings of the blue planet stands in stark contrast to the dystopian post-nuclear wasteland that was left after the Chernobyl catastrophe. Where the exclusion zone is portrayed as an uncanny universe, seen through ghostly projections, the NASA archive footage presents Earth from a metaperspective, in all its fragility. With this project, Charrière and von Bismarck continue their artistic collaboration that has been going on – parallel to their own separate practices – since they started sharing a studio in Berlin in 2011.

Julian Charrière was born 1987 in Morges, Switzerland / Julius von Bismarck was born 1983 in Breisach am Rhein, Germany. They both live and work in Berlin, Germany. Donated by Jan Fischer, Munich


Fabian Marti Deep Egg (Nihil), 2015 Epoxy, silver gelatin print (photogram), mounted on aluminium 206 x 144 cm 81 1/8 x 56 3/4 in. Certificate of Authenticity 22.000 EUR Gallery Price

Predominantly, the works of Swiss artist Fabian Marti deal with formalism, abstraction and Op Art. Through the multifaceted layering of spirals, stripes and dotted patterns the objects and symbols acquire a hypnotic character that allows the viewers access to a secluded world. Shamanism, the engagement with the conscious and the expansion thereof in form of a temporal, spatial, spiritual and cultural borderline experiences are returning elements in Marti‘s body of work. He combines traditional handcraft and manual methods of artistic production with the newest technologies and mechanical reproduction techniques in a way that the former don‘t suffer the loss of their directness. His new photograms (all silver gelatin print, mounted on aluminium, covered with epoxy resin.) show egg-shaped convergent circles in the center of the image – which at first appear to be the artist‘s enlarged fingerprint. Using computer made stencils, Marti exposes the photo paper directly to light, evoking a unique range of colors in the photographic process. The artist skillfully deploys the resulting blurs, dust particle and scratch marks as well as overexposures as an aesthetic component of the work. Source: Galerie Peter Kilchmann, Zurich

Fabian Marti was born 1979 in Fribourg, France. He lives and works in Zurich, Switzerland. Courtesy Fabian Marti and Galerie Peter Kilchmann, Zurich Photo: Ron Kamrau


Tony Cragg Listeners, 2015 Glass 37 x 35 x 21 cm / 14 1/2 x 13 4/5 x 8 1/3 in Certificate of Authenticity This piece is unique 60.000 EUR Gallery Price

Tony Cragg is one of the world’s foremost sculptors. Constantly pushing to find new relations between people and the material world, there is no limit to the materials he might use, as there are no limits to the ideas or forms he might conceive. Cragg understands sculpture as a study of how material affect and form our ideas and emotions. His work does not imitate nature and what we look like, rather it concerns itself with why we look like we do and why we are as we are.

Tony Cragg was born 1949 in Liverpool, UK. He lives and works in Wuppertal, Germany Courtesy Tony Cragg and Sies + Höke, Düsseldorf.


Terence Koh Treasure Your Vanity, 2008 Custom pigmented wax, plaster, apint and shellac 30.5 x 15.2 cm 12 x 6 in. Edition 3/8, 2 AP Certificate of Authenticity 15.000 EUR Gallery Price

In his installations, objects, wall pieces, and performances, Terence Koh creates a space in which memory and imagination mix with art history and subculture. He explores such diverse subjects as mythology, religion, identity, power, fashion and sexuality, in an often provocative manner, charged with possible symbolic readings. He is most well-known for his monochromatic installations, and ritualistic performances. Source:

Terence Koh was born 1977 in Beijing, China. He lives and works in New York, USA. Courtesy Terence Koh and Galerie Thaddaeus Ropac, London, Paris, Salzburg


Arik Levy Rock Triple Fusion 113, 2015 Mirror-polished stainless steel 113 x 113 x 69 cm 44 1/2 x 44 1/2 x 27 1/4 in. Signed This piece is unique 68.000 EUR Gallery Price

The fusion of several rocks is one metaphor for a slow motion snapshot of a lifetime process. Just like the biological fusion in nature and the social fusion of society and cultural identity, this series expresses the very critical moment of material and emotional merge. The verticality of these pieces farther extends the artist‘s ever-lasting opposition and resistance to natural process and its forces. Not without effort these compositions are standing, nearly holding a Tai Chi posture, and reflect a specific moment in our life and active environment. Each rock has its gravity and its reflections, and each visual weight creates a tension that gives a dynamic to the movement and a speed to the frozen moment. Like every captured moment in life it is at the same time a connection to the past and a forecast on the future. It is an everlasting process, a fraction of a global structure that defines the presence of a physical, emotional and spiritual being, just like our trace in existence and in the future imagination. Source: Arik Levy Studio, Paris

Arik Levy was born 1963 in Tel-Aviv, Israel. He works and lives in Paris, France. Courtesy Arik Levy Studio, Paris Photo: Achim Kukulies


Henning Strassburger High Trip, 2016 Oil on canvas 140 x 100 cm 55 x 39 1/3 in. Signed 9.000 EUR Gallery Price

Henning Strassburger’s art practice engages with the localization of painting within the contemporary canon and investigates the current possibilities of the painterly narrative.

Henning Strassburger was born 1983 in Meissen, Germany. He lives and works in Berlin, Germany. Courtesy Henning Strassburger and Sies + HĂśke, DĂźsseldorf


Michael von Hassel North Korea - Kindergarten, 2017 Metallic lambda archival print mounted behind diamondwhite glass 180 x 120 cm 70 4/5 x 47 1/4 in. Edition: 1/5 Signed 15.000 EUR Gallery Price

Michael von Hassel is longing to show his surreality in a hyper-realistic way and impresses the beholder with keen crispness, vibrant colours and strong arrangements of light. The pictures may appear to be painted but they are photorealistic artworks. The fascination lies in enabling the viewer to see more than he would ever be able with his own eyes, if he would stand at this very photo-location by himself: all the different colours in nature available in abundance are caught in many single photographies taken over a certain period of a day, are melted into one single multilayered image. The result is a hyper-realistic landscape with seemingly synthetic colours. The more or less marginal themes show our world way more intense. Michael’s images are an invitation to the viewers to leave their reality for a moment quasi to get caught up in the maelstrom of timelessness and fantastic sides of our world - as he wishes – this should be seen every day. Michael’s sources derive both from the capitals of the world and from the very end of civilisation. In early 2017 Michael went to North Korea to portray this very different kind of a society. North Korea Kindergarten shows a real nuclear rocket in the centre of some after-school-care-and-training-club. Source: Michael von Hassel

Michael von Hassel was born 1978 in Munich, Germany. He lives and works in Munich and Berlin, Germany. Donated by Michael von Hassel


Seungmo Park Maya 1141, 2016 Stainless steel mesh 214 x 191 x 9.5 cm 84 1/4 x 75 1/4 x 3 3/4 in. Signed This piece is unique 40.000 EUR Gallery Price Seungmo Park uses layers of wired mesh to create sculptures that, seen from the distance, show the image of forests or human figures. A closer look will make the representation dissolve. These dynamics in perception reflect the artist’s conviction that there is no essence to be captured. The title of his series MAYA implies that “in truth, there is nothing” or just an illusion. Other works show life-size human figures with skin made of thin aluminium wire, creating a pattern of waving, parallel lines that reflect the light, again alluding to the emptiness underneath the surface of the ego.

Seungmo Park was born 1969 in Sanchung, Korea. He lives and works in New York, USA. Courtesy Private Collection

22. Timm Rautert Tokaido-Express, Osaka-Tokyo, 1970 Vintage print, white/black photography, bromide silver gelatin 28.1 x 39.7 cm 11 x 15 2/3 in. Signed This piece is unique 19.200 EUR Gallery Price

“My aim is for the image to be emblematic or rather allegorical, so that the rest may be considered. When I photograph I don’t solely imply that which is visible.” Source: Timm Rautert in conversation with Jan Nicolaisen in the Museum for Artists, Leipzig 2005

Timm Rautert was born 1941 in Tuchel, Germany. He lives and works in Essen, Germany. Donated by Timm Rautert


Leiko Ikemura Blue Hare, 2012 / 2014 Patinated bronze 26 x 11.5 x 8.5 cm 10 1/4 x 4 1/2 x 3 1/3 in. Edition 5 /5 Signed 22.000 EUR Gallery Price

Born in Japan, Ikemura moved to Europe as a student. After spending time in Spain and Switzerland, she eventually settled in Germany in 1985 where she continues to live and work, dividing her time between Cologne and Berlin. In 1991, she was appointed professor of painting at the Berlin University of the Arts. Over the last 30 years, Ikemura has created an substantial body of work, which crosses the disciplines of painting, sculpture, and works on paper. Painting came first. Her early canvasses from the 1980s deal with the themes of dreams, struggle and conflict. In 1987 she began experimenting with sculpture. And in the early 1990s abstract interpretations of the female form emerged as the primary theme within her work. Source:

Leiko Ikemura was born 1951 in Tsu, Mie Prefecture, Japan. She lives and works in Berlin and Cologne, Germany. Courtesy Leiko Ikemura

24. David Renggli I Love You (Penny Lane), 2015 Reverse painting on glass, ink, anodized aluminium back 169 x 129 cm (framed) 66 1/2 x 50 3/4 in. (framed) Signed This piece is unique 28.000 EUR Gallery Price

Abstract shapes plotted in bright colors characterize David Renggli‘s paintings. The intensity and brightness of the colors is created through the technique of reverse painting on glass. In multiple layers, the color is painted or sprayed directly on the glass, leading to a visual depth. The works exude a lightness and spontaneity, which invite the viewer to muse and explore the effect of proximity and distance. The artist creates spirited color formations in which the materials have seemingly become independent and merged autonomously. Source:

David Renggli was born1974 in Zurich, Switzerland. He lives and works in Zurich, Switzerland and Texas, USA Courtesy David Renggli and Galerie Peter Kilchmann, Zurich Photo: Ron Kamrau

25. Thomas Kiesewetter Ohne Titel (Hieronymus), 2013 Sheet metal, paint 60 x 40 x 40 cm 23 2/3 x 15 3/4 x 15 3/4 in. Certificate of Authenticity 18.000 EUR Gallery Price

Thomas Kiesewetter’s monochrome metal sculptures consist of curved and sharp-edged, arched and almost two-dimensional abstract shapes whose starting point is always a maquette made of cardboard and paper. The flat, easy-to-fold source material is clearly traceable in the finished sculptures: crimped connection points, fanned seams and long bow taut tracks suggest lightness and spontaneity that are in contradiction to the barely malleable metal. It is only the chipped pieces of paint, since the material was colour coated before processing, that reveal the forces used to bend the metal.

