The Hugo Boss Prize 2014 Finalists

The Hugo Boss Prize 2014 Finalists
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Paul Chan, Sade for Sade’s sake, 2009. Digital color projection, 5 hours, 45 min. Installation view: Greene Naftali, New York, 2009. Courtesy the artist and Greene Naftali, New York. Photo: Gil Blank

Paul Chan

Paul Chan (b. 1973, Hong Kong) lives and works in New York. Chan’s multivalent practice ranges across documentary videos, animated projections, charcoal drawings, conceptual typefaces, GIFS, and community-based performance projects. He is also the founder of Badlands Unlimited, an experimental publishing house that disrupts the conventions of printed and digital matter.

Solo exhibitions of Chan’s work have been presented at the Schaulager, Basel (2014); the Renaissance Society, University of Chicago (2009); the New Museum, New York (2008); Serpentine Gallery, London (2007); Stedelijk Museum, Amsterdam (2007); Tensta Konsthall, Stockholm (2006); Portikus, Frankfurt (2006); Fabric Workshop and Museum, Philadelphia (2006); Blanton Museum of Contemporary Art, University of Texas, Austin (2006); UCLA Hammer Museum, Los Angeles (2005); and Institute of Contemporary Art, Boston (2005). Chan also worked as creative director for Waiting for Godot in New Orleans: A Play in Two Acts, a Project in Three Parts, produced with the Classical Theatre of Harlem, presented by Creative Time, 9th Ward, New Orleans (2008). Chan’s work has also been included in numerous group exhibitions including Documenta 13, Kassel (2012); Seeing is Believing, KW Institute for Contemporary Art, Berlin (2011); I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York (2011); Found in Translation, Solomon R. Guggenheim Museum, New York (2011); Haunted, Solomon R. Guggenheim Museum (2010); HEAVEN, 2nd Athens Biennale (2009); Making Worlds, 53rd Venice Biennale (2009); The Quick and the Dead, Walker Art Center, Minneapolis (2009); Yokohama Triennial (2008); 16th Sydney Biennial (2008); 10th International Istanbul Biennial (2007); 2nd International Biennial of Seville (2006); Whitney Biennial, New York (2006); Greater New York, MoMA P.S.1 (2005); 8th Lyon Contemporary Art Biennial (2005); Guangzhou Triennial (2005); and Carnegie International, Pittsburgh (2004).

Sheela Gowda, Behold, 2009. Hair and steel, dimensions variable. Installation view: Abteiberg Museum, 2013 © ADAG. Photo: Museum Abteiberg, Mönchengladbach

Sheela Gowda

Sheela Gowda (b. 1957, Bhadravati, India) lives and works in Bangalore. In addition to painting and photography, Gowda’s process-oriented practice incorporates unconventional mediums such as hair, thread, incense, cow dung, spices, and oil drums. With these evocative materials, the artist creates installations that conjure the psychic complexities of her socio-political environment.

Gowda has had solo exhibitions at Van Abbemuseum, Eindhoven, Netherlands (2013); Iniva, London (2011); Office for Contemporary Art, Oslo (2010); Museum Gouda, Netherlands (2008); Bose Pacia Gallery, New York (2006); GALLERYSKE, Bangalore (2004, 2008, and 2011); Chemould Prescott Road, Mumbai (1993); Venkatappa Art Gallery, Bangalore (1987 and 1993); and Gallery 7, Mumbai (1989). Her group exhibitions include Lasting Images, Solomon R. Guggenheim Museum, New York (2013); Garden of Learning, Busan Biennial (2012); Paris-Delhi-Bombay, Centre Pompidou, Paris (2011); Provisions, Sharjah Biennial (2009); Making Worlds, Venice Biennale (2009); Thessaloniki Biennial (2009);Indian Highway, Serpentine Gallery, London (2008), traveled to Astrup Fearnley Museum of Modern Art, Oslo (2009), HEART, Herning Museum of Contemporary Art, Denmark (2010), Musée d'Art Contemporain, Lyon (2011), MAXXI—National Museum of the 21st Century Arts, Rome (2011), and Ullens Center for Contemporary Art, Beijing (2012); Documenta 12, Kassel (2007); How Latitudes Become Form, Walker Art Center, Minneapolis (2003), traveled to Fondazione Sandretto Re Rebaudengo per l’Arte, Turin, Italy (2003), Contemporary Arts Museum, Houston (2004), and Museo Rufino Tamayo, Mexico City (2004).

Camille Henrot, Grosse Fatigue, 2013. Video installation, color, with sound, 13 min. Courtesy the artist and kamel mennour, Paris

Camille Henrot

Camille Henrot (b. 1978, Paris) lives and works in Paris and New York. Henrot’s research-based practice mines archival troves to explore such wide-ranging systems of knowledge as anthropology, ethnography, and the history of technology. Often forged from layered video and sculptural elements, her works subvert and expand entrenched narratives.

