Marc Quinn

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'Marc Quinn - Making Waves' UK Cinema Release
16 July 2015 – 30 November -0001

MARC QUINN – MAKING WAVES is a fascinating documentary about a year in the life of one of the UK’s most interesting, celebrated, and controversial artists, MARC QUINN. Shot by Quinn’s long time friend and collaborator, the BAFTA and Grierson documentary award winning director GERRY FOX, (who made the critically acclaimed South Bank Show about Marc Quinn in 2000) Making Waves delves into the very nature of creativity, art, inspiration, fame and, following its selection in the 2014 London Film Festival, celebrates its 2015 theatrical release with the following screenings and Q&As with Quinn and Fox:July 16th London, Bertha DocHouse, Bloomsbury at 7.30pmJuly 17th London, White Cube, BermondseyJuly 20th Hackney Picturehouse at 6.45pmJuly 21st London ICA at 8.50pmJuly 22nd London, East Dulwich Picturehouse 8.40pmJuly 23rd Cambridge Picturehouse at 6.45pmJuly 25th Manchester, HOME at 4.10pmJuly 26th London, Gate, Notting HillAugust 19th Liverpool, FACT

The Toxic Sublime
Solo Exhibition
15 July 2015 – 13 September 2015
White Cube (London)

White Cube is pleased to present an exhibition of new work by Marc Quinn. This exhibition, Quinn’s first at White Cube London since 2010, includes two new bodies of work and is the culmination of two years of investigation into natural phenomena and our distanced and complex relationship with the environment. ‘The Toxic Sublime’ series are distorted, three-dimensional seascapes that blur the boundaries between painting and sculpture. They begin with an inherently contradictory artistic gesture whereby Quinn submits a photograph on canvas of a sunrise to a process of aggressive alteration. The degraded seascapes are finally bonded to a sheet of aluminium, to be pummelled and contorted by Quinn to create sculptural hybrid objects that not only exhibit the formal elements of classical landscape painting but also are suggestive of something wrecked, as if a pictorial remnant discarded from some kind of physical disaster. Alongside these paintings, a new series of sculptures, minimal arcs in stainless steel and white concrete, including one measuring over 7m long, form part of a body of work titled ‘Frozen Waves’. These primal, gestural shapes originate from the remnants of shells, eroded by the endless action of the waves. In the moment before they disappear and become sand, all conch shells end up in a similar form – an arch that looks like a wave, as though an unwitting self-portrait by nature. With titles referencing the science of fluid dynamics, Quinn captures this ancient action of time and tide using the most recent three-dimensional technology. Copied and extracted on different scales, and then cast in stainless steel or concrete, the result appears like a sculpture of a wave yet also something primordial and ambiguous, mined from the depths of time; a reminder that the forces that shape nature are more powerful – and will last longer – than us, however much we interfere with the planet. Elegant and minimal, they point to a magical material transformation: the crystallisation of movement into form.

History Painting
Solo Exhibition
01 May 2015 – 17 June 2015
BOX, Berlin

This exhibition marks Quinn’s first solo show in Berlin and brings together tapestries, sculpture and new paintings. Each body of work is concerned with conflict and its representation in the mass media, questioning the way imagery has the power to both depict and shape conflict. What unites these works is that they are all related to Quinn’s interest in how images, particularly images of the mass media, develop a life of their own once they are being disseminated on a large scale. For centuries the genre of history painting was regarded as the highest and noblest form of art. Typically, the scenes depicted celebrate the virtues, the power and the rule of the patron who commissioned them. History paintings were hung on the walls of castles, so as to reinforce the status of the person in power. Quinn’s tapestries invert this logic. The riots depicted in ‘The Creation of History’ series draw upon uprisings, which developed from the bottom-up, rather than being imposed by a ruler. Furthermore, unlike traditional history paintings, Quinn’s tapestries are not hung on a wall but lie on the floor. They are made not only to be looked at, but to be walked on. As they are walked upon, they erode over time, just as stories in the news eventually fade away into distant memory. “One thing that really strikes me”, Quinn says, “is that, never mind how horrendous a news headline might be, eventually it will be forgotten. In other words: the tapestries are also about history as memory.” This exhibition reminds us how the whole world continues despite the terrible things taking place at the same time. And they suggest that, at the end of the day, even the cruelest of events eventually become footnotes in history.

HUMAN REPRODUCTION - Art Central Hong Kong 2015
Group Exhibition
13 March 2015 – 16 March 2015
Central Harbourfront Hong Kong

‘Human Reproduction’ was launched in January of 2015 at Art Stage Singapore. It is an artist-led initiative conceived by Marc Quinn to exhibit limited edition works and multiples as a collective.Artists include Taner Ceylan, Jake and Dinos Chapman, Zhang Huan, Henry Hudson, Gary Hume, Polly Morgan, Jason Shulman, Marc Quinn and Jonathan Yeo. This exhibition at Hong Kong's exciting new fair was launched by the founders of ART HK - Art Central.

HUMAN REPRODUCTION - Art Stage Singapore 2015
Group Exhibition
22 January 2015 – 25 January 2015
Marina Bay Sands

January 2015 sees the launch of artist-led initiative 'Human Reproduction', conceived by Marc Quinn to exhibit limited edition works and multiples as a collective. Exhibiting artists include Taner Ceylan, Jake and Dinos Chapman, Zhang Huan, Henry Hudson, Gary Hume, Polly Morgan, Jason Shulman, Marc Quinn and Jonathan Yeo. The show includes works from established and emerging artists, bridging the gap between studio and collector and providing an opportunity to introduce new, early collectors to the artists and their works.

'Marc Quinn - Making Waves' feature length documentary
16 October 2014 – 19 October 2014
British Film Institute (BFI)

“Recording one year in the life of artist Marc Quinn, this energetic documentary delves into the nature of creativity. Given unprecedented insight into an artistic practice that zips around the globe, from new work in New York and a reworking of the Alison Lapper sculpture in Venice to a display at the Chelsea Flower show and many other stops along the way, Gerry Fox has an obvious rapport with his subject. This intimacy, coupled with an on-the-fly filmmaking style, enable us to be present for the genesis of ideas that will later become artworks, as well as personal epiphanies such as Quinn’s spontaneous conversion to veganism. The film also has a keen eye for the absurdities of the art world, which Quinn treats with a zen parity, whether it’s hanging with Lionel Richie, casting for models in a tattoo convention or meeting the Queen.”Kate Taylor, Programmer & Acting Programme Manager, Festivals Department, 58th BFI London Film Festival – 8th -19th October 2014.

Alexander McQueen - Paris RTW - Spring/Summer 2015
30 September 2014 – 30 September 2014
La Garde républicaine, Paris

‘Etymology Of Desire’ and ‘Prehistory Of Desire’ (2010) form the centrepiece of the Alexander McQueen women's ready-to-wear Spring/Summer 2015 show in Paris Fashion Week. Cast from real flowers and parading, as Quinn puts it “the overwhelming sensuality of the natural world, whose life force is one of pure desire”, the orchids meditate on the human obsession of ideal beauty, achieved through the manipulation, modification and control of nature.

Violence and Serenity
Solo Exhibition
12 September 2014 – 30 November 2014
CAC Málaga, Centro de Arte Contemporáneo

This exhibition at CAC Málaga includes a selection of new and recent works that continue Quinn's investigation into some of the key concerns of our age. The exhibition will centre around a new body of work entitled ‘The Toxic Sublime', distorted landscapes that blur the boundaries between painting and sculpture. In the 'Creation of History' series, which comprises oil paintings on canvas and jacquard tapestries, Quinn again returns to an ancient form of art, the history painting, but brings it right into the present day by focusing on how our subjective response to and collective memory of contemporary events can create our historical past. In these works, Quinn selects familiar media images of recent conflict – such as images of masked rioters in Istanbul, protestors in Rio de Janeiro, and anti-austerity demonstrators in Greece – and repaints them as large-scale canvases. Quinn's tapestries are an almost literal manifestation of the notion of history as an interweaving of different threads or stories, as well as a modern-day, analogue version of the pixelated, media image. His recent series of concrete sculptures such as Id (2012), Zombie Boy (City) (2011) and The Beauty of Healing (2014) depict contemporary anti-establishment figures such as rioters in masks, 'hoodies' or tattooed travellers. In Life Breathes the Breath (Inspiration) (2012), Quinn uses a process of orbital sanding and lacquering bronze to portray himself as a Buddha-like glowing figure, sitting cross-legged on the floor, dressed in the uniform of urban youth – jeans, hoodie and a cap – contemplating an upturned skull as if looking straight into the abyss of his own mortality. These notions of mortality, flesh and death as well as the concerns of still life as memento mori are continued in both the 'flesh painting' series and the new 'carving' sculptures formed from different types of precious stone.The 'flesh paintings' point to one of Quinn's most consistent themes: our reliance on and relationship to nature and to our own mortality. In these works, animal flesh is painted in close-up, creating purely abstract works that emphasise the beauty of nature's own patterning but, at the same time, bringing the viewer face to face with their own fears and repulsion from death. Similarly, in The Invention of Carving (2013), a sculpture of an oversized Spanish Serrano ham in pink onyx inspired by the meat sculptures of the Ch'ing dynasty (1644-1911), Quinn marries the idea of our appetite for food with our appetite for art, questioning both their evolution and mutual correlation. 

