Unicef SyriARTexhibtion catalogue

A benefit auction in support of Unicef’s work for the children of Syria

2–11 december 2014

A benefit auction in support of Unicef’s work for the children of Syria

E x h ib ition 2–11 December 2014 Phillips 30 Berkeley Square London W1J 6EX Online bidding stations available at the venue O n l in e aucti on 27 November–11 December 2014 Paddle8.com L ive auctio n 11 December By invitation only Auction eer Simon de Pury For more information, visit unicef.org.uk/syriART or contact SyriART@unicef.org.uk for a preview

This auction has been made possible with the support of Phillips, Paddle8, and all the artists and galleries that have generously donated works to raise funds for the children of Syria.

For ew ord In November 2001, I had the privilege of being instrumental in the auction of works of Impressionist and Modern Art from the collection of Madame René Gaffé. According to her wishes the proceeds of the auction, $73.3 million, were to be donated to Unicef. This gift represented the largest single donation to Unicef at this time. I was very proud to have been involved in this unique and landmark event, not only because of the extraordinary works which we had the honour to offer at auction, but also because it provided me with the opportunity to learn more about this outstanding humanitarian organisation. Since that time I have followed closely the incredible work that Unicef has done and continues to do on a global scale.

Now, 13 years later, it gives me great pleasure to be directly involved once again in the work of this exceptional organisation. With the war in Syria entering its fourth year, more than 6.5 million children displaced and over 1.5 million children forced to flee from the country of their birth, the work of Unicef is particularly vital and relevant.

Phillips is therefore delighted to partner with Unicef UK in hosting SyriART, an auction featuring works donated by some of Contemporary Art’s most influential and talented masters. The proceeds of this auction will assist Unicef in providing life-saving vaccines and clean water as well as supporting education and psychological care for children affected by the conflict. The UK Government has pledged to match all successful bids and UK public donations to SyriART, giving all of us a unique opportunity to really effect change and, in turn, to raise awareness of the plight of Syrian children.

Edward Dolman Chairman and Chief Executive Officer PHILLIPS

This winter, the UK Government will match pound for pound all public donations given to Unicef UK to help Syrian children in danger.

Au ctio n eer Simon de Pury is one of the leading figures in the art market.

From 2000 to 2012 he was Chairman and Chief Auctioneer of Phillips de Pury & Company. Earlier in his career he was Chairman Europe and Chief Auctioneer Worldwide at Sotheby’s. He was also curator of the Thyssen-Bornemisza Collection that today is housed in its own museum in Madrid.

Simon has been instrumental in championing the careers of many contemporary artists, photographers and designers. He has auctioned and secured a substantial number of the most legendary art collections for auctions and private treaty.

At the beginning of 2013 Simon founded together with his wife Michaela, de Pury de Pury, a company specialising in private transactions of Impressionist, Modern, Post War and Contemporary Art. In 2010, he was the subject of an hour-long documentary on the BBC, titled The Man with the Golden Gavel. In 2010 and 2011 he was a mentor in Bravo’s reality TV show Work of Art: The Next Great Artist.

He is an active charity auctioneer, and over the years has raised hundreds of millions of dollars for a number of charities and cultural institutions.

Simon de Pury DE PURY DE PURY

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Contr i butin g artists Unicef is honoured to present works by the following world-renowned artists C han t Avedissi an Ay man Baalbaki Y to Barrada Jo e Black L i ta Ca b el lu t Ma rtin Cree d P eter Doig O laf ur Eliasson T r acey Emin Moun ir Fatm i U rs Fis ch er E ll en Ga ll agher A n ton y Gormley Maggi Ha mbli ng Mon a Hatoum An is h Kapo or J os eph Ko s ut h R ich ard Lo ng Al as tair Macki e Kate MccGwi re Harlan d Miller Yous s ef Na bi l J u l ian Opie G rays o n Per ry C i ara Ph il li ps Dan Rees Lucien Samaha Wilh elm Sasnal H ugh Scott-Dou glas R ich ard Ser ra J u ergen Teller Gavin Turk C hris to ph er Wool Z h an g En l i Tob y Z iegler

01 C han t Avedissi an Youssef Wehbe, 2012 Gouache on cardboard 50 x 70 cm (19.69 x 27.56 in.)

Signed Donated by Rose Issa Projects Estimate £4,000-£6,000 $6,400-$9,600 €5,100-€7,600

02 Ay man Baalbaki Concrete Beirut Barrier, 2013 Acrylic on cardboard 70 x 100 x 5 cm (27.56 x 39.38 x 1.97 in.)

Signed Donated by the artist, courtesy of Rose Issa Projects Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

03 Y to Barrada La Serviette Rose (The Pink Towel), 2009/11 C-print 80 x 80 cm (31.5 x 31.5 in.)

Edition 1 of 5 / Edition of 5 + 2 APs Donated by the artist, courtesy of Pace Gallery Estimate £5,000-£6,000 $8,000-$9,600 €6,300-€7,600

04 J oe Black War Horse, 2014 22,000 spray painted Lego bricks on aluminium 185 x 135 x 3 cm (72.83 x 53.16 x 1.38 in.)

Signed and dated Donated by the artist Estimate £23,000-£35,000 $36,800-$56,000 €29,200-€44,400

ar Horse is made of Lego and depicts the image of the Wild West cowboy and victorious bucking W horse. The artwork references how America is often perceived to be the cavalry and self-appointed sheriff of global affairs. In contrast, the use of Lego bricks conveys the simplistic notions of romance and freedom within the American landscape as well as the imaginary world of child’s play – devoid of international politics.

05 L ita Ca b ellut The Guardian (Black Tulip Series), 2014 Mixed media on canvas 115 x 100 cm (45.28 x 39.38 in.)

Signed and dated Donated by the artist Estimate £15,000-£20,000 $24,000-$32,000 €19,000-€25,400

“ If you have ever felt the colour and smell of need, it is something to be remembered forever. It is because of this memory that I will always take concern for the condition of humanity in any way that I can.”

Lita Cabellut

LIVE AUCTION

06 Martin Cree d Work No. 335: THINGS, 2004 Pink neon 1 second on / 1 second off 15.2 cm (6 in.) high Edition 3 of 3 + 1 AP Donated by the artist and Hauser & Wirth Estimate £25,000-£35,000 $40,000-$56,000 €31,700-€44,400

07 P eter Do ig Jetty, 1996 Etching on paper 54 x 43.7 cm (21.27 x 17.20 in.)

Signed Edition 4 of 10 Plate: 20.4 x 15 cm (8.03 x 5.90 in.)

Published by the artist, London Donated by the artist Estimate £1,000-£2,000 $1,600-$3,200 €1,300-€2,500

08 O laf ur Eliasson Your emergence (green to pink), 2012 Coloured glass, driftwood, stainless steel 75 x 108 x 11 cm (29.53 x 42.52 x 4.33 in.)

Accompanied by a certificate of authenticity signed by the artist Donated by the artist and Tanya Bonakdar Gallery Estimate £27,600-£35,500 $44,100-$56,700 €35,000-€45,000

“ Through art we touch and change the world. Children are a great creative resource for the world. It should be our goal not only to guarantee the future of the children of Syria, but to see them have the freedom to live creatively.”

Olafur Eliasson

LIVE AUCTION

09 t racey emin SelFie 12, 2014 Gouache on paper 10.5 x 14.8 cm (4.56 x 5.52 in.)

Estimate £2,000-£3,000 $3,200-$4,800 €2,500-€3,800

10 Mo un ir Fatm i Composition No. 5, 2012 Collaged prayer rugs on canvas 40 x 40 cm (15.75 x 15.75 in.)

Signed Donated by the artist and Lombard Freid Gallery, New York Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

LIVE AUCTION

11 U rs Fis cher man and woman, 2014* 66.4 x 43.2 x 40 cm (26.14 x 17.02 x 15.75 in.)

AP1 of edition of 2 and 1 AP Donated by the artist, courtesy of the artist and Gagosian Gallery Estimate £90,000-£120,000 $144,000-$192,000 €114,200-€152,300

12 E llen Ga l lagher Ruby Dee, 2005 Two-plate photogravure with aquatint and plasticine on multilayered paper 15.2 x 10.2 cm (5.98 x 4.02 in.)

HC 1/2 of an edition of 30 + 5 APs Donated by the artist Estimate £5,000-£6,000 $8,000-$9,600 €6,300-€7,600

allagher created this piece based on American actress Ruby Dee. Both Ruby and her husband G Ossie Davis were important activists in the Black Arts Movement of the 1960s. Raised in Harlem, New York, Dee joined the American Negro Theatre as an apprentice and made several appearances on Broadway before turning to politically charged films such as Gone are the Days and The Incident.

