6 November 2017
Trompe l’Oeil on view at Bruce Silverstein Gallery (stand D22), Paris Photo 2017, 9–12 November.
“C’est un regard qui vous accroche pour ne plus vous lâcher. Dans un couloir à l’extérieur du stand de la galerie new-yorkaise Bruce Silverstein, cachés derrière un panneau blanc, deux yeux perçants vous surveillent : ce sont ceux de Donald Trump. Mishka Henner, natif de Belgique, résident de Manchester et connu pour ses œuvres politiques à l’ère numérique, a repris le portrait officiel du président américain pour l’enfermer dans un boîtier percé de deux trous : «Les trous sont à la taille de mon regard», explique-t-il. «Je voulais juste regarder Trump en face.» Pétri dans sa blancheur, ce surprenant portrait intitulé Trompe l’œil, 2017 rappelle une bête à l’affût, un esprit omniscient ou un costume du Ku Klux Klan : «J’aimerais penser que malgré tous les mensonges, les yeux ne mentent pas.» Mardi soir, avant même l’ouverture de la foire, cette pièce a été vandalisée lors d’une soirée privée : le tirage est lacéré de deux rayures, comme si quelqu’un avait voulu crever les yeux du président américain. Depuis, un garde est posté non loin de la photo pour la tenir à l’œil. Le surveillant est désormais surveillé. (stand D22)”
“It's a look that catches you and won’t let go. Outside NY Gallery Bruce Silverstein’s booth, hidden behind a white case, two piercing eyes are watching you: those of Donald Trump. Mishka Henner, a native of Belgium, a resident of Manchester and known for his political works in the digital age, has taken the official portrait of the American president and encased it in a housing pierced with two holes: "The holes are formed by my gaze, "he explains. "I just wanted to look Trump in the eye." Petrified in its whiteness, this surprising portrait titled Trompe l'oeil, 2017 recalls an animal on the lookout, an omniscient spirit, or a Ku Klux Klan figure: "I’d like to think that despite all the lies, the eyes do not lie.” On Tuesday evening, before the opening of the fair, this work was vandalized during a private party, lacerated with two slashes, as if someone had wanted to scratch out the eyes of the American president. Since then, a guard has been posted nearby to keep an eye on it. The supervisor is now the supervised. (Stand D22)”
— Paris Photo en Dix Regards, Clémentine Mercier, Libération, 11 November 2017
10 October 2017
For the last three years, I’ve worked on a series of paintings based on the Fibonacci sequence, a formula intimately connected with the Golden Ratio. Each number in the sequence is painted with a dollar sign and paintings sell for the represented price. A new painting is made only when the previous one has sold.
The project has existed via word-of-mouth only and the latest painting in the series, Ten Thousand Nine Hundred and Forty Six Dollars (1 March 2017), was recently exhibited at Carroll/Fletcher in London. The complete, up-to-date Golden Ratio series can be seen here.
The work began as a meditation on scarcity, the investment impulse that drives much of the art market, and my own role and place within it. In some ways, the work was an attempt to understand the market’s mechanisms and the complex set of relationships on which it depends.
I’ve always considered reproductions of artworks to be as vital as the originals and with this in mind, I’m launching the first of a series of reproductions of the Golden Ratio paintings, starting with the first one dollar painting made on the 17 February 2014 and gifted to my partner Liz Lock. The print is being sold on my website at the represented value in an edition of 100. If and when this edition sells out, a reproduction of the second one dollar painting will be released as an edition, then Two Dollars and so on.
One Dollar (17 February 2014)
Gift to the artist’s partner.
8.3x11.7 inches (21x29.7cm)
2-colour risograph on Munken Polar 300gsm paper.
Printed 3 October 2017.
Signed and numbered on front.
Available from here. Limited to one print per buyer.