Buying Art For Your Home Workspace – 6 ideas


Artwork: Mercury, 1995, Oil on Board, 44.5cm x 61cm by Dennis Bowen courtesy of Gallery Different

Through lockdown many of us have either had to set up a home office for the first time or adapt and improve on an existing workspace to make it more conducive for current needs. In doing so, you probably have made sure your desk space has all the essentials but have you given any thought to what’s hanging on your walls?

Your view from your desk that you will gaze upon from time to time throughout the day can be extremely important for your daily motivation, inspiration and overall well-being and so it’s worth giving this aspect of your workspace serious thought too.

Not everyone has a window with a glorious view, but art can become your window onto a very pleasing vista or any image that speaks to your imagination and makes you feel good and happy.

Why not make this small change by choosing to hang some art which can dramatically change the look and feel of your workspace?

Here are 6 ideas for buying and installing art for your new home office:

  1. Start by choosing art you love. It needs to appeal to you and it is important that you want to come into your workspace, that you are excited to sit down at your desk because you love coming into your home office and the art you have selected for your walls really should reinforce these strong positive vibes.
  2. Use the art to create the appropriate ambience or mood for your working environment that you require depending on the nature of your work and the emotions and feelings you want to experience – it maybe that you require a very peaceful or meditative space for calm focussed work or maybe that you require a more inspiring, dynamic or energetic vibe or it maybe needs to feel uplifting and joyous – art can transform the way you feel and help you get into the right mindset.
  3. If you do lots of video conferencing and zoom calls with clients and colleagues it may also be important to consider who else might see the artwork and whether what you’ve displayed is appropriate for your clients or colleague to see too?
  4. You can use art to say something about your values, ethos, interests, passions and beliefs or even your brand and your company’s values. Choose artworks that have resonance and meaning for you or for your brand.
  5. Select art and hang the art appropriately to the space. Give the artwork room to breathe and therefore there should be good space around the artwork (negative space) so that it fits perfectly on the wall and does not dominate or overwhelm the space. Equally don’t place something that is very small into a large space either.
  6. Hanging art appropriately will also require some consideration being given to environmental conditions so that your artwork does not get damaged such as – light, temperature, humidity and weight bearing on the wall. For more detailed tips on this see our website for an article on The Art Of Hanging Art for – 5 rules on hanging art.)

If you would like any help at all in choosing artwork for your home office please contact us here for a free consultation.

If you would like to see some artworks to get a sense of what might work for you see here our latest exhibition “Getting Closer to Nature” on Artsy.  

To see more tips about how to select art that you love, meets your budget and should bring long lasting enjoyment please also visit our Facebook page www.facebook.com/vedocorporateart/.

Denis Bowen; an Artist, Patron and Visionary

This article is written by Lauren Slater, Gallery Assistant at Gallery Different and was originally published on LinkedIn on April 1st 2020. Gallery Different is our JV partner in VEDO Corporate Art Consultancy.

In 2012 Gallery Different began to work alongside the Denis Bowen estate, with the then-executor and nephew of the late artist, Nick Bowen. However, upon Nick’s untimely death in 2018, Gallery Different took sole responsibility for the estate and has since, on first-hand experience, borne witness to the artistic genius of a revolutionary post-war British artist. This blog draws upon a number of resources from Bowen’s personal archive, obituaries of the artist, and an interview with a close peer and artist, Derek Culley.

Born in Kimberley, South Africa in 1921, and orphaned at a young age, Denis Bowen’s life was turbulent from the onset. After the loss of his parents, Bowen emigrated to the United Kingdom where he was to live with his aunt, in Huddersfield. In 1936, Bowen enrolled at Huddersfield School of Art. After graduating, Bowen was due to undertake a position at the Royal College of Art. However, with the outbreak of World War II where he served as Chief Naval Radar Operator, his admission was postponed until the war ended.

During his lifetime, Bowen was known for his substantial portfolio of works, curating, directing and his contribution to artistic education. Between the 1940s and 1980s, Bowen undertook various teaching roles both nationally and internationally. These included Kingston Institute of Art, Hammersmith School of Arts, Birmingham School of Art, Central School of Art and Design and the Royal College of Art, and the University of British Columbia in Vancouver. It was during his time in Canada that Bowen discovered a number of Canadian artists such as William J.B. Newcombe.