Her involvement in the civil rights movement culminated in Dee acting as a translator and cultural ambassador at the Black and African Festival of Arts and Culture (FESTAC) in 1977. he photogravure is an altered image of Ruby from the cover of Jet magazine, early in the actress’s T career. The vibrant bumblebee hairstyle is made from plasticine and is a play on the rhyme with Dee’s name. The headline is a reference to a story about the clashes between Cuban and African American migratory workers in the 1960s. Ruby Dee passed away recently so this has been donated as a timely remembrance.

LIVE AUCTION

13 An to n y Go r mley SUBMIT IV, 2011 Cast iron 186 x 48 x 47 cm (73.23 x 18.89 x 18.50 in.)

Donated by the artist Photograph by Stephen White, London Estimate £250,000-£350,000 $400,000-$560,000 €317,200-€444,100

14 Maggi Ha mbli ng Wall of Water, 2012 Acrylic on paper 48 x 61 cm (18.89 x 24.02 in.)

Signed Donated by the artist Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

15 Mo n a Hatou m Shift, 2012 Wool 1.2 x 260 x 150 cm (0.47 x 102.36 x 59.06 in.)

Donated by the artist Estimate £30,000-£50,000 $48,000-$80,000 €38,100-€63,400

LIVE AUCTION

16 An is h Kapo or Untitled, 2014 Gouache on paper 50.5 x 66 cm (19.88 x 25.98 in.)

Signed Donated by the artist Estimate £35,000-£45,000 $56,000-$72,000 €44,000-€57,000

17 J os eph Ko s ut h ‘Essay #15’, 1999 Lambda print mounted on 2 mm aluminum 90 x 304.8 cm (35.44 x 120 in.)

Donated by the artist Estimate £51,200-£67,000 $82,000-$107,200 €65,000-€85,000

18 R ich ard Lo ng Untitled, 2009 Fingerprint on driftwood 9 x 62 x 2 cm (3.55 x 24.41 x 0.78 in.)

Signed Donated by the artist, courtesy of the Lisson Gallery, London Estimate £10,000-£12,000 $16,000-$19,200 €12,700-€15,200

19 Al as tair Macki e Untitled (heart), 2007 Paper wasp nest 14 x 8 x 8 cm (5.52 x 3.12 x 3.12 in.)

Artist’s proof of edition of four Donated by the artist Estimate £5,000-£7,000 $8,000-$11,200 €6,300-€8,900

“ After emerging from hibernation during early spring, the young queens set into motion the construction of a colony. Wood fibre is collected from the surrounding area, mixed with saliva, and chewed to a pulp from which the nest is made.

In the autumn, as it becomes colder, the colony dies leaving only the young queens to hibernate underground and the nest empty. Abandoned nests are not reoccupied.

A single nest has been re-pulped and cast into a mould taken from an anatomical model of a human heart.”

Alastair Mackie

20 Kate MccGwi re Stigma (Smirch), 2012 Mixed media with pigeon feathers and lead 57 x 57 x 5 cm (22.44 x 22.44 x 1.97 in.)

Signed Donated by the artist Estimate £2,000-£3,000 $3,200-$4,800 €2,500-€3,800

“ To me it brings to mind layers of flesh, the juxtaposition of feathers and lead is like cell structures.

These materials together create an intriguing tension for me.”

Kate MccGwire

21 H ARL AND MILLER Wherever You Are, Whatever You’re Doing, This One’s For You, 2014 Watercolour on paper 53.5 x 36.5 cm (21.06 x 14.38 in.)

Donated by the artist Estimate £12,000-£15,000 $19,200-$24,000 €15,200-€19,000

22 Yous s ef Na bi l Faten Hamama, Cairo, 2008 Hand coloured gelatin silver print Signed, numbered and dated 26 x 39 cm (10.23 x 15.36 in.)

Edition 3 of 10 Donated by the artist, courtesy of The Third Line, Dubai and Galerie Nathalie Obadia, Paris/Brussels Estimate £6,000-£8,000 $9,600-$12,800 €7,600-€10,200

23 J u l ian Opie Galloping Horse 2, 2013 From a series of three inlaid and overlaid acrylic panels 61.3 x 100 x 3.9 cm (24.14 x 39.38 x 1.53 in.)

Artist proof no. 3 / Edition of 35 + 7 APs Signed Donated by the artist Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

LIVE AUCTION

24 G rays o n Per ry Cute pottery animals say no to war!, 2014 Glazed ceramic 16 x 9 x 23 cm (6.30 x 3.55 x 9.06 in.)

Donated by the artist, courtesy of Victoria Miro, London Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

25 C i ara Ph il li ps Springtime will never be the same, 2011 Screenprint on paper 112 x 76 cm (44.09 x 29.92 in.)

Signed Estimate £3,000-£5,000 $4,800-$8,000 €3,800-€6,300

26 Dan Rees Wales–Syria Solidarity in Pebble Dash, 2014 Oil paint and pebbles on canvas Left panel 200 x 140 x 5 cm (78.73 x 55.13 x 1.97 in.)

Right panel 200 x 140 x 5 cm (78.73 x 55.13 x 1.97 in.)

Signed Donated by the artist Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

ees’ paintings, photographs and videos utilise the history and aesthetics of post-industrial towns, R focusing on the culturally under-represented aspects of society.

LIVE AUCTION

27 Lucien Samaha Agfa Fotocolor (Cairo Billboards), 1984, printed 2014 Archival pigment print 76.2 x 111.8 cm (30 x 44.02 in.)

Edition 1 of 5 Signed Donated by the artist and Lombard Freid Gallery, New York Estimate £4,000-£6,000 $6,400-$9,600 €5,100-€7,600

28 Wilh elm Sasnal Untitled, 2014 Linocut on acid-free paper 47.5 x 56.3 x 4 cm (18.75 x 22.13 x 1.63 in.) framed Edition 4 of 10 Donated by the artist Estimate £2,000-£3,000 $3,200-$4,800 €2,500-€3,800

29 H ugh Scott-Dou glas Untitled, 2014 Direct to substrate print on panel 81.3 x 111.8 cm (32 x 44 in.)

Donated by the artist, courtesy of Simon Lee Gallery Estimate £10,000-£15,000 $16,000-$24,000 €12,700-€19,000

LIVE AUCTION

30 R ich ard Ser ra T.E. Which Way Which Way?, 2001 2-colour lithograph/intaglio 151.1 x 120.24 cm (59.48 x 47.34 in.)

Edition of 45 Signed Donated by the artist Estimate £20,000-£30,000 $32,000-$48,000 €25,400-€38,000

LIVE AUCTION 31 J uergen teller A commissioned portrait* Donated by the artist Estimate £40,000-£50,000 $64,000-$80,000 €50,800-€63,400

A c o m missioned portr ait

by Juerg en Tel l er.

32 Gavin Turk Totem, 2013 C-type print 172 x 120 cm (67.72 x 47.25 in.)

Edition 2 of 3 / Edition of 3 + 1 AP Donated by the artist Estimate £15,000-£25,000 $24,000-$40,000 €19,000-€31,700

Š Christopher Wool

33 C hris to ph er Wool Portraits (B/W), 2014 68.6 x 57.2 cm (27 x 22.50 in.)

Six lithographs on Rives, BFK White, hand torn Edition of 28 + 7 APs and 4 PPs Signed and dated Donated by Christopher Wool, Universal Limited Art Editions and Luhring Augustine, New York Estimate £15,000-£25,000 $24,000-$40,000 €19,000-€31,700

34 Z h an g En l i The Nylon Rope, 2014 Oil on canvas 100 x 100 cm (39.38 x 39.38 in.)

Donated by the artist, Hauser & Wirth and ShanghART Estimate £40,000-£60,000 $64,000-$96,000 €50,800-€76,100

35 Tob y Z iegler Unused Potential (Study), 2014 Oil on aluminum 59 x 86 x 3 cm (23.23 x 33.86 x 1.19 in.)

Signed Donated by the artist, courtesy of Simon Lee Gallery Estimate £12,000-£15,000 $19,200-$24,000 €15,200-€19,000

Bi og r aph ies

CHANT AVEDISSIAN

Y to Ba r r a da

Painter, photographer and textile designer Chant Avedissian was born in Cairo in 1951. He lives and works there today.

