duh? Art & Stupidity

Focal Point Gallery, Essex

Lily van der Stokker, Wonderful, 1992, acrylic paint on wall, courtesy the artist: Lily van der Stokker; Nothing, 1992-1993, acrylic paint on wall, courtesy the artist

Lily van der Stokker, Wonderful, 1992 acrylic paint on wall courtesy the artist Lily van der Stokker; Nothing, 1992-1993, acrylic paint on wall, courtesy the artist

Lily van der Stokker, Wonderful, 1992 acrylic paint on wall, courtesy the artist

Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966, video (2:44 minutes), courtesy WNET, New York, and Warhol Foundation; Kim Schoen, In The Beginning, 2015, wall vinyl, courtesy the artist

Reading Room: Michael Bracewell, Getting Shallow, 1994/2015, photographs, courtesy the artist and Book Works Archive; Werner Büttner & Albert Oehlen, original drawing from DumDum magazine, 1979, drawings, typewritten pages, photocopies, courtesy Marlborough Contemporary; Kim Schoen, The Horseshow Effect, 2013, single-cannel video (7 minute), courtesy the artist; Kim Schoen, In The Beginning, 2015, wall vinyl, courtesy the artist; Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966, video (2:44 minutes), courtesy WNET, New York and Warhol Foundation; BANK, Fax-Back (Unframed series), 1998-1999, pen and ink on paper, courtesy the artist and MOT International

Reading Room: Michael Bracewell, Getting Shallow, 1994/2015, photographs, courtesy the artist and Book Works Archive; Werner Büttner & Albert Oehlen, original drawing from DumDum Magazine, 1979, drawings, typewritten pages, photocopies, courtesy Marlborough Contemporary; Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966, video (2:44 minutes), courtesy WNET, New York, and Warhol Foundation; Kim Schoen, In The Beginning, 2015, wall vinyl, courtesy the artist

Reading Room: Michael Bracewell, Getting Shallow, 1994/2015, photographs, courtesy the artist and Book Works; Kim Schoen, The Horseshow Effect, 2013, single-cannel video (7 minute), courtesy the artist

Ryan Gander, Wedon’thaveaplansonothingcangowrong-(AlchemyBox #16).An alchemy box masquerading as a pile of art magazines. The box is sealed containing objects from the collection of the artist associated with the theme of ‘documentation, mediation of the encounter andthecloningormimickingofanother’spractise’.Arubdowntransfertextrevealsthecontentsofthe box displayed on the wall near the pile, 2009, courtesy the artist; Isa Genzken, Weltempfänger (World Receiver), 1993, concrete, two metal antennae, courtesy Alastair Cookson

Ryan Gander, We don’t have a plan so nothing can go wrong - (Alchemy Box #16). An alchemy box masquerading as a pile of art magazines. The box is sealed containing objects from the collection of the artist associated with the theme of ‘documentation, mediation of the encounter and the cloning or mimicking of another’s practice’. A rubdown transfer text reveals the contents of the box displayed on the wall near the pile, 2009, courtesy the artist; Isa Genzken, Weltempfänger (World Receiver), 1993, concrete, two metal antennae, courtesy Alastair Cookson; Archie & Edith Bunker, All In The Family, excerpt from season three, Archie and The Bowling Team, 1973 DVD Video; Judith Hopf, Flock of Sheep, 2013, Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Larry Johnson, Untitled (HMR), 1998 C-type Print, courtesy Ringier Collection

Judith Hopf, Flock of Sheep, 2013, Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Rosemarie Trockel, Continental Divide, 1994, video (18:30 minutes), courtesy the artist; Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966 Video (2:44 minutes), courtesy WNET, New York, and Warhol Foundation: Kim Schoen, In The Beginning, 2015, wall vinyl courtesy the artist