Regarded as a patron, Bowen founded the New Vision Group in 1951, with other students from the Hammersmith School of Art. The group’s principal aim was to draw in young, unknown and international talent that mainly focused on non-figurative art. In 1956, Denis Bowen would open and co-direct, the New Vision Centre Gallery, with Halima Nalecz, and Frank Avray Wilson. In its ten year period (1956 – 1966), the New Vision Centre Gallery exhibited artists such as Gordon House, Ian Stephenson, and Aubrey Williams. All of whom went on to achieve global recognition. The gallery exhibited an expansive array of artists and artworks from 29 different countries and 220 artists (58% of which came from abroad). Of the exhibitions that took place, 90% were solo shows.

Advocacy for international artists, including those from the British Commonwealth, was nearly unheard of with little to no recognition in the British art scene. There still continued to be much hostility to black and Asian artists. Yet the New Vision Centre Gallery promoted and supported them with the same fervour it held towards British artists. The gallery also hosted the first exhibitions for European groups such as the Italian group Forma-1, and German Group Zero.

Bowen’s patronage status extended to Derek Culley, whom Culley said he had ‘the great fortune’ of meeting in the mid 80’s, when Denis would become his mentor. Culley recalls, ‘He introduced me to the London art world and the art of navigating its peculiarities and complexities. When it came to the contemporary and modern art world, Bowen was a Master Painter with an encyclopaedic knowledge of art and the art world. Bowen taught me a new way to look/ question/ approach and appreciate art; from being both a viewer and practitioner.’

Bowen’s consciousness for inclusivity is demonstrated by his approach to fellow artist Culley. Whilst hosting an exhibition of Contemporary Celtic Region artists during a Celtic festival, Bowen proposed enlarging the model and premise to include all 7 Celtic Regions in Europe. From this Celtic Vision was born, headed by Denis, Derek and Scottish artist John Bellany. The primary aim; to exhibit contemporary visual arts from these regions – politics aside.

Bowen’s encounters and established friendships with fellow artists allowed him to become a vehement collector of art. His collection comprised of works by highly regarded artists such as Sir Terry Frost, Alan Davie, Albert Irvin, Victor Pasmore, Alan Reynolds and William Gear. Bowen’s collection stayed true to the international ethos of the New Vision Centre Gallery in which his collection expanded internationally to include works by Aubrey Williams, Arpana Caur, F.N. Souza, and Zao Wou-Ki, to name a few. The array of works, some of which are oils, etchings and prints, will be exhibited in a variety of upcoming exhibitions at Gallery Different, to again pay homage to the work and dedication of national and international post-war abstract artists. These works will also be available to private collectors as the gallery moves forward with the Bowen Archive.

Whilst continuing to play a pivotal part in art education, Bowen was challenging and shaping post-war artistic trends. Bowen’s style was continually evolving throughout his practice. From the 1950s to mid 60s, Bowen was one of the first artists in Britain to experiment with Tachism. During this time, each painting would be started and completed within one sitting to maintain the importance of the physical process behind painting, suggesting that to return to a painting was to destroy its integrity. Post Tachism, Bowen’s painterly style was dominated by psychedelia from 1969-1980, and later ended with a relentless obsession with space discovery and the unattainable.

Denis Bowen, Magma 2 (1988)
Oil on Canvas 217 x 183 cm
(c) Gallery Different

The most enthralling aspect of Bowen’s work was his capacity to lure the audience with stark contrasts of technique and colour. In many works, Bowen employs simple materials and found objects, including door panels and kitchen cupboards. These created a juxtaposition between the aesthetically enticing and incomprehensible planetary landscapes he would depict, and the preloved furniture of his own home and studio. Bowen’s chosen subjects including erupting lava and planetary landscapes, are something we can only imagine yet their depiction is so expressive we almost feel we are within the painting. This is demonstrated by Bowen’s Magma (2) (1988). Despite being fastened onto a stretcher, the work is without a frame, giving it a sense of limitlessness. The vibrant indigo hue, mixed with splashes of electric blue are immediately enticing. Yet the layering of the metallic, and sporadic gold draw you in further, heightening the sense of something magical and unworldly. In contrast, the deep black at the bottom seems dark and sinister, rendering the subject of the work somewhat incomprehensible. Although Bowen worked the paintbrush and canvas, he ultimately left the paint to fuse into the background and other lines, allowing for a seemingly free and unrestricted result. This spontaneity remained at the forefront of Bowen’s work and life, and is one of the paramount reasons why his work continues to be regarded very highly, with institutions such as The Tate holding his work within their collection.