Yto Barrada (Moroccan, born in 1971, Paris) studied history and political science at the Sorbonne and photography in New York.

Her work – including photography, film, sculpture, prints and installations – began by exploring the peculiar situation of her hometown, Tangier.

He studied Fine Art at the School of Art and Design, Montreal, and printmaking at the L’École Nationale Supérieure des Arts Décoratifs, Paris. Returning to Egypt, he worked with the architect Hassan Fathy, whose philosophies would be a lasting influence, creating a vast photographic archive.

Avedissian’s solo shows include at Art Dubai (2010); the Oriel Mostyn Gallery, Llandudno, Wales (2010); the National Museum of African Art, Smithsonian Institution, Washington DC (2000); Tropenmuseum, Amsterdam (1998); Leighton House Museum, London (1995); and Institut Du Monde Arabe, Paris (1990).

He has also appeared in several group shows, most recently ‘ReOrientations II’, Rose Issa Projects, London (2012); ‘Arabicity’, curated by Rose Issa Projects at the Beirut Exhibition Center and Bluecoat Art Centre, Liverpool (2010); ‘Taswir: Pictorial Mappings of Islam and Modernity’, Martin-Gropius-Bau Museum, Berlin (2009); ‘Re-Orientations: Contemporary Arab Representations’, European Parliament, Brussels (2008); and ‘Pictorial Mappings of Islam and Modernity’, Martin-Gropius-Bau Museum, Berlin (2009).

Public and private institutions worldwide collect Avedissian’s work, including the British Museum; Smithsonian Institution and the National Museum of African Art, Washington DC; National Gallery of Jordan; Guggenheim, Abu Dhabi; Tropenmuseum, Amsterdam; Farjam Collection, Dubai; and Mathaf Collection, Qatar.

AYM AN BAALBAKI Painter and installation artist Ayman Baalbaki was born in Lebanon in 1975 and lives and works in Beirut.

He studied Fine Art at the Institut des Beaux-Arts, Beirut and the L’École Nationale Supérieure des Arts Décoratifs, Paris, and then received a Diploma from the University of Paris VIII. As well as creating site-specific works in the Middle East and Europe, Baalbaki has exhibited widely, including the solo shows ‘Beirut Again and Again’, Rose Issa Projects, London (2011); ‘Ciel Chargé de Fleurs’, Luce Gallery, Turin (2010); ‘Ceci N’est Pas La Suisse’, Rose Issa Projects, London (2009); ‘Apocalyptic Transfiguration’, Agial Art Gallery, Beirut (2008); and ‘Ici est Ailleurs’, Agial Gallery, Beirut (2006).

His group shows include ‘White Light/White Heat’, Glasstress, Venice Biennale (2013); ‘Safar/Voyage’, Audain & O’Brian, Vancouver (2013); ‘25 Ans de Créativité Arabe’, Institut du Monde Arabe, Paris (2012-13); ‘Re-Orientations II’, Rose Issa Projects, London (2012); ‘Art is the Answer! Contemporary Lebanese Artists and Designers’, Villa Empain, Brussels (2012); ‘The Future of a Promise’, 54th Venice Biennale (2011); ‘Arabicity’, Rose Issa Projects, Bluecoat Art Centre, Liverpool and Beirut Exhibition Center, Beirut (2010); and ‘Nujoom: Constellations of Arab Art’, the Farjam Collection at Dubai International Financial Centre (2010). He has public collections at the Tate Modern and British Museum, London.

Her work has been exhibited at Tate Modern, London; MoMA, New York; Renaissance Society, Chicago; Witte de With, Rotterdam; Haus der Kunst, Munich; Guggenheim, Berlin; the Centre Pompidou, Paris; Whitechapel Gallery, London; and the 2007 and 2011 Venice Biennale.

She was the Deutsche Bank Artist of the Year for 2011, after which her exhibit ‘RIFFS’ toured widely. Barrada is also the founding director of Cinémathèque de Tanger. She is a recipient of the 20132014 Robert Gardner Fellowship in Photography (Peabody Museum at Harvard University) and the 2014 Abraaj Capital Art Prize.

She has published several books, and her first comprehensive monograph was published by JRP Ringier in 2013. Barrada is represented by Pace Gallery (London).

J OE BL A CK Joe Black’s work is in the vanguard of the current Pop Art movement. He describes his work as “revealing the unexpected” as his oeuvres are viewed both from a distance and up close to make the ordinary extraordinary.

Black combines his natural craft skills with a love of materials – many of which are recognisable everyday objects – and an innate desire for perfection to create portraits and abstract works. Using a laborious technique of hand painting and altering each tiny object to give gentle lines and shading to his subjects, Black has pioneered an elaborate new form of pixilation that he uses to hide subtle implications within each of his images. Black’s distinctive style encourages the viewer to interpret his playful works by exploring the piece as a dramatic whole, as well as by examining the intricate collection of its parts.

During Frieze Art Fair in London in 2013, Black exhibited his long awaited debut show at London Opera Gallery. He has exhibited internationally including a recent exhibition ‘Readymade’ in Hong Kong (2014) and at established galleries in New York, London, Paris, Dallas, Cannes, Dubai and Singapore.

LITA C A BELLUT Lita Cabellut was born in 1961 in Barcelona, where she grew up in a poor Gyspy environment.

Her work is closely intertwined with the memories of the old area of Barcelona, El Raval, with closeness to the docks, La Boqueria market, Las Ramblas and Sant Antoni market, replete with pickpockets, street performers and of course, prostitutes. After 13 years of street and orphan life she was adopted. In this new period of her life she discovered the Prado museum. She especially liked Goya, Velázquez, Ribera and Rembrandt. She later said: “I married very young, my first marriage was with the art.”

Her works were first shown when she was 17 years old, at the Town Hall of Masnou, Barcelona. At 19, she decided to leave her country for new challenges in the Netherlands, where she studied at the Rietveld Academy in Amsterdam between 1982 and 1984.

Nowadays, Cabellut is regarded as a painter with a unique pictorial language. Her ‘human-faced’ paintings are seen around the globe – in New York, Dubai, Miami, Singapore, Hong Kong, Barcelona, London, Paris, Venice, Monaco, Seoul and many other leading cities.

Martin Cree d Martin Creed was born in Wakefield, England in 1968 and grew up in Glasgow. Today he lives and works in London and Alicudi, Italy. He has exhibited extensively worldwide, and in 2001 won the Turner Prize for ‘Work No. 227: The lights going on and off’.

Recent major solo exhibitions and projects include ‘Martin Creed: What’s the point of it?’, Hayward Gallery, London (2014); Hauser & Wirth and Gavin Brown’s enterprise, New York (2013); the warhol, Pittsburgh (2013); ‘Work No. 202’, National Gallery of Canada (2012); Museum of Contemporary Art, Chicago (2012); ‘Work No. 1059’, The Scotsman Steps, Edinburgh (2011); Nasher Sculpture Center, Dallas (2011); ‘Things’, The Common Guild, Glasgow (2010); ‘Work No. 409’, Royal Festival Hall Elevator, London (2010); ‘Work No. 245’, Centre Pompidou-Metz (2009); Hiroshima City Museum of Contemporary Art, Japan (2009); and the Duveen Commission, Tate Britain, London (2008).

P eter Do ig Peter Doig was born in Scotland and is now based in Trinidad. He is a painter and professor at the Kunstakademie Düsseldorf.

Tracey Emin Tracey Emin’s art is one of disclosure, using her life events as inspiration for works from painting, drawing, video and installation, to photography, needlework and sculpture. Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently tragic and humorous.

Emin’s work has an immediacy and often sexually provocative attitude that firmly locates her oeuvre within the tradition of feminist discourse. By re-appropriating conventional handicraft techniques – or ‘women’s work’ – for radical intentions, Emin’s work resonates with the feminist tenets of the ‘personal as political’. Her interest in the work of Edvard Munch and Egon Schiele informs Emin’s paintings, monoprints and drawings.

Emin was born in London in 1963, and studied at Maidstone College of Art and the Royal College of Art, London. She has exhibited extensively internationally, including the solo exhibitions ‘How It Feels’, MALBA, Buenos Aires (2012); ‘She Lay Down Deep Beneath the Sea’, Turner Contemporary, Margate (2012); ‘Love is What You Want’, Hayward Gallery, London (2011); ‘Do Not Abandon Me’, Hauser & Wirth, London (with Louise Bourgeois) (2011); and ‘Walking with Tears’, Royal Academy of Art, London (2010). In 2008 Emin held her first major retrospective ‘Tracey Emin 20 Years’ at the Scottish National Gallery of Modern Art, which subsequently toured to Centro de Arte Contemporáneo, Malaga (2008) and Kunstmuseum Bern (2009).

