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23 OCT 2013 - 18 JAN 2014

Highlights from The Collection (2) will present works from 12 artists from The Goss-Michael Foundation’s collection, most of which have not been seen in the public. This exhibition marks the third year since the re-opening with the original Highlights from The Collection (1).

In response to the original Highlights from The Collection (1) exhibition (2010), which commanded a very visually dominant force of work that dealt with themes of mortality, ecstasy and desire, the current Highlights from The Collection (2) (2013) seeks to dismantle and re-appropriate works from the collection into a poetic chasm that ranges from brass ventilation grills placed high above standard and optimal viewing height (Martin Boyce), to an exaggeratedly large potato stump for contemplation (John Isaacs), to the larger than life marble sculpture of a mother affected by thalidomide and her angelic son (Marc Quinn). The exhibition, in its attempt to use works that balance, conflict and estrange themselves within the context of their environment and each other, acknowledges the potential discord of a group exhibition.

At the onset, the first exhibition space presents one of the earliest works from the GMF Collection (Richard Long, Green Slate Spiral, 1980) with the effect of presence and awareness of time instilled into unsuspecting guests. Quietly, graceful and cerebral works dealing with perceptions of experience and identity (Cerith Wyn Evans and Bethan Huws) carry one around the space. In isolation, a cast iron figure awaits visitation (Antony Gormley). In contrast and relation to the often controversial work by Damien Hirst, a pair of Jake and Dinos Chapman sculptures of young girls provide an unsettling experience of the grotesque and the unimaginable. At the physical end of the exhibition, a small wax mouth snarls anonymously with what is left of a used cigarette butt (Sarah Lucas). Where does it all end?