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We are so excited about the upcoming Chinese lunar New Year (Friday, 12 February), marking the year of the Ox. While it’s the coldest time of the year, it is also foretelling the turn-around in seasons, when people begin to look forward to spring (and in the old days, new planting). The Chinese New Year symbolizes new beginnings and fresh starts.

On this occasion, let us help you celebrate the festivity of prosperity and good fortune, with a selection of limited art editions that will put you in the right mood! We created a special presentation with works by Damien Hirst, Jeff Koons, Donald Sultan, Wang Guangyi, Andy Warhol, and Yue Minjun.

We wish you all surplus and abundance year after year.

To view the selection as a PDF, click here

If you have any questions - get in touch!
Use the LiveAssistance button, WhatsApp/WeChat +41 76 541 56 58, or email info@wengcontemporary.com⁠

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DAMIEN HIRST
The Last Supper (portfolio), 1999
Colour silkscreen on paper (set of 13)
Edition of 150
Eeach: 153,5 x 101,6 cm (60 1/5 × 40 in.)

Signed
In mint condition

Link to the edition, here

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JEFF KOONS
Diamond (Red), 2020
French Limoges porcelain with chromatic coating
Edition of 599
height: 32,4 cm (12.7 in) diameter: 39,2 cm (15.4 in.)

Signed and numbered
In mint condition

Link to the edition here

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DONALD SULTAN
Big Red Lantern Flowers, April 16, 2014
Painted aluminum sculpture
Edition of 6
149,9 x 167 x 27,9 cm (59 x 65.7 x 10.9 in.)

Signed, dated, numbered, and titled
In mint condition

Explore the edition here

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WANG GUANGYI
Mao Zedong: Red Box (from Rhythmical Dichotomy portfolio), 2007-2008
Lithograph on Velin BFK Rives 300 gr
Edition of 165, plus 4 APs
120 x 80 cm (47.2 x 31.5 in.)

Signed and numbered
In mint condition

Explore the edition here

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WANG GUANGYI
Mao Zedong Waving with Black Square (from Rhythmical Dichotomy portfolio), 2007-2008
Lithograph on Velin BFK Rives 300 gr
Edition of 165, plus 4 APs
120 x 80 cm (47.2 x 31.5 in.)

Signed and numbered
In mint condition

Explore the edition here

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YUE MINJUN
Floating Clouds, 2009
Lithograph
Edition of 130
80 x 120 cm (31.4 x 47.2 in.)

Signed and numbered
In mint condition

Explore the edition here

If you have any questions - get in touch!
Use the LiveAssistance button, WhatsApp/WeChat +41 76 541 56 58, or email (info@wengcontemporary.com⁠)

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JEFF KOONS
Diamond (Red)
, 2020
French Limoges porcelain with chromatic coating
Edition of 599
height: 32,4 cm (12.7 in) diameter: 39,2 cm (15.4 in.)

Signed and numbered
In mint condition

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If you have any questions - get in touch!
Use the LiveAssistance button
WhatsApp/WeChat +41 76 541 56 58
or email (info@wengcontemporary.com⁠)

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In Paper Kite Butterfly on Oleander, Hirst features his signature motif – the butterfly – alive in its natural surroundings, hanging from a beautiful, strikingly coloured blossom. In this, he has created an uplifting and celestial image that inspires childlike wonder in the face of such a beauty of nature. At the same time, however, it provokes fundamental questions about the meaning of life, a life which is characterized by death, and the fragility of biological existence.

“I love butterflies because when they are dead they look alive."—Damien Hirst

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The distinction between life and death, myth and medicine, is explored by the Cabinet series, as they serve as a shrine to modern pharmaceuticals.

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There is no imminent promise of salvation, no escape offered in these works. Those black pills, as in Dark Black Heaven, are as threatening as they are strangely attractive, a dark fatal allure which we already know leads to one ultimate destiny.

Hirst’s work questions the equivocal role of medicine. It can either take life and save life or destroy and restore. These pills are not a memento mori like the skulls or the butterflies. They are a symbol of resignation and alienation from life, and a fatal attraction towards death.

"It’s like God should be, the way they sell you the pills, the forms, the utopia, the hope, the cure. We’ve come a long way since quack doctors."—Damien Hirst

The pharmaceutical cabinets, as in Hirst’s work Utopia, question people´s complete reliance on medications and their power to heal, which fulfill the natural desire for immortality. However, the question is: Can drugs cure this problem, or can art?

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On the other hand, Gold tears, which is part of the Utopia series, depicts rows of shiny diamonds on shelves covered with golden foil in front of a golden-beige background. The image is an intense vision of a golden cabinet filled with diamonds, a vision often associated with glorious eternity. But as always in Hirst’s art, the ambiguity is obvious – this cabinet points to the fact that behind all the shiny glittery surfaces there might be nothing, no meaning, and no soul. And hence the desire for eternity is less a promise than a condemnation.

"I can’t understand why most people believe in medicine and don’t believe in art, without questioning either."—Damien Hirst

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