She lives and works in London.

MOUNIR FATMI OLAFUR ELIA SSON Throughout the past two decades, Olafur Eliasson’s installations, paintings, photographs, films and public projects have served as tools for exploring the cognitive and cultural conditions that inform our perception.

Since the mid-1990s, his work has been at the centre of numerous exhibitions and projects around the world. In 2003, Eliasson represented Denmark at the 50th Venice Biennale with ‘The Blind Pavilion’, and, later that year, he opened the celebrated work ‘The Weather Project’ in Tate Modern’s Turbine Hall.

Eliasson has also produced a number of permanent installations and site-specific works, in addition to being represented in many prestigious collections worldwide, including in the Museum of Modern Art, New York; Carnegie Museum of Art, Pittsburgh; Art Institute of Chicago; Guggenheim Museum, New York; and Astrup Fearnley Museum of Modern Art, Oslo.

Currently, Eliasson has solo presentations at three international institutions, including ‘Riverbed’ at the Louisiana Museum of Modern Art, Humlebaek, Denmark (until 4 January 2015); and he is participating in a host of group exhibitions worldwide, such as ‘Late Turner – Painting Set Free’, Tate Britain, Linbury Galleries, London (until 18 January 2015), in which Eliasson presents a new series of colour experiment paintings inspired by the work of J.M.W. Turner.

Mounir Fatmi constructs visual spaces and linguistic games.

His work deals with the desecration of religious objects, deconstruction and the end of dogmas and ideologies.

He is interested in the idea of death of the subject of consumption.

This can be applied to antenna cables, copier machines, VHS tapes, and a dead language or a political movement. His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. They address current events and speak to people they affect.

Fatmi’s solo exhibitions include at the Migros Museum für Gegenwarskunst, Zurich; Picasso Museum, War and Peace, Vallauris; FRAC Alsace, Sélestat; Contemporary Art Center, Le Parvis; Fondazione Collegio San Caro, Modena; AK Bank Foundation, Istanbul; and Museum Kunst Palast, Duesseldorf.

Collective shows include at the Centre Georges Pompidou, Paris; Brooklyn Museum, New York; N.B.K., Berlin; Mori Art Museum, Tokyo; Museum on the Seam, Jerusalem; Moscow Museum of Modern Art; Mathaf Arab Museum of Modern Art, Doha; Hayward Gallery, London; Art Gallery of Western Australia, Perth; and Victoria and Albert Museum, London.

Fatmi’s installations have also been selected in several biennials, and won many prizes, including the 2010 Cairo Biennial Prize; the Uriöt Prize; and the Grand Prize Léopold Sédar Senghor of the 7th Dakar Biennial.

URS FISCHER

M A GGI H A MBLING CBE

Urs Fischer was born in 1973 in Zurich and studied photography at the Schule für Gestaltung, Zurich. He has exhibited extensively internationally, and his work is included in many important public and private collections worldwide.

Maggi Hambling CBE is one of Britain’s most distinguished contemporary artists. She lives and works in Suffolk and London.

Recent solo exhibitions include ‘Urs Fischer’, Museum of Contemporary Art, Los Angeles (2013); ‘Madame Fisscher’, Palazzo Grassi, Venice (2012); ‘Skinny Sunrise’, Kunsthalle Wien, Vienna (2012); ‘Marguerite de Ponty’, New Museum, New York (2009); ‘Cockatoo Island’, Kaldor Art Projects and the Sydney Harbour Federation Trust, Sydney (2007); ‘Paris 1919’, Museum Boijmans Van Beuningen, Rotterdam (2006); ‘Kir Royal’, Kunsthaus Zurich (2004); and ‘Not My House Not My Fire’, Espace 315, Centre Pompidou, Paris (2004).

Fischer’s work has been presented in numerous group exhibitions, including the Venice Biennale (2003, 2007 and 2011); ‘Modern British Sculpture’, Royal Academy of Arts, London (2011); ‘Unmonumental: The Object in the 21st Century’, New Museum, New York (2007-2008); ‘Fractured Figure: Works from the Dakis Joannou Collection’, DESTE Foundation for Contemporary Art, Athens (2007-2008); and ‘Sequence 1: Painting and Sculpture in the François Pinault Collection’, Palazzo Grassi, Venice (2007).

Fischer lives and works in New York.

E llen Ga l lagher Ellen Gallagher was born in 1965 in Rhode Island, and now lives and works in New York and Rotterdam. Gallagher’s exhibition ‘AxME’ opened at Tate Modern, London in 2013 and toured to the Sara Hildén Art Museum, Tampere and Haus der Kunst, Munich in 2014. Other recent solo exhibitions include ‘An Experiment of Unusual Opportunity’, South London Gallery, London (2009); ‘Coral Cities’, Tate Liverpool travelling to Hugh Lane Gallery, Dublin (2007); ‘DeLuxe’, Whitney Museum of American Art, New York (2005); ‘Murmur and DeLuxe’, MOCA, Miami (2005); and ‘Ichthyosaurus’, Freud Museum, London (2005).

Selected group exhibitions include ‘La Triennale. Intense Proximity’, Palais de Tokyo, Paris (2012) and ‘Whitney Biennial’, Whitney Museum of American Art, New York (2010 and 1995). In 2000 Gallagher was awarded the American Academy Award in Art and was selected for the Venice Biennale in 2003.

An to n y Go r mley

Born in London in 1950, Antony Gormley has had a number of solo shows at venues including the Centro Cultural Banco do Brasil; Deichtorhallen Hamburg; State Hermitage Museum, St Petersburg; Kunsthaus Bregenz; Hayward Gallery, London; Kunsthalle zu Kiel; Malmö Konsthall; and Louisiana Museum of Modern Art, Copenhagen.

Major public works include the ‘Angel of the North’, Gateshead, England; ‘Another Place’, Crosby Beach, England; and ‘Exposure’, Lelystad, The Netherlands. He has also participated in major group shows such as the Venice Biennale and the Documenta 8, Kassel Germany. Gormley won the Turner Prize in 1994 and was made an Officer of the British Empire in 1997. Since 2003 he has been a member of the Royal Academy of Arts and since 2007 a British Museum Trustee.

She was the first Artist in Residence at the National Gallery, London in 1980, and won the Jerwood Painting Prize (with Patrick Caulfield) in 1995. Her public sculpture includes ‘A Conversation with Oscar Wilde’ (1998) in London; ‘Scallop’ (2003) on Aldeburgh beach, Suffolk, for the composer Benjamin Britten; and ‘The Brixton Heron’, unveiled in 2010. ‘The Winchester Tapestries’ were installed at the Cathedral in 2013.

Hambling’s celebrated and continuing series of North Sea paintings were exhibited at the Fitzwilliam Museum, Cambridge in ‘Maggi Hambling: The Wave’ (2010) and in a new series at the Hermitage, St Petersburg in 2013.

She has returned this year to the National Gallery, London, for ‘Maggi Hambling: Walls of Water’ which opened in November and runs until 15 February 2015. Her work is in many public collections including the British Museum, Tate, National Gallery, National Portrait Gallery, Scottish National Gallery of Modern Art and the Victoria and Albert Museum.

The English Symphony Orchestra performed the world premiere of ‘Wall of Water’, a violin concerto composed in response to this new series of paintings, during Frieze Week.

MONA H ATOUM Mona Hatoum is a visual artist who was born into a Palestinian family in Beirut in 1952 and now lives and works in London and Berlin. She has worked in a diverse range of media including performance, video, photography, installation and sculpture.

She has participated in numerous significant exhibitions including the Turner Prize, London (1995); the Venice Biennale (1995 and 2005); Documenta XI (2002); and the Biennale of Sydney (2006).

Her solo exhibitions include at Centre Pompidou, Paris (1994); Tate Britain, London (2000); Hamburger Kunsthalle; Kunstmuseum Bonn; Magasin 3, Stockholm (2004); Museum of Contemporary Art, Sydney (2005); and Palazzo Querini Stampalia in the context of the Venice Biennale (2009).

As the winner of the 2011 Joan Miró Prize, she held a solo exhibition at Fundació Joan Miró in Barcelona in 2012. In 20132014 she was the subject of a solo exhibition at the Kunstmuseum St Gallen. The largest survey of her work to be shown in the Arab world was held earlier this year at Mathaf: Arab Museum of Modern Art in Doha. A survey exhibition of Hatoum’s work organised by Centre Pompidou, Paris will open in June 2015 and travel to Tate Modern, London and Kiasma, Helsinki in 2016.

