Danh Vo, Twenty-Two Traps, 2012, Collection of Andrew Ong & George Robertson; Louise Lawler, Formica (adjusted to fit, distorted for the times, slippery slope 3), 2018, Courtesy of the artist and Metro Pictures, New York; Zarouhie Abdalian, Joint (ii), 2016, Collection of Joachim and Nancy Bechtle; Joint (iii), 2017, Collection Jack Wendler; Joint (IX), Collection Sonya Yu and Zachary Lara; exhibition view Other Mechanisms, Secession 2018, photo: Peter Mochi
Lutz Bacher, Chalkboard (Space), 2015; Untitled (Chalkboard), 2015; Untitled (Chalkboard), 2015, Courtesy Galerie Buchholz, Berlin/Cologne/New York, exhibition view Other Mechanisms, Secession 2018, photo: Peter Mochi
1.34 MB
Nairy Baghramian, Scruff of the Neck (UL 11, F), 2016; Scruff of the Neck (LL 17/18/ +1), 2016, Courtesy of the artist und Marian Goodman Gallery, exhibition view Other Mechanisms, Secession 2018, photo: Peter Mochi
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Jay DeFeo, Untitled, 1987, Courtesy of The Jay DeFeo Foundation; Jean-Luc Moulène, Blown Knot 6 32 (Borromean) – varia 04CIRVA, Marseille, octobre 2012, 2012, Manizeh & Danny Rimer Collection, exhibition view Other Mechanisms, Secession 2018, photo: Peter Mochi
Cameron Rowland, The Hold, 2017, Container foundations, twistlocks, Lloyd’s Register certificates; Lloyd’s of London monopolized the marine insurance of the slave trade by the early 18th century. Lloyd’s Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd’s Register and other classification societies continue to survey and certify shipping vessels and their equipment. Twistlocks physically secure goods in the hold, locking them to the hull and to each other. The certification of lashing equipment is established to insure the value of the goods regardless of their potential loss; Louise Lawler, Formica (adjusted to fit, distorted for the times, slippery slope 3), 2018, Courtesy of the artist and Metro Pictures, New York; Nina Canell & Robin Watkins, Cable diagrams, 2014/2018, Courtesy of the artists and Galerie Barbara Wien, photo: Peter Mochi
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Sam Lewitt, Stranded Asset: Filler, 2017, Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York; Cameron Rowland, Pass-Thru, 2014, Courtesy of the artist and ESSEX STREET, New York: In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those businesses where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. This Pass-Thru was made by Rowland. Exhibition view Other Mechanisms, Secession 2018, photo: Peter Mochi
Bouchra Khalili, The Tempest Society, 2017, exhibition view Secession 2018, Courtesy the artist and Galerie Polaris, Paris, Photo: Oliver Ottenschläger
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Bouchra Khalili, The Tempest Society, 2017, digital film (video still),
Courtesy of the artist
1.55 MB
Bouchra Khalili, Foreign Office, 2015, exhibition view Secession 2018, Courtesy the artist and Galerie Polaris, Paris, Photo: Oliver Ottenschläger
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Bouchra Khalili, Foreign Office, 2015, mixed-media project (video still),
Courtesy of the artist and Galerie Polaris, Paris
1.27 MB
Bouchra Khalili, Foreign Office, 2015, exhibition view Secession 2018, Courtesy the artist and Galerie Polaris, Paris, Photo: Oliver Ottenschläger
1.71 MB
Bouchra Khalili, Foreign Office, 2015, mixed-media project. C-Print: Centre Familial de Ben Aknoun, Ben Aknoun Area, Location of Katib Yacine’s house. Fig. 1: Théâtre de Verdure,
Courtesy of the artist and Galerie Polaris, Paris
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Bouchra Khalili, The Speeches Series, 2012-13, exhibition view Secession 2018, Courtesy the artist and Galerie Polaris, Paris, Photo: Oliver Ottenschläger
2.51 MB
Bouchra Khalili, The Speeches Series, 2012-2013, video trilogy, Speeches – Chapter 1: Mother Tongue, 2012 (video still), Courtesy of the artist and Galerie Polaris, Paris, Commissioned for Intense Proximity, La Triennale, Palais de Tokyo, Paris, 2012
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Elaine Reichek
Now If I Had Been Writing This Story April 13 – June 3, 2018
Elaine Reichek, You Coasts (Ocher), 2014 (detail), Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York
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Elaine Reichek, You Coasts (Ocher), 2014, I Wonder Sometimes, 2014, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
1.56 MB
Elaine Reichek, Toutes les Filles, 2016–17, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
2.73 MB
Elaine Reichek, Toutes les Filles (detail), 2016–17, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
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Elaine Reichek, Now If I Had Been Telling That Story, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