Thomas Kiesewetter was born 1963 in Kassel, Germany. He lives and works in Berlin, Germany. Courtesy Thomas Kiesewetter and Sies + Höke, Düsseldorf Photo: Jochen Littkemann


Thomas Scheibitz gp 194, 2017 Acrylic und vinyl on rag paper 100 x 150 cm 39 3/8 x 59 in. Signed 25.000 EUR Gallery Price

The paintings, sculptures and drawings of Thomas Scheibitz demonstrate the categorical resolution of the abstract and the figurative. Scheibitz investigates the relationship between the historical and the contemporary pictorial world, among them include references to media, advertisement, theater and film-sets. The work “gp 194” illustrates the construction of a stage with primary colours, where the open space is framed by three elements. The foreground is marked by a sign containing unknown characters, with an erected tail and a white hill. These components announce a new game in which yellow, red and blue may play a main role. Source: Sprüth Magers

Thomas Scheibitz was born 1968 in Radeberg, Germany. He lives and works in Berlin, Germany. Courtesy Thomas Scheibitz and Sprüth Magers Photo: Gunter Lepkowski © 2017 VG Bildkunst, Bonn

Online Auction

Ulla von Brandenburg Paul Czerlitzki Julien Deiss Marcel Dzama Jens Einhorn Elmgreen & Dragset Jan Paul Evers Christian Falsnaes Gembalies Monika Grabuschnigg Thomas Grünfeld Keith Haring Robert Holyhead Georg Hornemann & 22/4 HOMMES FEMMES Azade Köker Mike Meiré Anahita Razmi Robin Rhode Susanne Rottenbacher Michael Sailstorfer Tomás Saraceno Andreas Schmitten Avery Singer Andreas Slominski Haim Steinbach Paloma Varga Weisz Nicole Wermers


Ulla von Brandenburg Grauer Wald, 2011 Cut out on ancient maps 48.5 x 54.5 cm 19 x 21 1/2 in. Signed 6.200 EUR Gallery Price

The work of German artist Ulla von Brandenburg (born in 1974 in Karlsruhe, lives and works in Hamburg and Paris) is based on historical elements of all kinds of origin and significance, which the artist finds in literature, the visual arts, theatre, Hollywood films, photography as well as in glossy magazines, daily newspapers and at flea markets. Her works, which include films, drawings, paper silhouettes, watercolours, magazines, wall drawings and performances, always circle around the “rules” of social reality. She frequently goes back to materials which make the late 19th century and the transition to so-called Modernity tangible, whose “cultivated” appearances and image ideas she uses as a formal filter, and not one shaped by a subjective artistic style, in discussing contemporary collective experiences. Ulla von Brandenburg: ‘Mich interessiert schon alles Vergängliche besonders. Meine Wandbilder sind zum Beispiel immer nur für die Dauer der Ausstellung gedacht. Danach werden sie übermalt. Auch bei meinen Aquarellzeichnungen schütte ich so viel Wasser darüber, dass die Zeichnung fast am Verschwinden ist. Man braucht keine Kunst für immer. Ich finde es gut, wenn Kunst auch vergeht.‘ Source:

Ulla von Brandenburg was born 1974 in Karlsruhe, Germany. She lives and works between Hamburg, Germany and Paris, France. Donated by Ulla von Brandenburg and Produzentengalerie Hamburg Photo: Roman März

102. Paul Czerlitzki FLESHOUT, 2017 Acrylic and pigment on canvas 123 x 103 cm 48 1/2 x 40 1/2 in. (framed) Signed 5.750 EUR Gallery Price

FLESHOUT can be seen as the enhancement of Czerlitzki’s dust-series. Whereas the trace herein defined their process-related making as much as their handling, exhibiting and further being, FLESHOUT (re-)presents the sealing of a precedent process and a new form of distance that is created through a thick layer of liquid acrylic being applied recto and verso. The viewer is finally confronted with a finished work, he can no longer take part in the works’ further transformation, whether it was leaving a simple trace in or wiping away all the dust from the work’s surface. In a place where he was able to fully track the artist’s process, now the varnish-like closure keeps him on a maximum distance and presents a pre-ready, hermetic object. Source: Text by Dominik Busch

Paul Czerlitzki was born 1986 in Gdansk, Poland. He lives and works in Düsseldorf, Germany Donated by Paul Czerlitzki Photo: Achim Kukulies


Julien Deiss that pineapple dream I had this morning, 2017 Acrylic / oil on canvas 200 x 150 cm 78 3/4 x 59 in. Signed 8.750 EUR Gallery Price

The colours in the painting behave similarly to clouds in the sky. A figure appears and so are the contrails dissolved. Source: Text by Frank Schablewski

Julien Deiss was born 1983 in DĂźsseldorf, Germany. He lives and works in Kopenhagen, Denmark. Donated by Julien Deiss

104. Marcel Dzama Die Revolution wird weiblich sein, 2017 Watercolors, acrylic paint, glow-in-the-dark paint & pencil crayons on a silk screen on paper 49.5 x 75.5 cm 19 1/2 x 29 3/4 in. Signed 7.000 EUR Gallery Price

Marcel Dzama absorbs on a formal level a variety of influences from art history, from the pre-war avant-garde until today: particularly recognizable are Dada, Man Ray, Duchamp, and Oskar Schlemmer – by the latter in particular his Triadic Bauhaus ballet, whose original costumes Dzama saw at the Reina Sofia in Madrid. Additionally, his apocalyptic collages and drawings feature references to literature, expressionistic film history, pop culture and current events – the drawing Die Revolution wird weiblich sein (2017) for example refers to the women’s march which took place due to political transformations.

Marcel Dzama was born 1974 in Winnipeg, USA. He lives and works in New York, USA. Courtesy Marcel Dzama, Sies + Höke, Düsseldorf and David Zwirner, New York/ London. Photo: Michael Richter


Jens Einhorn Harmonie Ist Eine Strategie, 2017 Mesh, fabric, ropes, dye, acrylic spraypaint, oil, ink and adhesive medium on canvas 200 x 150 cm 78 3/4 x 59 in. Signed 6.900 EUR Gallery Price

Jens Einhorn’s abstract paintings are material collages, which border between object and painting. Layered by torn mesh, bleached fabrics, paint, and adhesive mediums, these relief-like works emanate a strong spatial presence with elegant traces of the artist’s process. In his new colourful series, Einhorn uses various types of mesh to create dynamic yet light-handed forms, lines and threads. Merged together, these layers create a path through which the eye can trace and wander. The work Harmonie Ist Eine Strategie (Harmony Is A Strategy) is inspired by the process of meditation in which thoughts and emotions seemingly flicker, lift, melt and then dissolve into one another. This sense of the unfixed, ever-shifting, merging, receding, and re-emerging of elements can be seen everywhere in Einhorns work. Source: DUVE Berlin

Jens Einhorn was born 1980 in Leisnig, Germany. He lives and works in Berlin, Germany. Courtesy Jens Einhorn and DUVE Berlin Photo: Joachim SchulzPhoto: Joachim Schulz

106. Elmgreen & Dragset Classifieds, 2014 / International News, 2014 Lithograph each 168 x 130 x 26 cm (framed) 66 x 51 x 10 1/4 in. (framed) Edition 45/48 + 10AP + 10PP Signed 6.200 EUR Gallery Price

Designed to echo the layout of a traditional newspaper, “Classifieds” and “International News” resemble the typical front pages of classified advertisements and international news sections, respectively. However, Elmgreen & Dragset’s oversized prints have an intentionally faded effect and are cropped to include only the middle of the page. Both are dated “Tuesday, October 1, 2013”, the opening date of the artists‘ solo exhibition “Tomorrow” at London’s Victoria and Albert Museum. “Classifieds” includes fictional classified ads that encompass many subjects, including apartments for rent, dogs, bathroom & kitchen, and campers, flanked by personal ads on either side. Interspersed throughout are a mixture of found images and photographs of iconic Elmgreen & Dragset works, including “Short Cut” (a car and caravan breaking through the ground—here referred to as “Chateau Road Coach, 2003”, with a nod to the year of the actual work) and “Marriage” (double sinks connected by a winding drain pipe, here with the caption “New bathroom?”). The imaginary personal ads range from the likes of an old lady seeking a ride to work to a man who wants to go cruising in the woods to a band searching for a new singer.