A NISH K A POOR CBE Anish Kapoor is one of the most influential sculptors of his generation. He was born in Bombay in 1954 and lives and works in London. He studied at Hornsey College of Art (1973–77) followed by postgraduate studies at Chelsea School of Art, London (1977–78).

Recent major solo exhibitions include at Sakıp Sabancı Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); Museum of Contemporary Art, Sydney (2012); Le Grand Palais, Paris (2011);

Mehboob Studios, Mumbai and National Gallery of Modern Art, New Delhi (2010); Royal Academy of Arts (2009); and the Turbine Hall, Tate Modern, London (2002).

He represented Britain at the 44th Venice Biennale (1990), for which he was awarded the Premio Duemila. He won the Turner Prize in 1991 and has honorary fellowships from the London Institute and Leeds University (1997), the University of Wolverhampton (1999), the Royal Institute of British Architecture (2001) and the University of Oxford (2014).

His major permanent commissions include ‘Cloud Gate’ (2004) for the Millennium Park in Chicago and ‘Orbit’ for the London 2012 Olympic Park. In 2013 Ark Nova, the world’s first inflatable concert hall, was launched for the Lucerne Festival in Japan. He was elected Royal Academician in 1999, awarded the Praemium Imperiale in 2011 and the Padma Bhushan in 2012. He was knighted in the Queen’s Birthday Honours in 2013.

J OSEPH KOSUTH Joseph Kosuth, born in Ohio in 1945, is one of the pioneers of conceptual art and installation art, initiating language-based works and appropriation strategies in the 1960s.

His work has consistently explored the production and role of language and meaning within art. His nearly 50-year inquiry into the relation of language to art has taken the form of installations, museum exhibitions, public commissions and publications throughout Europe, the Americas and Asia, including most of the Documentas and Venice Biennales in recent decades.

He was educated at the Cleveland Institute of Art (1963-64); the School of Visual Arts, New York City (1965-67); and the Graduate Faculty of the New School for Social Research, New York (Anthropology and Philosophy) (1971-72).

Kosuth has received several honours and awards, among them the Chevalier de l’Ordre des Arts et des Lettres from the French Government (1993); the Decoration of Honour in Gold for Services to the Republic of Austria (2003); and induction into the Royal Belgian Academy in 2012.

RICHARD LONG CBE Richard Long CBE, born in Bristol, UK in 1945, has been in the vanguard of conceptual art in Britain since he created ‘A Line Made by Walking’ in 1967.

He makes journeys and sculptures in wilderness places all around the world, documenting his walks with photographs, maps, and text works. He mediates his experience of these places from mountains through to deserts, shorelines, grasslands, rivers and snowscapes, according to archetypal geometric marks and shapes made by his footsteps alone or gathered from the materials of the place.

Long’s major solo exhibitions include Hamburger Bahnhof, Berlin (2010); Tate Britain, London (2009); Scottish National Gallery of Modern Art, Edinburgh (2007); San Francisco Museum of Modern Art (2006); National Museum of Modern Art, Kyoto (1996); Philadelphia Museum of Art (1994); and Solomon R. Guggenheim Museum, New York (1986).

He represented Britain at the 37th Venice Biennale (1976); won the Turner Prize (1989); received the Chevalier de l’Ordre des Arts et des Lettres from the French Ministry of Culture (1990); has been elected to the Royal Academy of Arts, London (2001); was awarded Japan’s Praemium Imperiale in the field of sculpture (2009); and was made a CBE in 2013.

A L A STA IR M A CKIE “Alastair Mackie reconciles the formal with the conceptual in a generous body of works that challenges the deep-rooted separation between animal and human, and exposes the clichés still hampering our understanding of man’s relationship to the natural world.” – Coline Milliard Born in 1977, Mackie has shown his work extensively in the UK and internationally, including at the Saatchi Gallery, London, the Venice Biennale, and the Reykjavik Art Museum. He has worked on a number of public commissions including ‘Mimetes Anon’, commissioned by the Contemporary Art Society for the Economist Plaza in St James’s, London in 2009. His work is held in collections including the Olbricht Collection, Berlin; the Salsali Private Museum, Dubai; and the Wellcome Collection, London.

Mackie lives and works in Cornwall.

K ATE MCCGWIRE Kate MccGwire is an internationally renowned British sculptor whose practice probes the beauty inherent in duality, employing natural materials to explore the play of opposites at an aesthetic, intellectual and visceral level.

Growing up on the Norfolk Broads her connection with nature and fascination with birds was nurtured from an early age, with avian subjects and materials a recurring theme in her artwork. Since graduating from the Royal College of Art in 2004 her uncanny sculptures have been exhibited at the Saatchi Gallery, London; the Museum of Arts and Design, New York; the Natural History Museum, Paris; and most recently at Musée de la Chasse et de la Nature, Paris.

Har l a nd M i l l e r Harland Miller is a writer and artist, practising both roles over a peripatetic career in Europe and America.

After living and exhibiting in New York, Berlin and New Orleans during the 80s and 90s, Miller achieved critical acclaim with his debut novel, Slow Down Arthur, Stick to Thirty (2000).

In 2001 Miller produced a series of paintings based on the dust jackets of Penguin books. By combining the motif inherent in the Penguin book, Miller found a way to marry aspects of Pop Art, abstraction and figurative painting at once, with his writer’s love of text. The ensuing images are humorous, sardonic and nostalgic at the same time, while the painting style hints at the dog-eared, scuffed covers of the Penguin classics themselves.

Miller was born in Yorkshire in 1964 and lives and works in London. His group exhibitions include ‘Fools Rain’, ICA, London (1996); ‘Direct Painting’, Kunsthalle, Mannheim (2004); ‘Summer Exhibition’, Royal Academy of Arts, London (2005, 2006); ‘You dig

the tunnel, I’ll hide the soil’ in homage to Edgar Allen Poe (2008); and ‘The Sculpture in the Close’, Jesus College, Cambridge (2013).

Solo exhibitions include ‘Don’t Let the Bastards Cheer You Up’, BALTIC Centre for Contemporary Art, Gateshead (2009) and ‘The Next Life’s On Me’, White Cube Hoxton Square, London (2012).

YOUSSEF NABIL Born in Egypt in 1972 and based in New York, Youssef Nabil grew up in a Cairo drenched in the golden age cinema of Hollywood on the Nile; a black and white film world in which he nostalgically recalls the glamour, the ease, the elegance and the melodrama.

His photos evoke the deliciously outmoded feel of the photonovels that accompanied cinema at the time and highlight the extraordinary character of his models – distinguished artists, actors, friends and himself in his self-portraits.

Nabil’s solo and group exhibitions include at the Museum für Moderne Kunst, Frankfurt; British Museum, London; Galleria dell’Accademia, Florence; Centro de la Imagen, Mexico City; North Carolina Museum of Art, North Carolina; BALTIC Centre for Contemporary Art, Newcastle; Nathalie Obadia Gallery, Paris; Galeria Leme, São Paulo; Centre de Cultura Contemporània de Barcelona; La Maison Rouge, Paris; Villa Medici, Rome; The Third Line, Dubai; Centro Andaluz de Arte Contemporáneo, Sevilla; Victoria and Albert Museum, London; and Aperture Foundation, New York.

His work is also part of international collections including at La Maison Européenne de la Photographie, Paris; Mathaf Arab Museum of Modern Art, Doha; Guggenheim Museum, Abu Dhabi; Louis Vuitton Foundation, Paris; and LACMA, Los Angeles.

J ULI AN OPIE Julian Opie was born in 1958 in London and graduated in 1983 from Goldsmiths School of Art, where he was taught by Michael Craig-Martin. He lives and works in London.

Opie has had major exhibitions at Kunstverein, Cologne; Hayward Gallery and ICA, London; Lenbachhaus, Munich; K21, Dusseldorf; MAK, Vienna; CAC, Malaga; IVAM, Valencia; and the Dehli Triennial, Venice Biennial and Documenta.

He is represented by 13 galleries, including Lisson and Alan Cristea in London, Barbara Krakow in Boston, Bob van Orsouw in Zurich, Gerhardsen Gerner in Oslo, Krobath in Vienna, Kukje in Seoul, Mário Sequeira in Portugal, Patrick De Brock in Brussels, Sakshi in Mumbai and SCAI Bathhouse in Tokyo.

