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We are delighted to announce that we are collaborating with the historic 130-year-old Swiss department house, Bongénie Grieder Brunschwig & Cie, for the launch of Jeff Koons's newest edition, Diamond (Red) as well as a worldwide exclusive presentation of the Balloon Animals Collector's Set in matching edition number (only 40 available).
For one week only, starting this Monday, 3rd of May until Saturday, 8th of May; Mother's Day, you are able to view and purchase the French Limoges porcelain editions in Grieder's most iconic location — at Bahnhofstrasse in Zürich, Switzerland.
To commemorate the exciting launch, we created a visionary and storytelling editorial, shot by the talented Swiss photographer Shkelzen Konxheli, who has recently shot for Vogue Arabia. Model and actress Zoë Pastelle graced the narrating role reflecting on Jeff Koons's Diamond (Red) limited art-edition. We are grateful to Grieder for carefully selecting the clothing for this editorial, as well as to Nina Tatavitto for executing the hair and makeup.
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Balloon Animals (Collector´s Set), 2017-2019
French Limoges porcelain with chromatic coating
40 matching edition numbers, from the original edition of 999
Rabbit: 29 x 13 x 21 cm (11.5 x 5.4 x 8.2 in)
Monkey: 24 x 20 x 39 cm (9.8 x 8.2 x 15.4 in)
Swan: 24 x 16 x 21 cm (9.4 x 6.4 x 8.2 in)
Signed and numbered
In mint condition
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.
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
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?
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