“International News” begins with the headline “British Architect Norman Swann Found Dead in His Family’s South Kensington Apartment”, a direct reference to Elmgreen & Dragset’s fictional character Norman Swann, the absent protagonist of their exhibition at the V&A. Visible sections of surrounding articles refer to British cultural heritage, recent political events, homoerotic gay saunas, and the headline “Community Service for Unemployment Benefits.” In a cut-off shoe advertisement, the distinctive Prada font can be discerned from the last two letters, “DA”. Source: Studio Elmgreen & Dragset

Michael Elmgreen was born 1961 in Denmark and Ingar Dragset was born 1969 in Norway. They are based in London and Berlin and have worked as a collaborative duo since the mid 1990‘s. Courtesy Elmgreen & Dragset and König Galerie


Jan Paul Evers Bergansicht, 2014 Silver gelatin print 85 x 69.5 cm 33 1/2 x 27 1/3 in. Signed 7.100 EUR Gallery Price

Although basically belonging to the genre of analog photography, Jan Paul Evers’ work, however, distinguishes itself through the corruption of its very own parameters. An extensive archive of his own digitally produced but also found images deliver the basis for his practice. The process of Evers‘ artistic decisions and the generating of images converge during the photo development in the darkroom. The results of this complex method are therefore solely unique. Source: Galerie Max Mayer, Düsseldorf

Jan Paul Evers was born 1982 in Cologne, Germany. He lives and works in Cologne, Germany. Courtesy Jan Paul Evers and Galerie Max Mayer, Düsseldorf

108. Christian Falsnaes Now (Emy Chauveau), 2015 HD video, color, sound, 14:20 minutes Edition 18/40 +10 AP The box contains: 1 archival copy: ProRes 422 HQ file on Blu-ray 1 exhibition copy: HD video on Blu-ray 1 exhibition/screening copy: HD video (MP4/H.264) on USB Flash drive 1 certificate of authenticity 1 still photo 860 EUR

“You have to follow all my instructions.” And you do. You very reasonably do. You smile. You scream. You dance. You express your own self. As you are requested to. The instructor (Emily Chaveau) shows you how. She smiles. It crosses your mind that primates smile as a show of potential force. You do feel somehow threatened. Wait, no. You feel happiness, she says. She talks of finding an inner calm while flashes of images are projected in the background. Your pulse catches up with the electric speed. As she comes closer, and the expressive play of light casts a shadow on her face, you submit more and more to her orders. Her hands touches you, you feel her breath. Breathe. Look at me in the eyes. Her gaze addresses you directly. But you are not alone. Off-screen a whole bunch of you started dancing bizarrely, expressing their own selves. You are not protected by the screen, it has become transparent, and you see your awkward mirror-image in it. The experience is carefully monitored. You present your clumsy little ego for the benefit of the cause. The artist is recording it. As Falsnaes puts it,

performances are about “creating a significant experience”. In this work, Falsnaes shows us the underlying mechanisms of the enjoyment mottos we constantly submit to. Living in the now. Be the person you want to be. Chaveau lends her voice to the watchwords of a culture of wellbeing. It feels desperate, yet we feign, we bare our teeth and clap our hands. Her authoritarian gaze guides us in the chase for an elusive present, where we can grasp the now and our own selves with it. Yes, she said – “your own”. Source: Videoart at Midnight Edition, Jade de Cock de Rameyen

Christian Falsnaes was born 1980 in Copenhagen, Denmark. He lives and works in Berlin, Germany. Courtesy Christian Falsnaes and Videoart at Midnight EditionMidnight Edition

109. Gembalies ROMA Hand made in Italy 100 % Polyester Buttons: 100% Acrylic Handle: 100% Cotton Metal: Brass plated 15 x 15 x 5 cm 6 x 6 x 2 in. Edition of 5 Certificate of Authenticity 790 EUR

Acrylic glas, a material that earmarks seventies design accompanied by a minimalist form, inspired us to produce this bag. In Italy we found a manufacturer, specializing in the treatment of exceptional materials, who was able to realize this bag with perfection. “To seduce - to surprise and a huge passion for the craftsmanship in the development of the fabrics and the implementation of our models this is what drives us.” (Frauke Gembalies)

Donated by Gembalies Photo: Roman März


Monika Grabuschnigg Relic #1, 2016 Glazed earthernware and resin 53 x 13 x 13 cm 20 3/4 x 5 x 5 in. Signed 4.500 EUR Gallery Price

The work Relic, 2016 is made with the slip casting method, where liquid clay is poured into a plaster mold. This is a common technique for mass production of pottery and ceramic and has shaped our modern life. Relic, 2016 is built from different casts and has additionally hand built elements attached, resembling motives of Afghan war rugs. For example the two round shaped pieces on the bottom of the works symbolize abstracted grenades, while the fleshy half organic top piece is more explicit a shape of a grenade. Though the ornamented part is originally a casted Ikea tee light holder, by itself a mass produced object. The whole series deals with a fetish-driven consumer society, cultural voyeurism and the link between artwork and consumer commodity. Source: Carbon12, Dubai

Monika Grabuschnigg was born 1987 in Vorarlberg, Austria. She lives and works in Berlin, Germany. Courtesy Monika Grabuschnigg and Carbon12, Dubai Photo: Copyright Monika Grabuschnigg


Thomas Grünfeld misfit (Rosella/mole), 2009 Taxidermy 8 x 20 x 5 cm 3 1/4 x 7 3/4 x 2 in. Edition 11/12 Signed on the box 4.500 EUR Gallery Price

Grünfeld‘s creatures, rather than raising issues of visual perception or the politics of style, make reference to a popular storytelling tradition from southern Germany - the politics here are symbolic. Called wolperfinger, the stories tell of improbable animals with human traits. Like most folk tales, they are moralistic; suggesting that Grünfeld‘s strange pets are meant to put us face to face with our principles. By manipulating Mother Nature, in the form of antlered animals with webbed feet or furry specimens with wings, Grünfeld seems to wander into a dialectic territory: the real versus the imaginary and, perhaps, eventually good versus evil. Source:, Deborah Irmas

Thomas Grünfeld was born 1956 in Opladen, Germany. He lives and works in Cologne, Germany. Donated by Thomas Grünfeld Photo: Lothar Schnepf © 2017 VG Bildkunst, Bonn


Keith Haring The Story of Red and Blue Sheet 16 (from a set of 21 prints), 1989 Lithography 56 x 42 cm (unframed) 22 x 16 1/2 in. (unframed) Edition 39/90 Framed Signed 3.500 EUR

Haring understood something of his debt to sixties culture- its public and popular culture and thought, that is, as opposed to its art. On the latter front, he was selective: he adored Andy Warhol, but he was skeptical of the “overrationalization” he found in Minimal and Conceptual art, and worked partly in reaction against it. Of the events and ideas that flowed through American everyday consciousness in the sixties, on the other hand, he wrote, in that same letter to Leary: “I was born in 1958, so while I was growing up I was only aware of the events in the early Sixties through a strange mixture of sources… television, Life magazine pictorial essays, and some associations with enlightened relatives. I was very absorbed and interested, however, and I think affected at a time when my personality and ideology were in their most ‘affectable’ or impressionable stages.” Source:, David Frankel, American Beauty

Keith Haring was born 1958 in Reading, Pennsylvania, USA. He died 1990 in New York, USA where he worked and lived most of his life. Courtesy Private Collection


Robert Holyhead Untitled (Fall), 2015 oil on canvas 35.6 x 45.7 cm 14 x 18 in. Signed 9.400 EUR Gallery Price

“I pick up on things that are a little bit peculiar and that exist awkwardly in the world, that are already abstract. It‘s much more to do with seeing something which becomes abstract in my mind over time before becoming a motif in the studio or eventually a gesture or form in a painting. I‘m not so sure how they come in or where they have come from. My work doesn‘t have any particular reference points outside or itself yet external influences creep in as I make it. As such, my painting presents both a type of personal language and some familiarity with the world.” Source: Robert Holyhead, London, July 2010 in Robert Holyhead, Karsten Schubert and Ridinghouse, 2010.

Robert Holyhead born 1974 in Trowbridge, UK. He lives and works in London, UK Courtesy Robert Holyhead and Galerie Max Hetzler, Berlin | Paris


Georg Hornemann & 22/4 HOMMES FEMMES Anstecknadel / Brooch A collaboration between Georg Hornemann & 22/4 HOMMES FEMMES Black acrylic glass, white Corian 76 brilliant-cut Diamonds 0.57 ct. TW(G) – VVSI Yellow gold, white gold 750/ooo, Silver 935/ooo 6 x 5cm 2 1/3 x 2 in. Edition 1/6 7.900 EUR

Georg Hornemann is one of the most experienced contemporary goldsmiths and designers and has been internationally renowned for his unusual jewellery creations for more than 50 years. Georg Hornemann is regarded as an artist among jewellery designers and has won almost every international award for outstanding jewellery design since the late 1960s. The company was founded in 1973 and since over 30 years Georg and his son Alexander work very closely together. With their seemingly inexhaustible creative drive, Hornemann jewellery creations by Georg and Alexander Hornemann have long influenced and shaped European jewellery design. Source:

Donated by Georg & Alexander Hornemann


Azade Köker Houses I, 2012 Mixed media on paper 75 x 75 cm 29 1/2 x 29 1/2 in. Signed 10.000 EUR Gallery Price

“These paintings highlight the continuous transformation of all the cities—as the neighbourhoods fluctuate because of different reasons, such as the war in Aleppo, or for the sake of modernization—slowly leading to the erasure of consciousness of history from the minds.” (Azade Köker)

Azade Köker was born 1949 in Istanbul, Turkey. She lives and works between Berlin, Germany and Istanbul, Turkey. Courtesy Azade Köker and Zilberman Gallery, Berlin/Istanbul


Mike Meiré She Glove (rose), 2015 Ceramic 28 x 12 x 5 cm 11 x 4 3/4 x 2 in. Signed 2.000 EUR Gallery Price “I am interested in the average. I find beauty in the ordinary.” (Mike Meiré)

Mike Meiré was born 1964 in Darmstadt, Germany. He lives and works in Cologne, Germany. Donated by Mike Meiré


Anahita Razmi Air d‘Ahwaz, 2015 Glass ampoule 25 x 19 cm 9 3/4 x 7 1/2 in. Edition 3/3 Certificate of Authenticity 3.500 EUR Gallery Price

In 2011 the World Health Organization (WHO) listed the air of the city of Ahwaz, Iran as the most polluted air in the world. With a PM10 level of around 372, the air in Ahwaz is three times as polluted as the air in Beijing, China. In November 2014, Anahita travelled to Ahwaz to collect some of its air. The air was then transported to Germany and filled into a glass ampoule, that is now carrying Air d’Ahwaz. Source: Carbon12, Dubai

Anahita Razmi was born 1981 in Hamburg, Germany. She lives and works in Berlin, Germany. Courtesy Anahita Razmi and Carbon12, Dubai Photo: Copyright Anahita RazmiPhoto: Copyright of the artist.