Opie’s public projects include in the Dentsu Building, Tokyo (2002); City Hall Park, New York (2004); Mori Building, Omotesando Hills, Japan (2006); River Vltava, Prague (2007); Phoenix Art Museum (2007); Dublin City Gallery (2008); Seoul Square (2009); Regent’s Place, London (2011); and recent permanent installations in Calgary, Canada and The Lindo Wing, St Mary’s Hospital, London.

His work is in collections such as the Tate, British Museum, Victoria and Albert, Arts Council, British Council and National Portrait Gallery, London; Museum of Modern Art, New York; ICA, Boston; Essl Collection, Vienna; IVAM, Valencia; Israel Museum, Jerusalem; and Takamatsu City Museum of Art, Japan.

GRAYSON PERRY CBE Winner of the 2003 Turner Prize, Grayson Perry CBE is one of Britain’s best-known contemporary artists. He works with traditional media, ceramics, cast iron, bronze, printmaking and tapestry and is interested in how each historic category of object accrues intellectual and emotional baggage over time.

Perry is a great chronicler of contemporary life, drawing viewers in with beauty, wit, affecting sentiment and nostalgia as well as fear and anger. His hard-hitting and exquisitely crafted works reference his own childhood and life as a transvestite while also engaging with wider social issues from class and politics to sex and religion.

Perry has had major solo exhibitions nationally and internationally including the critically acclaimed ‘Tomb of the Unknown Craftsman’ at the British Museum. His monumental suite of tapestries ‘The Vanity of Small Differences’, which were inspired by his BAFTA winning Channel 4 series In the Best Possible Taste, are currently on a national and international tour led by the Arts Council Collection and British Council. In June 2013 Perry was awarded a CBE in the Queen’s Birthday Honours List.

‘Who Are You?’ is on display at the National Portrait Gallery, London until 15 March 2015.

CI A R A PHILLIPS Ciara Phillips was born in 1976 in Ottawa, Canada. She has a BA in Fine Art from Queen’s University, Kingston, Canada and an MFA from The Glasgow School of Art (2004).

Her solo exhibitions have been staged at Bergen Kunsthall (2014); Neues Museum Nürnberg (2013); The Showroom, London (2013); Inverleith House, Edinburgh (2013); OUTPOST, Norwich (2012); Atelier am Eck, Düsseldorf (2010); and Washington Garcia Gallery, Glasgow (2009).

Group exhibitions include ‘I Was a Double’, Tang Museum, Saratoga Springs (2014); ‘Generation’, Scottish National Gallery of Modern Art, Edinburgh (2014); ‘There Will Be New Rules Next Week’, Dundee Contemporary Arts (2013); ‘Pull Everything Out’ (with Corita Kent), Spike Island, Bristol (2012); ‘Who Decides?’, Stadtgalerie Mannheim (2012); ‘Zwischenraum: Space Between’; and Kunstverein Hamburg (2010).

Phillips is the founder of the artist collective Poster Club and a lecturer in painting and printmaking at The Glasgow School of Art. She has been nominated for the 2014 Turner Prize. She lives and works in Glasgow.

DA N REES Dan Rees was born in 1982 in Swansea, UK, and lives and works in Berlin. He studied at the Staatliche Hochschule für Bildende Künste Städelschule, Frankfurt am Main, from 2007 to 2009, and graduated from Camberwell College of Arts, London in 2004.

Rees’ solo exhibitions include ‘Kelp’, National Museum of Wales, Cardiff (2013); ‘Gravel Master’, Goss Michael Foundation, Dallas (2013); ‘Dan Rees’, Tanya Leighton, Berlin (2013); ‘Top Heavy’, T293, Rome (2013); ‘High Tea’, Shane Campbell Gallery, Chicago (2013); ‘Kelp’, MOSTYN, Wales (2013); ‘In The Ghetto It Gets Cold But We’ve Got Something To Warm Our Soles’, Baronian Francey, Brussels (2012); ‘Cryogenic Blue’, T293, Rome (2012); ‘Shakin’ Peg Rails (And The Sunsets)’, Wallspace, New York (2011); ‘French

Cricket’, Tanya Leighton, Berlin (2010); and ‘They Don’t Make Them Like This Anymore’, T293, Naples (2009).

Recent group exhibitions include ‘Time Machine’, M-ARCO Foundation, Marseille (2013); ‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna (2012); ‘Accidentally on Purpose’, QUAD Gallery, Derby (2012); ‘D’après Giorgio’, Fondazione Giorgio e Isa de Chirico, Rome (2012); ‘Painting Show’, Eastside Projects, Birmingham (2011); ‘Segalega’, Giò Marconi and Zero..., Milan (2011); ‘Keep Floors and Passages Clear’, White Columns, New York (2011); ‘Anti-Photography’, Focal Point Gallery, Southend-on-Sea (2011); and ‘Exhibition, Exhibition’, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (2010).

LUCIEN SAMA HA Born in Beirut in 1958, Lucien Samaha has been photographing his life and adventures since he took one of the first photography courses ever offered in a high school in the US in 1973.

Photography has been Samaha’s companion throughout his many careers, including that of a Flight Attendant for TWA, a Marketing Manager for Eastman Kodak Company (where he had the distinction of being the first digital photographer ever), and a world famous DJ on the 107th floor of the World Trade Center.

In addition to exhibiting his various works in the US and Europe, Samaha is currently consolidating and annotating his archive of over 800,000 photographs and video clips to serve a variety of projects, now and in the future. He has shown at the Museum for Modern Art in Frankfurt, Germany and at the Cooley Gallery, Reed College, Portland, Oregon. He was a Nam June Paik Award finalist in 2004 in Dortmund, Germany.

Wilh elm Sasnal Born in 1972 in the small town of Tarnow, Poland, Wilhelm Sasnal lives and works in Kraków.

Sasnal has been featured in various international group exhibitions as well as numerous solo exhibitions, including at Haus der Kunst, Munich, Germany (2012); Whitechapel Art Gallery, London, England (2011); Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany (2009); Hauser & Wirth, Zurich, Switzerland (2009); the Van Abbemuseum, Eindhoven, Netherlands (2006); and CAC – Centro de Arte Contemporáneo, Malaga, Spain (2009), an exhibition which subsequently toured to the Sara Hildén Art Museum, Tampere, Finland (2010).

In 2006 he received the prestigious Vincent van Gogh Award.

HUGH SCOTT-DOUGLAS Hugh Scott-Douglas, born in 1988, is a Canadian who lives and works in Brooklyn. He has a BFA in sculpture from OCAD University, Toronto. His work is currently on show at MASS MoCA, Massachusetts and will be featured in upcoming exhibitions at the Columbus Museum of Art, Ohio, Florida Atlantic University Galleries, Boca Raton and the Museums & Galleries of New South Wales, Sydney, Australia.

Scott-Douglas’ work has been acquired by the Dallas Museum of Art, Eli and Edythe Broad Art Museum and Sammlung Goetz.

Scott-Douglas’ interests in the meanings and metaphors of

digitisation, economics and materiality continue to inform his practice. His ‘screentone’ series emerged from a desire to probe value systems by authoring art objects from alienated and expended materials and images. Similarly, the ‘Economist’, ‘Amazon.com’ and ‘Heavy Images’ series stem from an exploration of the complex dynamics between the materiality of old-school images, and the spectral-digital way that images now circulate. Scott-Douglas is represented by Jessica Silverman Gallery, Blum and Poe, Croy Nielsen, and Simon Lee Gallery.

RICH A RD SERR A Richard Serra was born in San Francisco in 1938. He studied at the University of California (Berkeley and Santa Barbara) and at Yale. He has lived in New York since 1966.

His first solo exhibitions were at the Galleria La Salita, Rome (1966) and, in the United States, at the Leo Castelli Warehouse, New York (1969). His first solo museum exhibition was at the Pasadena Art Museum (1970). Serra has since participated in several Documentas in Kassel (1972, 1977, 1982 and 1987) and in the Venice Biennales of 1984, 2001 and 2013.

Serra’s work has been shown in numerous museum solo exhibitions such as in Stedelijk Museum, Amsterdam (1977); Centre Pompidou, Paris (1984); the Museum of Modern Art, New York (1986 and again in 2007); and in other museums in Europe, USA and Latin America.

In 2005 eight large-scale works were installed permanently at the Guggenheim Museum, Bilbao. A travelling survey of Serra’s drawings was on view in 2011-12 at the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and the Menil Collection, Houston. In April 2014 Serra installed a major permanent landscape sculpture in the desert of the Brouq Nature Reserve in western Qatar.

