Marc Quinn

Marc Quinn

PHI Foundation for Contemporary Art

Marc Quinn – Angel
Photo: Stephen White Courtesy
Jay Jopling/White Cube (London).

July 25, 2007

October 5, 2007 – January 6, 2008

Curated by John Zeppetelli

DHC/ART Foundation for Contemporary Art
451 rue St-Jean
Montreal, Québec
H2Y 2R5
(514) 866-6767
info [​at​]

Gathering over forty recent works, DHC/ART’s inaugural exhibition by conceptual artist Marc Quinn is the largest ever mounted in North America and the artist’s first solo show in Canada. Marc Quinn is a central figure within British art whose work is principally concerned with the body’s mutability in time, its physical presence in space and its anxiety within culture. His work also poignantly explores mortality, beauty, kinship and the interplay of art and science.

Marc Quinn’s work ranges across a variety of media – from sculpture to painting, drawing and photography – and includes dazzling, if contentious, frozen self-portraits cast from his own head and filled with his own blood to stunning frozen portraits of his infant sons made with their respective placentas and umbilical chords. The latest of these, Sky, is included in this exhibition.

Quinn’s The Complete Marbles, a suite of sculptural portraits of amputees and disabled individuals in sparkling white marble allude to fragmented Greco-Roman statuary while slyly addressing heroism. Quinn has made DNA portraits of his family and of scientist John Sulston, paintings of improbable gardens, and highly evocative wax castings of people with life-threatening illnesses — Chemical Life Support — where the wax is mixed with daily doses of the medications that keep the individuals alive. Another wax portrait of a serene young woman Beauty and the Beast is colored darkly by animal blood.

Digitally manipulated animal flesh is the basis for two stunning Mirror Paintings on view, as well as for Cybernetically Engineered, Cloned and Grown Rabbit, a seven foot bronze sculpture, at once comic and melancholy, of a shaped rabbit carcass. Quinn has arrested the decay of flowers by immersing them in sub-zero silicone and made painted bronze sculptures of supermodel Kate Moss in extreme contortions. Other bronzes include a series of human skeletons, among them The Selfish Gene, which depicts a couple in the throes of love-making.

In 2004 Marc Quinn won a major public art commission for the Fourth Plinth: his Alison Lapper Pregnant, a large marble portrait of a naked, severely disabled and very pregnant woman was installed in Londons Trafalgar Square — a bold and powerful tribute to both disability and motherhood.

A fully illustrated catalogue with essays by British art historian Lynda Nead and Montreal psychoanalyst Harvey Giesbrecht accompanies the exhibition.

Marc Quinn was born in London in 1964. He studied History of Art at Cambridge University (1982-85) and began working as a sculptor in 1984. Marc Quinn is represented by White Cube, London and Mary Boone Gallery, New York. His work is in numerous museum and private collections around the world.

Information: Cheryl Sim, Program Coordinator
(514) 866-6767 /

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PHI Foundation for Contemporary Art
July 25, 2007

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