Like the advent of space technology, Bowen’s paintings of space make it more accessible and conceivable to the human imagination. The beauty of each individual canvas allows the viewer to feel deep and intense emotions, and as Vince Rea stated the ‘paintings give the audience new and emotive experiences of colour and atmospheres indicative of observable changes in space from vast distances of eerie atmospheric stillnesses to lavaic eruptions of energy and matter.’ His complex choice of colours, which often have subtle alterations depending on their lighting, are demonstrable of the ever-changing landscapes of outer space and the continuous fascination one can find with it.  

At the heart of everything Denis Bowen stood for, was the influence from which the title of the New Vision Centre Gallery derived. Gyorgy Kepes’ Language of Vision (Chicago, 1944) drew upon the universality and power of visual language and the necessity for new imagery that reflected recent technological and physical developments. Ultimately, this ethos ran through the practice of the gallery where it beckoned artists from across the globe who were producing art that was in tune with the vast societal, economical and political changes that were happening post-war. People were again eager to reflect the severity of World War II and work towards reconstructing society. In this way, the coming together of multi-racial groups in London saw it become the cultural hub for social change, arguably headed by Denis Bowen, and the New Vision Group.

Denis Bowen, Volcano and Electric Blue Circle, (1988)
Oil and spray paint on canvas, 123 x 107 cm
(c) Gallery Different

Denis Bowen’s visionary status is one that cannot be forgotten. Even whilst he was faced with the unpopular opinions regarding his works, Bowen continued to produce works that were rebellious, risqué and independent. Derek Culley remembers, ‘Not one for “Art Bollox” Denis knew his art/its history, and his contemporaries.’ His relentless dedication to stay true to his practice ultimately deemed him the ‘unflagging champion on non-figurative art’. As The Guardian drew upon, British art continues to underplay the 50s and 60s abstraction, and the contribution of the New Vision Centre Gallery (most importantly Denis Bowen) in shaping the modern art movement, and enabling significant trends and greater freedoms. Bowen was wholeheartedly devoted to his work and teaching, and his unique role in the history of modern/contemporary art must be remembered with great admiration. Well remembered and regarded, Culley said ‘Denis was a man for all seasons’, being one of many to bear testimony to the great importance and amiability of Denis Bowen.

Gallery Different will be hosting a variety of exhibitions of Denis Bowen’s collection, along with a large-scale retrospective of Denis Bowen’s work in 2021. VEDO will be posting further information about this extraordinary artist and the Gallery’s events for this artist. If you are interested in any of the above information, including buying Bowen paintings and would like further information please contact us.

Bringing Damien into the Dining Room

 

I was sitting in restaurant the other day and my eye was drawn to a very interesting textile hanging from the wall. It was very colourful, but the medium of the textile made it muted and soft at the same time. The whole effect was comforting and homely, perfectly matching the vibe that particular place wanted to project.

For many restauranteurs, proprietors and chefs, simply having food that shines is often not enough. We have all sat in bars, cafes and restaurants, enjoying the food but feeling there’s something lacking about the decoration and vibe.

For diners, the enjoyment of any dish can be immeasurably heightened by the ambience of their environment. Not every restaurant can offer the idyllic setting of a secluded Mediterranean bay to enhance the flavour of the fish, but there is so much than can be done to improve any dining experience.

It will not be a surprise to many that, as a pioneering capital city, London is a leading light in respect of this trend. From high profile restaurants with lots of wall space to smaller-scale boutique venues, there is an opportunity for any proprietor to follow suit and use art to both speak to their clients and temper the dining experience.

Possibly the best examples of this are any of the establishments which make up the Hix restaurant group.

With a handful of venues positioned mostly around the capital, artworks form an integral part of the experience of eating some of the best food the country has to offer. Enjoy a gin Martini or a sizzling steak amidst museum quality artworks by Damien Hirst, Harland Miller or Sarah Lucas (to name but a few…).

Mark Hix has taken the relationship between eating food and appreciating art one step further by creating a fantastic art space beneath one of his restaurants, Tramshed, in Shoreditch, East London.

