Installation view with visitors and works by Slavs and Tatars, Brine & Punishment, 2019 (front) and Pickle Tits, 2018 © 2020 Museum Tinguely, Basel; photo: Nicolas Lieber

Installation view with visitors and works by Slavs and Tatars, Brine & Punishment, 2019 (front) and Pickle Tits, 2018 © 2020 Museum Tinguely, Basel; photo: Nicolas Lieber


Installation view with visitors  ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Nicolas Lieber

Installation view with visitors ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Nicolas Lieber


Museum Tinguely with Schwimmwasserplastik by Jean Tinguely in the Solitude Park (view from the west) © 2020 Museum Tinguely Basel, photo: Nicolas Lieber Daniel Spehr

Museum Tinguely with Schwimmwasserplastik by Jean Tinguely in the Solitude Park (view from the west) © 2020 Museum Tinguely Basel, photo: Nicolas Lieber Daniel Spehr


Installation view with Janine Antoni, Lick and Lather, 1993 (left) and Mortar and Pestle, 1999 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with Janine Antoni, Lick and Lather, 1993 (left) and Mortar and Pestle, 1999 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with the works by Dennis Oppenheim, Gingerbread Man, 1970 (front) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with the works by Dennis Oppenheim, Gingerbread Man, 1970 (front) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Elizabeth Willing, Pick-me-up (kinder), fortlaufend seit 2016 (left); Pick-me-up (Icekonfekt), fortlaufend seit 2016 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Elizabeth Willing, Pick-me-up (kinder), fortlaufend seit 2016 (left); Pick-me-up (Icekonfekt), fortlaufend seit 2016 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with Erwin Wurm, A portrait of the artist as a young man, 2011 © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with Erwin Wurm, A portrait of the artist as a young man, 2011 © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Tom Wesselmann, Still Life #3, 1962 (right); Pol Bury, Bratpfanne mit Eiern, 1972 (middle) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Tom Wesselmann, Still Life #3, 1962 (right); Pol Bury, Bratpfanne mit Eiern, 1972 (middle) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Bea de Visser, Blowup (Bubble), 2002 (back) und Sonja Alhäuser, Schokoladenmaschine II, 1999 (front) ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Bea de Visser, Blowup (Bubble), 2002 (back) und Sonja Alhäuser, Schokoladenmaschine II, 1999 (front) ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Slavs and Tatars, Brine & Punishment, 2019 (front) and Pickle Tits, 2018  © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Slavs and Tatars, Brine & Punishment, 2019 (front) and Pickle Tits, 2018 © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Damien Hirst, Chicken, 1999; Mushroom, 1999; Dumpling, 1999 (from: The Last Supper, 1999); Opavivará!, Aguardente, 2019 (left) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Damien Hirst, Chicken, 1999; Mushroom, 1999; Dumpling, 1999 (from: The Last Supper, 1999); Opavivará!, Aguardente, 2019 (left) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with Tobias Rehberger, Familie Strychnin (Die nächste Generation), 2020 © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with Tobias Rehberger, Familie Strychnin (Die nächste Generation), 2020 © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with works by Shimabuku, Sakepirinha, 2008; Ice Cream with Salt, 2010 und Ice Cream with Pepper, 2010 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with works by Shimabuku, Sakepirinha, 2008; Ice Cream with Salt, 2010 und Ice Cream with Pepper, 2010 (right) © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with Emeka Ogboh, Sufferhead Original – Basel Edition, 2020 © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with Emeka Ogboh, Sufferhead Original – Basel Edition, 2020 © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with Marisa Benjamim, Hortus Deliciarum, 2019 © 2020 Museum Tinguely, Basel; photo: Gina Folly

Installation view with Marisa Benjamim, Hortus Deliciarum, 2019 © 2020 Museum Tinguely, Basel; photo: Gina Folly


Installation view with Urs Fischer, Noisette, 2009 © 2020 Museum Tinguely, Basel; photo: Daniel Spehr

Installation view with Urs Fischer, Noisette, 2009 © 2020 Museum Tinguely, Basel; photo: Daniel Spehr


Installation view with Elizabeth Willing, Goosebump, 2011 ongoing ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Daniel Spehr

Installation view with Elizabeth Willing, Goosebump, 2011 ongoing ​​​​​​​© 2020 Museum Tinguely, Basel; photo: Daniel Spehr


Installation view with Elizabeth Willing, Pick-me-up (kinder), 2016 ongoing © 2020 Museum Tinguely, Basel; photo: Daniel Spehr

Installation view with Elizabeth Willing, Pick-me-up (kinder), 2016 ongoing © 2020 Museum Tinguely, Basel; photo: Daniel Spehr


Installation view with Elizabeth Willing, Pick-me-up (kinder), 2016 ongoing © 2020 Museum Tinguely, Basel; photo: Daniel Spehr

Installation view with Elizabeth Willing, Pick-me-up (kinder), 2016 ongoing © 2020 Museum Tinguely, Basel; photo: Daniel Spehr


Installation view with Elizabeth Willing, Pick-me-up (Icekonfekt),  2016 ongoing  © 2020 Museum Tinguely, Basel; photo: Daniel Spehr