Beyond Limits 2014, Sotheby's at Chatsworth
Group Exhibition
08 September 2014 – 26 October 2014
Chatsworth House, Derbyshire

The ninth incarnation of ‘Beyond Limits’ at Chatsworth House opened today with Marc Quinn making a return appearance for the fifth year. 'Bermuda Triangle' is a monumental bronze shell, reproduced from a seashell, using a high-tech 3D printing system. The work is taken from a series of bronzes entitled 'The Archaeology of Art’, which includes 'Spiral of the Galaxy’, exhibited at last year's ‘Beyond Limits’. Of the shells, Quinn has said, “to me they are like the Archaeology of Art, a beautiful, perfect, symmetrical structure made by a tiny brainless creature without a spinal column. They are like a sculpture of time, the spiral a record of the time it has taken for the shell to be made, and the polished mirrored surface always reflecting the present moment.”

Open Air
Group Exhibition
31 July 2014 – 31 July 2017
Yorkshire Sculpture Park (YSP)

On public display until 2020, Yorkshire Sculpture Park (YSP) presents the work of Marc Quinn, one of the leading artists of his generation. Quinn’s ‘Cybernetically Engineered Cloned and Grown Rabbit’, 2004 and ‘Wilder Shores of Desire’, 2011 are part of the Open Air exhibition this summer. Quinn's sculptures demonstrate his interest in the relationship between the natural, the artificial and mutated. Appropriately, in the context of YSP, ‘Cybernetically Engineered Cloned and Grown Rabbit’ and ‘Wilder Shores of Desire’ are sited in a man-made landscape that was conceived as a pleasure ground in the 18th century, overlooking an exotic vista of imported plants and trees. Quinn says: “I’m interested in nature but also the interaction between culture and nature, our mediated relationship to nature and what’s natural.” The display in the Formal Garden continues YSP's commitment to sharing the best of sculpture practice. It forms part of an extensive open air exhibition programme that traces the evolution of sculpture from the modern period, with monumental bronzes by Barbara Hepworth and Henry Moore; through the new generation of artists such as Anthony Caro, minimalism of Sol LeWitt, Land Art interventions by James Turrell, Andy Goldsworthy and David Nash; to present day explorations of form, material and process.

Art Everywhere 2014
Group Exhibition
21 July 2014 – 31 August 2014

‘Art Everywhere’ was a charitable project that flooded our streets with great artworks for a whole summer of art voted for by the public. Across the UK, tens of thousands of posters and billboards saw the nation's favourite British art. Marc Quinn exhibited an image of 'Self' 2006, owned by the National Portrait Gallery. 'Self' was originally conceived by Marc for a solo show in 1991 and was featured in an exhibition from Charles Saatchi’s collection organised that same year. The self-portrait is made from several pints of the artist's own blood which is cast within a mould of his head and maintained in a refrigeration unit. Marc makes a new version of 'Self' every five years. Currently in existence are five ’Self’s’ produced in 1991, 1996, 2001, 2006 and 2011. In 2009 an exhibition at The Beyeler Foundation, ‘Selfs, 1991-2006’, brought the first four of these artworks together for the first time.  

Bad Thoughts - Collection Martijn and Jeannette Sanders
Group Exhibition
20 July 2014 – 11 January 2015
Stedelijk Museum, Amsterdam

Marc Quinn's ‘The Seven Deadly Sins’, 1994 are on display in ‘Bad Thoughts’, a large-scale survey of the collection of Amsterdam collectors Martijn and Jeannette Sanders. During their 42 years of collecting art, the Sanders have never before exhibited their collection on this scale. The upcoming exhibition will be on view in the large lower-level gallery in the new wing, in a special architectural configuration designed by SO-IL architects (New York).

Selected Works from the YAGEO Foundation Collection
Group Exhibition
20 June 2014 – 24 August 2014
The National Museum of Modern Art, Tokyo

'Guess What? Hardcore Contemporary Art’s Truly a World Treasure. 'Selected works from Yageo Foundation Collection' features 75 contemporary works from Taiwan's Yageo Foundation.

Leaping the Fence
Group Exhibition
24 May 2014 – 14 September 2014
Hestercombe House

Marc Quinn exhibits three stills from the series 'Garden2' (2000) as part of 'Leaping the Fence’, a celebration of contemporary art created over the last 25 years. The exhibition will cover diverse art forms ranging from sound, light and film works, to sculpture and digital works on paper. Exploring themes such as the human relationship to landscape and gardens and broader socio-political ideas the show will provide a unique opportunity to engage with thought provoking pieces rarely seen in the South West. Read more:

The Sleep of Reason (Aklın Uykusu)
Solo Exhibition
08 February 2014 – 27 April 2014
ARTER Space for Art, Istanbul

‘The Sleep of Reason’ brings together more than 30 works Marc Quinn has produced since 2000. Presenting the wide range of media and materials used by Quinn, the exhibition features a number of his seminal works along with some of his most recent paintings and sculptures, which will be shown for the first time at ARTER. ‘The Sleep of Reason’ revolves around history, time and space, body and identity related themes, which the artist has been exploring since the 1990s and proposes an investigation into the relationship between nature and culture as well the interaction between art and technology through dependency. The exhibition’s title is inspired by Goya’s etching “The Sleep of Reason Produces Monsters” (from the series of aquatint plates entitled “Los Caprichos”, 1799). In the etching, the artist represents himself sleeping, surrounded by the products of his own imagination, monsters and nightmares. Named in reference to this etching and departing from its moral and historical context, Marc Quinn’s exhibition at ARTER proposes an extension of our perception towards the realm of the immaterial or that of the invisible by connecting the particular to the universal and challenging our framing of reality. Art theorist Selen Ansen has devised the exhibition around the theme of the “threshold”, as a passageway and as a space of reversibility between internal and external: the historical and abstract notions which refer to the categories that shape our understanding of the world, as well as our relationship to the Other in the construction of our selves.

INTERACT: Deconstructing Spectatorship, East Wing Biennial exhibition
Group Exhibition
25 January 2014 – 04 June 2015
Courtauld Insitute

INTERACT: Deconstructing Spectatorship will seek to challenge pre-existing, traditional and even new perceptions of viewers and their place. A conceptually-driven exhibition, the eleventh installation in the East Wing Biennial series will once again provide the opportunity for young curatorial minds to work with contemporary artists. Read more:

Held by Desire
Solo Exhibition
08 November 2013 – 04 January 2014
White Cube Limited (Hong Kong)

