• text
  • pictures

John Isaacs

Lancaster, Reino Unido. 1968
Cast from light and dark your shadow is no different from mine
2016. Polychrome on wood, gesso. 27 x 15 x 23 cm
Let the golden age begin
2016. Steel, wood, 24 carat gold leaf. 210 x 180 x 180 cm
What Makes Certain (Diptych)
2016. Newspaper on primed raw canvas. 140 x 110 x 5 cm
Untitled
2016. Acrylic paint and gel medium on primed raw canvas. 240 x 190 x 5 cm
Untitled
2016. Acrylic paint and gel medium on primed raw canvas. 240 x 190 x 5 cm
Are we not the same you and I
2016. Bronze and 24 carat gold leaf. 113 x 9 x 9 cm
There is no story that is not true
2016. Patinated bronze. 152 x 51 x 21 cm
Vista de detalle
The long way home
2015. Framed archival c-type print. 141 x 101 x 5 cm
The 13 Corners
2015. Galvanised steel, mild steel and newpaper. 200 x 65 x 95 cm
Votes for children
2015. Glazed ceramic, steel. 96 x 65 x 65 cm
Inconsolus
2015. Glass tube and transformers. Variable dimensions
Are we not the same you and I
2015. Bronze and gold leaf. 310 x 4 x 4 cm
If i said you could fall in love would you belive me
2015. glazed ceramic, steel and copper. 90 x 70 x 80 cm
On the as yet untitled road to peace
2015. White flag with crystals, chain and gold plated carrot. 160 x 110 x 5 cm
The cyclical development of stasis
2015. Terracotta, plaster, steel, glass, wood. 160 x 56 x 76 cm
Untitled
2015. Framed c-type print. 124 x 78 x 4 cm
A perfect soul
Carved from statuario marble. 200 x 180 x 110 cm
Cast from light and dark you shadow is no different from mine
2013. Patined bronze, steel. Variable dimensions
The architecture of empathy
2013. Water color, pencil on antique paper. 52 x 42 cm
Are you like me full of hope and full of fear
2013. Fabric, glue, cardboard 190 x 160 x 12 cm
The forgotten temple
2013. Wax, oil paint, plaster, steel, glazed ceramic, 24 carrat gold leaf. 186 x 67 x 114 cm
The long way home
2012. Patinated bronze and steel. 85 x 69 x 75 cm
Encyclopedia
2013. Steel, plaster, wood 115 x 144 x 85 cm
Ngorongoro
2013. Glazed ceramic. 72 x 46 x 37 cm
John-Isaacs-Available-Works-for-Travesia-Cuatro_Page_22
What is it that there is something and nothing (dyptich)
2011. C-print on aluminium, rubiq cube's colours. 240 x 179 x 3 cm
Blood and tears
2013. Neon glass fittings, transformer. 180 x 180 x 8 cm
What lies behind what lies before
2012. Painted bronze, steel, car paint. 217 x 52 x 52 cm
TravesiaCuatro_JohnIsaacs_27
Everything is not enough
2012. Car door and neon. 275 x 170 cm
Married to the same idiocy
2013. Ceramic, steel, shellack. 65 x 89 x 7 cm
There is no story that is not true
2010. Plaster, resin, Damien Hirst's trousers. Variables dimensions
Things that can be are hat which we know
2011. Wax, oil paint, polystyrene, wood, steedl, latex and stage blood. 94 x 128 x 120 cm
Yesterday, today and tomorrow
2010. Digital print. 48.5 x 38.5 cm
Let the golden age begin
2010. Glass, neon light, electric transformers, flashing units. 180 x 170 x 12 cm
Walking in the poverty of our history in the making
2011. Taxidermized vulture, plaster, garbage bag and his content, steel structure. 230 x 120 x 120 cm.
Everything given nothing lost
2010. Glazed ceramic. 80 x 80 x 20 cm
Everyone is making do with what they have but looking at you makes me want less
2010. Glazed ceramic, steel. 75 x 10 x 120 cm
People who lives in white houses shouldent throw stones
2008. Steel, wood, plaster, vinyl, 24 carat gold plate. Variable dimensions
To do to you again what was done before
2008. Silicone reproduction elephant foot, car body filler, acrylic paint, vinyl. 104 x 42 x 42 cm
The frightened gods of fortune
2010. Gold plate, wax, plaster, steel, wood, oil paint, latex 120 x 80 x 105 cm
From a distance you look smaller...but I know that you are there
2010. Felt, fabric, glue, steel. 210 x 120 cm
What is it that there is something and nothing
2006. Archival inkjet photographic print. 110 x 141 cm
Are you like me full of hope full of fear
2013. Fabric, glue, cardboard. 190 x 160 x 12 cm
The forgotten temple
2013. Wax, oil paint, plaster, steel, glazed ceramic, 24 carrat gold leaf. 186 x 67 x 114 cm
JI035
Past error of judgement made real in the future lives affected
2009. Oil paint on lambda print, feathers, unique. 108 x 165 cm
Let's Dance
2005. Bronze, steel, tape. 90 x 60 x 60 cm
Where is my world
2008. Glazed ceramic, human hair, steel, electrical appliance. 50 x 50 x 180 cm
I know now what I knew before
2007. Indian ink on antique paper. 34 x 24 cm
Hanging on the stars
2008. seven 0.05 ct. diamonds and found lithoprint. 26.5 x 31 cm
GATHERING-DUST,-indian-ink-on-found-lithoprint,-21-x-30-cm,-2007
Here is an empty kiss
2009. Glazed ceramic. 100 x 70 x 25 cm
DO-YOU-REMEMBER-THE-TIME-BEFORE,-indian-ink-on-antique-paper,-24-x-34-cm,-2007
Broken dreams
2007. India ink on antique paper. 24 x 34 cm
Pool of narcissus weeping (moving closer to a spiritual and transcendental god of a likewise sadness)
2010. Glazed ceramic, steel, brass, plastic, wood. 180 x 93 x 80 cm
You can give everything you have to others, and lose nothing of yourself
2010. Glazed ceramic. 112 x 70 x 50 cm
0-3
0-2