The Gallery sources new talent and venerates established contemporary masters whilst offering top quality food. To understand more about the space, take a look at HIX ART gallery’s website http://hixart.co.uk/about/ where they summarise this symbiotic relationship perfectly: ‘HIX ART transforms into one of the coolest dining spaces in London. We have hosted wedding receptions, corporate dinners and birthday celebrations. Decorate the room and tables as you wish, sit back and enjoy beautiful art and Tramshed’s fantastic food.’ The food and art truly seem inextricably linked.

This practice, however, is by no means a new phenomenon. In their informative article on restaurants positioning themselves as art galleries, the Independent recall the magnificent works commissioned by New York’s Seagram Building in the middle of last century; ‘the Mark Rothko paintings known as The Seagram Murals, commissioned in 1958 for the Four Seasons restaurant’ were a pioneering force for those extolling the benefits of bringing artworks out of the galleries and into the restaurants.

One of the first prominent restaurants in London to happily embrace the art gallery dining experience was Pied à Terre in 34 Charlotte Street, this Michelin star restaurant developed under the creative force of David Moore quickly attracted a HNW crowd and it was not long before artworks by significant British artists were hanging on the walls.

The Turner Prize-nominated and Fourth Plinth commissioned artist David Shrigley has for some time decorated the entire wall space at Sketch in Conduit Street, as this restaurant looks to a long-term exhibition programme for artists. Shrigley’s first series of 239 drawings, full of witty and satirical messages that are now to be replaced with 91 new colourful works and ceramic tableware emblazoned with the artist’s sharp humoured texts and drawings. This is an example of one artist’s work dominating a restaurant space.

According to WGSN.com the top 5 art inspired restaurants are: the Arts Club in Mayfair, Coya London, Hixter Bankside, Magazine and Pharmacy 2.

Each of these restaurants offer a unique approach to combining art and dining, from the exciting murals commissioned by São Paulo street artist Loro Verz and a rotating series of artists, that include works by Amrita Bilimoria’s at Coya restaurant in 118 Piccadilly to the fully immersive art-food experience of Pharmacy 2 in Pimlico.

For those who loved Damien Hirst’s original Pharmacy, this collaboration between Hirst and Hix within Hirst’s art gallery space takes it to another level by showcasing a range of top artists as well as displaying iconic works by Hirst such as DNA strands in etched glass and hand-crafted pill designs embedded within the floor.

The Rosewood Hotel has paid homage to British cartoonist and art world figure Gerald Scarfe in their in-house bar, ‘Scarfes Bar’. On their website they confirm that ‘the collection of amusing and conversation-provoking paintings…adorn the marble walls turning Scarfes Bar into a living canvas’. Visitors to the bar are encouraged to engage with the works while they sit and enjoy the wonderful selection of cocktails this institution boasts.

With so many opportunities to enjoy art and food in unison, it seems this trend has taken force. If you have a restaurant or establishment and you too can see the immediate value art can add to a setting, please contact VEDO.

Our specialist art consultants can help source art that matches your brand and ethos, so the art has an affinity with your company reinforcing your values to your client base and staff. Whether the brand and ambience are designed to appeal to a young professional crowd, an arts and creative crowd or an older more sophisticated clientele, the art you choose can really speak volumes about your company and your creative vision.

We have found that where restaurants have a strategy for their art and a collection plan, the impact can be extremely impressive. For those wishing to generate unique dialogues with their visiting clientele, we can guide you through the myriad of opportunities available to you.

You don’t need to fill the walls with Hirsts and Emins to create a wow factor, there are many different types of artworks and artists whose works sell at varying price points. From talented up and coming emerging artists to established artists, to a cross range of interesting crafts, antiques and collectibles, all of which can be in the affordable price bracket from £100-£500 for prints, ceramics, photographs, drawings and small works up to £1,000 – £5,000 for larger works such as paintings on canvas, any of which can add great interest to the space and transform the overall experience.

Commissioning bespoke art is also another option open to clients, where artists will create a work that meets a client’s specific requirements. We work with a group of very talented contemporary artists, including sculptors, painters, etchers and other visual practitioners, each of whom can create bespoke commissions to suit any kind of space. Please see our website here for more details.

It’s time to provide a more engaging dining experience and VEDO is the company to help you start that process.

 

 

The Healing Power of Art: Why Companies should tap into this.