Robin Rhode S‘ Class Made in China, 2010 Oil pastel on paper 75 x 105 cm (framed) 29,1/2 x 41 1/3 in. (framed) Signed 10.000 EUR Gallery Price

For the South African artist Robin Rhode, drawing is never enough. He draws on gallery walls, then throws his body against the images he’s made, or drags his hands through the fresh chalk or charcoal. He draws in public places, in choreographed acts or in improvised, highly physical exertions. Drawing is not a stand-alone artistic medium; it forms part of a constellation of techniques, from performance to photography and video, which in turn informs a larger cluster of concerns, from his own childhood to the politics of urban space. It would be a mistake to inscribe Mr. Rhode’s public drawings into a tradition of graffiti and street art, though he did have an early flirtation with break dancing. In South African cities, especially in the townships, walls were usually decorated not with individual tags but with political murals, often with messages of social inspiration and public protest. Mr. Rhode’s more abstract and poetic wall drawings have at least partial roots in that tradition, though the murals and installations of Sol LeWitt and Bridget Riley may also come to mind. Source:, Jason Farago

Robin Rhode was born 1976 in Cape Town, South Africa. He lives and works in Berlin, Germany Donated by Robin Rhode Photo: Rhodeworks


Susanne Rottenbacher farbring 450 K, 2013 Acrylic glass, acrylic paint, coloured foil, LED, cable t = 15, Ø 110 cm d = 6, Ø 43 1/3 in. Certificate of Authenticity This piece is unique 5.500 EUR Gallery Price

Rottenbacher works with two types of rings. The majority are transparent plastic forms inside of which there are fine webs of wires fitted at regular intervals with small, colorful LED lights. The exteriors of these forms are enhanced with painted stripes of various color intensities, thicknesses, and densities. These dynamic compositions of painterly line formations meet the strict linear arrangement of the wire networks. The regularity of the arrangement of colorful points of light further accentuates the works, creating a dialogical interplay that characteristically structures the ring forms and simultaneously illuminates the surroundings in a way that is as invasive as it is diffuse. As forms of light and color, they illuminate the entire (.......) space and ultimately occupy it in relation to the surrounding light, which is constantly changing according to the rhythm of the time of day. Source:, Rafael von Uslar

Susanne Rottenbacher was born 1969 in Göttingen, Germany. She lives and works in Berlin, Germany. Donated by Susanne Rottenbacher Photo: Claus Rottenbacher

57th Venice Biennale, 13.5.- 26.11.2017 Palazzo Pisani, Campo Santo Stefano


Michael Sailstorfer Antenne (Kleiderständer) 30, 2011 Aluminium 150 x 64 x 65 cm 59 x 25 1/4 x 25 5/8 in. Certificate of Authenticity This piece is unique 5.800 EUR Gallery Price

Michael Sailstorfer: ‘I’m really interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has. I like the idea that a small piece of art can fill huge museum spaces—that’s very economic.‘ Source:

Michael Sailstorfer was born 1979 in Velden/Vils, Germany. He lives and works in Berlin, Germany. Donated by Michael Sailstorfer Photo: Studio Michael SailstorferPhoto: Studio Michael Sailstorfer

121. Tomás Saraceno View of Uyuni from Lacaille 9352, 2017 Fine art InkJet Print 64 x 45 cm 25 1/4 x 17 3/4 in. Edition 3/15 + 3 AP Signed 8.500 EUR Gallery Price

Near the border with Chile, located in southern Bolivia, Salar de Uyuni is the most expansive salt flat in the world. Both bare and barren, the Salar has been witness to the great astronomical discoveries of the century. It is well known among astronauts who seek its refuge upon returning from space missions, perhaps nostalgic of its vast landscape or curious to experience the image of the endless horizon. In the Salar light moves as energy does at the surface of the Sun. As it reaches the Earth transformed into light, it illuminates the infinite cloudscape above our heads. There is no horizon to parse our sight, there is only movement. Light is bound upwards and downwards surmounting any sense of gravity. Fernando Pessoa once wrote, “Dust hovers where the night ends, on the edge of visibility.” Interstellar dust, full with the elemental basis of life, forms stars in molecular clouds and aerial dust modulates atmospheric clouds. Dust, which astrophysicists once found as the condition for the possibility of sight generates all sorts of forms: cirrocumulus, cumulonimbus, nebulae. Earthbound, or standing at the outer edge of this planet, clouds are everywhere, as movements of light, as formations swirling in airflows, on which dust rides. Printed using traditional lithographic methods, the photograph View of Uyuni from Lacaille 9352 was produced in Salar de Uyuni January 2016, where the artist Tomás Saraceno has traveled to record and reflect upon the blurred horizons of the cosmic plane. The photographic print is pressed on cotton paper. With the passing time, dust settles on the print surface, making a layer, a seam of time, a record of its own. 40.000 tons of cosmic dust reaches the Earth every year, simultaneously traversing and inviting us to partake in its planetary scale. Source: Studio Saraceno GmbH

Tomás Saraceno was born 1974 in Argentina. He lives and works in and beyond the planet Earth. Donated by Studio Saraceno GmbH Photo: Tomás Saraceno


Andreas Schmitten Ohne Titel, 2017 Ink pen, paper on Aludibond 180 x 120 cm 70 3/4 x 47 1/4 in. Signed 8.500 EUR Gallery Price

The sculptor Andreas Schmitten stages visual spaces. In the work at hand, the paper is occupied by a hybrid creature undergoing an unusual gesture. This composition instigates a new mode of thinking. Source: Schönewald Fine Arts

Andreas Schmitten was born 1980 in Mönchengladbach, Germany. He lives and works in Düsseldorf, Germany. Donated by König Galerie and Schönewald Fine Arts Photo: Niels Schabrod


Avery Singer Untitled (Study), 2014/2015 Ditone print 45.7 x 61 cm 8 x 24 in. Edition 100 + 20 AP Signed and numbered 2.000 EUR

Human figures metamorphose into geometric shapes, mannequins, or machines; intricately refracted choreographies of light are projected into painted spaces; canvases capture cubistic compositions: Avery Singer’s work is recognizably inspired by the formal vocabulary of modernism. But the questions she explores are hardly the problems of centuries past. The accurate simulation of the refraction of light, for example, continues to be a major challenge in digital animation and videogame technology. Singer constructs her figures, broken down into geometric components, in a freeware 3D program and then transfers them onto large canvases using an airbrush and masking tape. Painted in grayscale, the resulting works leave the viewer confounded as to what they behold, both in regards to the canvas’s material facture and the physicality of what they show: figures that look like paper cutouts and yet read, if not as individuals, then certainly as characters. Many of them (e.g., as in the series “The Artists”) are faintly caricatured types based on art-world figures who go about their daily business, sitting in a studio or at a cafè, staging performances or photo shoots.

Singer’s edition for Texte zur Kunst is a study in spatial depth illuminated by a double source of light: a female figure, seen in a close-up quarter profile view, fixing her hair. The light, engendering a play of subtle shading on her face and hair and the wall in the background, animates the digitally generated surfaces and bathes the scene in an atmosphere that is dreamlike and theatrical in equal measure for an iridescent tableau delicately poised between warm and cool, nostalgia and a highly contemporary appeal. Source: Texte zur Kunst

Avery Singer was born 1987 in New York, USA. She lives and works in New York, USA. Published by Texte zur Kunst Edition Donated by Private Collection


Andreas Slominski Wieselwippbrettfalle mit Souffleurkasten, 1986 Wood, plywood, wire and staples 18 x 11 x 50 cm 7 x 4 1/3 x 19 2/3 in. Signed 9.000 EUR Gallery Price

Andreas Slominski (born 1959) is one of the most remarkable representatives of a new spirit of sculpture and installation art. He made a name for himself with his trap objects beginning in the late 1980s as well as his seemingly absurd performances, whose practical use bore no relation to the effort involved in them. Dirk Luckow, General Director of the Deichtorhallen, Hamburg: ‘In his art, Andreas Slominski combines humor, sarcasm, engagement, absoluteness, and an enjoyment of art. He is a master of aesthetic double strategies.‘ Source:

Andreas Slominski was born 1959 in Meppen, Germany. He lives and works in Berlin, Germany. Donated by Produzentengalerie Hamburg Photo: Roman März


Haim Steinbach Hint. hint., 1994 Plastic magnets of US-States, Manufacturers: Magnetic Collectibles & Co., USA, Stainless steal plate 16 x 16 cm / 6 1/3 x 6 1/3 in. Sandblasted words, Handmade plate and box Edition of 25 plus 2 AP, 2 PP Signed 1.000 EUR Gallery Price

Haim Steinbach’s art plays a major role in the contemporary artistic discourse on the object. Starting with the practices of Minimalism and Pop Art, as well as Performance and Conceptual Art, Steinbach’s ideas evolve towards the formation of a new paradigm for the object and its place. It links important elements of these art forms and sets new focal points between art and the everyday, production and consumption, and the relationships between image, object and space. Source:

Haim Steinbach was born 1944 in Rehovot, Israel. He lives in Brooklyn, New York, USA. Published by H.M.Klosterfelde Edition Courtesy H.M.Klosterfelde Edition © artist & H.M.Klosterfelde Edition


Paloma Varga Weisz Untitled, 2007 Watercolor and pencil on paper 31 x 41 cm 12 1/5 x 16 1/7 in. Signed 4.000 EUR Gallery Price

While still a student, Paloma Varga Weisz turned her attention to figural sculpture in wood. Though she adopts familiar motifs and explores the history and imagery of figural sculpture, she alters and subtly questions these. In Varga Weisz’ fantastical figurations, the transition from the animate to the inanimate world is fluid. Bodies are often disguised, as in the wicker figures, the angelically expressive suspended figure or the white-clad youth of the Still-Life with the chemical laboratory glasses arrayed above him. Source:

Paloma Varga Weisz was born 1966 in Mannheim, Germany. She lives and works in Düsseldorf, Germany. Courtesy Paloma Varga Weisz and Konrad Fischer Galerie, Düsseldorf/Berlin Photo: Stefan Hostettler © 2017, VG Bildkunst Bonn


Nicole Wermers Rock Dispenser (Stein Spender) / Modell für Aussenskulptur, 2010 Ready-made cotton wool pad dispenser made of stainless steel, rocks 18 x 6.5 x 6 cm 7 x 25 2/3 x 2 1/3 in. Edition 11/30 Certificate of Authenticity 900 EUR Gallery Price

Nicole Wermers‘ works target the suggestive appeal of surfaces and the adaptation of a familiar fine-art aesthetic within the overall design of our daily life. Ashtrays resembling sculptures or sculptures that remind one of security devices at the exit of department stores blur the distinctions between functional design and autonomously conceived art. Source:, Vanessa Joan Müller

Nicole Wermers was born 1971 in Emsdetten, Germany. She lives and works in London, United Kingdom. Donated by Produzentengalerie Hamburg Photo: Roman März


GCC Inaugural Summit, Morschach 2013 4, 2013 Digital c-print 103 x 70 cm (framed) 40 1/2 x 27 1/2 in. (framed) Edition 3/3 (+ 2AP) Certificate of Authenticity 5.000 EUR Gallery Price

The series Inaugural Summit, Morschach 2013 draws attention to the mechanisms of a ritualized ceremony that consolidates power within and through public and private spaces in the Gulf region and abroad. Source: Kraupa-Tuskany Zeidler, Berlin

GCC founded 2013, GCC live between Kuwait, New York, Amsterdam, London, and Berlin. GCC, an acronym that does not necessarily stand for but alludes to the Gulf Cooperative Council, is an artist ‘delegation’ or collective composed of eight members, all of which have strong ties to the Arabian Gulf region of the Middle East. Donated by GCC and Kraupa-Tuskany Zeidler, Berlin

128. Slavs and Tatars Larry Nixed, Trachea Trixed, 2015 Screen print on silver paper 70 x 50 cm (framed) 27 1/2 x 41 1/3 in. (framed) Edition 81/100 Certificate of Authenticity 400 EUR Gallery Price

Larry nixed, Trachea trixed is part of the cycle Long Legged Linguistics that investigates language politics. The work looks at various attempts to extend or embed Soviet influence by cyrillicizizing sounds or phonemes that did not previously exist in the Russian Cyrillic alphabet. Source: Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars founded 2006 in Eurasia, live and work in Berlin, Germany. Slavs and Tatar is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s practice is based on three activities: exhibitions, books and lecture performances.  Donated by Slavs and Tatars and Kraupa-Tuskany Zeidler, Berlin

Thank You So Much First of all the artists, who were most generous to provide us with these exceptional works Armin Boehm Ulla von Brandenburg Julian Charrière and Julius von Bismarck Tony Cragg Paul Czerlitzki Julien Deiss Marcel Dzama Jens Einhorn Elmgreen & Dragset Jan Paul Evers Christian Falsnaes Berta Fischer Gembalies Monika Grabuschnigg Thomas Grünfeld Keith Haring Michael von Hassel Henning Fehr and Philipp Rühr Gregor Hildebrandt Robert Holyhead Georg Hornemann & 22/4 HOMMES FEMMES Leiko Ikemura Thomas Kiesewetter Terence Koh Azade Köker Arik Levy Fabian Marti Jonathan Meese Mike Meiré Seungmo Park Manfred Pernice Laure Prouvost Timm Rautert Anahita Razmi David Renggli Hossein Rezvani Robin Rhode Susanne Rottenbacher Thomas Ruff Michael Sailstorfer Tomás Saraceno Thomas Scheibitz Andreas Schmitten SEO Avery Singer Andreas Slominski Haim Steinbach Henning Strassburger Wolfgang Tillmans Paloma Varga Weisz Wim Wenders Nicole Wermers Claudia Wieser

Our dream team Valeska Hageney, Head of Coordination Benita Röver, Coordination Bernd Degner, Press Kathrin Luz, Press Ludwig Meyer, Intern Carla Möller, Intern Emma Siemens, Intern All the people who helped us Charlotte Adlard - Creative & Marketing Manager, Phillips Ify Anyanwu - Creative Services Manager, Phillips Melanie Borinstein - Auctions Liaison, Artsy Gil Bronner - PHILARA Collection Dr. Friederike von Brühl - Legal advice Darius Conzen - Framer Stavros Efremidis - WCM, Sponsoring Sebastian Fischer - Engel & Völckers Berlin, Sponsoring Walter Gehlen - Art Düsseldorf, Sponsoring Moira Gil - Graphic Designer, Phillips Julia Heinen - Phillips, Sponsoring Dr. Martin Heller - Trustee Henry Highley - The Auctioneer, Phillips Kathrin Luz - Kathrin Luz Communication Katharina Klang - Director, PHILARA Collection Shirin Kranz - Privatbank Berlin, Sponsoring Liz Luna - Director of Strategic Partnerships, Auctions & Institutions, Artsy Timm Moll - Moll Group Dusseldorf, Sponsoring Anne-Claire Morel - Collector Relations Liaison & Auctions, Artsy Sarah Nöllenheidt - NOC Graphics Raphael Oeschger - Acquisition Frank Schumacher - Ton, Licht, Concept Isabelle Stadler - AXA Art Rebecca Starr - Associate Director Auctions, Artsy Nadine Stolberg - AXA Art Insurance Isadora Tharin - Phillips, Sponsoring Rainer Thiele - Tax constancy, HPTP Dr. Alice Trier - Phillips, Sponsoring Josef Voelk - THE CORNER Berlin, Sponsoring Cheyenne Westphal - Chairman, Phillips Our Art Mover - Who would like to remain unnamed And to all helpers whose names where unknown to us at the time of printing of this catalogue.

All galleries for their incredible help and support Blain|Southern, Berlin, London Carbon12, Dubai carlier | gebauer, Berlin DUVE Berlin Galerie Barbara Weiss, Berlin Galerie Buchholz, Berlin, Cologne Galerie Max Hetzler, Berlin, Paris Galerie Max Mayer, Duesseldorf Galerie Michael Schultz, Berlin Galerie Neu, Berlin Galerie Peter Kilchmann, Zuerich Galerie Thaddaeus Ropac, London, Paris, Salzburg Gembalies, Berlin Georg Hornemann, Berlin, Duesseldorf H.M.Klosterfelde Edition, Berlin König Galerie, Berlin Konrad Fischer Galerie, Berlin, Duesseldorf Hossein Rezvani, Hamburg Meyer Riegger, Berlin, Karlsruhe Produzentengalerie Hamburg Schönewald Fine Arts, Duesseldorf Sies + Höke, Duesseldorf Sprüth Magers, Berlin, London, Los Angeles Videoart at Midnight Edition, Berlin Wentrup Gallery, Berlin Zilberman Gallery, Berlin, Istanbul David Zwirner, New York, London

And last but not least our patrons, without whom Outset would not exist: Chantal Blatzheim, Kusnacht, Switzerland Bettina Böhm, Berlin, Germany Anat Bronner, Düsseldorf, Germany Dr. Friederike von Brühl, HP, Berlin, Germany Ludwig von Cramer-Klett, Berlin, Germany Bernd Degner, HP, Munich, Germany Stavros Efremidis, Berlin, Germany Stephan Erfurt, Berlin, Germany Jan Fischer, Trustee, Munich, Germany Simone Graebner, Berlin, Germany Julia Heinen, HP, Zurich, Switzerland Patricia Kamp, Berlin/Baden Baden, Germany Marcela von Kayser, Berlin, Germany Mario von Kelterborn, Frankfurt, Germany Tanja Kleine-Quadflieg, Dusseldorf, Germany Dr. Julie Klippgen, Hamburg, Germany Amadeo Kraupa-Tuskany und Nadine Zeidler, Berlin, Germany Karsten Kretzschmar, Dresden / Berlin, Germany Karl-Heinz Land, Cologne, Germany Jonathan Levy for PALMARIUM AG, Zurich, Switzerland Cynthia Phillips, Munich, Germany Günther J. Piff, Düsseldorf, Germany Ramin Salsali, Trustee, Berlin/Hamburg, Germany and Dubai, U.A.E Isabel B. Schmidt, Munich, Germany Dr. Kirsten Schrick, Munich, Germany Peter Schwartzkopff, Hamburg, Germany Verena Sellmeyer, Munich, Germany Veronika Smetackova, Berlin, Germany Kerstin Traube, HP, Munich, Germany Dr. Alice Trier, HP, Cologne, Germany Brigitte von Trotha-Ribbentrop, Berlin, Germany Chiona Xanthopoulou-Schwarz, Munich, Germany Moiz Zilbermann, Berlin, Germany and Istanbul, Turkey

Imprint Auction catalogue for the Benefit Auction of Outset Germany_Switzerland in support of the current and future projects of Outset Germany_Switzerland Friday, 29 September, 2017 Publisher Outset Germany_Switzerland Bettina Böhm M.A. Auguststrasse 69 KW, Courtyard D-10117 Berlin Telephone +49 30 81725741 Chief Editor Bettina Böhm Editors Valeska Hageney Benita Röver Outset Germany_Switzerland thanks all the artists and gallerist, who have provided us with text material as the groundwork for the image description. Images and Artist Proofs Copyright VG Bildkunst, Bonn 2017 (for the represented artist) Regardless of our intensive research it was impossible to locate all copyright holders it was impossible to locate all copyright holders:

Photographers Jan Bauer . Net FXP, London Trevor Good Stefan Hostettler Ron Kamrau Achim Kukulies Gunter Lepkowski Jochen Littkemann Roman März Michael Richter Rhodeworks Claus Rottenbacher Niels Schabrod Lothar Schnepf Joachim Schulz Studio Michael Sailstorfer Eric Tschernow Jens Ziehe Design PHILLIPS, London Translations Emma Siemens Editing Bettina Böhm Production Gallery Print, Berlin Database Publishing ARTSY, New York

