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Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn, Germany 2023 and © Philippe Parreno

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Douglas Gordon and Philippe Parreno
Zidane, un portrait du XXIe siècle

October 5, 2023–January 7, 2024
Philharmonie de Paris
philharmoniedeparis.fr

Zidane: A 21st Century Portrait (2006), a film collaboration by Douglas Gordon and Philippe Parreno, is screening at the Philharmonie de Paris. Shot on seventeen synchronized cameras, Zidane frames the movements of footballer Zinédine Zidane in real time over the course of a single match between Real Madrid and Villarreal at Madrid’s Santiago Bernabéu Stadium on April 23, 2005. The seventeen large screens suspended around key parts of the exhibition play specific sounds and create a spatial effect, inviting visitors to stroll through both image and audio.

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn, Germany 2023 and © Philippe Parreno

Douglas Gordon, k.364, 2011, installation view, Dundee Contemporary Arts, Scotland © Studio lost but found/VG Bild-Kunst, Bonn, Germany

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Douglas Gordon
k.364

May 7–August 7, 2022
Dundee Contemporary Arts, Scotland
www.dca.org.uk

This exhibition focuses on Douglas Gordon’s film installation k.364 (2011), which features two Israeli musicians of Polish descent traveling to Poland from Berlin by train. Shown on multiple screens with layered audio, the work is an intimate document of the relationship between individuals and the power of music, set against the subtly drawn backdrop of a dark and unresolved social history.

Douglas Gordon, k.364, 2011, installation view, Dundee Contemporary Arts, Scotland © Studio lost but found/VG Bild-Kunst, Bonn, Germany

Top: Alberto Giacometti, Tête d’homme, c. 1962–65 © Succession Alberto Giacometti/ADAGP, Paris 2022. Bottom: Douglas Gordon, Hand Holding Head of a Man, 2022 © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2022. Photo: courtesy Studio lost but found, Berlin, and Kamel Mennour, Paris

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Alberto Giacometti / Douglas Gordon
The Morning After

April 20–June 12, 2022
Institut Giacometti, Paris
www.fondation-giacometti.fr

Douglas Gordon’s work on the distortion of time and the tensions between opposing forces shares common ground with Alberto Giacometti’s questioning of the human condition. Granted carte blanche to imagine a dialogue between his practice and Giacometti’s, Gordon presents a series of previously unexhibited works alongside little-known sculptures and drawings by Giacometti. Among these, small sculptures by Giacometti are nestled within casts of Gordon’s own hands, enacting a literal and figurative “point of contact” between their artworks.

Top: Alberto Giacometti, Tête d’homme, c. 1962–65 © Succession Alberto Giacometti/ADAGP, Paris 2022. Bottom: Douglas Gordon, Hand Holding Head of a Man, 2022 © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2022. Photo: courtesy Studio lost but found, Berlin, and Kamel Mennour, Paris

Ellen Gallagher, Untitled, 2000 © Ellen Gallagher

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Icons

May 6–November 14, 2021
Boghossian Foundation, Brussels
www.villaempain.com

From early European and Middle Eastern artifacts to modern and contemporary works, icons have inspired many believers, as well as artists, throughout the ages. This exhibition explores how spiritual dimensions have been incorporated into artworks from antiquity to the present day. Work by Michael Craig-Martin, Ellen Gallagher, Douglas Gordon, Duane Hanson, Titus Kaphar, and Andy Warhol is included.

Ellen Gallagher, Untitled, 2000 © Ellen Gallagher

Installation view, Colección Jumex: Al filo de la navaja, Museo Jumex, Mexico City, August 18, 2020–February 14, 2021. Artwork, front: © Dan Graham; ceiling: © Studio lost but found/VG Bild-Kunst, Bonn 2021

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Colección Jumex
Al filo de la navaja

August 18, 2020–February 14, 2021
Museo Jumex, Mexico City
www.fundacionjumex.org

This exhibition, whose title translates to On the Knife’s Edge, brings together works by more than forty international artists. Comprising four thematic sections—migration and liberty, the human body, the environment, and the inexorable passage of time—the show aims to address the issues shaping our contemporary world. Work by Douglas Gordon and Damien Hirst is included.

