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TEND, 2016
cast iron
28 3/4 x 29 1/2 x 25 3/16 inches (73 x 75 x 64 cm)
edition of 5 with 1 AP 

Edouard Manet Tête de femme, drawn circa 1867

Edouard Manet
Tête de femme, drawn circa 1867
sanguine on paper squared for transfer laid down on paper
paper: 10 3/4 x 8 7/8 inches (27.3 x 22.5 cm)
framed: 17 3/8 x 14 3/4 inches (44.1 x 37.5 cm)
stamped with initials 'E.M.' (Lugt 880; lower right)

KRIS MARTIN, The Idiot, 2017


The Idiot, 2017

found photograph and ink

photo: 23 3/4 x 19 1/8 inches (60.3 x 48.6 cm)

framed: 28 9/16 x 24 9/16 inches (72.5 x 62.4 cm)

signed, titled and dated by artist, recto


LAURENT GRASSO Studies into the Past

Studies into the Past
oil and palladium leaf on wood
8 11/16 x 9 7/16 x 2 1/16 inches (22 x 24 x 5.3 cm)
the work is accompanied by a signed certificate of authenticity


LAURENT GRASSO The Owl of Minerva, 2017

The Owl of Minerva, 2017
onyx, LED
15 3/4 x 14 9/16 x 2 9/16 inches (40 x 37 x 6.5 cm)
the work is accompanied by a signed certificate of authenticity

LAURENT GRASSO Radionix, 2018

Radionix, 2018
walnut, amethyst, citrine, aluminum, copper and silver
8 1/4 x 11 7/8 x 3 1/8 inches (21 x 30 x 8 cm)

MARINA ABRAMOVIC Black Dragon, 1994

Black Dragon, 1994
Rose Quartz, metal brackets, wood box, lucite plaque
pillow: 3 7/8 x 7 3/8 x 3 1/4 inches (9.8 x 18.7 x 8.3 cm)
edition of 21 with 4 APs 
the work is initialed and numbered on reverse and accompanied by a signed certificate of authenticity


TEFAF New York Spring
Booth 363
May 3-7, 2019

Seismography of the Soul 
A project by Laurent Grasso

In a body of work that includes a wide variety of techniques such as sculpture, painting, drawing, installation and film, Laurent Grasso explores the several ways through which energy, invisible or supernatural, can be brought to manifest itself. To curate the exhibition Seismography of the Soul for Sean Kelly’s TEFAF New York Spring booth, Grasso posited a metaphoric relationship between the functioning of a seismograph measuring the vibrations of the earth and the energy associated with the human soul, the ineffable, incorporeal essence of a living being. As a seismography of the world, the work of art is conceived as a recording of the interiority of a conscious subject who presents subconscious, even otherworldly perceptions and visions. The artist—as a subject-object—is regarded as a “transmitter/receiver” transcribing the impulses of the world, internalizing and transmitting information out into the world through art. It is as if the work of art could be substituted for an electroencephalogram of the present condition, reflecting its complexities, darkness and beauty. As Grasso states, “My proposition suggests the idea of the artist as someone particularly attuned to the vibrations of the world, a privileged translator of the state of the world.” On several occasions, Grasso has had the opportunity to combine his work with other historical or contemporary works, choosing to upend the classic codes of museography to create a general framework of immersion that form a whole, in which the boundaries are blurred for the viewer (The Panoptes Project, Olivier Malingue, London, 2017; Paramuseum, Palais Fesch-Musée des Beaux-Arts, Ajaccio, 2016; Purkinje Effect, Galerie 1900-2000, Paris, 2013; Portrait of a Young Man, Bass Museum of Art, Miami, 2012; Memories of the Future, Sean Kelly, New York, 2010).

Artists exhibited include: Marina Abramović, Hans Bellmer, Joseph Beuys, Antony Gormley, Laurent Grasso, Rebecca Horn, Idris Khan, Yves Klein, Norman Lewis, Édouard Manet, Kris Martin, Henri Michaux, Minoru Onoda, Christian d’Orgeix, and Stella Snead.

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