Outset Germany_Switzerland’s Charity Auction OUTSET CONTEMPORARY ART FUND Germany_Switzerland gUG, Niebuhrstrasse 72, 10629 Berlin, (“OUTSET”), is organizing a benefit auction on 29 September 2017 at the PHILARA Collection, Birkenstraße 47, Düsseldorf, for the purp oses of financing OUTSET Germany_Switzerland projects from 2016 to 2018. This will be a no-premium auction. All auction proceeds (net purchase prices excluding statutory VAT), minus the costs incurred to conduct this auction, will benefit OUTSET. The auction will be conducted based on these auction conditions. By submitting a bid, whether in person, by telephone or online, the buyer acknowledges these auction conditions as binding. If a bidder does not accept these auction conditions, he cannot participate in the auction. 1 AUCTIONEERS PHILLIPS will conduct the live auction on behalf of OUTSET, and with the assistance of ARTSY. ARTSY will conduct the online auction on behalf of OUTSET and will provide remote bidding opportunities for the live auction. 2 CATALOG, ONLINE CATALOG, PREVIEW Information about the artworks offered for sale (“lots”) is available in advance in our printed auction catalog and in an online catalog created by ARTSY, which can be accessed starting in September via,, and It will be possible to view and examine the artworks starting 24 September 2017, from n oon to 6:00 p.m., at the PHILARA Collection. 3 BIDDER NUMBER Participation in the live auction requires a personal bidder number, which must be requested in writing from Outset Germany_Switzerland at by no later than 6:00 p.m. on 28 September 2 017. The bidder numbers will be distributed one hour before the start of the auction. A bid that is not submitted under a bidder number will be ign ored. For the sake of clarity, this service is not provided by ARTSY. 4 REGISTER AN ARTSY ACCOUNT In order to participate in the online auction and/or the live auction remotely by means of ARTSY’s live auction integration (LAI), you must create an ARTSY account and register for the auction on ARTSY’s website. An ARTSY account can be created at https:// and presumes agreement with ARTSY’s Terms of Use, which can be downloaded at https://www.artsy.n et/terms. Participation in the auction is governed by Artsy’s Conditions of Sale which can be downloaded at

conditions-of-sale. To participate in the live auction by means of LAI via ARTSY, an ARTSY accoun t must be created by no later than 7:00 PM (CEST) on 28 September 2017. 5 BIDS Live auction bids can be made via Outset in person, by telephone, or by an authorized third party. Bids may also be made via Artsy for both the online and live auction. No liability is assumed for the implementation of the data line, or for trans-mission or transcription errors within the framework of the means of distance communications used, or for their misuse by unauthorized third parties. Bids submitted in whatever form are considered binding. A bid indicates the knockdown price, not including statutory VAT (the “hammer price”). T he following shall apply in particular: 5.1 LIVE AUCTION In the live auction on 29 September 2017, starting at 7:45 p.m. at the PHILARA Collection, bids on the live lots (Catalog nos. 1-26) can be submitted in person under a bidder number. For guests not attending the event, bids can be submitted during the live auction for the live lots onlin e via ARTSY’s LAI. Bids for the live auction can also be submitted in advance via ARTSY. Outset also provides for bidding via telephone. Should the bidder intend to bid via telephone, he has to inform Outset in the course of the procedure under Section 3. In this procedure he will be provided with all relevant information for telephone bidding. 5.2 ONLINE AUCTION Online auction, at which online bids on the online lots (Catalog nos. 101-T1h2e8 )ocan be submitted, will be conducted by ARTSY at https://www.artsy. net/. Online bids can be submitted starting 15 September 2017. Starting on that date and up 1:00am CEST on 30 September 2017 online bids for the live lots can be submitted via ARTSY. For online bids, ARTSY’s Terms of Use and Conditions of Sale, which can be downloaded at and https://www.artsy. net/conditions-of-sale, shall apply. If these auction conditions do not match ARTSY’s Terms of Use and Conditions of Sale, these auction conditions shal l take precedence. For all terms of the online auction not governed by these auction conditions, ARTSY’s Terms of Use and Conditions of Sale shall apply.

Auction conditions for the benefit auction 29 September 2017 5.3 BIDS FOR THIRD PARTIES A bidder can submit bids on behalf of a third party. To do so, a bidder must notify his intention to submit bids for a third party by 27 September 2017 (receipt by Outset) by indicating the name and address of said party and by submitting written authorization by said party to the following address: uk or outset Contemporary Art Fund gUG, Auguststrasse 69 (Kunstwerke, Courtyard), D-10117 Berlin. If the bidder fails to make this notifi-cation, the purchase agreement shall be made with the bidder upon the fall of the hammer. For the sake of clarity, this service is not provided by ARTSY. 6 CONCLUSION OF CONTRACT A bidder can submit bids on behalf of a third party. To do so, a bidder must notify his intention to submit bids for a third party by 27 September 2017 (receipt by Outset) by indicating the name and address of said party and by submitting written authorization by said party to the following address: uk or outset Contemporary Art Fund gUG, Auguststrasse 69 (Kunstwerke, Courtyard), D-10117 Berlin. If the bidder fails to make this notifi-cation, the purchase agreement shall be made with the bidder upon the fall of the hammer. For the sake of clarity, this service is not provided by ARTSY. 6 CONCLUSION OF CONTRACT 6.1 LIVE AUCTION In the live auction, the auctioneer accepts a bid if after calling out the bid three times no higher bid is submitted. The object is knocked down to the person making the highest bid. If several equally high bids are made for t he same artwork, for example for written bids, telephone bids or online bids, th e first-submitted bid will be accepted, provided there is no higher bid. The auctioneer can accept the bid subject to any condition he indicates. The auctioneer can refuse the fall of the hammer or reject a bid, for example if the bidder did not register prior to the auction or has no bidder number. If a bid is rejected, the preceding bid remains valid. In the event of differences of opinion, for example in the event of a double bid or if the auctioneer has overlooked a bid, the auctioneer is entitled to cancel the fall of the hammer and to restart the auction of the artwork in question. 6.2 ONLINE AUCTION The online auction shall end at 1:00 a.m. CEST on 30 September 2017. In accordance with ARTSY’s Terms of Use and Conditions of Sale, the bid of the bidder who submitted the highest bid on the respective online lot at the time the auction ends shall

automatically be accepted. 7 PURCHASE PRICE AND PAYMENT The auction is conducted for account of the seller. Upon the fall of the hammer, the purchase agreement will be concluded between OUTSET and the person making the highest bid; the person making the highest bid is obligated to acce pt it. The artworks shall remain property of the seller until payment is received. The purchase price consists of the hammer price and statutory VAT. There is no premium. The buyer shall be responsible for any costs incurred for custo ms clearance and/or import or export duties. The buyer shall be responsible for all taxes, costs and fees related to paying the purchase price. Exempted from VAT are export deliveries to non-member states (outside the EU) and also to companies in EU member states upon submission of their VAT ID number. If the buyer of an artwork purchases it for export exempt from VAT, he must promptly inform OUTSET of this by notification pursuant to section 3 of thes e auction conditions, in particular to which non-member state the artwork is supposed to be exported or if the buyer intends to export the artwork him self. In this case OUTSET will invoice statutory German VAT. The withheld VAT will be reimbursed to buyer by bank transfer if he provides to OUTSET va lid export documents by customs authorities or the shipping company. If the buyer of an artwork purchases it as an intra-Community delivery exempt from VAT, he must promptly inform OUTSET of this, in particular to which country of the European Union the artwork is supposed to be delivered. When notifying OUTSET pursuant to section 3 of these auction conditio ns, the buyer must prove it has satisfied the requirements, in particular submissi on of a valid VAT ID number. Also in this case OUTSET will invoice German VAT. After provision of a confirmation that the artwork has been imported to another EU member state or a so-called “Gelangens Bestätigung” or a ny other appropriate evidence (e.g. of a shipping company) the withheld VAT will be reimbursed to the buyer by bank transfer. 7.1 NON-ARTSY WINNING BIDDERS The purchase price is due upon fall of the hammer, and must be paid in cash, per credit card or by bank transfer in euros within 10 days after the fall of the hammer.

Outset Germany_Switzerland’s Charity Auction If he does not pay the purchase price in cash, the buyer agrees to pay it directly by bank transfer to OUTSET’s following donations account: Account holder: Outset Contemporary Art Fund gemeinnützige UG Account holder‘s address: Niebuhrstrasse 72 10629 Berlin Germany IBAN: DE30 1204 0000 0138 0286 01 BIC l SWIFT: COBADEFFXXX Bank name: Commerzbank Bank address: Friedrichstraße 62 l 10117 Berlin l Germany 7.2 ARTSY WINNING BIDDERS If the artwork was auctioned using the services of ARTSY, i.e. within the framework of the online auction and/or the live auction by means of AR TSY’s LAI, the payment terms specified in ARTSY’s Terms of Use and Conditions of Sale shall apply. ARTSY will collect payment in Euro and may accept payment by check, wire transfer or credit card at our sole discretion and are not obligated to accept payment by any other means. For the avoidance of doubt, Artsy will not collect payment from any winning online bidder at the Event on the day of the Event, and will instead contact winning online bidders to collect payment from them in the days following the Event. 8 COLLECTION After payment is received, the buyer shall receive from the organizer by eA-mail or phone all information necessary for pickup, such as the collection address and the contact person. The purchases must be picked up as soon as possible, since the artworks must be removed and stored for a fe e within 21 days after the auction. If auctioned artworks are not picked u p within 21 days after the bid has been accepted, the buyer will be invoiced directly by the freight forwarder for any resulting storage costs. The artworks shall be packed and shipped at the sole risk and cost of the buyer. OUTSET will support buyers who cannot pick up the artwork to find a shipping solution at buyer’s expense. 9 RESCISSION If the buyer is in default of payment, the seller can, after granting a grace period of 14 days, withdraw from the contract in whole

