Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Installation view
Artwork © Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Douglas Gordon
Self-Portrait in Tangier, 2012
Single-channel video installation with sound, 23 ⅝ × 41 ⅛ × 2 ⅜ inches (60 × 104.5 × 6 cm)
© Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Douglas Gordon
Self Portrait of You + Me (4 piece Marilyn wax), 2008
Burnt photographic print, smoke, wax, and mirror, framed: 52 × 52 inches (132 × 132 cm)
© Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Douglas Gordon
Self Portrait of You + Me (Marlene), 2008
Burnt photographic print, smoke, wax, and mirror, framed: 24 ⅞ × 20 ⅞ inches (63.1 × 53 cm)
© Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Douglas Gordon
Self Portrait of You + Me (Ursula Andress), 2008
Burnt photographic print, smoke, wax, and mirror, framed: 24 ⅞ × 20 ⅞ inches (63.1 × 53 cm)
© Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
Douglas Gordon
Self Portrait of You + Me (Ursula Andress), 2008 (detail)
Burnt photographic print, smoke, wax, and mirror, framed: 24 ⅞ × 20 ⅞ inches (63.1 × 53 cm)
© Studio lost but found/Douglas Gordon/VG Bild-Kunst, Bonn, 2016
The idea of art is to be as free as possible. . . . I retain the right to do whatever I want.
—Douglas Gordon
Gagosian Geneva is pleased to announce an exhibition by Douglas Gordon, coinciding with the opening of the Biennale de l’Image en Mouvement at the Centre d’Art Contemporain in Geneva.
Gordon’s installations, photographs, text works, and performances create the anticipation of certainty, only to subvert it. Here he presents a diverse selection of works from the last few years, including a projected film, a single-channel video displayed on a monitor, a carved wall text, and several photo-based works.
In the film projection Twin Blades, made in Tangier in 2012, a symmetrical image shows an ornate Moorish stone archway—the entrance to the casbah in Tangier—mirrored. Framed in each arch is a man intently sharpening a knife on a sharpening stone, employing the same manual technology and tools that have been in use for hundreds of years, handed down from father to son through generations.
On the occasion of Douglas Gordon: All I need is a little bit of everything, an exhibition in London, curator Adam Szymczyk recounts his experiences with Gordon’s work across nearly three decades, noting the continuities and evolutions.
Douglas Gordon took over the Piccadilly Lights advertising screen in London’s Piccadilly Circus, as well as a global network of screens in cities including Berlin, Melbourne, Milan, New York, and Seoul, nightly for three minutes at 20:22 (8:22pm) throughout December 2022, with his new film, if when why what (2018–22). The project was presented by the Cultural Institute of Radical Contemporary Art (CIRCA) in conjunction with the exhibition Douglas Gordon: Neon Ark at Gagosian, Davies Street, London.
Katrina Brown discusses the importance of Douglas Gordon’s 24 Hour Psycho (1993) and some of the films that followed, touching on threads that run throughout the artist’s career.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Featuring an extensive interview with Douglas Gordon on the process of making his 2016 film I had nowhere to go: Portrait of a displaced person, this video, produced by Berlin Art Link, includes clips of Jonas Mekas and revealing anecdotes about the creation of the film.
Douglas Gordon and Morgane Tschiember’s installation As close as you can for as long as it lasts, presented during Elevation 1049: Avalanche in Gstaad, Switzerland.
Douglas Gordon and Rufus Wainwright collaborated to produce afflictive, slow-motion projections to accompany Wainwright’s performances during his 2010 All Days Are Nights: Songs for Lulu tour.
