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for what you are about to receive

September 18–October 25, 2008
Red October, Moscow

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

For what you are about to receive Installation view

For what you are about to receive

Installation view

Works Exhibited

Alexander Calder, Double Headed, 1973 Sheet metal, wire and paint, 28 ½ × 51 ½ × 20 inches (72.4 × 130.8 × 50.8 cm)

Alexander Calder, Double Headed, 1973

Sheet metal, wire and paint, 28 ½ × 51 ½ × 20 inches (72.4 × 130.8 × 50.8 cm)

Willem de Kooning, Untitled XIV, 1981 Oil on canvas, 80 × 70 inches (203.2 × 177.8 cm)

Willem de Kooning, Untitled XIV, 1981

Oil on canvas, 80 × 70 inches (203.2 × 177.8 cm)

Tom Friedman, Butt Ugly Sculpture, 2008 Paint and mixed media, 42 × 29 × 24 inches (106.7 × 73.7 × 61 cm)

Tom Friedman, Butt Ugly Sculpture, 2008

Paint and mixed media, 42 × 29 × 24 inches (106.7 × 73.7 × 61 cm)

Ellen Gallagher, Laugh Tracks, 1994 Mixed media on canvas, 84 × 72 inches (213.4 × 182.9 cm)

Ellen Gallagher, Laugh Tracks, 1994

Mixed media on canvas, 84 × 72 inches (213.4 × 182.9 cm)

Alberto Giacometti, Figurine de Londres I, 1965–66 Bronze, 10 ¼ × 5 ¼ × 3 ¾ inches (26.1 × 13.4 × 9.4 cm), edition of 8

Alberto Giacometti, Figurine de Londres I, 1965–66

Bronze, 10 ¼ × 5 ¼ × 3 ¾ inches (26.1 × 13.4 × 9.4 cm), edition of 8

Douglas Gordon, for what you are about to receive, 2008 Neon, 118 × 118 inches (300 × 300 cm)© Studio lost but found/VG Bild-Kunst, Bonn

Douglas Gordon, for what you are about to receive, 2008

Neon, 118 × 118 inches (300 × 300 cm)
© Studio lost but found/VG Bild-Kunst, Bonn

Mark Grotjahn, Untitled (White Butterfly Rose MG 03), 2003 Oil on linen, 36 × 28 inches (91.4 × 71.1 cm)

Mark Grotjahn, Untitled (White Butterfly Rose MG 03), 2003

Oil on linen, 36 × 28 inches (91.4 × 71.1 cm)

Jim Hodges, Hello, again, 1994–2003 White brass chain in two parts (with 24 dressmaker pins), 25 ½ × 21 × 7 ⅜ inches (64.8 × 53.3 × 18.7 cm)

Jim Hodges, Hello, again, 1994–2003

White brass chain in two parts (with 24 dressmaker pins), 25 ½ × 21 × 7 ⅜ inches (64.8 × 53.3 × 18.7 cm)

Mike Kelley, Memory Ware Flat #46, 2008 Mixed media on wood panel, 48 ½ × 72 ½ × 2 ¾ inches (123.2 × 184.2 × 7 cm)

Mike Kelley, Memory Ware Flat #46, 2008

Mixed media on wood panel, 48 ½ × 72 ½ × 2 ¾ inches (123.2 × 184.2 × 7 cm)

Jeff Koons, Baroque Egg with Bow, 2006 Mirror-polished stainless steel with transparent color coating, 83 ½ × 77 ¼ × 60 inches (212.1 × 196.2 × 152.4 cm), 1 of 5 unique versions© Jeff Koons

Jeff Koons, Baroque Egg with Bow, 2006

Mirror-polished stainless steel with transparent color coating, 83 ½ × 77 ¼ × 60 inches (212.1 × 196.2 × 152.4 cm), 1 of 5 unique versions
© Jeff Koons

Yayoi Kusama, Passing Winter, 2005 Mirror and glass, 74-13/16 × 31 ½ × 31 ½ inches (190 × 80 × 80 cm)

Yayoi Kusama, Passing Winter, 2005

Mirror and glass, 74-13/16 × 31 ½ × 31 ½ inches (190 × 80 × 80 cm)

Roy Lichtenstein, Eclipse of the Sun, 1975 Oil and magna on canvas, 40 × 70 inches (101.6 × 177.8 cm)

Roy Lichtenstein, Eclipse of the Sun, 1975

Oil and magna on canvas, 40 × 70 inches (101.6 × 177.8 cm)

Takashi Murakami, Want to be splashed with a cellular shower, 2008 Acrylic and goldleaf on canvas, 88 ⅝ × 91 inches (225 × 231 cm)© 2008 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Takashi Murakami, Want to be splashed with a cellular shower, 2008

Acrylic and goldleaf on canvas, 88 ⅝ × 91 inches (225 × 231 cm)
© 2008 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Pablo Picasso, Homme Courant, 1960 Bronze, 45 ½ × 24 × 2 inches (115.6 × 61 × 5.1 cm)

Pablo Picasso, Homme Courant, 1960

Bronze, 45 ½ × 24 × 2 inches (115.6 × 61 × 5.1 cm)

Richard Prince, Untitled, 2008 Basketball hoop, backboard, aluminum cans, bondo and plastic, 172 × 56 × 35 inches (436.9 × 142.2 × 88.9 cm)

Richard Prince, Untitled, 2008

Basketball hoop, backboard, aluminum cans, bondo and plastic, 172 × 56 × 35 inches (436.9 × 142.2 × 88.9 cm)

Anselm Reyle, Untitled, 2008 Foil and acrylic glass on canvas, 99 × 79 × 11 inches (251.6 × 200.6 × 27.7 cm)

