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The Danish artist Knud Merrild (1894-1954) started off his career as an apprentice house painter, a job which helped him survive during low income periods, and more importantly provided him with the inspiration for his “flux” technique.

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In a visually seductive collection of watercolours, Australian artist eX de Medici lures the viewer in only to challenge their perception. Don’t be fooled by the sentimental allusions to memento mori, de Medici’s work is a world away from the insipid decay and morbid tones of the Vanitas genre. Her signature imagery of guns and skulls is not simply an aesthetic delight of colour and design, these are complex emblems laden with messages of power and despair.

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Indo-German artist Tino Sehgal employs, enlists, and co-opts the usage of individuals as his malleable clay. He calls it “living sculpture.” An important aspect of some works is their ability to interact with gallery visitors and to involve them in a “situation.” A question may be posed to a gallery visitor, and if the human sculpture receives no response, the actors collapse.

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If you had to represent rock music in poster form, how would you do it? What images would you pick? Ever since the birth of the tour poster in the fifties, artists, musicians and their managers have been wondering the same thing. And while this art form may have had a utilitarian start, it has since developed into a unique and definitive genre.

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