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Diango Hernandez (1970)

Diango Hernandez in 1994 a co-founder of Ordo Amoris Cabinet, a group of artists and designers focused on devising home design object solutions to fill permanent shortages of materials and goods. I started my artistic career in Cuba in 2004. The artist moved to Europe in 2003 and currently lives and works in Dusseldorf. His work has been the subject of solo exhibitions at Kunstmuseum Basel (2006) and the Neuer Aachener Museum (2007). His work was exhibited at the Arsenal as part of the 51st Venice Biennale, as well as at the 2006 Sydney and Sao Paulo Biennales. His work has been acclaimed for his new exhibition Losing You Tonight (2009) at the Gegenwartkunst Museum in Siegen, and two installations for The New Decor at the Hayward Gallery in London in 2010. was included. From 2011 to 2012, a research exhibition of his work was held at the Museum of Modern and Contemporary Art (MART) in Rovereto. In 2013, a solo exhibition of his work “The New Man and the New Woman” was held at Marlborough Contemporary in London. His work was the subject of a solo exhibition “Socialist Nature” held at the Landesgalerie in Linz in 2014. Hernandez had a solo exhibition in 2015 at Marlborough Contemporary, London and Kunsthalle Munster. In 2016, a solo exhibition of Hernandez’s work titled ‘Theoretical Beach’ was held at the Morsbroich Museum in Leverkusen. has now the Marlborough Contemp[orary pub;location available.

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Ian Whittlesea (1967)

Ian Whittlesea’s work has consistently been concerned with the intersection of language and space, using the lives, words and works of other artists as its source. He has been described as an artist of fascinatingly rigorous refinement and his work as a paradigm of concision and single-mindedness.

Collectively called Instruction Prints these works extend Whittlesea’s interest in the power of text to change the physical and psychic state of the viewer. Formally and conceptually they relate to the Statement Paintings that he made twenty-five years ago, but whereas those early paintings reproduced the didactic words of other artists the Instruction Prints use more generic and unattributed text. In their simplicity and directness they recall a parent’s instructions to a child, or perhaps the voice of a lover or a teacher. As with all of Whittlesea’s textual art they play on the tension between reading and looking, exploring the moment when language becomes object. As he has said of his earlier works:

When I first started making text paintings one of the important things was that it allowed me to side-step any debate about abstraction and representation. When you paint letters you are making the thing itself: as you paint a letter X you aren’t making a representation of a letter X, it just is the letter X. has the Marlborough catalog from 2013 available ( edition of 500 cps)

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Jason Brooks (1968)

British artist Jason Brooks is widely regarded as one of Britain’s best hyper-realist fine artists and is closely associated with the generation of artists who emerged in Britain in the early nineties to great international acclaim.

Brooks’ recent landscape works explore old masterpieces and anonymous found paintings by amateur artists that he has collected over the past couple of decades, adopting the same techniques, images that he reworks, crops and repaints. He combines airbrush, acrylic and oil paints in such a way as to explore all aspects of painterly language, as well as his own place in the canon of art history. Indeed, he argues it is a way of looking at art history through the eyes of others who have looked at art history. On a very simple level it affirms the continued faith that painters retain in the medium.

Brooks debuted among the YBAs in the 1990s with his black and white portraits.In and of itself, this may be an arbitrary fact, but it highlights an important point: Jason Brooks is a fine artist with an acutely-honed skill, but whose artistic vocabulary has more in common with the new Conceptualists and Postmodern punks.

Born in 1968 in Rotherham, U.K., Jason Brooks obtained an MA in Fine Art at Chelsea College of Art and Design and now works and lives in London. His work is held in private and public collections all around the world, including the National Portrait Gallery Collection, London where he had a solo exhibition of his work in 2008. has the 2013 ” ULTRAFLESH” catalog now available.

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Sorel Etrog (1933-2014)

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For us in Europe this is a lesser known artist/sculptor. But it appears that Etrog had his exhibitions at the Marlborough gallery and Galerie d’Eendt in the mid Seventies.

In 2000, a Toronto newspaper dubbed artist Sorel Etrog the “Grand Old Man of Canadian Sculpture.” It was an apt description, after a career spanning five decades including the installation of outdoor sculptures across Toronto, Canada and beyond. Yet Etrog was much more – a painter, draughtsman, film maker and not least, a literary man. He was keen to collaborate with the great thinkers of his generation, including playwrights Samuel Beckett and Eugene Ionesco, Toronto media guru Marshall McLuhan and composer John Cage.