John Isaacs produce con sus obras modos alterados de percibir la historia; desde una concepción plenamente temporal de los materiales, el artista convierte lo antiguo y lo nuevo en categorías ambiguas. Isaacs también revierte las simbologías que son utilizadas por los ámbitos religiosos o la cultura popular para establecer parámetros de valor y significado, al liberar estos signos de sus referencias comunes, pueden ser dispuestos como presencias poéticas puras. El oro, la carne humana o incluso los objetos de uso común se convierten en un piso común donde reside algo auténticamente humano, una tendencia a lo trascendental.

El extrañamiento inicial que produce la obra de Isaacs, habla de una esencia compartida que el artista decide sublimar pero también parodiar, haciendo uso de una gran diversidad de medios y materiales. El artista utiliza el lenguaje y la referencialidad con una función adversa, en lugar de adjudicar y reafirmar un significado, lo cancela para así revelar la dimensión emocional de las cosas y su relación con el cuerpo.

John Isaacs ha tenido numerosas exposiciones individuales y grupales en museos, instituciones y galerías internacionales, entre ellas destacan:

Young British Artists VI, The Saatchi Gallery, London (1996); Spectacular Bodies, The Hayward Gallery, London (2000); Disasters of War, KW, Berlin (2000); Minimal Maximal, Museum of Modern Art, Kyoto (2001); Melodrama, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz and Palacio de los Condes de Gabia/Centro José Guerrero, Granada (2002) and MARCO, Vigo (2003); Mike Kelly’s The Uncanny, Tate Liverpool (2004); Les Grands Spectacles, Museum der Moderne, Salzburg (2004); In the darkest hour there may be light, The Serpentine Gallery, London (2007); Rockers Island: The Olbricht Collection, Museum Folkwang Essen (2007); Paul Thek in the context of contemporary art, ZKM, Karlsruhe (2007); Dream Time, Les Abattoirs, Musée d’art moderne et contemporain, Toulouse (2009); Freedom not Genius, Works from Damien Hirst’s Murderme Collection, Pinacoteca Giovanni e Marella Agnelli, Turin (2012); Alice im Wunderland der Kunst, Hamburger Kunsthalle, Hamburg (2012); Highlights from the Collection II, The Goss-Michael Foundation, Dallas (2012); The name is Burroughs − Expanded Media, Sammlung Falckenberg, Deichtorhallen, Hamburg (2013); A Brief History of the Future, Musées royaux des Beaux-Arts de Belgique, Brussels (2015); About Trees, Zentrum Paul Klee, Bern (2015); Fleischeslust, Museum Villa Rot, Burgrieden-Rot, Germany (2015); The Thousand-Thigh Hospice: experiments in healing, CAN, Centre d’Art de Neuchatel, Switzerland (2015); Absurd builders, handymen utopia, Abbaye Saint André, Centre d’art contemporain, Meymac, France (2015); Forgiveness and Reconciliation, Musei Vaticani, Rome (2015); INCONSOLUS votes for children, Travesía Cuatro, Madrid (2015); The 13 Corners, Travesía Cuatro Guadalajara, México (2016); The inner skin – Art and Shame, Museum für Kunst, Architektur, Design, Marta Herford, Germany, John Isaacs, Archipelago, Galleria Poggiali, Milan, Italy, (2018); Da uno a Dieci, Galleria Massimo Minini, Brescia, Italy, (2018); Eat me, Kunstmuseum Trapholt, Kolding, Denmark (2018); entre otras.