Installation view, Colección Jumex: Al filo de la navaja, Museo Jumex, Mexico City, August 18, 2020–February 14, 2021. Artwork, front: © Dan Graham; ceiling: © Studio lost but found/VG Bild-Kunst, Bonn 2021

Simon Hantaï, Etude I, suite pour Pierre Reverdy, 1969 © Archives Simon Hantaï/ADAGP, Paris, 2020. Photo: Claude Gaspari

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Soleils noirs

March 25, 2020–January 25, 2021
Musée du Louvre-Lens, France
www.louvrelens.fr

This sensory exhibition, whose title translates to Black Suns, offers a fresh perspective on the color black, which has been endowed with a multitude of symbolic meanings in Western art from antiquity to the present day. The exhibition features nearly 180 works, intermingling periods and disciplines, and spanning painting, fashion, the decorative arts, the moving image, and installations. Work by Douglas Gordon, Simon Hantaï, and Damien Hirst is included.

Simon Hantaï, Etude I, suite pour Pierre Reverdy, 1969 © Archives Simon Hantaï/ADAGP, Paris, 2020. Photo: Claude Gaspari

Installation view, Dyr i kunsten, Arken Museum, Ishoj, Denmark, May 26, 2020–January 10, 2021. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: David Stjernholm

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Dyr i kunsten

March 21, 2020–January 10, 2021
Arken Museum, Ishoj, Denmark
uk.arken.dk

Dyr i kunsten, or Animals in Art, features sculpture, installations, video, photography, and paintings by a wide array of international artists whose work explores the ways that humans study, categorize, live with, and use animals and how we thus attempt to gain a deeper understanding of ourselves. Work by Douglas Gordon, Damien Hirst, and Carsten Höller is included.

Installation view, Dyr i kunsten, Arken Museum, Ishoj, Denmark, May 26, 2020–January 10, 2021. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: David Stjernholm

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, installation view, Louisiana Museum of Modern Art, Humlebaek, Denmark. Artwork © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2020 and © Philippe Parreno. Photo: Kim Hansen

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Douglas Gordon and Philippe Parreno
Zidane: A 21st Century Portrait

June 23–August 16, 2020
Louisiana Museum of Modern Art, Humlebaek, Denmark
www.louisiana.dk

Zidane: A 21st Century Portrait (2006), a film collaboration by Douglas Gordon and Philippe Parreno, is screening outdoors as part of Summer at Louisiana. Shot on seventeen synchronized cameras, Zidane frames the movements of footballer Zinédine Zidane in real time over the course of a single match between Real Madrid and Villarreal at Madrid’s Santiago Bernabéu Stadium on April 23, 2005.

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, installation view, Louisiana Museum of Modern Art, Humlebaek, Denmark. Artwork © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2020 and © Philippe Parreno. Photo: Kim Hansen

Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

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The Cindy Sherman Effect
Identität und Transformation in der zeitgenössischen Kunst

January 29–July 19, 2020
Kunstforum Wien, Vienna
www.kunstforumwien.at

Cindy Sherman’s work has long questioned issues of identity, including the ways in which it can be constructed and transformed, and elements of fiction. The exhibition, whose title translates to Identity and Transformation in Contemporary Art, juxtaposes Sherman’s work with that of other contemporary artists, including Douglas Gordon, working in a variety of media.

Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

Douglas Gordon, 24 Hour Psycho, 1993 © Studio lost but found/VG Bild-Kunst, Bonn 2020. Photo: Bert Ross. Psycho (1960), USA. Directed and Produced by Alfred Hitchcock. Distributed by Paramount Pictures. © Universal City Studios

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Douglas Gordon in
Time Machine: Vedere e sperimentare il tempo

January 11–May 3, 2020
Palazzo del Governatore, Parma, Italy
parma2020.it

Time Machine: To See and to Experiment the Time is a reflection on how cinema and other media based on moving images have transformed our perception of time throughout history. Work by Douglas Gordon is included.

Douglas Gordon, 24 Hour Psycho, 1993 © Studio lost but found/VG Bild-Kunst, Bonn 2020. Photo: Bert Ross. Psycho (1960), USA. Directed and Produced by Alfred Hitchcock. Distributed by Paramount Pictures. © Universal City Studios

Douglas Gordon, Déjà-Vu, 2000
, installation view, Geffen Contemporary at MOCA, Los Angeles. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2020
. D.O.A., 1950, USA. Directed by Rudolph Maté. Produced by Joseph H. Nadel, Harry M. Popkin, and Leo C. Popkin. Distributed by United Artists © Cardinal Pictures. Photo: Brian Forrest
 

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In Production
Art and the Studio System

November 7, 2019–March 1, 2020
Yuz Museum, Shanghai
www.yuzmshanghai.org

In Production: Art and the Studio System emphasizes the overlapping histories of visual art and film, with a particular focus on how the site of the studio, both in visual arts and in cinematic production, has radically shifted in the last twenty years. The exhibition highlights the exceptional gifts and acquisitions related to film and video that have entered the Los Angeles County Museum of Art’s permanent collection in recent years including work by Piero Golia, Douglas Gordon, Alex Israel, and Mike Kelley.