(c) Artist Bruno Tinucci, Clarendon Fine Art Gallery

A few weeks ago, I was in the waiting area at a hospital in London anxiously awaiting the outcome of an X-ray for a very close relative of mine who was having to investigate some alarming symptoms.

As I fidgeted nervously, and my eyes darted around the deserted waiting room in the early morning hours, my eye caught these beautiful landscape paintings which I simply assumed were reproductions.

As an art consultant and someone who loves art my attention was grabbed. On closer inspection these were in fact original paintings by contemporary artists. The works were curated by Rebecca Marsham, Senior Gallery Manager of Clarendon Fine Art Gallery in Cobham.

The theme was contemporary impressionistic landscapes by two different artists, a Russian artist Maya Eventov and an Italian artist called Bruno Tinucci. Both artists use strong sun light with dramatic effect and have a bold painterly style and their paintings are very uplifting.

I then spent some time looking at the views within the paintings.

I was transported to Tinucci’s lush sunflower field and rustic farm house, with a piercing blue-sky backdrop set in a typical rural Tuscany setting. Through the sway of the flora and strong light, you could feel the cool breeze and intensity of the burning sunshine.

I then stood before two large silver birches within a woodland. Eventov’s use of painting and etching on the canvas to build up the composition layers cleverly creates a sculptural quality to her works.

All of a sudden I felt calmer, my breath had settled, and I had shifted from an anxious state to a more balanced place. My relative came back into the waiting room and I was very fortunate to find that the X-ray revealed nothing sinister.

This is the first time I experienced the potential power of art in a medical setting.

Having spent a good three years in and out of clinics, hospitals and surgeries I was used to seeing many different types of artworks in this type of environment.

Unfortunately more often than not the art was uninteresting, pops of brightly coloured abstracts or great swirls of paint, randomly placed on the walls and designed to simply brighten the space or to merely blend into the interior design scheme but with no more meaning or significance.

However, art that has true synergy with the message the clinic wants to convey has an altogether far greater impact. Art can talk to the viewer, visually stimulating the senses and can convey powerful and challenging messages.

Whether it’s just to captivate the viewer with the awesome power of Mother Nature through a gorgeous landscape that may remind us of greater things than ourselves, of life’s reassuring cycle or simply the pure beauty there is to be found in our natural world or the art is on some other topic altogether, on a conscious and sub-conscious level art speaks to us all.

There have been studies on the impact of art on the healing process and recovery of patients and many top clinics and hospitals have used art in their wards for this primary purpose and with great effect.

When the clinic gets it right as they did at this hospital, with the installation having been professionally sourced and curated, it can leave a very positive and lasting impression on the viewer, as it had done so for me.

I have since contacted the Gallerist Rebecca Marsham and asked her how she came to select these artworks and Rebecca explained to me the following:

“The Wellington Hospital approached me to buy some permanent artwork for one of their units. I know only too well the power that the right (or wrong) artwork can deliver – the positive mood it can induce which is so important for healing –  so I went on a mission to find artists that painted specifically uplifting, joyous and yet calming artwork. I thought it was important to set the right tone for all visitors to the unit: the patients, the medical staff and the visitors.”

We have found that where the art consultant has a clearly defined brief in mind and understands precisely what the client wants to achieve, this can lead to the best results. In this case creating “the right tone” and ensuring the artworks were uplifting, joyous and calming and were appropriate for all the visitors to the unit were criteria used to find artworks that would meet the client’s requirements. Having specific criteria in mind can also significantly cut down the sourcing time and time taken selecting the artworks for purchase and/or display for both the art consultant and client.

At VEDO, we find art that truly has synergy with your Company’s brand and ethos. We liaise with galleries and independent artists in the UK and internationally to help source art that can have that desired impact for clients, artworks that impart meaning and significance and can have resonance with the appropriate audience whether it is clients, staff or suppliers.

To find out more about our process, please see our services page here.

To find out more and for a free consultation contact us here

Hedgehog is Subject of Artistic Mural in Urban Ipswich

Hedgehogs are quite literally the talk of the town in Ipswich at the moment. In a plea to raise awareness about wildlife welfare in the area, an artist has been commissioned to paint a mural of this shy, often overlooked mammal.

Street Artist, ATM, has painted a vast mural of a hedgehog in profile on the gable end of an Ipswich pub. His work, a mural which can’t be missed, has received much acclaim from both local residents and individuals from further afield (if you’ll excuse the pun).