Installation view with Elizabeth Willing, Pick-me-up (Icekonfekt), 2016 ongoing © 2020 Museum Tinguely, Basel; photo: Daniel Spehr


<p>Janine Antoni, <em>Mortar and Pestle</em>, 1999<br />
C-print, 121,9 x 121,9 cm<br />
Janine Antoni; Courtesy of the artist and Luhring Augustine, New York © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York</p>

Janine Antoni, Mortar and Pestle, 1999
C-print, 121,9 x 121,9 cm
Janine Antoni; Courtesy of the artist and Luhring Augustine, New York © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York



Janine Antoni_mortar_.jpg (JPEG, 205,6 KB)

<p>Dieter Roth, <em>Grosses Schimmelbild</em>, 1969<br />
Wooden frame covered with glass on both sides, layers of moldy organic materials of different colors, 121 x 82 x 8.5 cm<br />
Kunstmuseum Basel, gift of Emil Wartmann, Basel, 1986<br />
© Dieter Roth Estate, Courtesy Hauser & Wirth<br />
Photo: Kunstmuseum Basel – Martin P. Bühle</p>

Dieter Roth, Grosses Schimmelbild, 1969
Wooden frame covered with glass on both sides, layers of moldy organic materials of different colors, 121 x 82 x 8.5 cm
Kunstmuseum Basel, gift of Emil Wartmann, Basel, 1986
© Dieter Roth Estate, Courtesy Hauser & Wirth
Photo: Kunstmuseum Basel – Martin P. Bühle




Elizabeth Willing, Installation view of the interactive work Goosebump, 2011 - ongoing Pfeffernüsse (frosted gingerbread) and icing on a wall, dimensions variable Courtesy of the artist and Tolarno Galleries Melbourne © Elizabeth Willing and Tolarno Galleries Melbourne ​​​​​​​Photo: Elizabeth Willing

Elizabeth Willing, Installation view of the interactive work Goosebump, 2011 - ongoing Pfeffernüsse (frosted gingerbread) and icing on a wall, dimensions variable Courtesy of the artist and Tolarno Galleries Melbourne © Elizabeth Willing and Tolarno Galleries Melbourne ​​​​​​​Photo: Elizabeth Willing


<p>Marisa Benjamim, Preparatory sketches for <em>Hortus Deliciarum</em> at Museum Tinguely, 2019<br />
Collage and ink on paper, dimensions variable<br />
Courtesy of the artist © Marisa Benjamim; Photo: Andrés Galeano</p>

Marisa Benjamim, Preparatory sketches for Hortus Deliciarum at Museum Tinguely, 2019
Collage and ink on paper, dimensions variable
Courtesy of the artist © Marisa Benjamim; Photo: Andrés Galeano




<p>Meret Oppenheim, <em>Bon appétit, Marcel ! (Die weisse Königin)</em>, 1966–1978<br />
Baked dough with spine of partridge, silverware, plate, glass with wine remnants, oil cloth chessboard, napkin, 32 × 32 × 10 cm<br />
Collection Foster Goldstrom<br />
© 2020, ProLitteris, Zurich; photo: Chris Puttere</p>

Meret Oppenheim, Bon appétit, Marcel ! (Die weisse Königin), 1966–1978
Baked dough with spine of partridge, silverware, plate, glass with wine remnants, oil cloth chessboard, napkin, 32 × 32 × 10 cm
Collection Foster Goldstrom
© 2020, ProLitteris, Zurich; photo: Chris Puttere




<p>Jan Davidsz. de Heem, F<em>ruchtstilleben mit gefülltem Weinglas</em>, seventeenth century<br />
Oil on oak, 35 × 53 cm<br />
Staatliche Kunsthalle, Karlsruhe<br />
© bpk / Staatliche Kunsthalle Karlsruhe / Annette Fischer / Heike Kohler</p>

Jan Davidsz. de Heem, Fruchtstilleben mit gefülltem Weinglas, seventeenth century
Oil on oak, 35 × 53 cm
Staatliche Kunsthalle, Karlsruhe
© bpk / Staatliche Kunsthalle Karlsruhe / Annette Fischer / Heike Kohler


Jan Davidsz. de Heem, Fruchtstilleben mit gefülltem Weinglas, seventeenth century
Oil on oak, 35 × 53 cm
Staatliche Kunsthalle, Karlsruhe
© bpk / Staatliche Kunsthalle Karlsruhe / Annette Fischer / Heike Kohler



6_JanDavidsz.deHeem.jpg (JPEG, 306,3 KB)

<p>Andy Warhol, <em>Campbell’s Soup II: Tomato-Beef Noodle O’s Soup</em>, 1969<br />
Screenprint on paper, 81 × 47.6 cm<br />
Staatsgalerie Stuttgart, Graphische Sammlung, acquired in 1988 with lottery funds<br />
© The Andy Warhol Foundation for the Visual Arts, Inc. /<br />
2020, ProLitteris, Zurich; photo: bpk / Staatsgalerie Stuttgart </p>