Anselm Reyle, Untitled, 2008

Foil and acrylic glass on canvas, 99 × 79 × 11 inches (251.6 × 200.6 × 27.7 cm)

Ed Ruscha, No Man's Land, 1990 Acrylic on canvas, 54 × 120 inches (137.2 × 304.8 cm)

Ed Ruscha, No Man's Land, 1990

Acrylic on canvas, 54 × 120 inches (137.2 × 304.8 cm)

Richard Serra, Drawing in Five Parts, 2005 Paintstick on handmade paper, 5 parts: 40 × 40 inches each (101.6 × 101.6 cm)

Richard Serra, Drawing in Five Parts, 2005

Paintstick on handmade paper, 5 parts: 40 × 40 inches each (101.6 × 101.6 cm)

David Smith, Cubi II, 1962 Stainless steel, 130 ½ × 36 ⅞ × 23 ⅞ inches (331.5 × 93.7 × 60.6 cm)

David Smith, Cubi II, 1962

Stainless steel, 130 ½ × 36 ⅞ × 23 ⅞ inches (331.5 × 93.7 × 60.6 cm)

Christopher Wool, Untitled (P98), 1989 Alkyd and acrylic on aluminum, 90 × 60 inches (228.6 × 152.4 cm)

Christopher Wool, Untitled (P98), 1989

Alkyd and acrylic on aluminum, 90 × 60 inches (228.6 × 152.4 cm)

Aaron Young, "WeDon'tNeedNo...ED-U-Kat-I-On!" (no solutions), 2008 Steel and plated gold, Dimensions variablePhoto by Douglas M. Parker

Aaron Young, "WeDon'tNeedNo...ED-U-Kat-I-On!" (no solutions), 2008

Steel and plated gold, Dimensions variable
Photo by Douglas M. Parker

Aaron Young, September 17, 2008 Arc Light Performance

Aaron Young, September 17, 2008

Arc Light Performance

Aaron Young, September 17, 2008 Arc Light Performance

Aaron Young, September 17, 2008

Arc Light Performance

Aaron Young, September 17, 2008 Arc Light Performance

Aaron Young, September 17, 2008

Arc Light Performance

Aaron Young, September 17, 2008 Arc Light Performance

Aaron Young, September 17, 2008

Arc Light Performance

Aaron Young, September 17, 2008 Arc Light Performance

Aaron Young, September 17, 2008

Arc Light Performance

About

Gagosian is pleased to present its second major exhibition in Moscow, for what you are about to receive. Following the first presentation of Gagosian artists in the capital last year, the exhibition continues to build upon Gagosian’s presence in Russia, with its previous support of the Cy Twombly and Willem de Kooning exhibitions at the State Hermitage Museum in St. Petersburg in 2003 and 2006.

The upcoming exhibition contrasts ways in which contemporary artists continue to investigate the twin pillars of twentieth-century art: the readymade and pure abstraction, reflecting on the sublime through a self-conscious engagement with material and process. To underscore these concerns, the site for the exhibition is a nineteenth-century former chocolate factory called Red October, a powerfully suggestive and highly atmospheric architectural landmark named in the spirit of the Bolshevik Revolution. Red October has been inaccessible to the public for many years; the Gagosian exhibition will open its doors once again and inaugurate an ambitious new arts program for the city of Moscow. For many of the artists involved, this will be their first exposure in Moscow.

Guests at the opening on September 17, 2008, will witness the performance of Arc Light by New York–based artist Aaron Young, who has choreographed a team of motorcycle riders to weave dangerously on a specially prepared platform or support. The resulting tire-burns and skid marks create an amplified expansion of Jackson Pollock’s famous “action paintings.”

The title and invitations for the exhibition have been conceived as an artwork by renowned Scottish artist Douglas Gordon, a Turner Prize winner known for his work in a variety of media, including film and video as well as text.

The exhibition is presented in collaboration with Prime Concept, Guta Group, Red October, and the National Centre for Contemporary Arts, Moscow. Gagosian would like to thank our contributors for helping to bring this exhibition to Moscow.

Installation view of the exhibition "Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews"

Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews

Join Jake Auerbach, Richard Calvocoressi, Bella Freud, Martin Gayford, and Florence Hallett as they discuss the work and legacy of four era-defining artists. Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews, on view at Gagosian, Grosvenor Hill, London, elucidates the connections between their respective practices, and also features some of the artists’ portraits of each other.

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Black and white image of Bruce Bernard, Lucian Freud Standing on His Head, with Daughter Bella, 1983

Bruce Bernard: Portraits of Friends

Virginia Verran details the photographer’s friendships with the London painters.

Timothy Behrens, Lucian Freud, Francis Bacon, Frank Auerbach, andMichael Andrews (left to right) at Wheeler's restaurant in Soho,London, 1963. Photo: © John Deakin/John Deakin Archive/BridgemanImages

Frank Auerbach: Artist Friends

In this candid interview with Richard Calvocoressi, the painter Frank Auerbach reminisces on his friendships with Michael Andrews, Francis Bacon, and Lucian Freud. The two spoke during the planning of the exhibition Friends and Relations, a show that examines the interconnected lives and art practices of this group of London painters.

Richard Serra: Johann Sebastian Bach, performed by Alina Ibragimova

Richard Serra: Johann Sebastian Bach, performed by Alina Ibragimova

Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).

Richard Serra: Johann Sebastian Bach, performed by Mario Brunello

Richard Serra: Johann Sebastian Bach, performed by Mario Brunello

Cellist Mario Brunello performs Bach’s Cello Suite No. 1 in G Major: Prelude (BWV 1007, c. 1717–23) within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies—a nonprofit that commissions artists to produce site-specific projects and present performances—in collaboration with Gagosian, this recorded performance took place on May 8, 2022, before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).