Douglas Gordon, Déjà-Vu, 2000
, installation view, Geffen Contemporary at MOCA, Los Angeles. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2020
. D.O.A., 1950, USA. Directed by Rudolph Maté. Produced by Joseph H. Nadel, Harry M. Popkin, and Leo C. Popkin. Distributed by United Artists © Cardinal Pictures. Photo: Brian Forrest
 

Douglas Gordon, 
Phantom, 2011 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2020

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Douglas Gordon
In My Shadow

September 7, 2019–February 16, 2020
ARoS Aarhus Art Museum, Denmark
www.aros.dk

This solo presentation is one of the most extensive exhibitions of Douglas Gordon’s work in Europe to date and shows a wide selection of the artist’s most important works.

Douglas Gordon, 
Phantom, 2011 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2020

Douglas Gordon, Monster, 1996–97 © Studio lost but found/VG Bild-Kunst, Bonn 2019

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Mask
In Present-Day Art

September 1, 2019–January 5, 2020
Aargauer Kunsthaus, Aarau, Switzerland
www.aargauerkunsthaus.ch

This exhibition explores how the subject of the mask is being addressed in contemporary art. Interest in masks among contemporary artists focuses not just on the mask as an object but also, and in particular, on its social, cultural, and political implications. Work by Theaster Gates, Douglas Gordon, and Cindy Sherman is included.

Douglas Gordon, Monster, 1996–97 © Studio lost but found/VG Bild-Kunst, Bonn 2019

Douglas Gordon, Psycho Hitchhiker, 1993 © Douglas Gordon/VG Bild-Kunst, Bonn, 2019

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Douglas Gordon in
Hey Psycho!

May 9–November 24, 2019
Arsenale Institute for Politics of Representation, Venice

This exhibition looks at the work of two artists, Douglas Gordon and Florian Süssmayr, who share common backgrounds in film, music, and art, independent of national interests, in the historic context of Venice. Notably, Gordon’s film installation 24 Hour Psycho (1993) is viewable from the Riva dei Sette Martiri, between the Arsenale and Giardini, day and night. The show also includes new neon and sprayed texts and sculpture by Gordon. Pink neons in the windows, visible from afar, with the words “non-stop,” reflect on the uncontrollable nature of psychosis and obsession.

Douglas Gordon, Psycho Hitchhiker, 1993 © Douglas Gordon/VG Bild-Kunst, Bonn, 2019

Douglas Gordon, Feature Film, 1999 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

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Douglas Gordon
Feature Film

April 29–September 1, 2019
Tate Modern, London
www.tate.org.uk

On view at the Tanks at Tate Modern, London, Douglas Gordon’s Feature Film (1999) focuses intimately on the hands and facial gestures of conductor James Conlon while he conducts the orchestra of the Opéra National de Paris in performing the haunting soundtrack of Alfred Hitchcock’s Vertigo (1958).

Douglas Gordon, Feature Film, 1999 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

Douglas Gordon, Self Portrait of You + Me (2 piece Andy), 2008 © Studio lost but found/VG Bild-Kunst, Bonn, 2019

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Douglas Gordon in
Fire: Flashes to Ashes in British Art 1692–2019

June 15–September 1, 2019
Royal West of England Academy, Bristol
shop.rwa.org.uk

The show examines how artists’ approach to the subject of fire has changed over time, recording historical, religious, domestic, and natural events. This exhibition is the third in a series of element-themed exhibitions at the RWA, bringing together a number of important historic, modern, and contemporary artworks. Work by Douglas Gordon is included.

Douglas Gordon, Self Portrait of You + Me (2 piece Andy), 2008 © Studio lost but found/VG Bild-Kunst, Bonn, 2019

Douglas Gordon, The Making of Monster, 1996 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

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Douglas Gordon in
Talking Heads: Contemporary Dialogues with F. X. Messerschmidt

March 8–August 18, 2019
Belvedere, Vienna
www.belvedere.at

Taking Franz Xaver Messerschmidt’s famous “character heads” as its starting point, this exhibition takes a look at extreme psychological states depicted in images of faces or busts. What endures in our “facial society” beyond the realm of Facebook and selfies? To answer this question, this show juxtaposes Messerschmidt’s sculptural heads with works by contemporary artists. Work by Douglas Gordon is included.

Douglas Gordon, The Making of Monster, 1996 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2018 and © Philippe Parreno

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Douglas Gordon in
Foot et monde arabe: La révolution du ballon rond

April 10–July 21, 2019
Institut du Monde Arabe, Paris
www.imarabe.org

This exhibition examines football as a key to understanding the political and social issues structuring the Arab world. The show, whose title translates to Football and the Arab World, includes ephemera, photographs, documentaries, interviews, and contemporary art. Work by Douglas Gordon is included.

