Damien Hirst at Gagosian Britannia Street, London
April 12, 2021
Fact Paintings and Fact Sculptures
Opening April 12, 2021
6–24 Britannia Street, London
I like to say something and deny it at the same time.
Gagosian is pleased to announce Fact Paintings and Fact Sculptures, an exhibition of rarely seen works by Damien Hirst created between 1993 and 2021. The exhibition marks the first phase of Hirst’s yearlong takeover of the Britannia Street gallery, and is his first exhibition there since The Complete Spot Paintings 1986–2011 in 2012. As artist and curator, Hirst presents this highly personal series of work through his own eyes.
Throughout his storied career, Hirst has confronted the systems of belief that define human existence, from common trust in medicine to the seduction of consumerism. At a moment when the idea of “truth” has never been more tenuous, Hirst’s Fact Paintings and Sculptures question the obduracy of “fact” as a governing principle of society.
Mimicking color photographs, the Fact Paintings are rendered in oil on canvas, sometimes with meticulous fidelity, at others reveling in the physicality of mark making. Their verisimilitude recalls the historical role of painting as a tool to represent the visible world and lead the viewer to believe that a two-dimensional image is, in fact, the three-dimensional object it portrays. With the birth of photography in the nineteenth century, painting’s relationship with reality continued to evolve. Hirst’s Fact Paintings explore this back and forth between the brush and the camera as the agents of “truth.”
The first exhibition of the Fact series, The Elusive Truth, was presented at Gagosian New York in 2005 and focused on paintings derived from newspaper photographs. Other subjects include Hirst’s signature motifs of butterflies and diamonds, depictions of his own previous works, and portraits of his friends and family. In many ways, the Fact series can be seen as the artist’s self-portrait, highlighting significant moments of Hirst’s life and career: Michael with Diamond Skull (2008), for example, portrays Michael Craig-Martin—his former tutor at Goldsmiths—posing with the famed sculpture For the Love of God (2007); in Self-Portrait as Surgeon (2007) the artist, dressed in blue scrubs, stands next to a hospital bed; while Cleaning New Baby (Cyrus) (2007) depicts his own newborn son.
In the Fact Sculptures, presented alongside the related paintings, Hirst moves beyond the readymade, instead constructing detailed replicas of real objects. In Love Dies Fast (2020) and Station (2014), physical elements of workshops and storage spaces appear, while in Snob (2006–20) and Public School Tosser (2006–20) he makes reference to his own iconic jewelry cabinets, wryly juxtaposed here with garbage bags and cans. Other sculptures attest to Hirst’s preoccupation with the order of things, their preservation and display: in Persil (2015) and Coke/Diet Coke Vending Machine (2007), a stacked pallet and a vending machine underscore the significance of consumer goods and product packaging, the high with the low. Some of the sculptures on view are charged with relevance to lived experience in the COVID-19 era. Remedies Against the Great Infection (2020) offers hand sanitizer and personal protective equipment, while sculptures such as Don’t Stop Me Now (2006) and Warsaw (2008), replete with medical supplies, take on new meaning within the context of the enduring pandemic. By incorporating these by-now-ubiquitous commodities into sculptures, Hirst speaks to the new landscape of material culture that has become a dark fact of contemporary life.
Damien Hirst was born in Bristol, England, and lives and works in London and Devon, England. Collections include Tate, London; Gallery of Modern Art, Glasgow, Scotland; Stedelijk Museum Amsterdam; Museum für Moderne Kunst, Frankfurt am Main, Germany; Museum Brandhorst, Munich; Astrup Fearnley Museet, Oslo; Centro de Arte Dos de Mayo, Madrid; Museo d’Arte Contemporanea Donnaregina, Naples, Italy; Israel Museum, Jerusalem; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Art Institute of Chicago; The Broad, Los Angeles; Museo Jumex, Mexico City; National Centre for Contemporary Arts, Moscow; and 21st Century Museum of Contemporary Art, Kanazawa, Japan. Exhibitions include Cornucopia, Musée océanographique de Monaco (2010); Tate Modern, London (2012); Relics, Qatar Museums Authority, Al Riwaq, Qatar (2013); Signification (Hope, Immortality and Death in Paris, Now and Then), Deyrolle, Paris (2014); Astrup Fearnley Museet, Oslo (2015); The Last Supper, National Gallery of Art, Washington, DC (2016); Treasures from the Wreck of the Unbelievable, Palazzo Grassi and Punta della Dogana, Venice, Italy (2017); Damien Hirst at Houghton Hall: Colour Space Paintings and Outdoor Sculptures, Houghton Hall, Norfolk, England (2019); and Mental Escapology, St. Moritz, Switzerland (2021). Hirst received the Turner Prize in 1995.
Damien Hirst, Papillio palinurus in Achillea millefolium, 2009, oil on canvas, 36 × 54 inches (91.4 × 137.2 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2021. Photo: Prudence Cuming Associates
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“This project explores the boundaries of art and currency—when art changes and becomes a currency, and when currency becomes art. It’s not a coincidence that governments use art on coins and notes. They do this to help us believe in money. Without art, it’s hard for us to believe in anything.”
I’m sure Hirst is just attempting to explore the boundaries of his wallet and yours, should you have sufficient ETH. Also, the title of this article is clickbait. Palm doesn’t exist yet, and even if it did, it wouldn’t be the only ‘green’ blockchain. This is a sponsored ad, which is artnews as usual.
This statement is pretentious garbage, like his artless objectifications of dead animals and tired dot art. He’s saying nothing new, just repackaging old artworld swill for a freshly unsavvy audience that doesn’t know what snakeoil is.
If there’s one thing I find hopeful about the NFT frontier is that it should ultimately make artists like him completely irrelevant. There’s plenty of young, corrupt hype-people ready to RAUS into his place in the unchanging death march of capitalism.
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