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Valentine´s Day is richly rooted in history. For centuries this day has been celebrated by many in different locations. A day dedicated to express one's feelings to those they love. Originating from the Romans, who in the 5th century had a festival called Lupercalia in the middle of February - officially the start of their springtime; just like the birds welcoming the coupling season.

On this occasion, we selected wonderful editions from artists that have produced an exquisite and celebratory body of work; whether it is two dimensional or explores sculptural perspectives. Weng Contemporary is very proud to have secured these editions that speak of love and will help you say "I love you" in a special way to all those who matter to you.

Selected works by the below artists:

AI Weiwei, Donald Baechler, Renate Bertlmann, Damien Hirst, Robert Indiana, Alex Katz, Jeff Koons, Robert Longo, Pablo Picasso, Laure Prouvost, Cy Twombly

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Say it with a Flower
Marrying representation with a formalist approach, Katz's flat, yet referential style is unique. The artist is known for lifting subjects from the everyday world and transcribing them in minimal gestures. White Roses presents a naturalistic arrangement in elementary forms and is one of his most iconic and elegant prints one could acquire.

White Roses
, 2014
Edition of 50
108 x 217 cm (42.4 x 85.4 in.)
Signed and numbered
In mint condition
Link to the edition here

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You give me butterflies.
That tickling, bubbly feeling inside you get when you have feelings for someone. A poetic image of a moving metaphor, a belly full of glittering monarchs that alight when your beloved walks into the room. Butterflies have spiritual symbolism and references, dating from the Greeks to depict the Psyche, the soul. They signify sunshine, beauty and freedom. In China, this winged creature represents immortality, joy and summer, similar to feeling in love. Damien Hirst's installation of the butterfly room In and Out of Love 1991 explored the medium of butterflies and gave us hope as they look alive when they are dead.

Confitebor Tibi, 2010
Silkscreen with Diamond Dust
Edition of 50
74 x 71.5 cm (29.13 x 28.15 in.)

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You are my angel.
For centuries, angels have graced works of art with their ethereal presence. Appearing as ancient statues and adorning modern murals, these winged figures have become a fixture in art history spanning medium, culture, and time. While our contemporary idea of what an angel looks like emerged in the 4th century, the existence of angel-like figures in art can be traced back thousands of years.

Angel's Wing (Small Version)
, 2013
Pigment Print
Edition of 30
55.3 x 75.5 cm (21.7 x 29.7 in.)
In mint condition
Link to the edition here

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L is for the way you look at me
O is for the only one I see
is very, very extraordinary
E is even more than anyone that you adore

This hand-knotted virgin wool tapestry shows a kiss that unites a couple so dearly that their faces blend into one. The colouring of this typical composition by Pablo Picasso is reduced to the black of the drawing and accents in tones of blue, yellow and a dash of dark red. As one of the most experimental artists of the 20th Century, Picasso created a body of work of about 50,000 paintings, drawings, prints, sculptures, ceramics, pottery and printmaking.

Le Baiser
, 1979/80
Wool Tapestry
Edition of 20
190 x 140 cm (74.8 x 55.1 in.)

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To explore each Balloon Animal, please click on this link here

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For Hirst, the butterfly is a symbol of beauty and fragility because of the appearance of life it holds in death and because of the traditional association of butterflies with the spiritual realm.

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In the Butterfly series, the artist, as a meticulous collector, depicts colourful dead Butterflies displayed against a contrasting black background. The artwork was inspired by a pursuit typical in Victorian times – butterfly collecting – a popular educational hobby for gentlemen and clergy.

"Everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies."—Damien Hirst

Again, adopting the mantle of a collector, the artist has created large collage gloss paintings featuring butterfly wings, which are part of the Psalm series. These, as with his other works, aim to capture the beauty and to grasp and fix the ephemeral. Yet, the works conceal the strict relationship between beauty and death.

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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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