2.75 MB
Elaine Reichek, Desire, Dread, Despair, 2012, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York
2.34 MB
Elaine Reichek, Ariadne in Crete, 2009-2010, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
2.82 MB
Elaine Reichek, Swatches: Matisse1–9, 2007, exhibition view Secession 2018, Courtesy of the artist, Shoshana Wayne Gallery, Los Angeles and Marinaro, New York, Photo: Oliver Ottenschläger
R.H. Quaytman, An Evening, Chapter 32, installation view, Secession 2017, Courtesy the artist and Galerie Buchholz (Berlin/Cologne/New York), Photo: Hannes Böck
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R.H. Quaytman, An Evening, Chapter 32, installation view, Secession 2017, Courtesy the artist and Galerie Buchholz (Berlin/Cologne/New York), Photo: Hannes Böck
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R.H. Quaytman, An Evening, Chapter 32, installation view, Secession 2017, Courtesy the artist and Galerie Buchholz (Berlin/Cologne/New York), Photo: Hannes Böck
1.13 MB
R.H. Quaytman, An Evening, Chapter 32, installation view, Secession 2017, Courtesy the artist and Galerie Buchholz (Berlin/Cologne/New York), Photo: Hannes Böck
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R.H. Quaytman, An Evening, Chapter 32, installation view, Secession 2017, Courtesy the artist and Galerie Buchholz (Berlin/Cologne/New York), Photo: Hannes Böck
Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
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Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
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Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
1.07 MB
Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
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Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
1.10 MB
Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
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Olga Chernysheva, Chandeliers in the Forest, installation view, Secession 2017, Courtesy the artist, Diehl Gallery, Berlin; Temnikova & Kasela Gallery, Tallinn, Photo: Jorit Aust
Nicole EisenmanShooter 2, 2016, 208,28 x 165,1 cm. Courtesy the artist, Anton Kern Gallery NY and The Daskal Collection, Photo: Sophie Thun
1.78 MB
Nicole Eisenman, Dark Light, 2017, 325,12 x 264,16 cm. Courtesy the artist, Susanne Vielmetter Los Angeles Projects and The Ovitz Family Collection, Photo: Sophie Thun
2.24 MB
Nicole Eisenman, Riding Down River on the USS J-Bone of an Ass, 2017, 325,12 x 264,16 cm. Courtesy the artist, Susanne Vielmetter Los Angeles Projects and The Aishti Collection, Photo: Sophie Thun
1.84 MB
Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
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Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
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Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
1.18 MB
Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
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Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
1.34 MB
Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
1.05 MB
Nicole Eisenman, Dark Light, Ausstellungsansicht. Secession 2017, Photo: Sophie Thun
1.18 MB
Nicole Eisenman, Monument to a Politician, Secession 2017, with collaborative assistance from Ali Janka and Tobias Urban, Photo: Sophie Thun
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Nicole Eisenman, Monument to a Politician, Secession 2017, with collaborative assistance from Ali Janka and Tobias Urban, Photo: Sophie Thun
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Nicole Eisenman, Monument to a Politician, Secession 2017, with collaborative assistance from Ali Janka and Tobias Urban, Photo: Sophie Thun
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Nicole Eisenman, Monument to a Politician, Secession 2017, with collaborative assistance from Ali Janka and Tobias Urban, Photo: Sophie Thun
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Nicole Eisenman, Monument to a Politician, Secession 2017, with collaborative assistance from Ali Janka and Tobias Urban, Photo: Sophie Thun
Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
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Alex Da Corte, Slow Graffiti, installation view, Secession 2017. Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun
Ericka Beckman, You the Better Expanded Studies (3), 1984/2015, charcoal on paper, 42 x 58 inches. Courtesy Ericka Beckman, Mary Boone Gallery, New York and Cherry & Martin, Los Angeles
1.62 MB
ImPulsTanz 2017 performed on the Secession’s façade
Gabriel Sierra, The First Impressions of the Year 2018 (During the early days of the year 2017), installation view, Secession 2017, Photo: Oliver Ottenschläger