Etrog was born into a Jewish family in Romania in 1933. After a childhood spent in flight from the Nazis and Soviets, he immigrated with his family to Israel in 1950 where he began to study art and exhibit. In 1958 he won a scholarship to the Brooklyn Museum of Art School and moved to New York City. There, he had a chance encounter with Toronto collector and AGO patron Sam Zacks, who invited him to Canada.

Etrog permanently settled in Toronto in 1963. Recognition came quickly with museum purchases, international exhibitions such as the Venice Biennale (1966), and a commission to design the Canadian Film Award statue, now known as the Genie (1968). Etrog resided in our city until his death in early 2014.

www, has the Marlborough publication available

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Gabriele Münter (1877-1962)

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There are two things that i always have connected with Gabriele Münter , …..first there is that she was a student of Kandinsky and second, she was great with “behind glass painting”. This is an artist who i have not followed until recently. A week ago I discovered at the bookmarket a catalogue on Gabriele Münter published by the MARLBOROUGH GALLERY from 1960 and the first thing I noticed was the influence of van Gogh . Subject , use of colour and size all reflect that she must have admired van Gogh  immensly and where Kandinsky must have taught her to discover abstract painting, she found herself more at ease with realism in her paintings. Later she became part of the ” BLAUE REITER  group and together with Macke she became a respected name in the history of Modern Art. has some nice Gabriele Münter titles available.

gabriel munter

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Hans Böhler (1884-1961)

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As a confidant of Klimt and Schiele and later Secession member, the painter Hans Böhler was closely involved the Austrian avant-garde art of the first half of the 20th century. In his lifetime his oeuvre was presented in several exhibitions. Numerous retrospectives after his death additionally testified to Böhler’s art historical weight – nowadays his works are highly popular amongst experienced collectors, but where he was presented as a new find for collectors by the Marlborough gallery in the mid Sixties, his name is now established and his circle of admirers is growing rapidly. His “nudes” are spectacular and so are his costume pieces which are a combination of the Austrian avant garde and impressionism. A painter to be followed by the serious collector.

there are a few Bohler publications available at


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Victor Pasmore…an invitation

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Readers of this blog know of my admiration for Victor Pasmore (1908-1998).

His abstract art has stayed fresh and fascinating over the years and is still a joy to look at. If i must compare his art ….i would say Joan Miro is the one he comes close to. His art keeps fascinating me and ……

his forms and composition, use of colors and use of materials makes me want that there was a large Pasmore exhibition to be held in the Netherlands in the near future so i could admire his works from up close. There are far too few paintings to be found in the European collections and i can not find a reason for it. Curators from all important museums must have fallen asleep during these early years of the Seventies., which is a pity. However there was a time in the early Seventies that his works were presented for sale on frequent occasions. One of these exhibitions was at the Marlborough gallery where a Pasmore graphics collection was presented and sold. The invitation to this presentation is now for sale at

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John Davies (1936-1999)

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“I call myself a haunted house… we all have ghosts and histories.” – John Davies

Davies’ interest in the human presence set him apart from many of his contemporaries in British sculpture at the beginning of his career. Of his early figures, often cast from life and clothed, Davies has said, ‘I wanted to make a figure, not like a piece of sculpture, more like a person…. I wanted my sculpture to be more like life in the street’.

His more recent works are modelled in clay, before being cast in polychrome polyester and fibreglass, or bronze. Davies arranges these figures in carefully choreographed relationships. Animals and inanimate objects such as houses also appear in works whose thematic concerns are always with human experience.

Of The Deerson Series, shown for the first time in this exhibition, John has said: ‘This series of scarecrow-like figures, with their moons, are a kind of self-portrait. I never intended to make these images, having other ideas to the fore, when I had a car crash in 2010. My life always leaks into my work, so inevitably and reluctantly these images emerged. They are works processing my long recovery. Now to me they seem to have a life of their own, independent of my story. Mad dancing ‘scarecrows’ coming to life, a protest against fate and physical frailty, like the figures in the Watersons’ song, ‘The Scarecrow’.’

Drawing, often in series, has always been an important aspect of John Davies’ practice, and the sculpture and drawings are equally important to him. The drawings in this installation demonstrate how the two practices influence each other.

The above text was found in Fuse magazine has some John Davies catalogues available