White Cube Hong Kong present an exhibition by Marc Quinn in which he explores how desire shapes our universe and affects man's relationship with nature. Investigating the boundaries between art, nature and the 'man-made', Quinn asks us to re-examine the world that surrounds us by taking a closer look at its raw and seemingly mystical elements.‘The Architecture of Life (2013)’ is an enlarged bronze sculpture of a Stellaria solaris (Linnaeus, 1764) shell, that was created using 3D scanning technology. The shell is a found object, a complex form that was created by this invertebra for its own protection. Quinn's sculpture seems to collapse time: its exterior, heavily marked by striations, is evidence of the passage of time past, whereas its highly polished, shiny interior suggests something new that reflects the present. Through its enlargement and transformation into sculpture, various questions start to emerge: is art always a man-made creation or is it something that exists in the world, simply waiting to be ‘discovered’ by man?‘Held by Desire (Chinese Juniper 120)’ (2013), is another work that has been developed using 3D scanning technology. The work also uses a natural form, this time that of a 250 year-old Bonsai tree which is part of the artist's own collection of plants. Historically used as a focus for contemplation, the Bonsai tree is, for Quinn, a microcosm of our relationship with nature: one in which human desire attempts to manipulate nature to its own ends, however, ultimately an un-tended Bonsai will return to its natural size and state.Quinn’s continued fascination with flowers is evidenced in the work ‘Stealth Desire (Etymology)’ (2013), a large black painted sculpture of an orchid head. The flower is both threatening and vulnerable since its petals reach out above the viewer but is also simultaneously delicate and beautiful in the exactness of the detailed rendering of the surface veins. At its centre the orchid’s very prominent reproductive system is a reminder that reproduction is the ultimate driving force for all living organisms.The Eye of History’ paintings (2012-ongoing) are a series of works that depict human irises on a magnified scale, with maps of the world superimposed upon them. These works attempt to navigate the interaction between man and the planet. For example, in ‘The Inner Eye (Beginning of the Ice Age)(2013)’, the land mass is painted white as if it were a drifting iceberg, perhaps addressing the debate on how man-made energy sources are constantly impacting on the already shifting surface of the planet.In the painting ‘Past, Present and Future’ (2013), Quinn continues to explore the border between abstraction and representation, the grotesque and the beautiful. Seductively reclining against a background of raw meat, echoing the pose of the female nude in Manet’s ‘Olympia’ (1863), Lara Stone’s gaze challenges the viewer/voyeur. Contrasting with this painting but also sharing the same agitated surfaces, the ‘Before and After Human’ series (2013–ongoing) depicts the powerful churning seawater from which all life has come. The entire cycle of life is present in these paintings as it is in the exhibition as a whole, an attempt to reflect back to us our paradoxical selves in the mirror, controlled and held by our own desires.

Beyond Limits 2013, Sotheby's at Chatsworth
Group Exhibition
09 September 2013 – 27 October 2013
Chatsworth House, Derbyshire

Now in its eighth year, the Sotheby’s annual selling exhibition of monumental sculpture, ‘Beyond Limits’, takes up residence once again in the gardens of Chatsworth House. This six-week showcase is a unique opportunity to see large-scale sculpture from prolific, international artists within the expansive and historic grounds of Chatsworth Estate. Quinn exhibits ‘Spiral of the Galaxy’, 2013, an immense bronze sculpture measuring five metres across and taking the form of a finely detailed seashell. Over 20 sculptures are on show, including work from other British greats - Allen Jones, Thomas Heatherwick and Tony Cragg.

Louis Vuitton ‘Timeless Muses’
Group Exhibition
01 August 2013 – 23 September 2013
Tokyo Station Hotel

The French fashion house Louis Vuitton pays homage to six of its ‘timeless muses’ in a new interactive exhibition in the recently renovated Tokyo Station Hotel. Featuring photography and artefacts from iconic figures including Kate Moss, Catherine Deneuve and Sofia Coppola the exhibition has been designed to reveal the personality of each muse. In tribute to Kate Moss, Vuitton are exhibiting two of Quinn's most well known sculptures of the model - ‘Sphinx’, 2005, and ‘The Road to Enlightenment’, 2006. Quinn's famous depiction of Moss in a contorted yoga pose and as an emaciated representation of Buddha are one of numerous works made in response to the model since 2000. Talking about his interest in the supermodel Quinn says: 'What's intriguing is the way that her and her image have parted company - she has one life and the image has a different one'. Other women featured in the collection include the 19th century French Empress consort Eugénie de Montijo, architect Charlotte Perriand and novelist Françoise Sagan.

Marc Quinn (Fondazione Giorgio Cini)
Solo Exhibition
29 May 2013 – 29 September 2013
Fondazione Giorgio Cini

A major solo exhibition opened at Fondazione Giorgio Cini, on the island of San Giorgio Maggiore, Wednesday, 29 May 2013. Entitled 'Marc Quinn' and curated by Germano Celant, this anthology was one of the artist's largest and most important to date, featuring more than 50 works and including the public debut of more than 15 new works. Included in the show is 'Breath' (2012) - an 11 meter inflatable version of 'Alison Lapper Pregnant', which was the centre piece of London's Paralympic Games' opening ceremony. It stood next to the Church of San Giorgio Maggiore, to welcome visitors to the foundation.The exhibition marked a return of the artist to Venice, following his 2003 show at the Peggy Guggenheim Collection, 'The Overwhelming World of Desire', and highlights Fondazione Giorgio Cini’s growing interest in contemporary art. Quinn described the exhibition as “an exploration of our relationships to our bodies and to the physical and cultural world around us. What it means to live in a world both real and virtual.”In tandem with this exhibition, a landmark publication entitled 'Marc Quinn Memory Box', edited by Germano Celant, will be published on the occasion of the show by Skira. The 520-page, English-language publication will include a conversation between Quinn and Celant and historical interviews with Quinn dating back to 1994.

Chelsea Flower Show 2013
Solo Exhibition
21 May 2013 – 26 May 2013
Royal Horticultural Society (Chelsea Flower Show)

For the first time in the RHS Chelsea Flower Show’s 100-year history the RHS has collaborated with an artist to create an installationMarc Quinn’s ‘The Rush of Nature’ was auctioned in association with Sotheby’s to help raise £1M for the next generation of horticulturists. With flowers and plant life featuring so prominently in his art, Quinn created the installation to celebrate the garden as an artistic medium. Speaking about the collaboration, RHS Director General, Sue Biggs, said: “Marc Quinn is one of the most exciting and celebrated contemporary artists today. We are honoured he has created this amazing piece of artwork for us to help the future of horticulture. Quinn said: “The Chelsea Flower Show has provided flowers and inspiration for my work for many years. To create a garden there is something of a dream come true for me. Especially as it will help such an important cause: our relationship to plants and nature is one of the most important things in all of our lives.”

All the Time in the World
Solo Exhibition
04 May 2013 – 29 June 2013
Mary Boone Gallery

‘All the Time in the World’ presents four new large-scale bronze sculptures and one oil-on-canvas work. Part of Quinn’s 'The Archaeology of Art' series, the sculptures take the form of finely detailed seashells that highlight the beautiful, symmetrical and yet perfectly natural forms which, almost implausibly, are made by forces of nature at the bottom of the sea. Quinn says: "To me, looking at these natural forms is like looking at the archaeology of art. Even though these creatures have no self-awareness, they create what we see as amazingly beautiful things, which is what makes the collaboration so interesting. I feel like I'm working alongside a creature from the beginning of time, and the beginning of art, and that therefore, somehow, these shells are about time travel. To me they are actually sculptures of the space-time continuum. By that I mean you have the rings on the outside of the shell, which look and act like the rings of a tree - showing the past of the object - and at the same time, the rings are to me like a map of the turning of the world. Then, on the front surface, you have the highly polished, reflective part, which is of course always in the present moment. This surface is always reflecting the now, and so together the form of the shell is like a found structural diagram of how the present becomes the past."

'Planet' at the Gardens by the Bay, Singapore
Solo Exhibition
18 January 2013 – 31 December 2017
Gardens by the Bay, Singapore

Marc Quinn's monumental 2008 sculpture ‘Planet’ has been donated for permanent display at the Gardens by the Bay in Singapore. The work, which depicts Quinn’s son as a sleeping baby and appears to hover above the ground, has previously been shown to great acclaim in the ‘Beyond Limits’ exhibition of contemporary sculpture at Chatsworth House in 2008 and in his 2012 exhibition ‘The Littoral Zone’ at the Musée Océanographique in Monaco.Quinn said, on the occasion of the unveiling, "To me, ‘Planet’ is a paradox - hugely heavy, yet the bronze appears weightless; overwhelmingly big, yet also an image of vulnerability. It is both a reflection of ourselves and the earth upon which we live.”Dr Kiat W. Tan, CEO of Gardens by the Bay, said, “The new addition, ‘Planet’, marks the latest step in Gardens by the Bay’s efforts to continuously enhance our offerings, adding an aesthetic dimension to our horticultural displays. It is our hope that the sculptures in the Gardens will engage and inspire visitors towards an appreciation of art.”An integral part of Singapore’s ‘City in a Garden’ vision, Gardens by the Bay spans a total of 101 hectares in Singapore’s Marina Bay. Comprising three waterfront gardens it is a showcase of horticulture and garden artistry that will bring the world of plants to Singapore and present Singapore to the world.