or in part. In the event of rescission, all rights of the buyer to the auctioned artwork shall expire, and the buyer shall be liable for any incurred shipping, storage and insurance costs up until the artwork is returned to the seller. 10 LIABILITY 10.1 SELLER INFORMATION The descriptions of the items to be auctioned in the printed catalog, online catalog and during the auction are based on information pro vided by the sellers. 10.2 MANDATORY LIABILITY In cases of wrongful intent, fraudulent concealment of a defect or in the event of a quality guarantee as well as for claims resulting from injury to life, limb or health, the mandatory statutory provisions of the law shall apply. 10.3 NEGLIGENCE In the event of gross negligence, OUTSET’s liability is limited to typical and foreseeable losses; this limitation of liability does not apply if losses were caused by OUTSET executives or its legal representatives, nor in cases of breach of essential contractual duties. In cases of ordinary negligence, OUTSET shall only be liable in the event of a breach of essential contra ctual duties, and this liability is limited to typical and foreseeable losses. 10.4 LIMITATION PERIOD All claims for damages or reimbursement of expenses on account of defects expire after one year. This does not affect § 438 para. 1 sentence 1 no. 1 a) BGB (German Civil Code). All other claims against OUTSET on account of damages or expenses expire two years after the claim arises. The provision of section 10.4 herein does not apply in cases in which the prerequisites according to section 10.2 are met, nor in cases of gross negligence by OUTSET. In such cases, applicable general law shall apply. 10.5 INDEPENDENCE OF LIMITANTIONS OF LIABILITY FROM THE CAUSE OF THE CLAIM The limitations of liability in sections 10.1–10.4 apply regardless of whether the loss, liability or damages are based on a breach of contract, guarantee promise, defect, tortious liability or any other claim cause, provided the exclusions/limitations of liability are permissible according to applicabl e law. 11 AFTER-SALE The after-sale, at which unsold artworks can be purchased, will take place in the period from 30 September 2017 to 15 October 2017. Bids can b e submitted in writing by indicating a certain amount to the following contact address:

Auction conditions for the benefit auction 29 September 2017 The after-sale is part of the auction, which is why these auction conditions apply accordingly. 12 MISCELLANEOUS 12.1 SEVERABILITY CLAUSE Should one provision of these auction conditions be invalid or unenforceab-le, this shall not affect the validity of the other auction conditions. 12.2 MULTILINGUAL AUCTION CONDITIONS If the auction conditions are present in more than one language, the German version is authoritative. 12.3 PLACE OF FULFILLMENT, JURISDICTION, APPLICABLE LAW The place of fulfillment and the jurisdiction lie in Düsseldorf, Germany. The laws of the Federal Republic of Germany apply, with the exclusion of the United Nations Convention on Contracts for the International Sale of Goods (CISG).

OUTSET CONTEMPORARY ART FUND Germany_Switzerland gUG (haftungsbeschränkt), Niebuhrstrasse 72, 10629 Berlin, („OUTSET“) veranstaltet die Benefizauktion am 29. September 2017 in der Sammlung PHILARA, Birkenstraße 4 7, Düsseldorf, zum Zwecke der Finanzierung der OUTSET Germany_Switzerland Projekte 2016 bis 2018. Die Versteigerung erfolgt ohne Aufgeld. Der Versteigerungserlös (die erzielten Nettokaufpreise exklusive gesetzlicher Mehrwertsteuer), abzüglich der für die Durchführung dieser Versteigerung anfallenden Kosten, kommt in voller Höhe O UTSET zugute. Die Auktion erfolgt auf Grundlage dieser Versteigerungsbedingungen. Durch die Abgabe eines Gebotes, gleich ob persönlich, telefonisch oder online, erkennt der Käufer diese Versteigerungsbedingungen als verbindlich an. Sollte ein Biete r diese Versteigerungsbedingungen nicht akzeptieren, ist er von dem Versteigerungsverfahren ausgeschlossen. 1 AUKTIONATOREN Die Live Auktion wird von PHILLIPS im Auftrag von OUTSET durchgeführt und von ARTSY unterstützt. Die Online Auktion wird von ARTSY im Auftrag von OUTSET durchgeführt und wird für die Live Auktion Möglichkeiten zum Bie ten in Abwesenheit bereitstellen 2 KATALOG, ONLINE-KATALOG, VORBESICHTIGUNG Informationen über die angebotenen Kunstwerke („Lose“) können vorab in unserem gedruckten Auktionskatalog und in einem von ARTSY erstellten O nline-Katalog, der ab 15. September 2017 über,, und uk/germany einsehbar ist, erlangt werden. Ei ne Vorbesichtigung und Prüfung der Kunstwerke ist ab dem 21. September 2017, von 12.00 – 18.00 Uhr in der Sammlung PHILARA möglich. 3 BIETERNUMMER Zur Teilnahme an der Live Auktion ist eine persönliche Bieternummer erforderlich, für die eine schriftliche Anmeldung spätestens bis zum 28. September 2017, 18.00 Uhr bei Outset Germany_Switzerland unter erforderlich ist. Die Verteilung der Bieternummern erfolgt eine Stunde vor Beginn der Auktion. Ein Gebot, das nicht unter einer Bieternummer abgegeben wird, wird auf der Versteigerung nicht berücksichtigt. Dieser Service wird nicht von ARTSY unterstützt. 4 ANLEGEN EINES ARTSY ACCOUNTS Um an der Online Auktion teilzunehmen und/oder bei der Live Auktion in Abwesenheit über die Live Auction Integration von ARTSY zu bieten, müss en Sie einen ARTSY Account anlegen

Outset Germany_Switzerland’s Charity Auction und sich zur Auktion auf der Website von ARTSY registrieren. Ein ARTSY Account kann unter https://www. erstellt werden und setzt ein Einverständnis mit den Allgemeinen Geschäftsbedingungen von ARTSY, abrufbar unter https://www. terms, voraus. Die Teilnahme an der Auktion setzt das Einverständnis mit den Verkaufsbedingungen von ARTSY voraus, die unter tsy. net/conditions-of-sale heruntergeladen werden können. Für die Teilnahme an der Live Auktion über die Live Auction Integration von ARTSY muss ein ARTSY Account bis spätestens zum 29. September 2017, 19.00 Uhr (MESZ) angelegt werden. 5 GEBOTE Gebote für die Live Auktion können über OUTSET persönlich, telefonisch, oder durch einen autorisierten Dritten möglich. Gebote für die Live Auktio n und die Online Auktion können auch über ARTSY abgegeben werden. Es wird keine Haftung für das Zustandekommen der Datenleitung sowie für Übermittlungs- oder Übertragungsfehler im Rahmen des eingesetzten Fernkommunikationsmittels oder für dessen missbräuchlichen Einsatz dur ch unbefugte Dritte übernommen. Eingereichte Gebote, gleich in welcher Form, gelten als verbindlich. Die Gebote bezeichnen die Zuschlagsumme ohne gesetzliche Mehrwertsteu er („Hammerpreis“). Im Einzelnen gilt Folgendes: 5.1 LIVE AUKTION In der Live Auktion am 29. September 2017 ab 19.45 Uhr in der Sammlung in PHILARA können Gebote auf die Live Lose (Nummern 1 – 26 des Kataloges) persönlich unter einer Bieternummer abgegeben werden. Für Gäste, die bei der Auktion nicht anwesend sind, können während der Li ve Auktion auch Gebote für die Live Lose online über die Live Auction Integrati on von ARTSY abgegeben werden. Auch Telefongebote sind während der Live Auktion über ARTSY möglich, sofern ein ARTSY Account besteht. Ferner können Vorabgebote für die Live Auktion über ARTSY abgeben werden. Outset ermöglicht es auch, im Rahmen der Live Auktion Telefongebote abzugeben. Sofern ein Bieter die Abgabe von Telefongeboten beabsi chtigt, muss er Outset dies im Rahmen des in Ziffer 3 beschriebenen Verfahrens mitteilen. Dabei erhält der jeweilige Bieter auch die weiteren erforderlich en Informationen zur Abgabe von Telefongeboten.

5.2 ONLINE AUKTION Die Online Auktion, bei der online Gebote auf die Online Lose (Nummern 101 – 128 des Kataloges) abgegeben werden können, wird über ARTSY geführt. Online-Gebote können bereits ab de m a1u5f. September 2017 abgegeben werden. Ab diesem Zeitpunkt und bis zum 30. September 2017, 01:00 Uhr (MESZ) können für die Live Lose ü ber ARTSY abgegeben werden. Für Online-Gebote gelten die Allgemeinen Geschäftsbedingungen und Verkaufsbedingungen von ARTSY, die unter ms und conditions-of-sale abrufbar sind. Soweit diese Versteigerungsbedingungen nicht mit den Allgemeinen Geschäftsbedingungen und Verkaufsbedingungen von ARTSY übereinstimmen, gehen diese Versteigerungsbedingungen vor. Für alle Themen zur Online Auktion, die in diesen Versteigerungsbedingungen nicht geregelt sind, gelten die Allgemeinen Geschäftsbedingungen und Verkaufsbedingungen von ARTSY. 5.3. GEBOTE FÜR DRITTE Ein Bieter kann Gebote im Namen eines Dritten abgeben. Dafür muss er seine Absicht, Gebote für einen Dritten abzugeben, bis zum 27. Septem ber 2017 (Posteingang) unter Nennung von Namen und Anschrift des Vertretene n und Vorlage einer schriftlichen Vollmacht des Vertretenen an folgende Adresse mitteilen: oder outset Contemporary Art Fund gUG, Auguststrasse 69 (Kunstwerke, Courtyard), D-10117 Berlin. Hat der Bieter diese Mitteilung unterlassen, kommt bei Zuschlag der Kaufvertrag mit dem Bieter zustande. Dieser Service wird nicht von ARTSY unterstützt. 6. VERTRAGSSCHLUSS 6.1. LIVE AUKTION In der Live Auktion erteilt der Auktionator den Zuschlag zu einem Gebot, wenn nach dreimaligem Aufruf des Gebotes kein höheres Gebot abgeg eben wird. Der Zuschlag geht an den Meistbietenden. Gehen mehrere, gleich hohe Gebote für dasselbe Kunstwerk ein, beispielsweise durch schriftliche Gebote, telefonische Gebote oder Online-Gebote, so erhält das zuerst abgegebene Gebot den Zuschlag, sofern kein höheres Gebot vorliegt. Der Auktionator kann den Zuschlag unter Vorbehalt erteilen, auf den er in diesem Falle hinweist. Der Auktionator kann den Zuschlag verweigern od er ein Gebot ablehnen, beispielsweise wenn der Bieter sich vor Beginn nicht angemeldet hat und über