Andy Warhol, Campbell’s Soup II: Tomato-Beef Noodle O’s Soup, 1969
Screenprint on paper, 81 × 47.6 cm
Staatsgalerie Stuttgart, Graphische Sammlung, acquired in 1988 with lottery funds
© The Andy Warhol Foundation for the Visual Arts, Inc. /
2020, ProLitteris, Zurich; photo: bpk / Staatsgalerie Stuttgart 




Sam Taylor-Johnson, Still Life, 2001 (filmstill) One-channel video, (color, no sound) on monitor, 3’44” loop Edition 5/6, Sammlung Goetz, Munich © Sam Taylor-Johnson. All Rights Reserved, 2020, ProLitteris, Zurich

Sam Taylor-Johnson, Still Life, 2001 (filmstill) One-channel video, (color, no sound) on monitor, 3’44” loop Edition 5/6, Sammlung Goetz, Munich © Sam Taylor-Johnson. All Rights Reserved, 2020, ProLitteris, Zurich


Sam Taylor-Johnson, Still Life, 2001 (filmstill) One-channel video, (color, no sound) on monitor, 3’44” loop Edition 5/6, Sammlung Goetz, Munich © Sam Taylor-Johnson. All Rights Reserved, 2020, ProLitteris, Zurich

Sam Taylor-Johnson, Still Life, 2001 (filmstill) One-channel video, (color, no sound) on monitor, 3’44” loop Edition 5/6, Sammlung Goetz, Munich © Sam Taylor-Johnson. All Rights Reserved, 2020, ProLitteris, Zurich


<p>Emeka Ogboh, <em>Sufferhead Original – Basel Edition</em>, 2020<br />
© Emeka Ogboh; photo: Emeka Ogboh</p>

Emeka Ogboh, Sufferhead Original – Basel Edition, 2020
© Emeka Ogboh; photo: Emeka Ogboh




<p>Tom Wesselmann, <em>Still Life #3</em>, 1962<br />
Mixed media and collage on board, 76,2 x 76,2 cm<br />
© The Estate of Tom Wesselmann/Licensed by 2020, ProLitteris, Zurich.<br />
Photo by Jeffrey Sturges. Courtesy Gagosian.</p>

Tom Wesselmann, Still Life #3, 1962
Mixed media and collage on board, 76,2 x 76,2 cm
© The Estate of Tom Wesselmann/Licensed by 2020, ProLitteris, Zurich.
Photo by Jeffrey Sturges. Courtesy Gagosian.




<p>Otobong Nkanga, <em>Contained Measures of a Kolanut</em>, 2012/2014<br />
Performance and installation view in the exhibition Szalon at the Logan, Centre of Arts, Chicago, USA (September 19 – November 23, 2014)<br />
Variable sizes of tables, handmade100%, cotton paper, inkjet printed photographs on forex, wood, kolanuts, extract of kolanut, glass, plates, knife, gloves, cushions, decanter and stand, dimensions variable<br />
Courtesy of the artist © Otobong Nkanga; photo: Marco G. Ferrari</p>

Otobong Nkanga, Contained Measures of a Kolanut, 2012/2014
Performance and installation view in the exhibition Szalon at the Logan, Centre of Arts, Chicago, USA (September 19 – November 23, 2014)
Variable sizes of tables, handmade100%, cotton paper, inkjet printed photographs on forex, wood, kolanuts, extract of kolanut, glass, plates, knife, gloves, cushions, decanter and stand, dimensions variable
Courtesy of the artist © Otobong Nkanga; photo: Marco G. Ferrari




<p>Daniel Spoerri, <em>Achtung Kunstwerk (Attention oeuvre d'art)</em>, 1968<br />
Jar with pickled herring, glass, herring, paper, plastic, 12 x 7.5 cm<br />
Vice-Versand edition, ex. no. 3<br />
Centre Pompidou – Musée national d’art moderne – Centre de création industrielle, Paris<br />
© 2020, ProLitteris, Zurich<br />
Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais/Georges Meguerditchian</p>

Daniel Spoerri, Achtung Kunstwerk (Attention oeuvre d'art), 1968
Jar with pickled herring, glass, herring, paper, plastic, 12 x 7.5 cm
Vice-Versand edition, ex. no. 3
Centre Pompidou – Musée national d’art moderne – Centre de création industrielle, Paris
© 2020, ProLitteris, Zurich
Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais/Georges Meguerditchian




<p>Farah Al Qasimi, <em>Lunch</em>, 2018<br />
Archival inkjet print (exhibition copy), 102 × 74 cm<br />
Courtesy of the artist, The Third Line, Dubai, and Helena Anrather Gallery, New York<br />
© Farah Al Qasimi<br />
Photo: Courtesy of the artist and The Third Line, Dubai and Helena Anrather Gallery, New York</p>

Farah Al Qasimi, Lunch, 2018
Archival inkjet print (exhibition copy), 102 × 74 cm
Courtesy of the artist, The Third Line, Dubai, and Helena Anrather Gallery, New York
© Farah Al Qasimi
Photo: Courtesy of the artist and The Third Line, Dubai and Helena Anrather Gallery, New York



13_FarahAlQasimi_Lunch.jpg (JPEG, 364,5 KB)