Big Wheel Keeps on Turning ()
Solo Exhibition
25 October 2012 – 16 December 2012
Multimedia Art Museum. Moscow

‘The Big Wheel Keeps on Turning’ is the story of the planet and everything that lives on it. It is our lives in time. Like the spiral of a shell, the world is in constant revolution. - Marc Quinn.This exhibition was the first large-scale presentation of Marc Quinn’s art in Russia, and the exhibition content offers a comprehensive overview of how his creative work has developed and transformed over the last twenty years. Olga Sviblova, Director of the Multimedia Art Museum in Moscow said, “Whether it is sculpture, painting or art installation – in all his creations Marc Quinn examines elementary questions of the universe, and the principles by which man exists in this world”.

FIAC 2012
Group Exhibition
24 October 2012 – 07 November 2012
Jardin des Tuileries, Paris

With ‘The Origin of the World (Cassis Madagascariensis) Indian Ocean, 310’, Marc Quinn presents a realistic shell cast in bronze, 3 meters high. The title of the work refers to the emblematic painting by Gustave Courbet ‘L’Origine du Monde’, 1866, and invites the observer to perceive the work as a monumental symbol of a woman’s sex. Quinn refers to the history of art and its masterpieces; indeed the artist alludes to Sandro Botticelli’s ‘The Birth of Venus’, c. 1485, which represents the birth of the goddess of love, escaping gently from a shell as she arises from the sea foam. As a witness of a disturbed era, the work illustrates the need to find retreat in a close and protective environment, expressed by the use of round and soft shapes.

The Paralympic Games Opening Ceremony 2012
29 August 2012 – 29 August 2012

An inflatable replica of the iconic sculpture 'Alison Lapper Pregnant' took centre stage at the London 2012 Paralympic Games' opening ceremony. It is a portrait of disabled artist Alison Lapper when she was eight months pregnant. Alison Lapper, the subject of the piece, said: “I regard it as a modern tribute to femininity, disability and motherhood. It is so rare to see disability in everyday life – let alone naked, pregnant and proud.”

The Littoral Zone
Solo Exhibition
12 May 2012 – 15 October 2012
Musée Océanographique de Monaco

‘The Littoral Zone’ exhibition includes sculptures, paintings and installations by the artist which will be shown throughout the museum, alongside its collection of marine specimens and underwater fauna, setting up a fascinating dialogue between art and science. Over 60 works by Marc Quinn will be shown both inside and outside the museum including new works such as the ‘The Origin of the World (Cassis madagascariensis) Indian Ocean, 310’, a huge three meter bronze shell, new underwater paintings from the series ‘The Zone’ and the unveiling of the latest version of Marc Quinn's Self sculptures, ‘Self’ 2011. Other pieces in the show include ‘Planet’, a 10 metre bronze baby and a series of burning sculptures, which thanks to new technology, can burn with real fire inside the museum without a flue. The relationship between art and science is explored both in the museum collection and the artist's work.

Brave New World
Solo Exhibition
28 March 2012 – 19 May 2012
Galerie Thaddaeus Ropac, Salzburg

Marc Quinn: All of Nature Flows Through Us
Solo Exhibition
21 January 2012 – 29 April 2012
Kunsten - Museum of Modern Art Aalborg, Denmark

Marc Quinn’s first solo show in Denmark, 'All of Nature Flows Through Us' presents large-scale sculptures and paintings from the period 2000 to 2011.In this show Quinn uses a startling array of materials, ranging from the traditional (such as marble and bronze) to the untraditional (for example, blood and fire).He regards art as a concrete philosophy and his motif world explores the major issues of life and death, gender and transformation, identity, and the icons of our contemporary world.

Beyond Limits 2011, Sotheby's at Chatsworth
Group Exhibition
16 September 2011 – 30 October 2011
Chatsworth House, Derbyshire

Sotheby's annual selling exhibition of monumental sculpture returned to Chatsworth for its sixth installment in 2011, with an extraordinary line up of artists, many of whom have never been shown at this magnificent location in the Peak District before.Quinn has a new sculpture on display 'Burning Desire', a four-meter high blood red orchid.Image reproduced by permission of Sotheby's.

Penelope's Labour - Weaving Words and Images
Group Exhibition
31 May 2011 – 15 September 2011
Fondazione Giorgio Cini, Venice

Quinn understands that "tapestry is a medium which joins two worlds - the medieval world and ours” but through a renewed interest in formal reproduction. For Quinn, the woven “knots are like pixels”, where tapestry become “like a sculpture of a painting”, created from digital data that provides the DNA of the final image.Weavings from the Fondazione Giorgio Cini Collection shown alongside new woven works by Marc Quinn and also Azra Aksamija, Lara Baladi, Alighiero Boetti, Maurizio Cattelan, Manuel Franquelo, Carlos Garaicoa, Craigie Horsfield and Grayson Perry.

Marc Quinn: All of Nature Flows Through Us
Solo Exhibition
22 May 2011 – 09 October 2011
Kistefos-Museet, Norway

The Kistefos Museum is proud to present the first solo exhibition in Scandinavia of the work of British artist Marc Quinn. ‘All of Nature Flows Through Us’ reflects the artist’s further investigation into themes of inner nature and spirituality. It also showcases new sculptures and paintings by the artist alongside previous works.

MARC QUINN 33°53′13″N 35°30′47″E
Solo Exhibition
26 September 2010 – 09 October 2010
The Platinum Tower, Beirut

Beirut, Lebanon

Group Exhibition
10 September 2010 – 28 November 2010
Kiasma, Museum of Contemporary Art / Finnish National Gallery

‘Cream’, Kiasma's main exhibition in 2010, will present contemporary art mainly from private Finnish collections.Private art collectors play an important role in this exhibition. Collecting contemporary art is increasingly common in Finland, and the exhibition offers a rare opportunity to peek into the collections of Finnish art collectors.The central theme of ‘Cream’ was Young British Artists, or YBA, a group that dominated British art in the 1990s. Most of the works shown were on loan from Finnish private collections, which were found to contain plenty of really interesting British art.

Group Exhibition
01 September 2010 – 01 October 2010
Gloucester Cathedral

Crucible, an exhibition of 20th and 21st century sculpture held in, around and even underneath Gloucester Cathedral.

Realismus: Das Abenteuer der Wirklichkeit (Realism: The Adventure of Reality)
Group Exhibition
11 June 2010 – 05 September 2010
Kunsthalle Hypo-Kulturstiftung Munchen

Allanah, Buck, Catman, Chelsea, Michael, Pamela & Thomas
Solo Exhibition
06 May 2010 – 02 July 2010
White Cube Art LLP (London)

White Cube Hoxton Square presents a new body of work by British artist Marc Quinn. Entitled 'Allanah, Buck, Catman, Chelsea, Michael, Pamela and Thomas', the exhibition brings together new sculptures executed in marble, bronze and silver, depicting people who have undergone extreme levels of plastic surgery and transformation including hormone therapy, tattoos, piercing, skin bleaching, hair dying as well as implants and transplants.Quinn has always been interested in the public's obsession with the body, its perfections and flaws, and how this obsession has led some people to alter their bodies in increasingly extreme ways. 'The Complete Marbles' series was an investigation of 'imperfect' bodies, and in 'Evolution', he examined the point when one's physical identity begins to emerge. Quinn's new sculptures, as Joachim Pissarro has noted in his catalogue essay to accompany the exhibition, are portraits of people who “exemplify a disconnect between body and soul” and who “open up a provocative new chapter in [Quinn's] exploration of the relationship between corporeality and spirituality - fundamentally addressing the notion of identity by asking: is one more or less one's self after cosmetic surgery?”Quinn's new models range from characters such as the tabloid favourite 'Catman' (Dennis Avner, who has been tattooed to look like a cat) and 'the pregnant man' (Thomas Beatie) to niche porn stars such as Buck, a 'man with a pussy', and Allanah Starr, a man who has changed her body into the idealisation of femininity even though she also has a penis. Although all modelled from life, these bodies seem to exist beyond the normal boundaries of classification - appearing almost 'trans-gender', or 'trans-corporeal' - throwing the very notion of identity into question, exposing it as a fragile, complex and multi-layered construction, interminably co-existent with their external physical selves.Quinn's portrait sculpture 'Buck & Allanah' depicts the couple standing hand in hand, like a latter day Adam and Eve, striding out into their future as radically altered beings. The sculpture of Thomas Beatie depicts him at full-term pregnancy, shyly bowing his head and cradling his stomach with two hands, appearing like a masculine Virgin Mary, displaying some kind of miraculous conception. Quinn also made sculptures of celebrities. Pamela Anderson is depicted in polished bronze, doubled at the shoulder with an identical alter ego, as if part of a conjoined twin, her face staring at the ceiling in a state of ecstasy. Two large heads of Michael Jackson are carved out of black, white and red marble. The two sculptures work in dialectical opposition - depicting Jackson as he is most well known after numerous surgical interventions, one with a black face, the other white.