Auction conditions for the benefit auction 29 September 2017 keine Bieternummer verfügt. Wird ein Gebot abgelehnt, so bleibt das vorangegangene Gebot wirksam. Bei Meinungsverschiedenheiten, beispielsweise im Falle eines Doppelgebotes oder wenn der Auktionator ein Gebot übersehen hat, ist der Auktionator berechtigt, einen schon erteilten Zuschlag aufzuheben und das betreffen de Kunstwerk weiter zu versteigern. 6.2. ONLINE AUKTION Die Online Auktion endet durch Zeitablauf am 30. September 2017, um 01.00 Uhr (MESZ). Den Zuschlag erhält in Übereinstimmung mit den ART SY Geschäftsbedingungen und Verkaufsbedingungen automatisch der Bieter, der bis zum Auktionsende das höchste Gebot auf das jeweilige Online Lo s abgegeben hat. 7. KAUFPREIS UND ZAHLUNG Die Versteigerung erfolgt auf Rechnung für den Einlieferer. Der Kaufvertrag wird bei Zuschlag zwischen OUTSET und Meistbietendem geschlossen, u nd verpflichtet den Meistbietenden zur Abnahme. Die Kunstwerke verbleiben bis zur Bezahlung im Eigentum des Einlieferers. Der Kaufpreis setzt sich aus dem Hammerpreis zzgl. der gesetzlichen Mehr-wertsteuer zusammen. Ein Aufgeld fällt nicht an. Sofern Kosten für Zollabwick-lung und/oder Ein-/Ausfuhrzölle anfallen, hat diese der Käufer zu entrichten. Alle Steuern, Kosten und Gebühren der Kaufpreiszahlung gehen zu Lasten des Käufers. Von der Umsatzsteuer befreit sind Ausfuhrlieferungen in Drittländer (außer-halb der EU) und bei Abgabe der Umsatzsteueridentifikatio nsnummer auch an Unternehmen in EU-Mitgliedstaaten. Sofern der Käufer eines Kunstwerkes dieses als umsatzsteuerfreie Ausfuhr erwirbt, hat er OUTSET bei Anmeldung nach Ziffer 3 dieser Versteigerun gs-bedingungen rechtzeitig darüber zu informieren, insbesondere in welches Drittland exportiert werden soll oder ob der Erwerber das Kunstwerk selbe r ausführen will. In diesem Fall berechnet OUTSET die gesetzliche deutsche Umsatzsteuer. Nach Vorlage der gültigen Ausfuhrnachweise durch den Zo ll bzw. dem Nachweis durch die Spedition, wird dem Käufer die einbehalten -de Umsatzsteuer per Überweisung zurückerstattet. Sofern der Käufer eines Kunstwerkes dieses als umsatzsteuerfreie innergemein-schaftliche Lieferung erwirbt, hat er OUTSET rechtzeitig darüber zu informie-ren, insbesondere in welches Land

der Europäischen Union geliefert werden soll. Der Erwerber hat bei Anmeldung nach Ziffer 3 dieser Versteigerungs- bedingungen die Voraussetzungen, insbesondere die gültige Umsatzsteueridentifikationsnummer, nachzuweisen. Auch in diesem Fall berechnet OUTSET die gesetzliche deutsche Umsatzsteuer. Nach Vorlage der Bestätigung, dass das Kunstwerk in einem anderen Land der europäischen Union eingeführt wurde oder einer sogenannten Gelangens Bestätigung, oder durch ander e geeignete Nachweise (beispielweise eines Spediteurs), wird dem Käufer di e einbehaltende Umsatzsteuer per Überweisung zurückerstattet. 7.1 ZAHLUNGSMODALITÄTEN FÜR NICHT ÜBER ARTSY ERSTEIGERTE LOSE Der Kaufpreis ist mit Zuschlag fällig, und innerhalb von 10 Tagen nach erfolgtem Zuschlag in bar, per Kreditkarte oder per Überweisung in Euro zu entrichten. Der Käufer verpflichtet sich, sofern er den Kaufpreis nicht in bar entrichtet, ihn direkt auf folgendes Spendenkonto von OUTSET zu überweisen: Empfänger: Outset Contemporary Art Fund gemeinnützige UG Bank: Commerzbank IBAN: DE03 1204 0 000 0138 0286 01 BIC: COBADEFFXXX 7.2 ZAHLUNGSMODALITÄTEN FÜR ÜBER ARTSY ERSTEIGERTE LOSE Sofern das Kunstwerk unter Rückgriff auf die Dienste von ARTSY, also im Rahmen der Online Auktion und/oder der Live Auktion über die Live Au cti-on Integration von ARTSY, ersteigert wurde, sind die Zahlungsmodalitäten in den Allgemeinen Geschäftsbedingungen und Verkaufsbedingungen von ARTSY geregelt. Zahlungen an ARTSY sind in Euro zu machen und werden nach ARTSY’S Ermessen entweder per Scheck, Banküberweisung oder Kreditkarte ermöglicht. ARTSY ist nicht verpflichtet, andere Zahlungsmittel anzunehmen. ARTSY akzeptiert keine Zahlung bei der Veranstaltung oder am Tag der Veranstaltung, sondern wird die Gewinner zur Zahlungsabwicklung in d en Tagen nach der Auktion benachrichtigen. 8 ABHOLUNG Der Käufer erhält nach Zahlungseingang vom Veranstalter alle zur Abholung notwendigen Angaben wie Abholadresse und Ansprechpartner per E-Mail oder telefonisch. Die Ankäufe sind möglichst bald abzuholen, da die Kuns t-werke nach Ablauf von

Outset Germany_Switzerland’s Charity Auction 21 Tagen nach der Versteigerung kostenpflichtig ausgelagert werden müssen. Werden ersteigerte Kunstwerke nicht innerh alb von 21 Tagen nach Zuschlagserteilung abgeholt, werden dadurch entste-hende Lagerkosten dem Käufer von der beauftragten Spedition direkt in Rechnung gestellt. Verpackung und Versand erfolgen auf alleinige Gefa hr und Kosten des Käufers. OUTSET wird Käufer, für die eine Abholung nicht möglich ist, auf Kosten des Käufers dabei unterstützen, eine Versandmöglichkeit zu finden. 9 RÜCKTRITT Ist der Käufer in Zahlungsverzug, kann der Einlieferer nach Setzen einer Nachfrist von 14 Tagen ganz oder teilweise vom Vertrag zurücktreten. Im Falle des Rücktritts erlöschen alle Rechte des Käufers am ersteigerten Kunstwerk, und der Käufer haftet für die bis zur Rückgabe an den Einlie ferer anfallenden Versand-, Transport-, Lager- und Versicherungskosten. 10 HAFTUNG 10.1 EINLIEFERERANGABEN Die Beschreibungen der Versteigerungsobjekte in Katalog, OnlineKatalog und bei Aufruf beruhen auf den Angaben der Einlieferer. 10.2 ZWINGENDE HAFTUNG In Fällen von Vorsatz, bei arglistigem Verschweigen eines Mangels oder bei einer Beschaffenheitsgarantie sowie bei Ansprüchen, die aus Verletzungen von Leben, Leib oder Gesundheit resultieren, gelten die Regeln des zwingenden Gesetzesrechts. 10.3 FAHRLÄSSIGKEIT Bei grober Fahrlässigkeit ist die Haftung von OUTSET auf typische, vorherseh-bare Schäden begrenzt; diese Haftungsbegrenzung findet keine Anwendung, soweit Schäden von leitenden Angestellten oder rechtlichen Vertretern von OUTSET verursacht worden sind, sowie in Fällen der Verletzung wesentlic her Vertragspflichten. In Fällen leichter Fahrlässigkeit haftet OUTSET nur im Falle der Verletzung wesentlicher Vertragspflichten, und begrenzt auf typische, vorhersehbare Schäden. 11 NACHVERKAUF Der Nachverkauf, bei dem nicht versteigerte Kunstwerke erworben werden können, findet in der Zeit vom 30. September 2017 bis zum 15. Oktober 2017 statt. Gebote können schriftlich unter Nennung eines bestimmten Betrages direkt an OUTSET an folgende Kontaktadresse abgegeben w erden: auction@outset.

Der Nachverkauf ist Teil der Versteigerung, weshalb diese Versteigerungsbestimmungen entsprechend Anwendung finden. 12 SONSTIGES 12.1 SALVATORISCHE KLAUSEL Sollte eine Regelung dieser Versteigerungsbedingungen unwirksam oder undurchführbar sein, so wird dadurch die Wirksamkeit der Versteigerungsbedingungen im Übrigen nicht berührt. 12.2 MEHRSPRACHIGE VERSTEIGERUNGSBEDINGUNGEN Soweit die Versteigerungsbedingungen in mehreren Sprachen vorliegen, ist die deutsche Fassung maßgeblich. 12.3. ERFÜLLUNGSORT, GERICHTSSTAND, ANWENDBARES RECHT Es gilt das Recht der Bundesrepublik Deutschland unter Ausschluss des Übereinkommens der Vereinten Nationen (CISG).










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Outset Germany_Switzerland: Düsseldorf Benefit Auction September 2017 [Catalogue]  
Outset Germany_Switzerland: Düsseldorf Benefit Auction September 2017 [Catalogue]