J UERGEN TELLER Juergen Teller, born in 1964 in Erlangen, Germany, studied at the Bayerische Staatslehranstalt für Photographie in Munich, before moving to London in 1986. Considered one of the most important photographers of his generation, Teller has successfully navigated both the art world and commercial photography since beginning his career in the late 1980s, blurring the boundaries between his commissioned and personal work in his numerous publications and exhibitions.

In 2003, Teller was awarded the Citibank Prize for Photography, and, in 2007 was asked to represent Ukraine as one of five artists in the 52nd Venice Biennale. He has published over 30 artist’s books and exhibited internationally, including solo shows at the Photographer’s Gallery, London (1998); Kunsthalle Wien, Vienna (2004); Fondation Cartier, Paris (2006); Daelim Contemporary Art Museum, Seoul (2011); the Institute of Contemporary Art, London (2013); and DESTE Foundation, Athens (2014) among others.

G AVIN TURK

ZH A NG E NL I

Gavin Turk, born in 1967, is a British-born, international artist, living and working in London. He pioneered many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art.

Zhang Enli was born in 1965 in Jilin in China. In 1989, he graduated from the Arts and Design Institute of Wuxi Technical University and relocated to Shanghai to teach at the Arts and Design Institute of Donghua University, a transition that greatly affected his artistic practice and the evolution of his painting.

Turk’s installations and sculptures deal with authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and the ‘authorship’ of a work, Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp.

Zhang’s works have been featured in numerous important exhibitions, including solo exhibitions at Villa Croce, Genova, Italy (2013); Institute of Contemporary Arts, London (2013); Shanghai Art Museum, Shanghai (2011); Minsheng Art Museum, Shanghai (2010); and Ikon Gallery, Birmingham, England (2009).

In 1991, the Royal College of Art refused Turk a degree because his final show, ‘Cave’, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence; ‘Gavin Turk worked here 1989-91’. Instantly gaining notoriety, Turk was spotted by Charles Saatchi and has since been exhibited by many major galleries and museums worldwide.

His work was also featured in the Kochi-Muziris Biennale, Kochi, India (2012); ‘On Contemporary Era – The First Chinese Oil Painting Biennial’, National Art Museum of China, Beijing, China (2012); ‘The 6th Curitiba Biennial: Beyond the Crisis’, Instituto Paranaense de Arte, Curitiba, Brazil (2011); and ‘10,000 Lives: The Eighth Gwangju Biennale’, Gwangju, Korea (2010).

Turk has recently been commissioned to make several public sculptures including ‘Nail’, a 12-metre sculpture at One New Change, London. In 2013 Prestel published Turk’s first major monograph, showcasing more than two decades of his work. This year Trolley Books published This Is Not A Book About Gavin Turk which playfully explores themes associated with his work via 30 notable contributors.

C HRIS TO PH ER WOOL Born in 1955, Christopher Wool grew up in Chicago. In 1972, he attended Sarah Lawrence College in New York state for one year before settling in Manhattan.

Wool’s work has always been closely tied to his urban surroundings and as early as 1986, he began to create monochrome paintings that employed commercial tools and imagery appropriated from a variety of mass cultural sources.

Since the early 1990s, Wool has relied heavily on the silkscreen process to transfer pre-existing images to a surface. His most recent works consist of spray painted lines and recurrent gestures of erasure as well as abstract forms that have been digitally manipulated in Photoshop. While Wool is primarily known as a painter, his photographs, artist books, and prints are also integral to his practice.

His solo exhibitions include at San Francisco Museum of Modern Art (1989); Museum Boijmans Van Beuningen, Rotterdam, Kölnischer Kunstverein, Cologne, and Kunsthalle Bern (1991); Museum of Contemporary Art, Los Angeles (1998); Carnegie Museum of Art, Pittsburgh (1998-99); Kunsthalle Basel (1999); Institut Valencià d’Art Modern and Musée d’Art Moderne et Contemporain, Strasbourg (2006); Museu de Arte Contemporânea de Serralves, Porto (2008-09); Museum Ludwig, Cologne (2009); Musée d’Art Moderne de la Ville de Paris (2012); and Solomon R. Guggenheim Museum and Art Institute of Chicago (2013-2014). In 2014, the artist’s first public sculpture was installed in Chicago.

Wool lives and works in New York and Marfa, Texas.

TO B Y ZI E GL E R Toby Ziegler’s practice orchestrates a continual oscillation between abstraction and figuration and between classical composition and its digital obfuscation. His process often begins with the appropriation of an image which through endless reproduction has passed into the visual subconscious. Working on a computer Ziegler re-frames the image, and inverts it tonally and chromatically with results that can seem unrecognisable yet familiar.

Ziegler translates these digital images into paintings on panels of aluminium retaining a representative clarity. The finished painting is then sabotaged. Sometimes the image is obscured with a spraygun or a painted grid, and more recently the skin of paint is worn and ruptured with an orbital sander revealing the metal beneath. The disturbance of the painted field breaks the illusion of coherent space. This approach can be seen as an unusual form of pentimenti: rather than disclosing the attempt to perfect a composition, these paintings revel in its dissolution.

Toby Ziegler (b. 1972) lives and works in London. Major solo exhibitions include ‘Expanded Narcissistic Envelope’, The Hepworth Wakefield, UK (2014); ‘Toby Ziegler’, NewArtCentre, Roche Court, Salisbury, UK (2014); ‘The Cripples’, Old Burlington Car Park, London (2012); ‘The Alienation of Objects’, Project Space 176, Zabludowicz Collection, London, UK (2010); travelling exhibition; New Art Gallery, Walsall, UK (2011), Zabludowicz Collection, Sarisalvo, Finland (2012), Museum of Contemporary Art Kiasma, Helskinki, Finland (2012).

His work is part of major collections including The Arts Council of England; The British Council; Tate Britain; Saatchi Gallery; François Pinault Foundation; Zabludowicz Collection; Kadist Art Foundation; and Museum of Old and New Art, Tasmania.

Unicef b e l i e v e s t h at a rt ha s a p owe rf u l dual pu rpos e f or the childr e n of S y ri a

The war in Syria is now deep into its fourth year. More than 6.5 million children are in immediate need of humanitarian assistance. These children have lost everything and many lives are in danger. Access to food, water and basic health care is compromised.

Unicef is doing everything it can to make sure that every child is safe. We are providing life-saving vaccines and clean water, as well as supporting education and psychological care for children affected by the conflict.

Unicef believes that art has a powerful dual purpose for the children of Syria. We support programmes that use art to help the children of Syria overcome the trauma of conflict, enabling them to express their emotions and come to terms with what has happened to them. We also recognise the creative power and influence of art to raise money and awareness to help save and change the lives of the children of Syria.

All the artists who have contributed to SyriART understand the power of art and how it can be used to help children overcome trauma. The funds raised through SyriART will help Unicef’s work to save and change the lives of children who have been affected by the conflict in Syria.

The UK Government will match all UK public donations and successful bids to SyriART*.

Please help Unicef keep more Syrian children safe from danger.

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under the influence auction 10 december 30 berkeley Square london

Michael Manning

Viewing 2-9 december

Microsoft Store Paintings, 2013 (detail)

enquirieS tamila kerimova

estimate ÂŁ4,000-6,000

tkerimova@phillips.com +44 20 7318 4065

www.darbyshire.uk.com

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1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, and (c) supplements to this catalogue or other written material posted by Unicef UK in the saleroom or online on the Paddle8 website, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether online, in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Unicef UK and the seller contract with the buyer.

2 UNICEF UK AS PRINCIPA L Unicef UK owns all the lots featured, and will act in a principal capacity as a consignor unless otherwise indicated in this catalogue or at the time of auction.

3 C ATALOGUE DESCRIPTIONS A ND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Unicef UK in relation to each lot is partially dependent on information provided to us by the artist, gallery or their agents, and Unicef UK is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the artist, gallery or their agents; (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Unicef UK is available for inspection by prospective buyers during the exhibition. Unicef UK accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Unicef UK may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Unicef UK. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Unicef UK at our absolute discretion. Neither Unicef UK nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION (a) Unicef UK has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Unicef UK. (b) As a convenience to bidders who cannot attend the auction in person, Unicef UK may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which can be obtained from Unicef UK. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders.