Project B Milan, Patricia Low Gallery, Gstaad, Switzerland
Solo Exhibition
12 February 2010 – 04 April 2010

Planet (Microcosmos)
Solo Exhibition
27 November 2009 – 16 January 2010
Galerie Thaddaeus Ropac, Salzburg

‘Planet (Microcosmos)’ is a sculpture made of Sterling Silver, which depicts Quinn’s seven months old son. The sculpture of the baby, which seems to float in space, is based on ‘Planet’, a sculpture of the same baby in gigantic dimensions, 10 meters long and more than 7 tons, which Quinn exhibited in the sculpture park of Chatsworth House last year. The edition now shows the other extreme. With its small size (6 cm) the work emphasises the preciousness and the fragility of the sculpture, the baby, life and the planet.

Solo Exhibition
30 October 2009 – 19 December 2009
Mary Boone Gallery

An exhibition of new paintings by Marc Quinn showed round canvases each depicting in gigantic scale the iris of a human eye – turbulently streaked and spotted, suffused with bright colors, and highly individual. Although photo-realistic, the disembodied images might equally serve as renditions of whirling interstellar space. Recurring themes in Quinn’s work – the body and identity, flesh and the spirit – are examined at their foundation: since pre-Biblical times the eyes have been likened to representations of the soul. Quinn considers the eyes to be “doors of perception… the link between us and the world”. As in the seminal work ‘Self’ from 1991 – in which the artist’s head was cast in his own blood and frozen – these irises show Quinn’s fascination with bringing the inside out. He says “they are like a leakage of the vivid interior world of the body to the monochrome world of the skin”.

Marc Quinn (Goss-Michael Foundation)
Solo Exhibition
24 September 2009 – 23 January 2010
The Goss-Michael Foundation

The Goss-Michael Foundation has partnered with The Rachofsky Collection, one of the world’s foremost private collections, to produce an exceptional survey of Marc Quinn’s sculptural works throughout the last decade. The exhibition brings together a strong array of Quinn’s works dated from 1998 to present.

Solo Exhibition
08 June 2009 – 19 July 2009
Beyeler Foundation

For the first time all of Marc Quinn's ‘blood head’ self-portraits will be exhibited together. Each portrait is a documentation of the artist’s head, as it ages every five years, and so represents a portrait of the artist over a fifteen-year period.The series addresses the meaning of life, its transitoriness, but also the yearning for an eternal afterlife. The sculptures are casts made from the artist’s head, comprising about five litres of his own blood kept in a solid state by remaining frozen at minus 18 degrees Celsius. As a self-portrait, ‘Self’ is the most direct form of artistic statement, as Quinn points out, "it depends on my life to be created – it’s made from the substance of me; and so I think of it as the purest form of sculpture to sculpt your own body, from your own body." A key aspect of ‘Self’ is its dependence on external circumstances, in this case an uninterrupted supply of electricity, without which the head would dissolve. In this sense, the piece becomes a symbol of the dependence of human beings in general. The artist treats this interchange between control and loss of control again and again in other works as well.

Materialise Dematerialise
Solo Exhibition
29 May 2009 – 11 July 2009
Galerie Thaddaeus Ropac, Salzburg

This exhibition comprises a substantial body of new works, shown publicly for the first time. What unites the works in the exhibition is that they all deal with notions of abstractions, in a sense that they contest established conceptions of differences between the virtual and the real.One of the key works of the exhibition - 'Mirage' - is a life-size bronze figure, referencing an image of a prisoner of Abu Ghraib, which went through the media around the globe in 2004. It looks like an image of a veiled Christ, an image of forgiveness as well as a subliminal crucifixion. Also shown for the first time are a series of eye paintings. Eyes are interesting to Quinn because on the one hand, they are a person's individual feature, just like a fingerprint; and yet, when enlarged, they become completely abstract. "So you have this tension of something so concrete and individual and something completely abstract."‘The Kiss’ is also part of this series and references some of the most well known works in art history – August Rodin's and Gustav Klimt's works with the same title. The white marble combined with the fine execution of the sculpture, references idealised representations of the body of ancient Greece. With these aesthetic means, Quinn lets the unusual proportions of the sitters' bodies no longer appear as disabilities. Much rather, he challenges established conceptions of beauty and opens up questions such as: what is it that makes an ideal body? To what extent are our conceptions of physical beauty culturally constructed? "In this series of works", Quinn says, “the sitters are heroes who have conquered their own interior worlds, and yet disabled people are invisible culturally, in art history. I wanted to celebrate them and use the medium in its original way as well." In this sense, Quinn's work challenges our conceptions of normalcy as depicted in art history and beyond, and contributes to an ontology of the body.

Carbon Cycles
Solo Exhibition
29 May 2009 – 31 July 2009
Galerie Daniel Blau

This exhibition is a presention of the series of unique bronze sculptures entitled 'Carbon Cycles'. The subjects of the series are self-portrait casts and skulls surrounded with various fruits and blossoms. “Our time isn’t the only one, so, there’s this aspect of the work that involves freezing flowers, and there’s also this other disambiguation, because when you take a flower and you freeze it, you get this magic trick happening before your very eyes: the flower is now dead but it’s an image of itself as it was alive, at exactly the same scale, taking up exactly the same position in space. ‘The Carbon Cycle Nursery’ both complements this and contrasts with it, since however many completely dissonant and wrong flowers and plants are put together, you always accept it immediately as a real plant and, to me, that suggests that we’re programmed, in a way, to accept evolution.” – Marc Quinn

Solo Exhibition
23 May 2009 – 27 September 2009
Juliet's House

Marc Quinn presents a comprehensive selection of works in an exhibition in Verona that gives the city a prestigious international importance. In the mythological home of Juliet Capulet, his famous works will be displayed alongside a number of unpublished works.

Before, Now and After
Solo Exhibition
27 October 2008 – 29 November 2008
Galerie Hopkins-Custot

Quinn is interested in how different works communicate with each other. He often juxtaposes his work with others but says that not all the works on show in this exhibition are necessarily inspired by the things they’re linked with, although some are.Quinn also relates his work to ancient and prehistoric art. He said that when he started making his flower paintings he wanted them to have a completely flat finish and the way to do this was to use an airbrush to spray the oil paint onto a canvas – which seemed to him like a very modern way to paint. A while later he was flicking through a book of cave paintings and realised that this wasn’t a modern way to paint at all, but a very ancient one, because many of these paintings were made by blowing pure pigment through a straw or a pipe onto the cave walls.These flower paintings, while beautiful, also have a sinister subtext. They are certainly representational, but they are also representational of the nature of cultural and economic affairs. It’s a frozen sculpture or image of globalization: the ability to have flowers flown in from all over the world on the same day.Speaking about Giacometti’s ‘Femme de Venise VI’, Quinn says that because the formal relationship between this and his ‘Faim Assise’ is very close, it’s much more about conceptual differences. With his work, Quinn was interested in how we project our own signification onto a surface. Although they both ended up with similar looking objects there were different motivations behind each work.Another work that draws parallels to historic work is ‘Hoxton Venus’. This is a sculpture of Quinn’s ex-wife when she was pregnant. She put her hair in front of her face when posing and Quinn says that the moment she did that she became a contemporary, urban incarnation of the Venus of Willendorf. The ‘Hoxton Venus’ is very proud and defiant and what interested Quinn was that while the belly and the breasts are vulnerable, concrete imparts enormous strength.Once you engage with time, then you engage with several kinds: your own lifespan, the cultural time you live in, and deep time. This is the point of having a conversation with the art works that have come before, and those that will follow on afterwards. Art is always in the now, and always in the time it was made.

Solo Exhibition
07 October 2008 – 25 January 2009
The British Museum

Quinn presents Kate Moss as a modern-day Aphrodite reminding us that Moss's likeness has become as iconic as the goddesses of the ancient world.Photographs copyright of The Trustees of The British Museum.