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Gabriel Sierra, The First Impressions of the Year 2018 (During the early days of the year 2017), installation view, Secession 2017, Photo: Oliver Ottenschläger
1.36 MB
Gabriel Sierra, The First Impressions of the Year 2018 (During the early days of the year 2017), installation view, Secession 2017, Photo: Oliver Ottenschläger
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Gabriel Sierra, The First Impressions of the Year 2018 (During the early days of the year 2017), installation view, Secession 2017, Photo: Oliver Ottenschläger
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Gabriel Sierra, The First Impressions of the Year 2018 (During the early days of the year 2017), installation view, Secession 2017, Photo: Oliver Ottenschläger
Francis Alÿs, Le temps du sommeil, Exhibition view, Secession, 2016;
Photo: Francis Alÿs
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Francis Alÿs, Le temps du sommeil, Exhibition view, Secession, 2016;
Photo: Francis Alÿs
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Francis Alÿs, Le temps du sommeil, Exhibition view, Secession, 2016;
Photo: Francis Alÿs
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Francis Alÿs, Le temps du sommeil, Exhibition view, Secession, 2016;
Photo: Francis Alÿs
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Francis Alÿs, Le temps du sommeil, Exhibition view, Secession, 2016;
Photo: Francis Alÿs
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Francis Alÿs, Le temps du sommeil, exhibition view, Secession 2016; Photo: Jorit Aust
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Francis Alÿs, Le temps du sommeil, exhibition view, Secession 2016; Photo: Jorit Aust
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Francis Alÿs, Le temps du sommeil, exhibition view, Secession 2016; Photo: Jorit Aust
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Francis Alÿs, Le temps du sommeil, (1996–), 111 paintings, oil, encaustic, crayon, collage on wood, ca. 11,5 x 15,5 cm. Courtesy the artist and Galerie Peter Kilchmann, Zurich
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Francis Alÿs, Le temps du sommeil, (1996–), 111 paintings, oil, encaustic, crayon, collage on wood, ca. 11,5 x 15,5 cm. Courtesy the artist and Galerie Peter Kilchmann, Zurich
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Francis Alÿs, Le temps du sommeil, (1996–), 111 paintings, oil, encaustic, crayon, collage on wood, ca. 11,5 x 15,5 cm. Courtesy the artist and Galerie Peter Kilchmann, Zurich
2.07 MB
Francis Alÿs, Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing), 12:05 pm, 1997. Documentation of an action in Mexico City, video, 5 min, colour, sound. Courtesy the artist and Galerie Peter Kilchmann, Zurich
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Francis Alÿs, Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing), 3:34 pm, 1997. Documentation of an action in Mexico City, video, 5 min, colour, sound. Courtesy the artist and Galerie Peter Kilchmann, Zurich
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Francis Alÿs, Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing), 6:05 pm, 1997. Documentation of an action in Mexico City, video, 5 min, colour, sound. Courtesy the artist and Galerie Peter Kilchmann, Zurich
Oliver Laric, Photoplastik, installation view, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view Hermes Fastening his Sandal and Johann Christian Wilhelm Beyer: Lucius Quinctius Cincinnatus, between 1773 and 1780, Secession 2016, Photo: Iris Ranzinger
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Oliver Laric, Photoplastik, installation view François Willème, Self Portrait, around 1860, Secession 2016, Photo: Iris Ranzinger
James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view, Secession 2016, Photo: Sophie Thun
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James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view, Secession 2016, Photo: Sophie Thun
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James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view, Secession 2016, Photo: Sophie Thun
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James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view L. Please, Secession 2016, Photo: Sophie Thun
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James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view L. Point at the Infinite, Secession 2016, Photo: Sophie Thun
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James Lee Byars, Perfect Moments. An Exchange of Ideas with Gerhard Johann Lischka, installation view Luck, Secession 2016, Photo: Sophie Thun
