Contemporary artists

Cattelan's piece 'Untitled' was made as part of an edition of ten, so there are ten of these miniature elevators scattered around the world, including in the LACMA in Los Angeles. The owner of the elevators can decide on which floor the elevator will 'arrive' at its destination and the doors will open.In Museum Voorlinden, the doors open on the ground floor, although the lights above the doors movefrom B throught 9 and back.

Whether painting a mysterious bearded figure floating on a flat wash of blue or a winter landscape glimpsed through a thick web of branches, Peter Doig harnesses the materiality of his medium to create what he calls 'abstractions of memories', distilling recollected sensations into moments of pure sentience, like scenes in a series of mysterious narratives. In "Gasthof zur Muldentalsperre" (2000-2) two costumed figures stand guard at a low stone wall while behind them a reservoir reflects a twinkling starry sky. The young man bundled up against the cold in "Blotter" (1993) contemplates his reflection in a frozen pond, while in "Red Boat (Imaginary Boys)" (2004) six men in white shirts navigate upstream through a dense tropical landscape. Doig's work has been exhibited at the world's top museums, including the Museum of Modern Art in New York, the Centre Pompidou in Paris and the National Gallery of Canada in Ottawa, and has been selected for contemporary art's most important international exhibitions, such as the SITE Santa Fe Biennial (2006), the Tate Triennial (2003 and 2006) and the Venice Biennale (2003). Although his work has had an enormous impact on contemporary painting, paving the way for a whole generation of idiosyncratic figurative painters, his painted worlds are without parallel. Raised in Canada, based in London for two decades and now living in Trinidad, Doig has tallied a wide range of references, not only geographic (from French modernist architecture to the ski slopes of Quebec) but also artistic (from Ernst Kirchner to Philip Guston) and musical (from punk to calypso). Sometimes these references lurk in plain sight--"Figure in Mountain Landscape" (1997-98) is based on a photograph of Group of Seven painter Franklin Carmichael--but most often they lie deep below the churning surface of the canvas. In the Interview, Kitty Scott asks the artist about his shifting sense of place and the way it continues to shape his work. In the Survey, Adrian Searle considers how the paradoxical union of highly charged technique and muted subject matter lend the artist's paintings their unique 'emotional weather'. Catherine Grenier's Focus centers on the painting 100 Years Ago, examining its movement along axes of time and place, both historical adn imaginary. In the Artist's Choice, Hannes Schneider & Arnold Fanck's text on skiing recalls the artist's longtime fascination with the sport while evoking the grace and physicality of his painting. Artist's Writings include a 2001 interview featuring questions from a range of artists, curators and critics; an appreciation of the work of Pierre Bonnard; and the artist's ten favorite 'house painters'.

Interviews by, essays about NY-based Canadian artist.

My Stories of Painting is the first exhibition that will focus on Cai's long journey of painting in terms of two parallel paths. The first traces his decades of restless exploration in painting, presenting over a hundred works from different periods, of varying scale, and across various mediums - many of which are shown for the first time. The trajectory begins with his time in China: watercolours and oil paintings, assignments from his student days, experimental paintings, and oil paintings with gunpowder; followed by his time in Japan: paintings created purely with gunpowder, and gunpowder drawings for explosion events; it then moves on to his time in New York and the vast global stage - paintings reflecting his unique challenge to the issue of painting through his consistent artistic methodology, including recent pieces following his return to creating independent gunpowder paintings in the past few years. Evolving from black gunpowder to color gunpowder, this new stage registers the artist's unrestrained pursuit of his childhood dream to become a painter, as well as his confrontation with the integral challenges of contemporary painting. Exhibition: Bonnefantenmuseum, Maastricht, The Netherlands (30.09.2016-01.05.2017).

The first complete monograph on an artist whose work investigates surveillance and government secrecy in the digital age. Trevor Paglen's art gives visual geography to hidden forces, relentlessly pursuing what he calls the 'unseeable and undocumentable' in contemporary society. Blending photography, installation, investigative journalism, and science, Paglen explores the clandestine activity of government and intelligence agencies, using high-grade equipment to document their movements and reveal their hidden inner workings. This book presents over three decades of Paglen's groundbreaking work, making visible the structures and technologies that impact our lives.