Statuephilia: Contemporary Sculptors at The British Museum
Group Exhibition
04 October 2008 – 25 January 2009
The British Museum

‘Statuephilia’ encourages us to look afresh at both modern and ancient art, to explore the similarities as well as differences between eras and cultures, and to remind ourselves of the perennial power of sculpture.The British Museum has one of the world’s most celebrated and diverse collections of sculpture, dating from prehistory to the present day. Since its foundation in 1753, the Museum has consistently engaged with the contemporary world, both in its collecting and its displays.These two themes are brought together in ‘Statuephilia’, for which five of Britain’s leading artists have contributed a sculpture responding to these world-famous collections. Renowned British sculptor Henry Moore spoke of “the delight, the excitement, the inspiration” he received from his visits to the British Museum, and this remains true for the sculptors of today.Antony Gormley and Ron Mueck are represented here by monumental sculptures, Marc Quinn premieres a dazzling gold statue of Kate Moss, while Damien Hirst and Noble and Webster have created provocative new works inspired by the Museum’s collections. These five installations show how our understanding of modern art can be deepened by placing it in an historic, global context and reveal just how relevant the art of the past is to today.

Beyond Limits 2008, Sotheby's at Chatsworth
Group Exhibition
09 September 2008 – 02 November 2008
Chatsworth House, Derbyshire

‘Beyond Limits’, an exhibition of sculpture in the gardens of Chatsworth House in Derbyshire, brings together the work of 20 modern artists including Marc Quinn and Salvador Dali. The annual exhibition is organised in association with Sotheby's.

Marc Quinn (Gana Art Centre)
Solo Exhibition
11 July 2008 – 03 August 2008
Gana Art Center

This exhibition represents 20 of Quinn’s works including new paintings and bronze sculptures. The large-scale sculptures using different materials and powerfully coloured paintings of hyper-realistic manner insist dualism between visuality and materiality.There are three main currents of Quinn’s evolving work represented in this exhibition. Science in general, the impact of advancing technology on our sense of ourselves and his modeling – remodeling and mutating the British supermodel Kate Moss’s body.Quinn said that what was interesting to him about doing the Kate Moss sculptures was that she seemed to be a contemporary deity and that one of the problems we have is that our deities are only inhabited by our desires rather than by anything the deity itself represents, which has some kind of moral, spiritual and metaphysical structure.

Solo Exhibition
25 January 2008 – 23 February 2008
The White Cube

White Cube Mason’s Yard present ‘Evolution’, a major new installation featuring a series of nine monumental sculptures, in fleshy pink marble, that represent the growth of the human embryo and foetus during its gestation. Quinn was prompted to make these works after witnessing the way many viewers reacted with repulsion to his series of figurative sculptures depicting people who are missing arms and legs. He felt the need to confront people with a direct portrayal of their own strange beginnings, the unsettling and barely recognisable shape taken by human life before birth. Developed from scans and factual photographs, these sculptures are biologically accurate but also bring to mind topical issues such as genetics and the manipulation of DNA. Each embryo or foetus appears as if it is emerging out of its raw material before our eyes, struggling in the manner of Michelangelo’s ‘Dying Slaves’, sculpted in the 1520s for Pope Julius II’s tomb in the Vatican. (A point Quinn emphasises by including a huge lump of untouched marble at one end of the gallery.) ‘Evolution’ illuminates the magical nature of human development and celebrates the emergence of life from matter, making visible what is hidden.In the ground-floor gallery, Quinn presented another new series of works: delicate flower sculptures based on hybridised and collaged parts of natural phenomena. Adapted from exotic orchids, fruit, vegetables and flowers, the artist has collaged these real elements together, cast them in bronze and then finished them with a heat treated chrome-plated bronze finish, a luminescent, reflective and highly decorative surface. These works continue to explore Quinn’s interest in our increasingly distant relationship to all things natural, as well as our desire for ever more complex and altered fruit and flora during any time of the year, no matter what the season. Like Quinn’s well-publicised work ‘Garden’ (2000), a walkthrough installation that brought together thousands of frozen flowers in an impossibly perfect botanical situation, these sculptures comment on plant evolution, climate change and global warming. Also included in the ground-floor gallery were four large-scale paintings. Based on photographic still lifes that Quinn sets up in the studio, these works are executed in a hyper-realist manner, reflecting back to us in a larger than life size our appetite for perfection in natural forms.A fully illustrated catalogue, with an essay by Jerry Brotton and an interview with Will Self, accompanied the exhibition.

Solo Exhibition
05 October 2007 – 06 January 2008
Foundation for Contemporary Art

Gathering over forty recent works, DHC/ART’s inaugural exhibition by conceptual artist Marc Quinn is the largest ever mounted in North America and the artist’s first solo show in Canada. Quinn is a central figure within British art whose work is principally concerned with the body’s mutability in time, its physical presence in space and its anxiety within culture. His work also poignantly explores mortality, beauty, kinship and the interplay of art and science.Quinn’s work ranges across a variety of media – from sculpture to painting, drawing and photography – and includes dazzling, if contentious, frozen self-portraits cast from his own head and filled with his own blood to frozen portraits of his infant sons made with their respective placentas and umbilical chords. The latest of these, ‘Sky’, is included in this exhibition.Quinn’s ‘The Complete Marbles’, a suite of sculptural portraits of amputees and disabled individuals in sparkling white marble allude to fragmented Greco-Roman statuary while slyly addressing heroism. Quinn has made DNA portraits of his family and of scientist John Sulston, paintings of improbable gardens, and highly evocative wax castings of people with life-threatening illnesses – ‘Chemical Life Support’ - where the wax is mixed with daily doses of the medications that keep the individuals alive. Another wax portrait of a serene young woman ‘Beauty and the Beast’ is coloured darkly by animal blood.Digitally manipulated animal flesh is the basis for two stunning ‘Mirror Paintings’ on view, as well as for ‘Cybernetically Engineered, Cloned and Grown Rabbit’, a seven foot bronze sculpture, at once comic and melancholy, of a shaped rabbit carcass. Quinn has arrested the decay of flowers by immersing them in sub-zero silicone and made painted bronze sculptures of supermodel Kate Moss in extreme contortions. Other bronzes include a series of human skeletons, among them ‘The Selfish Gene’, which depicts a couple in the throes of love-making.In 2004 Quinn won a major public art commission for the Fourth Plinth: his ‘Alison Lapper Pregnant’, a large marble portrait of a naked, severely disabled and very pregnant woman was installed in London’s Trafalgar Square – a bold and powerful tribute to both disability and motherhood.

Marc Quinn (Scolacium Archaeological Park)
Solo Exhibition
14 July 2007 – 14 October 2007
Scolacium Archaeological Park

Quinn's ‘Totem’ was inspired by the mysterious Moai (statues) of Easter Island and the Sphinx in Gizah.Factum Arte water-jet cut Darth Vader's head in slices of expanded polystyrene from digital information. Once the slices were mounted in the correct order, a silicon mould, reinforced by a metal structure, was produced. The mould was filled with cement mixed with pebbles to produce the final rough texture of the cast.

Solo Exhibition
03 May 2007 – 30 June 2007
Mary Boone Gallery

''In a world without Gods and Goddesses, celebrity has replaced divinity. Do we create images or do images form us? What is interesting to me about Kate Moss is that she is someone whose image has completely separated from her real self and this image has a life of its own. Our problem is: How do we measure ourselves against the impossible infinite virtual world of perfect images? Yoga, the gym, tattooing, are all ways in which we try to anchor ourselves into our bodies or live up to these images in reaction to the virtual disembodied lives we now currently lead. These hollow bronze sculptures, de-materialised by white paint, are like egg- shells or cinema screens to me, sites for the projection of our desire, twisted mirrors to ourselves.'' - Marc Quinn

Solo Exhibition
26 October 2006 – 01 December 2006
Project "B" S.R.L

Marc Quinns work exploits a variety of techniques and media to reflect on the nature of humanity, life and death.

