Öyvind Fahlström

Öyvind Fahlström (1928-1976) is regarded as the pioneer of interactive multimedia art, and his oeuvre is seen as an integral part of his fight for social justice and his political activism.

Throughout his short life, Öyvind Fahlström remained interested in the printed word and, in particular, language itself. It is put in focus in his printed works, which constitute a large part of his œuvre.

Graphics and multiples as a medium of producing art reflected largely Fahlström's political and social views, making the ideas in this form accessible to wide audiences.

For more information on Öyvind Fahlström, visit

The Öyvind Fahlström Foundation website

and Aurel Scheibler Gallery artist website

Carolin Eidner

Carolin Eidner (b.1984) moves across a wide range of  techniques and media to arrive at the point of the beginning every time she starts a new work.

Many works of Eidner involve digital image processing, in Photoshop she deliberately uses highly complex tools in the simplest way possible. The series of four prints titled praying, loving, swimming, sitting (2012) demonstrate this approach.

In the recent years, Eidner developed a highly elaborative technique of working with pigmented plaster, that unites the qualities of both painting and sculpture. Some of her most recent pieces were shown at the exhibition

The Subtle Genesis of Emiliano Bruni

in 2019 at Aurel Scheibler

A studio visit and interview with Carolin Eidner at

Atelierbesuche.com - Lasting Impact

Damien Hirst

In a Spin, the Action of the World of Things, 2002

Portfolio of spin etchings 

in two volumes

From the portfolios In a Spin, the Action oft he World of Things I and II, we are proud to offer some exceptional etchings by this exceptional artist. 

 

Each etching was made by the artist in London 2002, printed on 350gsm Hahnmühle paper, proofed and editioned at Hope (Sufferance) Press, London and published by Charles Booth-Clibborn under his imprint, The Paragon Press, London.  There are sixty-eight sets of prints in each portfolio, numbered 1–68 on the colophon page, and six proof copies. Each print signed by the artist.

 

To create the images that make up In a Spin, the Action of the World on Things, the artist attached etching copperplates to his spin machine, and drew on them as they rotated with a range of sharp tools that includes needles and screwdrivers. He utilised circular, square and rectangular etching plates of varying sizes – sometimes extending the circular pattern beyond the edges of the plate and at others entirely containing it within the plates’ margins. A combination of soft and hard ground etching has added painterly splashes of colour to the more regular circling lines. Hirst also wrote on the plates, inscribing the prints’ individual titles and the dates – late May to early July 2002 – when the plates were etched. The process of printing from an etching plate mirrors the original image; as a result of this several individual titles appear in reverse, and some prints include the artist’s corrections to his inverted numerals where he has scratched the date.

The idea of making the spin etchings was to try out a very different technique to paint as well as to 'cut' a spin image in the same way as a record is cut with thin lines. Therefore most of the titles of each individual etching relate to rock and pop music song titles. Hirst has a long-standing and passionate relationship to popular music, claiming that the Beatles have had a bigger influence on him than Picasso.

They also incorporate the idea of perpetual motion and Hirst interest in the process of spinning. He first experimented with spin art in 1992 at his studio in Brixton, London and the following year, he set up a spin art stall with fellow artist Angus Fairhurst at Joshua Compston’s artist led street fair, ‚A Fète Worse than Death’.

 

Hirst’s use of a rotating machine to create art recalls the optical experiments of Marcel Duchamp (1887–1968) in the 1920s and 30s. But while Duchamp’s work with rotating discs – which included the use of spinning turntables as well as other motorised devices – constitutes a play on optical illusion, Hirst’s paintings and drawings made with the spin machine have a more aesthetic, expressionistic aim, as is indicated by the titles he appends to them, which always feature the word ‘beautiful’. 

In a Spin, the Action of the World of Things, 2002

VOLUME I

A portfolio of 23 spin etchings. Edition of 68.

Each print signed by the artist and each set numbered on the title/colophon page

From VOLUME I we can offer the following selection of etchings

In a Spin, the Action of the World of Things, 2002

VOLUME II

A portfolio of 14 spin etchings. Edition of 68.

Each print signed by the artist and each set numbered on the title/colophon page

From VOLUME II we can offer the following selection of etchings

Bridget Riley

Bridget Riley has made screenprints since the early 1960s, either in a response to a request, or to develop a particular idea related to her painting practice. Her interest in the media of print was in the way it related to her preoccupation as a painter, rather than in how it was the traditional vehicle for reproduction. She began to sec some of her images as print. The print technique seems to allow, even compel the images she was visualising: also print technique gave the desired qualities without making the production of them an issue. The inks naturally provided the ideal luminosity, and sustained subtle tonal gradations that she required, and the printing offered the crisp edges, the absolute flatness and powdery overlay of colour. The particular scriographical effects of the work could not have been approximated to by painting. The artist also believed that a sheet of paper and not a large canvas was more appropriate to what she was establishing, by the images.

Photo © Jane Brown, 1989

Troels Wörsel

The Danish artist Troels Wörsel (1950-2018) received international acclaim as Denmark’s representative at the 52nd Biennale di Venezia in 2007. His work stands out for its continuous investigation of semantics, its bold exploration of the limits of the medium, and its vibrant dialogue with art history.

Aurel Scheibler

Schöneberger Ufer 71, 10785 Berlin

www.aurelscheibler.com • office@aurelscheibler.com • tel +49 (0)30 25 93 86 07

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