Judith Hopf, Flock of Sheep, 2013, Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Rosemarie Trockel, Continental Divide, 1994, Video (18:30 minutes), courtesy the artist; Tariq Alvi, Poster for a Library, 1995, screen print, courtesy the artist; Marc Camille Chaimowicz, Courtesy Object, 2012, boxed velvet curtain for Tariq Alvi’s work, courtesy the artist and Cabinet Gallery

Tariq Alvi, Poster for a Library, 1995, screen print, courtesy the artist; Marc Camille Chaimowicz, Courtesy Object, 2012, boxed velvet curtain for Tariq Alvi’s work, courtesy the artist and Cabinet Gallery

Judith Hopf, Flock of Sheep, 2013, Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Rosemarie Trockel, Continental Divide, 1994, Video (18:30 minutes), courtesy the artist; Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, Courtesy the artist; Claude Faraldo, Themroc, 1973, film transferred to DVD video (110 minutes), Tomi Ungerer, Golf Trophy, 1965, print, courtesy the artist; Tomi Ungerer, Here They Come, 1965 print, courtesy the artist; Bonnie Camplin, One Born Every Minute, 2001, photograph, courtesy the artist; Ryan Gander, If anything happened to me - (Alchemy Box #19). Rhodia A4 sized notebooks An alchemy box masquerades as a pile of Rhodia A4 sized notebooks. Within the notebooks is a sealed box containing objects from the collection of the artist associated with the theme of ‘the anxiety of influence’. The contents within are scrawled in the artist handwriting on sheets of his note book paper, and pinned to the wall near the box, 2009, courtesy the artist and Lisson Gallery; Larry Johnson, Untitled (HMR), 1998, C-type Print, courtesy Ringier Collection

Judith Hopf, Flock of Sheep, 2013 Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist; Claude Faraldo, Themroc, 1973, film transferred to DVD video (110 minutes); Tomi Ungerer, Golf Trophy, 1965, print, courtesy the artist; Tomi Ungerer, Here They Come, 1965, print, courtesy the artist; Bonnie Camplin, One Born Every Minute, 2001, photograph, courtesy the artist Ryan Gander, If anything happened to me - (Alchemy Box #19). Rhodia A4 sized notebooks An alchemy box masquerades as a pile of Rhodia A4 sized notebooks. Within the notebooks is a sealed box containing objects from the collection of the artist associated with the theme of ‘the anxiety of influence’. The contents within are scrawled in the artist handwriting on sheets of his note book paper, and pinned to the wall near the box, 2009, courtesy the artist and Lisson Gallery; Larry Johnson, Untitled (HMR), 1998. C-type print, courtesy Ringier Collection

Claude Faraldo, Thermroc, 1973, firm transferred to DVD video (110 minutes); Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist; Larry Johnson, Untitled (HMR), 1998, C-type print, courtesy Ringer Collection; Ryan Ganfder, If anything happened to me – (Alchemy Box #19), Rhodia A4 sized notebooks, An Alchemy box masquerades as a pile of Rhodia A4 sized notebooks. Within the notebooks is a sealed box containing objects from the collection of the artist associated with the theme of “the anxiety of influence”. The contents within are scrawled in the artist’s handwriting in sheets of his note book paper, and pinned to the wall near the box, 2009, courtesy the artist and Lisson Gallery

Bonnie Camplin, One Born Every Minute, 2001, photograph, courtesy the artist; Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist

Tomi Ungerer, Golf Trophy, 1965, print, courtesy of the artist; Tomi Ungerer, Here They Come, 1965, print, courtesy the artist; Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist

Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist; Tomi Ungerer, Golf Trophy, 1965, print, courtesy the artist; Tomi Ungerer, Here They Come, 1965 print, courtesy the artist; Bonnie Camplin, One Born Every Minute, 2001, photograph, courtesy the artist; Judith Hopf, Flock of Sheep, 2013, Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Rosemarie Trockel, Continental Divide, 1994, video (18:30 minutes), courtesy the artist; Larry Johnson, Untitled (HMR), 1998, C-type Print, courtesy Ringier Collection; Ryan Gander, If anything happened to me - (Alchemy Box #19). Rhodia A4 sized notebooks An alchemy box masquerades as a pile of Rhodia A4 sized notebooks. Within the notebooks is a sealed box containing objects from the collection of the artist associated with the theme of ‘the anxiety of influence’. The contents within are scrawled in the artist handwriting on sheets of his note book paper, and pinned to the wall near the box, 2009, courtesy the artist and Lisson Gallery