Marc Quinn: Recent Sculpture
Solo Exhibition
29 April 2006 – 27 August 2006
The Groninger Museum

This is the first large-scale museum exhibition of the work of Marc Quinn in the Netherlands. The exhibition will display a selection of new and recent work such as ‘The Complete Marbles’, ‘The Big Bang’, ‘DNA portraits’, work from the Flesh series, and a sculpture for which super-model Kate Moss posed. In 1999 Quinn began on the series entitled ‘The Complete Marbles’, a series of portrait sculptures of people who are missing one or more limbs. The fact that he generated these sculptures in white Italian marble produces an alienating effect. Since the Ancient Greeks, white marble seems to have been reserved for the presentation of an ideal picture of perfect beauty. Nevertheless, white marble sculptures, as handed down to us from antiquity, are often also bruised and battered and miss a limb or two. This is occasionally regarded as an accentuation of perfect beauty rather than a deficiency, as is the case with the missing arms of ‘Venus de Milo’, for example. A major landmark in Quinn’s career occurred when the marble statue of ‘Alison Lapper Pregnant’ was unveiled on Trafalgar Square in September 2005. The model was the pregnant, disabled artist Alison Lapper. The original life-size version of Alison is on display in this exhibition. This series has strong social undertones and can be regarded as a plea for the emancipation of disabled people. 2001 witnessed the creation of the ‘DNA portraits’, whose basis consists of DNA that has been replicated by means of standard cloning technology. A portrait is thus not a copy of the appearance of the person being portrayed, but is actually his genetic code. It is more than true-to-life, it is genuinely alive. The bronze sculptures in the exhibition are based on popped popcorn. In combination with their title ‘The Big Bang’, these works stimulate the discussion from a pop-art perspective on extremely serious topics such as the origins of the universe and the theory of evolution, matters which have again become hot items in society. None of the works presented have been shown in the Netherlands previously. They display the wealth of imagination and layered awareness of one of the most interesting artists of the present day.

Chemical Life Support
Solo Exhibition
21 January 2006 – 26 March 2006

Quinn presented a body of work that explores our distanced relationship with our physical selves through the culturally constructed notion of the 'natural' and its hold on the contemporary psyche. Chemical Life Support included several compelling figurative sculptures of people who keep chronic illness at bay with drugs.

Marc Quinn: 5 Nuevas Pinturas
Solo Exhibition
01 November 2005 – 30 November -0001
Galería Betty Guereta

Chemical Life Support
Solo Exhibition
04 March 2005 – 08 April 2005
The White Cube

Quinn presents a body of work at White Cube, Hoxton Square exploring our distanced relationship with our physical selves through the culturally constructed notion of the 'natural' and its hold on the contemporary psyche.‘Chemical Life Support’ includes several compelling figurative sculptures of people who keep chronic illness at bay with drugs. Each sculpture is cast from polymer wax mixed with the drug that keeps each subject alive. The reclining individual figures are positioned as if at zero gravity, conceived so that they barely touch the floor. ‘Innoscience’, 2004, is a figure of Quinn's own baby son, Lucas, who suffers from a milk allergy; thus the wax has been mixed with the chemically produced milk-free substitute that has been used to sustain him. For the figure of Silvia Petretti, who is HIV positive, the casting wax has been mixed with her required anti-viral drug. Transplant survivor Carl Whittaker's wax mould contains the drug cocktail that keeps his body from rejecting its own organs. To the viewer, these serene bodies seem healthy and whole; only the titles hint at the secret that is contained within their very substance of lives that are precarious and fragile.Quinn's new sculptures develop key ideas that can be traced through his earlier work, such as the 'Eternal Spring' installations where he preserved flowers in their most perfect bloom by plunging them into sub-zero silicone tanks and kept them alive by virtue of 'umbilical' electrical cords. In 'The Complete Marbles', figures of people who had lost limbs or were born without them were carved in marble in the classical manner as a way of re-reading the aspirations of Greek and Roman statuary and their reliance on a perceived, imagined and idealised whole. In this exhibition, Quinn presented two marble heads of a blind man and woman, which appear like any other 'blind' classical sculpture. In this case, Quinn made the blank stone eyes of classical sculpture (which were, of course, once vividly painted) equivalent with the literal limitations of human perception.The sculptures ‘Cybernetically Engineered, Cloned and Grown Rabbits’ recall Quinn's earlier work with DNA, including the portrait of Sir John Sulston, now on show at the National Portrait Gallery. These perfect replicas of disembowelled rabbits are, literally, clones that have been rescaled using a computer. The decision to make the otherwise accurately rendered animals almost human-size gives an oddly anthropomorphizing effect. Conversely, in ‘Cybernetically Engineered Cloned and Nanonised Rabbit’ this same scanned information has been used to produce a miniature silver version, hinting at the realm where science meets myth and legend.

Flesh: Meat Sculptures
Solo Exhibition
08 January 2005 – 26 February 2005
Mary Boone Gallery

‘Marc Quinn: Flesh’ presents 14 new sculptures cast in from the meat of various animals. In this new medium, Quinn's recurring themes of life and death, heroism and suffering and man's physical and psychological boundaries persist to powerful effect.

Solo Exhibition
01 July 2004 – 26 September 2004
Irish Museum of Modern Art

Quinn captures both the beautiful and grotesque nature of raw meat in these paintings of meat. The marbling of the fat and deep red of the veins becomes abstracted by being magnified. Similar to his ‘Labyrinth’ series of fingerprint paintings, which reference portraiture through means of identification, he draws our attention to the wonder of biology and the inherent beauty found within the complex layers of one’s own flesh.Despite the new medium, Quinn's recurring themes - of life and death, heroism and suffering and man's physical and psychological boundaries - persist to powerful effect. Moulded from cuts of meat and cast in bronze and black patina, the works in ‘Flesh’ are formally displayed on plinths to heighten their relationship to art historical figurative sculpture, another defining feature of Quinn's work. Titles such as 'Reclining Figure (Venison)', 2004, 'Torso (Lamb)', 2003, and 'Standing Figure (Beef)', 2004, all evoke classical and modern sculpture.

The Overwhelming World of Desire
Solo Exhibition
03 June 2004 – 30 August 2004
Tate Britain

A giant sculpture of an orchid outside Tate Britain. "Overwhelming World of Desire (Paphiopedilum Winston Churchill Hybrid)".

The Complete Marbles
Solo Exhibition
10 January 2004 – 28 February 2004
Mary Boone Gallery, New York

With these marbles Quinn has taken an inert material, laden with tradition and used it to represent vibrantly living real people. They appear to be fragments, but are in fact portraits of whole people. By bringing these sculptures into a context conditioned by our knowledge of what art should look like they gain a whole other dimension of meaning. The starting point for the marble series came from observing people’s reaction to the classical and neo-classical statuary on display in the British Museum, which, of course, already exists in a condition of mutilation. Quinn began to think that if someone from real life came in who had a similar form, the reaction would be completely the opposite. In this instance, avoidance would replace aesthetic scrutiny. That conceptually became the starting point for the sculpture.Interestingly all of these works were carved in the same town that a lot of the Renaissance and neo-classical statuary came from. There is a direct physical link between the neo-classical perfection of Canova and these marbles. Except, by using “imperfect” bodies, Quinn is bringing into question the very notion of perfection central to the neo-classical project. It’s true also that they express the idea of an idea which itself never really existed, since classical statuary was, after all both complete and painted.Formally these sculptures oscillate between two views, are they whole or are they fragmented? However, emotionally, Quinn says that for him they are very definitely celebrations of wholeness, not evocative fragment. The works are first and foremost portraits of specific people but Quinn thinks that any good work of art works on many levels and reflects what any given person brings to it, so these sculptures will act as metaphors.Lots of Quinn’s works question the Freudian dictum that biology is destiny. ‘The Complete Marbles’ are really about how biology isn’t destiny. All these people have overcome the biological roadblocks in their lives. Marble is the classical material for heroes of ancient times and these people are modern day heroes because they have dealt with their bodies and inner worlds. Their free will has conquered biological destiny and so they become celebratory.

Solo Exhibition
12 July 2003 – 30 August 2003
Power House Memphis

The Overwhelming World of Desire (Phragmipedium Sedenii)
Solo Exhibition
15 June 2003 – 02 November 2003
Peggy Gugenheim Collection

'The Overwhelming World of Desire (Paphiopedilum Winston Churchill Hybrid)' was installed in Venice for the duration of the Biennale in 2003.It is a work without any of the brashness or bombast often associated with large-scale sculptural installations. It has an hallucinatory quality to it: vivid and seductively colourful from the front and back but almost evaporating into thin air as the viewer moves around it, a simple steel line in space.

1 + 1 = 3 (Rainbow Sculpture), Liverpool Biennial 2002
Solo Exhibition
14 September 2002 – 24 November 2002
Camell Laird Shipyard, Liverpool

Marc Quinn's use of the awesome Camell Laird Shipyard across the Mersey in Birkenhead as a site for his latest work, seems typical of the Biennial's regeneration of urban spaces through art and culture.His projection of light through a fine spray of water creates a subtle rainbow between the huge walls of this cathedral-like warehouse, closed down just one year before the installation.