Henrot’s work has been featured in solo presentations at the New Museum, New York (2014); Schinkel Pavillon, Berlin (2014); the New Orleans Museum of Art (2013); Slought Foundation, Philadelphia (2013); Prix Marcel Duchamp, FIAC, Cour Carrée, Musée du Louvre, Paris (2010); Espace Culturel Louis Vuitton, Paris (2010); Palais de Tokyo, Paris (2007); Galerie nationale du Jeu de Paume, Paris (2005); and Hara Museum of Contemporary Art, Tokyo (2005). Henrot has been included in several group exhibitions, such as The Encyclopedic Palace, 55th Venice Biennale (2013); Une brève histoire de l’humanité, Musée du Louvre, Paris (2013); Inventer le monde, Benin Biennial 2012; Benin Biennial, Porto-Novo (2012); A Disagreable Object, Sculpture Center, New York (2012); L’artiste en ethnographe, Centre Pompidou, Paris (2012); Intense Proximity, Palais de Tokyo Triennial, Paris (2012); French Window, Mori Art Museum, Tokyo (2011); Le musée monde, Musée du Louvre, Paris (2011); Dynasty, Musée d’Art Moderne de la Ville de Paris and Palais de Tokyo, Paris (2010); Entre-Temps, l’artiste narrateur, Paço das Artes, São Paulo (2009); It's not only rock n’ roll, baby, Palais des Beaux-Arts, Brussels (2008); and I still believe in miracles, dessins sans papier I, Musée d’Art Moderne de la Ville de Paris (2005).

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Hassan Khan, Banque Bannister, 2010. Brass and wood, 209 x 260 x 22 cm. Courtesy the artist and Galerie Chantal Crousel. Photo: Serkan Taycan

Hassan Khan

Hassan Khan (b. 1975, London) lives and works in Cairo. In his interdisciplinary practice, Khan draws on both personal sources and pervasive cultural tropes to create freighted objects and actions. An interest in communication, language, and gesture is evident in his works, which are woven with absorbing yet elusive narrative threads.

Recent solo exhibitions of Khan’s work have been held at Wilfried Lentz, Rotterdam (2013); SALT, Istanbul (2012); Objectif Exhibitions, Antwerp (2011); Galerie Chantal Crousel, Paris (2011); CCA Kitakyushu, Japan (2011); Queens Museum of Art, New York (2011); and Kunst Halle Sankt Gallen, Switzerland (2010). Khan’s work has been included in group exhibitions including Unrest of Form: Imagining the Political Subject, Secession, Vienna (2013); Documenta 13, Kassel (2012); Intense Proximity, Palais de Tokyo Triennial, Paris (2012); The Ungovernables, New Museum Triennial, New York (2012); Image in the Aftermath, Beirut Art Center (2011); Manifesta 8, Murcia, Spain (2010); Home Works 5, Beirut, Lebanon (2010); Live Cinema/In the Round: Contemporary Art from The East Mediterranean, Philadelphia Museum of Art (2010); The Malady of Writing, The Museu d’Art Contemporani De Barcelona (2009); A Proposal for Articulating Works and Places, Arts in Marrakech International Biennial, Morocco (2009); Yokohama Triennial (2008); Gwangju Biennial (2008); PhotoCairo4: The Long Shortcut, Cairo, Egypt (2008); Thessaloniki Biennial (2007); Lapdogs of the Bourgeoisie, Gasworks, London (2006), traveled to Tensta Konsthall, Stockholm (2008), and Arnolfini Bristol (2009); Townhouse Gallery, Cairo (2008); Zones of Contact, Sydney Biennial (2006); 2nd International Biennial of Contemporary Art, Seville (2006); The Pantagruel Syndrome, T1: Turin Triennal Three Museums, Castello di Rivoli Museo d’Arte Contemporanea, Turin; GAM Galleria Civica d’Arte Moderna e Contemporanea, Turin; Fondazione Sandretto Re Rebaudengo, Turin (2005); Poetic Justice, 8th Istanbul Biennial (2003); and Haunted by Detail, De Appel Foundation, Amsterdam (2002).

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Charline von Heyl, Carlotta, 2013. Oil, acrylic, and charcoal on canvas, 208.3 x 193 cm. Courtesy the artist and Friedrich Petzel, New York

Charline von Heyl

Charline von Heyl (b. 1960, Mainz, Germany) lives and works in New York. Von Heyl’s potent canvases and collage-based works on paper incorporate diverse materials and techniques to conduct an unflinching exploration of painterly abstraction. Her practice eschews a signature style in pursuit of a unique pictorial tension for each work.

Solo exhibitions of von Heyl’s work have been held at Tate Liverpool (2012); Kunsthalle Nürnberg, Germany (2012); Bonner Kunstverein, Germany (2012); Institute of Contemporary Art, Boston (2012); Institute of Contemporary Art, Philadelphia (2011); Le Consortium, Dijon (2009); Ice Plant, Marfa, Texas (2008); Dallas Museum of Art (2005); Vienna Secession (2005); and Künstlerhuas Bethanien, Berlin (1997). Her work has also been presented in group exhibitions including Abstract Generation: Now in Print, Museum of Modern Art, New York (2013); Phantom Limb: Approaches to Painting Today, Museum of Contemporary Art, Chicago (2012); Time Again, Sculpture Center, New York (2011); Immaterial, Ballroom Marfa, Texas (2010); Modern Modern, Chelsea Art Museum, New York (2009); Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings, Museum of Modern Art, New York (2009); Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, UCLA Hammer Museum, Los Angeles (2008); Make Your Own Life: Artists In and Out of Cologne, Institute of Contemporary Art, Philadelphia (2006), traveled to Power Plant, Toronto (2006), Museum of Contemporary Art, Miami (2007), and Henry Art Gallery, Seattle (2007); Musterkarte, Modelos de Pintura en Alemania, Goethe-Institut International, Madrid (2001); 1999 Das XX Century, INIT Kunsthalle Berlin (1999); and Grafica 1, Innsbruck, Austria (1993).

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Marxz Rosado, The Process for Attaining the Signature of Pedro Albizu Campos in Neon Lights (Proceso para conseguir la firma de Pedro Albizu Campos en luces de neón), 1977–2002

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