Judith Hopf, Flock of Sheep, 2013 Styrofoam, concrete, wood, charcoal, metal, courtesy the artist and Deborah Schamoni; Rosemarie Trockel, Continental Divide, 1994, video (18:30 minutes), courtesy the artist; Gaylen Gerber, Backdrop/’duh? Art & Stupidity’, n.d., 2015, background paper, aluminum pins, various materials, courtesy the artist; Tomi Ungerer, Golf Trophy, 1965, print, courtesy the artist; Tomi Ungerer, Here They Come, 1965, print, courtesy the artist; Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966, video (2:44 minutes), courtesy WNET, New York, and Warhol Foundation; Kim Schoen, In The Beginning, 2015, wall vinyl, courtesy the artist

Reading Room: Michael Bracewell, Getting Shallow, 1994/2015, photographs, courtesy the artist and Book Works Archive; Werner Büttner & Albert Oehlen, original drawing from DumDum Magazine, 1979, drawings, typewritten pages, photocopies, courtesy Marlborough Contemporary; Kim Schoen, The Horseshow Effect, 2013, single-cannel video (7 minute), courtesy the artist; Kim Schoen, In The Beginning, 2015, wall vinyl, courtesy the artist; Andy Warhol, Roy Lichtenstein and Andy Warhol, 1966, video (2:44 minutes), courtesy WNET, New York, and Warhol Foundation BANK, Fax-Back (Unframed series), 1998-1999, pen and ink on paper, courtesy the artist and MOT International

BANK, Fax-Back (Unframed series), 1998-1999, pen and ink on paper, courtesy the artist and MOT International

BANK, Fax-Back (Unframed series), 1998-1999, pen and ink on paper, courtesy the artist and MOT International

BANK, Fax-Back (Unframed series), 1998-1999, pen and ink on paper, courtesy the artist and MOT International

Clunie Reid, In Pursuit of the Liquid, 2013, two screen HD videos on 50” flat-screen monitors, inflatable mattress, courtesy the artist and MOT International

The Cockettes, Tricia’s Wedding, 1971, video (33 minutes), courtesy Frameline Distribution; Cecelia Condit, Possibly in Michigan, 1983, Video (11:40 minutes), courtesy the artist and LUX Artists Moving Image; Judith Hopf, Some End of Things, 2011, Super 8 transferred to DVD video (3:28 minutes), courtesy the artist and Deborah Schamoni; Kalup Linzy, Ride to da Club, 2002, Video (5:06 minutes), courtesy the artist and Electronic Arts Intermix

The Cockettes, Tricia’s Wedding, 1971, video (33 minutes), courtesy Frameline Distribution; Cecelia Condit, Possibly in Michigan, 1983, video (11:40 minutes), courtesy the artist and LUX Artists Moving Image; Sturtevant, The Dark Threat of Absence, 2002, two-screen video projection, courtesy Estate Sturtevant and Galerie Thaddaeus Ropac

Sturtevant, The Dark Threat of Absence, 2002, two-screen video projection, courtesy Estate Sturtevant and Galerie Thaddaeus Ropac

Annika Ström, Sunshine Head, 2010, Super 8 transferred to DVD (1:05 minutes), courtesy the artist

Erik van Lieshout, Rotterdam-Rostock, 2006, DV transferred to DVD (17 minutes),shipping container, wood, carpet, courtesy the artist and Maureen Paley

Erik van Lieshout, Rotterdam-Rostock, 2006, DV transferred to DVD (17 minutes), shipping container, wood, carpet, courtesy the artist and Maureen Paley