The mural may look sweet, however the message is strong. The work is meant to signify the importance of these small but significant animals to Ipswich and the UK’s wider wildlife and ecosystems. On their website, the Suffolk Wildlife Trust confirms that the recently unveiled image both honours “Ipswich as a Hedgehog Hotspot” and also publicises “Hedgehog Awareness Week”.

ATM has reportedly developed a name for himself within the art community for depicting images of endangered species in urbanised city or town settings. In their article on the project, the BBC reference ATM’s aspiration that the works encourage individuals to think more about their ever-threatened natural environment and in this instance, the humble hedgehog. He hopes it will urge people to “not use weed killers on their plants, not use slug pellets… think about hedgehogs’ needs,” the BBC article confirms.

The mural is part of a large scale project to help hedgehogs more generally. In 2016, the Suffolk Wildlife Trust created a new role, that of Hedgehog Officer, to be based in Ipswich to respond to the increased numbers of sightings of the animals in and around the area.

According to a BBC article on the subject, the Suffolk Wildlife Trust’s appointment of the Hedgehog Officer, was no small or easy task. The Trust was apparently inundated with applications from individuals from around the world. They finally settled, however, on Ms Alexandra North who studied Zoology and has been central to Ipswich’s hedgehog mural project.

Commissioning public art, such as this mural can have benefits that go far beyond adding to the artistic and visual landscape within a community, they can pack a serious message and raise awareness about significant issues and also act as a call to action. In the great graffiti art tradition, an important message can conveyed as well as being a fun and interactive medium.

To find out more about commissioning public art works by contemporary artists please contact us at Jessica@vedocorporateart.com.

Hype Around Hirst’s New Exhibition – But to What End?

Art produced by YBA heavyweight, Damien Hirst, always seems to make the headlines. Whether it is stories about astronomical prices for pieces or tales from the artist’s own life, the newspapers and magazines are always interested in what Damien Hirst is up to.

The current feature for many is Hirst’s newest exhibition, held across two venues, the Punta della Dogana and Palazzo Grassi in art hotspot, Venice, for this year’s Biennale.

Entitling the show, “Treasures from the Wreck of the Unbelievable” Hirst has certainly sought to capture media attention it would seem. In an article on the show, the Guardian’s Sarah Hughes, has termed it “one of the most tightly guarded art exhibitions of recent years,”…but how has it been received?

In a fascinating short interview on the BBC’s Arts and Entertainment website (http://www.bbc.co.uk/news/entertainment-arts-39534654 ) Arts Editor, Will Gompertz, quizzes Hirst on the exhibition’s main exhibits and themes.

Hirst confirms that the 180 or more artefacts and objects on show are those from an imaginary ship which took place over 2000 years ago.

The items are supposed to have been part of an historic and extensive collection amassed by a great individual. On their website, the Palazzo Grassi confirm that the collector is called “Aulus Calidius Amotan – a freed slave better known as Cif Amotan II”.

Included alongside the objects are photographs showing their underwater discovery. By including these photographs, Hirst really taps into the theme of belief as we really feel we are part of a major, historic discovery of an extraordinary body of work. The exhibition itself covers the whole process from the finding of the artefacts through to displaying of them.

Hirst tells Gompertz in the BBC video that “for me the show is about belief, and you can believe whatever you want to believe.” He continues, “I’ve spent so much time on it that it’s not a lie…I just believe it.”

Back on dry land, Hirst purports of have spent over £50million on this exhibition and when we consider the materials used to create these artworks – gold, crystal and bronze are among those listed – this figure makes more sense.

Not everyone, however, is pleased to see it’s unveiling. Activist group, Animalisti, the Guardian article confirms, have been responsible for depositing over 40 kilos of animal manure outside one of the two exhibition venues, the Palazzo Grassi. Their motivation is believed to stem from Hirst’s use of animal carcasses in a number of his previous works of art.

“Treasures from the Wreck of the Unbelievable” runs between 9 April 2017 and 3 December 2017 alongside Venice Biennale’s extensive programme of events and exhibitions.

To see images either visit Hirst’s own website or take a look at the official Palazzo Grassi’s website.
It is one of the most reviewed exhibitions and is nothing short of sensational. Our VEDO art consultants will be paying a visit to see whether we too are captivated by the make believe world of Hirst. Watch this space for more details.