Behind the Mask: Portraits
Solo Exhibition
16 March 2002 – 25 May 2002
Hatton Gallery

Marc Quinn (Tate Liverpool)
Solo Exhibition
01 February 2002 – 28 April 2002
Tate Liverpool

Marc Quinn first gained recognition in 1991 for his sculpture ‘Self’, a life-size cast of his head made from his own frozen blood. His work takes a wide range of forms including painting, drawing, photography and installation. Exploring issues around the human body, mortality, beauty, science and time, he often uses his own body to understand “what it means to materially exist in the world”. Over the last few years he has delved deeper into enigmas of the human condition, questioning ideas of representation by using materials as traditional as marble to focus our attention on the bodies of others, and investigating the essence of life through the use of DNA and blood.This exhibition brings together recent and new work, presented alongside drawings and photographs from the last ten years. Although he has become more ambitious in his use of technology – in ‘Garden’ 2000 for example – Quinn continues to reference traditional art historical genres such as portraiture, landscape and still life.

A Genomic Portrait: Sir John Sulston by Marc Quinn
Solo Exhibition
19 September 2001 – 10 February 2002
National Portrait Gallery

'A Genomic Portrait: Sir John Sulston’ by Marc Quinn is the result of a remarkable collaboration between the artist and the sitter, scientist Sir John Sulston in which Sulston contributed a sample of his DNA to be used by Quinn in the work. The portrait is the first entirely conceptual portrait to be acquired by the gallery and was commissioned with the support of The Wellcome Trust.Quinn has created an intriguing portrait of Sulston, which, whilst abstract in the aesthetic sense, provides us with an exact representation of the sitter, and precisely captures what is unique about him. The portrait presents a detail of Sulston's genome - the "recipe" to make him. A highly reflective frame evokes the clinical atmosphere associated with scientific research, and prompts the viewer to consider their own identity and the personal impact of the Human Genome Project.

Marc Quinn (Fondazione Prada)
Solo Exhibition
05 May 2000 – 10 June 2000
Fondazione Prada, Milan

Marc Quinn’s solo show at Fondazione Prada includes three works displayed for the first time ever: the sculptures ‘Continuous Present’ (2000), a kind of time machine consisting of a reflecting stainless steel cylinder, round which revolves slowly a human skull supported by a metal arm; ‘Group Portrait’ (1999 – 2000), a gallery of sculptural portraits consisting of eight marble figures; and ‘Garden’ (2000), a real botanical garden full of plants and flowers gathered from all over the planet. These are displayed in full bloom, and are potentially eternal – an unreal dimension that cannot exist unless produced artificially. The plants were subjected to a freezing process that maintains them in an immutable state: they can neither grow nor perish. All the plants and flowers are maintained in a state of maximum splendor by being immersed in 25 tons of liquid silicone at a temperature of minus 20 degrees Celsius.

Solo Exhibition
30 May 1998 – 04 July 1998
Gagosian Gallery

‘Incarnate’ displays Quinn's continuing fascination with the exploration of the self, and his talent for creating complex dialogues between material, medium and subject. ‘Incarnate’ is a beguiling statement of the ideas and preoccupations that have inspired Quinn's work to date.

Marc Quinn (South London Gallery)
Solo Exhibition
28 January 1998 – 08 March 1998
South London Gallery

Marc Quinn’s solo exhibition at the South London Gallery will be his first in the UK since his Art Now exhibition at the Tate Gallery in 1995. It is the first ever comprehensive display of his sculptural pieces. The freezing of the fluid moment will be an important theme at the South London Gallery show. The centrepiece of the exhibition will be a life-size cast of the artist in ice, called ‘Across the Universe’. Enclosed in a glass container, rather than melting this sculpture will gradually evaporate. Nothing will remain.

Group Exhibition
18 September 1997 – 28 December 1997
Royal Academy of Arts

The achievements of a generation of young British artists whose original and challenging work has received international acclaim are the focus of this major exhibition. Entitled ‘Sensation’, the show presents work by artists selected from The Saatchi Collection. As well as highlighting the vitality and inventiveness of current British art, the exhibition also demonstrates the commitment that Charles Saatchi has shown in collecting the work of these young artists.This recent explosion of creativity and excitement in the visual arts has not been seen since the emergence of Pop Art in the early 1960s. This current phenomenon was originally identified in the late 1980s through exhibitions in the east end of London, most notably Freeze and Modern Medicine. These exhibitions were organised by a group of young artists who, having just graduated from art school, sought venues that lay outside the traditional institutions of the art world in order to show their work. Since then the energy and ingenuity that many artists have shown in promoting their own work has been one of the factors of their success.The individuality of their work makes it impossible to brand this generation of young artists as a movement, even though many of the artists know and support each other. By showing their work together, which ranges in media from paintings and sculpture to video, photography and ready-made objects, it is possible to appreciate the interaction and shared concerns of their work which can, in turn, be exuberantly humorous or brutally forthright.

Infra-slim Spaces
Solo Exhibition
04 February 1997 – 02 February 1997
Invisible Museum

Blind Leading the Blind
Solo Exhibition
07 July 1995 – 09 September 1995
White Cube Art LLP (London)

Quinn exhibited ‘Blind Leading the Blind’ at The White Cube, Duke Street in 1995, a life-size three-quarter cast of his own body. This sculpture is one of a series of pieces based on the seven deadly sins, entitled ‘Emotional Detox’, in which contorted torsos represent heightened states of both physical and emotional expression.Quinn’s choice of lead as a material for this piece was determined both by the metal’s dense physical properties, and its symbolism. Lead is toxic, yet historically, it was used as a base metal in alchemy and, as such, is associated with a process of transformation—these two associations link to the artist’s personal experience of overcoming a dependence on alcohol.The figure of ‘The Blind Leading the Blind’ is contorted in a state of what might either be ecstasy or agony, with eyes closed, head thrown back and penis erect. As with much of his art, Quinn used a representation of his own body to explore a preoccupation with the mutability of the human form and its ability to encompass different states: the spiritual and the physical, the cerebral and the sexual. Resembling an exposed shell or an anatomical model, the interior of the figure is hollow, and a network of lead rods inside the torso (evidence of the original casting process) look like the veins and arteries of a petrified circulation system. The rough surface, the fractured seams between neck and chest, arms and torso, and the matt dense surface, suggest the vulnerability of a body in crisis. On one level, the sculpture could be interpreted as an ironic comment on male sexuality. However, there are also visual parallels with religious Baroque sculptures such as Gian Lorenzo Bernini’s ‘Ecstasy of St Theresa’ (1645–52), or the work of Austrian sculptor Franz Xavier Messerschmidt. In this sculpture, Quinn used the anatomy of ecstasy to draw out the differences and similarities between states of spiritual and physical abandon. Casting directly from his own body serves to give the work an emotional immediacy, enabling the viewer to identify directly with the artist’s physicality.

Emotional Detox: The Seven Deadly Sins (Art Now)
Solo Exhibition
04 July 1995 – 20 August 1995
Tate Britain

‘Emotional Detox’ is a series of sculptures made of lead and cast from the artist's own body. Detoxification is shown both as an overpowering physical convulsion to rid the body of poisons, and as a psychological battle to gain mental stability. This struggle against dependency involves a painful release as repressed emotions are newly experienced, forced out and sweated through the skin.These sculptures are inspired by a traditional iconography – the seven deadly sins: anger, avarice, envy, gluttony, lust, pride and sloth. They are not, however, direct representations of those vices. Instead, the busts convey the impact of a body grappling with conflicting responses and venting powerful emotions.Perhaps unexpectedly, considering the pressure and intensity they embody, the figures evolved through stages of disciplined preparation rather than abandoned outpouring. Quinn used photographs and collaged drawings to select poses and combine body sections; not all couplings of head and torso belong to the same casting session. His performance and method was thus different from the mescaline-influenced, self-portrait snapshots (mini-performances staged in a station photobooth) used by Arnulf Rainer as a basis for his ‘face farce’ drawings of the late 1960s and 1970s. Quinn’s controlled excess emulates more closely the ‘character heads’ made by Franz Xaver Messerschmidt in the late eighteenth century, some of which were also cast in lead. The results of a more time-consuming process than Rainer’s swift scribbling, Quinn’s sculptures pose a question of whether facial contortions can authentically convey fleeting inner sensations, or whether their features express no more than frozen muscular reflexes. He has created a complex dialogue between his material, subject and medium that is rich in association and vibrantly direct.