El artista vive y trabaja en Berlín, Alemania.

Cast from light and dark your shadow is no different from mine
2016. Polychrome on wood, gesso. 27 x 15 x 23 cm
Let the golden age begin
2016. Steel, wood, 24 carat gold leaf. 210 x 180 x 180 cm
Cast from light and dark you shadow is no different from mine
2013. Patined bronze, steel. Variable dimensions
There is no story that is not true
2016. Patinated bronze. 152 x 51 x 21 cm
Vista de detalle
You can give everything you have to others, and lose nothing of yourself
2010. Glazed ceramic. 112 x 70 x 50 cm
If i said you could fall in love would you belive me
2015. glazed ceramic, steel and copper. 90 x 70 x 80 cm
Things that can be are hat which we know
2011. Wax, oil paint, polystyrene, wood, steedl, latex and stage blood. 94 x 128 x 120 cm
Married to the same idiocy
2013. Ceramic, steel, shellack. 65 x 89 x 7 cm
The long way home
2015. Framed archival c-type print. 141 x 101 x 5 cm
Everything is not enough
2012. Car door and neon. 275 x 170 cm
Votes for children
2015. Glazed ceramic, steel. 96 x 65 x 65 cm
Ngorongoro
2013. Glazed ceramic. 72 x 46 x 37 cm
There is no story that is not true
2010. Plaster, resin, Damien Hirst's trousers. Variables dimensions
Are we not the same you and I
2015. Bronze and gold leaf. 310 x 4 x 4 cm
News

TRAVESÍA CUATRO EN FRIEZE NEW YORK | BOOTH 4D

Travesía Cuatro | Frieze NY | BOOTH 4D
ALEXANDRE ESTRELA, ELENA DEL RIVERO, JORGE MÉNDEZ BLAKE, MATEO LÓPEZ, JOSE DÁVILA, JOHN ISAACS, SARA RAMO
3 de Mayo 2018 – 6 de Mayo 2018

EAT ME: TRAPHOLT MUSEUM, KOLDING, DENMARK | JOHN ISAACS

El artista John Isaacs participa en la exposición Eat Me en el Trapholt Museum de Kolding, Dinamarca. La exposición sirve de planteamiento para entender quienes somos en un mundo donde usamos la comida para comentar prácticamente cualquier cosa: problemas sociales, http://www.viagrabelgiquefr.com/ hábitos culturales, nuestras identidades… Usamos la comida para establecer límites, refinar nuestras sensibilidades y proyectar nuestras visiones del futuro.

La exposición podrá visitarse hasta el 2 de Mayo de 2018.

STEDELIJK MUSEUM SCHIEDAM, PAÍSES BAJOS | JOHN ISAACS

John Isaacs forma parte de la exposición Sticky Business The Temptation of Sugar in Art en el Museo Stedelijk Schiedam del 16 de Septiembre al 18 de Febrero de 2018.

La diseñadora de alimentos y comisaria Marije Vogelzang plantea la exposición donde el azucar es el elemento discursivo, considerado en la actualidad como el veneno blanco.