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn, Germany, 2018 and © Philippe Parreno

Douglas Gordon, August 12, 1999, 2011 © Studio lost but found/VG Bild-Kunst, Bonn 2019

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Fly Me to the Moon
The Moon Landing: 50 Years On

April 5–June 30, 2019
Kunsthaus Zurich
www.kunsthaus.ch

This year marks the fiftieth anniversary of the first moon landing, and this exhibition explores the history of artists’ engagement with the moon via some two hundred works. Divided into thematic sections, the show focuses on subjects such as lunar topography, moonlit night, the moon’s shadow, ailments associated with the moon, zero gravity, and the moon as mass-media phenomenon. Work by Douglas Gordon and Andy Warhol is included.

Douglas Gordon, August 12, 1999, 2011 © Studio lost but found/VG Bild-Kunst, Bonn 2019

Douglas Gordon, New Colour Empire, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

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Douglas Gordon in
O tempo mata: Imagem em movimento na Julia Stoschek Collection

March 21–June 16, 2019
Sesc Avenida Paulista, São Paulo
www.sescsp.org.br

This exhibition, whose title translates to Time Kills, brings together works by seventeen artists from the Julia Stoschek Collection who work with film and video. Covering more than six decades of audiovisual production, the show focuses on themes such as race, visual culture, gender identity, media circulation, and the role of artists in society. Work by Douglas Gordon is included.

Douglas Gordon, New Colour Empire, 2006 (still) © Studio lost but found/VG Bild-Kunst, Bonn 2019

Installation view, I to Eye, Israel Museum, Jerusalem, June 27, 2018–April 2019. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2018

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Douglas Gordon in
I to Eye

June 27, 2018–April 27, 2019
Israel Museum, Jerusalem
www.imj.org.il

Every day we encounter family members, friends, visitors, and strangers and over the course of our lives, our social circles continues to expand. Modern technology makes us feel more connected than ever, allowing us to “meet” an endless number of friends at any time through our screens and to feel like we are never alone—but are we? This exhibition uses artworks to examine the changing social landscape of the virtual age, illuminating the importance of real relationships in our lives. Work by Douglas Gordon is included.

Installation view, I to Eye, Israel Museum, Jerusalem, June 27, 2018–April 2019. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2018

Urs Fischer, Mr. Flosky, 2001–02 © Urs Fischer

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How to See [What Isn’t There]

September 9, 2018–March 17, 2019
Langen Foundation, Neuss, Germany
www.langenfoundation.de

How to See [What Isn’t There] brings together works from the Burger Collection Hong Kong by thirty-two artists from around the world. The exhibition features forty-five works including sculpture, installation, painting, photography, video, VR, and performance. The artists and works that have been selected for this exhibition highlight and blur the lines between presence and absence. Work by Urs Fischer and Douglas Gordon is included.

Urs Fischer, Mr. Flosky, 2001–02 © Urs Fischer

Douglas Gordon, Play Dead; Real Time, 2003 © Studio lost but found/VG Bild-Kunst, Bonn

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Douglas Gordon in
Bauhaus und die Fotografie: Zum Neuen Sehen in der Gegenwartskunst

December 7, 2018–March 10, 2019
NRW Forum, Düsseldorf, Germany
www.nrw-forum.de

The Staatliche Bauhaus played a key role in twentieth-century design and art. This exhibition brings together works that represent the “new vision” of Bauhaus practitioners alongside pieces by contemporary artists. Photographs, sculpture, and video installations enter into a dialogue with the objective photography of the Bauhaus decade. Work by Douglas Gordon is included.

Douglas Gordon, Play Dead; Real Time, 2003 © Studio lost but found/VG Bild-Kunst, Bonn

Douglas Gordon, Looking down with his black, black, ee, 2008 © Studio lost but found/VG Bild-Kunst, Bonn 2018

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Elisabeth Frink
Humans and Other Animals

October 13, 2018–February 24, 2019
Sainsbury Centre for Visual Arts, Norwich, England
scva.ac.uk

Elisabeth Frink: Humans and Other Animals reappraises the work of an important British sculptor in the largest exhibition since her death in 1993. The show provides new perspectives on the key themes found in her oeuvre, juxtaposing and connecting her work with ancient art and with works by contemporary artists and other modern masters. Work by Douglas Gordon and Pablo Picasso is included.

Douglas Gordon, Looking down with his black, black, ee, 2008 © Studio lost but found/VG Bild-Kunst, Bonn 2018