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juin 16 – septembre 4 2021

Ryan Gander, Roman Ondak, Pratchaya Phinthong: Logic murders magic

On the occasion of Art Basel OVR: Pioneers

In the past 20 years, the work of Ryan Gander (UK), Roman Ondak (SK) and Pratchaya Phinthong (THA) has dialogued, challenged and re-defined the canons of art to open a post-conceptual space that gives prominence to the breaks between art, history, economy and current affairs.

Blurring the boundaries between reality and fiction, Ryan Gander (UK, 1976) assembles seemingly disparate objects, actions and texts to develop his own narrative systems.

Ryan Gander, 2000 year collaboration (The Prophet), 2018

An animatronic mouse peers out from a hole in the gallery wall whilst imparting philosophical knowledge
Edition of 3 (+1 A.P.)

An animatronic mouse partially visible emerging from a hole broken through the gallery wall.The mouse delivers a 9 minutes monologue using the voice of the artist’s 9 year old daughter, imparting a philosophical speech based on the final scene of The Great Dictator (1940) by Sir Charles Spencer Chaplin, rewritten from a post-simulacrum perspective.

See the work on the following link:

€ 175,000 excluding VAT Demander

Ryan Gander, Logic murders magic (Sixty-second sheet), 2021

122 x 92 x 3,7 cm

A pencil drawing found on sheet in a ream of the artist’s sketch pad, framed and cast in graphite, on front surface of which four vertical marks and one diagonal mark have been strategically scratched by the artist to produce marks associated with counting, a tally or a score.

€ 47,000 excluding VAT Demander

Ryan Gander, Dead Slow, 2021

Commercially available key safe, transparent polyester key 15 x 12 cm, work goes 6 cm back from the front of the wall
Edition 1/1 (+ A.P.)

A key safe set flush into the cavity of a gallery wall containing a transparent key displayed behind a breakable glass panel.


Roman Ondak ( b. 1966, Slovakia) plays with ideas of relocation, representation, and the duplication of experience, shifting and sharpening the viewer’s attention to everyday life. Growing up under the communist regime of former Czechoslovakia, the artist became attentive to systems of inclusion and exclusion that ordered this particular society.

Roman Ondak, Antenna, 2014

Found acrylic painting on aluminum, 1970’s antenna made by the artist’s father
103,5 x 248 x 56 cm

€ 65,000 excluding VAT Demander

Pratchaya Phinthong (Thailand, 1974) is an alchemist of economic value and social functions. In his work, financial fluctuations, media alarmism, and the world labor market are transformed into physical matter, quantifiable, understandable and immediate.

Pratchaya Phinthong, Fork, 2020

Polished lead and tin,
40,5 kg 170 x 60 x 1,5 cm

Laos is one of the most heavily bombed areas in the world. Today, a quarter of the Xieng Khouang Province, where Napia Village is located, is contaminated with thousands of unexploded bombs dropped by US forces during the Secret War in Laos, something that represents a constant threat to the safety of local citizens.

Between 1964 and 1973, over 250 million cluster bombs landed in Laos, thirty percent of which never detonated. Hearing that locals were collecting and melting down these bombs to make spoons to sell to tourists, Pratchaya Phinthong visited Napia.

Moved by the villagers’ transformation of deadly weapons into a tool of nourishment, the artist asked them to collaborate on new products for international trade, thus creating The Spoon Project and Fork, a work commissioned by Tai Kwun Contemporary in Hong Kong.

“I think this is a place where ideas can contribute to productivity by reevaluating what can be recovered from the past to improve contemporary lives.” Pratchaya Phinthong

€ 50,000 excluding VAT Demander

Pratchaya Phinthong, One of them, 2012

Shelf, 10 cm diameter ball of Yttrium, inkjet print on A3 paper mounted on aluminium

Inspired by a Chinese invention from 132 AD with which earthquakes could be accurately predicted through the use of spheres of certain minerals, Pratchaya Phinthong has created an installation using Yttrium, a rare element used in manufacturing high-tech objects like at screens and batteries.

China owns more than 90% of the world market in rare earth elements and uses this economic power to political ends.

The sculpture is accompanied by a photograph taken by the global imaging satellite ASTER, run by Japan and the USA, of the largest rare earth mine in Chinese Mongolia, the Bayan Obo mine.
Pratchaya Phinthong plays on correspondences, causing the geopolitical sphere to slide towards the more sensual one of an art installation, highlighting with it an existing and ever-changing economy coming from the guts of the earth.

€ 20,000 excluding VAT Demander

Pratchaya Phinthong, Demonstrations, 2018

Caption and fake Thaï baht bill shown upon request Unique

Demonstrations is a performance that deals with the circulation of value and objects. The artist used the production budget he had for an exhibition to buy a couple of counterfeit 1,000 Thaï baht notes from farmers, who were in turn cheated by politicians when they were hired for several recent demonstrations in Bangkok and paid with fake bills.

€ 30,000 excluding VAT Demander