Any absentee bid must be received at least 24 hours in advance of the live auction. In the event of identical bids, the earliest bid received will take precedence. (c) As a convenience to bidders who cannot attend the auction in person, Unicef UK may permit telephone bidding at their discretion. If this is the case, telephone bidders will be required to submit bids on the ‘Telephone Bid Form’, a copy of which can be obtained from Unicef UK. Unicef UK reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Unicef UK before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Unicef UK and that we will only look to the principal for such payment. (e) By participating in the auction, whether in person, by absentee bid or on the telephone, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (f) Arranging absentee and telephone bids is a free service provided by Unicef UK to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (g) Employees of Unicef UK and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with Phillips’ employee bidding procedures.

5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol *, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Unicef UK with the artist, gallery or their agents. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re- offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Unicef UK shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Unicef UK provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the artist, gallery or their agents up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognised and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates based on UN conversion rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

*6 PURCHASE PRICE A ND PAYMENT

8 FAILURE TO COLLECT PURCH ASES

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the cost of collection, insurance and any associated installation fees for the art work. Specific terms around several works are detailed as follows:

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 14 days of the auction, the buyer will incur a late collection fee to cover storage of £50 + VAT per week plus handling fee for each uncollected lot payable to the Fine Art Storage company. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full.

(i) In regards to the commissioned portrait by Juergen Teller, the winning bid does not include production costs such as travelling, printing, framing and shipping. The length of the shoot cannot exceed two days including travel to the location. The amount of prints will be between one and five and the size of the prints will be between 10x8 and 70x50 inches. The portrait shoot must happen within 12 months. The size and amount of final artworks will be discussed between the artist and the sitter following the shoot. (ii) In regards to the sculpture by Urs Fischer, this piece is currently loaned and not yet completed. Following the auction, the piece will be returned to Switzerland for completion at Unicef UK’s cost. The winning bidder must liaise with Urs Fischer and his gallery or agents to arrange for the collection of this work from Switzerland upon completion, This may be at the buyer’s cost and so the buyer must liaise with Unicef UK regarding this. (b) As this is a charity auction of donated goods, VAT is not applicable on the Purchase Price. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import licence or other permit for such lot. Payments must be made by the invoiced party in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows: (i) Unicef UK will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000. (ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer provides to us acceptable government-issued identification. Cheques and banker’s drafts should be made payable to “Unicef UK”. If payment is sent by post, please send the cheque or banker’s draft to the attention of the SyriART, Unicef House, 30A Great Sutton Street, London EC1V 0DU and ensure that the sale number is written on the cheque. Cheques or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Unicef UK. Bank transfer details will be provided on the Invoice for purchased lots. (d) As a courtesy to clients, Unicef UK will accept American Express, Visa, MasterCard and UK-issued debit cards to pay for invoices of £50,000 or less.

A processing fee may apply. (e) Title in a purchased lot will not pass until Unicef UK has received the Purchase Price for that lot in cleared funds. Unicef UK is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY (a) Unicef UK will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Unicef UK or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 375 6055 or +44 (0) 207 375 6218 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within fourteen days of the date of the auction. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) fourteen days after the auction, whichever is the earlier. Until risk passes, Unicef UK will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. The fine art storage company will require 24 hours notice before collection and will charge a £35+VAT handling fee for releasing the artwork, this will be incurred by the buyer. (c) We do not provide packing, handling, insurance or shipping services.

Once we have received full payment, we will instruct our fine art handlers to release the work to the buyer. Following this, any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) The fine art storage company will require presentation of governmentissued identification prior to release of a lot to the buyer or the buyer’s authorised representative.

(b) If a purchased lot is paid for but not collected within two months of the auction, without prior notification, the buyer authorises Unicef UK, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Unicef UK’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Unicef UK or our affiliated companies and the remainder will be forfeited.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights Unicef UK may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Unicef UK may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Unicef UK‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) resell the lot by auction or private sale, with estimates and a reserve set at Unicef UK’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (v) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (vi) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorises Unicef UK to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Unicef UK will notify the buyer of any such lien. The buyer also irrevocably authorises Unicef UK, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Unicef UK will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorises Unicef UK to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Unicef UK to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Unicef UK or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 RESCISSION BY UNICEF UK Unicef UK shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the artist, gallery or their agent’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party.

Upon notice of Unicef UK election to rescind the sale, the buyer will promptly return the lot to Unicef UK, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Unicef UK and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENCES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarise themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

12 DATA PROTECTION (a) In connection with the supply of auction and related services, or as required by law, Unicef UK may ask clients to provide personal data. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Unicef UK website at www.unicef.org.uk. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defined, in our Privacy Policy. Unicef UK may also (i) from time to time, send you materials about us and our services or other information which we think you may find interesting. If you would prefer not to receive such information, please email us at SyriART@unicef.org.uk. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (ii) In order to provide our services, we may disclose your personal data to third parties, including the Fine Art storage company. We will disclose, share with and transfer your personal data to Unicef UK’s affiliated persons (natural or legal) for administration, sale and auction related purposes, including to persons outside the European Economic Area (EEA), where national laws may not provide an equivalent level of protection to personal data as that provided within the EEA. You expressly consent to such transfer of your personal data, including sensitive personal data, outside the EEA. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (iii) The live auction and exhibition premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

13 LIMITATION OF LI A BILITY (a) Subject to sub-paragraph (e) below, the total liability of Unicef UK, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Unicef UK, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Unicef UK or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Unicef UK or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Unicef UK, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Unicef UK, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Unicef UK or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Unicef UK relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Unicef UK and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Unicef UK and the artists, galleries or their agents make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Unicef UK shall be in writing and addressed to SyriART. Notices to clients shall be addressed to the last address notified by them in writing to Unicef UK.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

16 LAW AND J URISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Unicef UK, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Unicef UK shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Unicef UK.

AUTHORSHIP WARRANTY Unicef UK warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Unicef UK, subject to the exclusions and limitations set forth below. (a) Unicef UK gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) there has been no material loss in value of the lot from its value had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Unicef UK reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognised experts approved in advance by Unicef UK. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Unicef UK agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Unicef UK in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Unicef UK in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Unicef UK has discretion to waive any of the foregoing requirements. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Unicef UK, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Unicef UK, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

Uni cef UK would like to tha nk the f ol lowing f or t hei r s upport fo r SyriA RT Artis ts C han t Avedissi an

Ga l l e r i e s

S y r i A RT A d v i s o ry C o m m i t t e e

Ga go si a n

H e nry A l l s o pp

Ay man Baalbaki

Hau se r & W i rth

La dy Har ri e t B r i d g e m a n

Y to Barrada

L i sso n

Matt Ca r e y- W i l l i a m s

J oe Black

Lo m b a r d F r e i d

A l e x a nd e r G i l k e s

L ita Ca b ellut

Luhring Augustine, New York

O sm a n K h a n J e a n- Davi d Mal at

O laf ur Eliasson

Ga l e r i e Nath a l i e O b a d i a , Pa r i s/B r u sse l s

T racey Emin

Opera

Mo un ir Fatm i

Pac e

U rs Fis cher

R o se I ssa P r o j e c ts

E llen Ga l lagher

S h a ngh A RT

An to n y Go r mley

Simon Lee

Maggi Ha mbli ng

Ta nya B o na kda r

Mo n a Hatou m

T h e T h i r d L i ne , Du b a i

Martin Cree d P eter Do ig

An is h Kapo or J os eph Ko s ut h R ich ard Lo ng Al as tair Macki e Kate MccGwi re Harlan d Miller Yous s ef Na bi l J u l ian Opie G rays o n Per ry C i ara Ph il li ps Dan Rees Lucien Samaha

V i c to r i a M i r o W h i te C u b e Au c ti o ne e r S i m o n d e P u ry V e nu e Phillips O nl i ne au c ti o n Pad d l e 8

Wilh elm Sasnal H ugh Scott-Dou glas R ich ard Ser ra J u ergen Teller Gavin Turk C hris to ph er Wool Z h an g En l i Tob y Z iegler

A special thanks to the UK Govermment for matching all UK donations and successful bids to SyriART.* * Match funding applies to UK individuals up to a total of ÂŁ5 million.

H o ne y Lua r d L i nd say Ra m s ay Ca r r i e R e e s A l e x a nd e r W e r z I nd i v i d ua l s S te r l i ng R ub y E m i ly T si n g o u Lo gi sti c s Ca d o ga n Tat e F o o d & D r in k M o rto n’s C lub F r a m i ng Dar b y sh i r e P r o d u c ti o n W i se

unicef.org.uk/syriART