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that included a number of materials relating to the artist’s early underground “comix;” his
seminal work, Maus; and his more recent productions.

In spring 2013, Patrick Faigenbaum featured a selection of the artist’s photographs from
the 1970s to the present that included charged portraits of both people and places. Following
this exhibition was our highly anticipated Grand Hotel: Redesigning Modern Life, a thematically

innovative and informative exhibition that explored the hotel through three frames: travel,
design and the social. The project also featured a website and major publication co-published

with Hatje Cantz Verlag.
Three summer exhibitions showcased works from our permanent collection: Persuasive
Visions: 17th Century Dutch and Flemish Masterworks and Contemporary Reflections, which

presented seventeenth-century works from our collection and the Rijksmuseum, Amsterdam
alongside contemporary works in similar genres; In Dialogue With Carr: Gareth Moore —

Allochthonous Window, the latest in an ongoing series that featured the Vancouver-based
artist’s new installation in relation to Emily Carr’s ceramics; and Portraits in Time, an exhibition
that expanded notions of portraiture by presenting durational film, video and digital media

works in this genre.
Finally, in the first North American presentation of the artist’s work, Martin Honert opened

with his extraordinary body of sculpture, ten examples of which were presented for audiences
to encounter “like pearls on a necklace”— a phrase the artist used to describe his vision
for our Gallery’s presentation that conveys the exquisite self-containment and luminescent

beauty of his art. [Giants], 2007, Styrodur, polyurethane rubber, wool, clothing, leather, Staatliche Museen zu Berlin, Nationalgalerie 2012, Purchased by the Friends of the Nationalgalerie, © Martin Honert/SODRAC (2013), Photo: Cherry Archer.

Martin Honert, Riesen

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