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Damien Hirst
The Empresses A recurring theme in Damien Hirst’s works, the butterfly, epitomises beauty and transience. In his most recent five-part series, the old master of the Young British Artists… Read more
Intro Bio Exhibitions
Background Information about Damien Hirst
Introduction
The Empresses
A recurring theme in Damien Hirst’s works, the butterfly, epitomises beauty and transience. In his most recent five-part series, the old master of the Young British Artists explores a topos that, above all, challenges our knowledge of Western history. The silk-screen works, printed with a fine lustre, are all named after female rulers whose respective provenances were Persian-Indian, Byzantine, Chinese, Japanese and Ethiopian history. Hirst pays tribute to these outstanding, though largely unknown queens: Nur Jahan, Theodora, Wu Zetian, Suiko, Taytu Betul not only by a dazzling work of art, but also with a distinctive pattern, which reveals itself to be a finely crafted mosaic composed of count-less butterfly wings. The form and appearance of the mosaic refer, in turn, to historical and biographical aspects of these regents. To appreciate the images in their full depth and significance, this encourages us, the viewers, to examine the lives and heritage of these remarkable women.
The Virtues
Founding member of the Young British Artists Damien Hirst proves that one way of remaining true to yourself is by reinventing yourself. With his large-format Cherry Blossoms, he fulfilled an old dream of his and his mother’s: Back when he submerged a tiger shark in formaldehyde, she implored him to at least once paint flowers. Three years ago, he did just that. Working alone and in seclusion, Hirst spent three years producing an inordinate number of paintings. In all versions, he applied enormous quantities of paint onto canvases arranged in parallel in his London studio. He painted and dripped, he flung paint, he approached the canvas in a state of intoxication and stepped back to inspect it – until his vision, expressed in paint, resembled a Japanese cherry blossom. So far, these works could be admired at the Fondation Cartier and the National Art Center Tokyo. Anyone familiar with Hirst knows that for him the cherry blossom is a symbol not just of beauty but also of ephemerality. In this way, Hirst has remained true to his most central theme.
About the Artist
At the beginning there was a dot. Circular, neither too large nor too small, unimposing, coloured. One dot, plain and simple. It stood on the wall of a warehouse in London, an area converted into an exhibition space. Other dots soon appeared around this dot, equidistant from one another, painted onto the wall. A square grid of coloured dots emerged. To prove how diverse such a grid of coloured dots could be, Damien Hirst painted a second next to it. They were called “Edge” and “Row”.
The effect was so effortlessly successful, the focus on a theme so profound. How can colours so concentrated, so bare, and yet so full of meaning, become art, become an image style? “Edge” and “Row” were both a product and the beginning of an artistic approach to colour that has been continually evolving since 1988.
Some of the grids remind us of medicines in the pharmaceutical industry. The soft pastel colours and uniform patterns of the coloured pills suggest a pain-free zone. The cryptic title given to the series by Hirst is also evocative of pharmaceutical ingredients. They have names that, were you to place them next to one another and read aloud, would sound like a poem in concrete prose: Mepromate Lepidine Histidyl - Abalone Acetone Powder.
The transferability of meaning and the transformation of content is very much in keeping with the style of the artist. One might recall the live tiger shark Hirst submerged in formalin in 1991. A silent killer of the deepest oceans, it looked out at the viewers from inside an enormous blue container, mouth wide open, teeth razor sharp. The threatening work was given the name “The physical impossibility of death in the mind of someone living”. Can anyone divide public opinion and whip the global art market into a frenzy in such a way? In 2007 he produced a human skull made from platinum and encrusted with 8601 pure diamonds, including a 52 carat diamond centrepiece mounted on the forehead. The skull was bought by an investment group for around $100 million. The plot thickened as we later learned that Hirst himself was a member of the group.
Hirst’s art is created to be ambivalent and revolves around a focal point in his thinking: “I’ve got an obsession with death … But I think it’s like a celebration of life rather than something morbid”. Whether preserving animals in formalin, creating kaleidoscopic images from butterflies, or covering skull x-rays with captivating colour mixtures, the young Tate Modern artist always manages to give death a smile.
Stephan Reisner
A recurring theme in Damien Hirst’s works, the butterfly, epitomises beauty and transience. In his most recent five-part series, the old master of the Young British Artists explores a topos that, above all, challenges our knowledge of Western history. The silk-screen works, printed with a fine lustre, are all named after female rulers whose respective provenances were Persian-Indian, Byzantine, Chinese, Japanese and Ethiopian history. Hirst pays tribute to these outstanding, though largely unknown queens: Nur Jahan, Theodora, Wu Zetian, Suiko, Taytu Betul not only by a dazzling work of art, but also with a distinctive pattern, which reveals itself to be a finely crafted mosaic composed of count-less butterfly wings. The form and appearance of the mosaic refer, in turn, to historical and biographical aspects of these regents. To appreciate the images in their full depth and significance, this encourages us, the viewers, to examine the lives and heritage of these remarkable women.
The Virtues
Founding member of the Young British Artists Damien Hirst proves that one way of remaining true to yourself is by reinventing yourself. With his large-format Cherry Blossoms, he fulfilled an old dream of his and his mother’s: Back when he submerged a tiger shark in formaldehyde, she implored him to at least once paint flowers. Three years ago, he did just that. Working alone and in seclusion, Hirst spent three years producing an inordinate number of paintings. In all versions, he applied enormous quantities of paint onto canvases arranged in parallel in his London studio. He painted and dripped, he flung paint, he approached the canvas in a state of intoxication and stepped back to inspect it – until his vision, expressed in paint, resembled a Japanese cherry blossom. So far, these works could be admired at the Fondation Cartier and the National Art Center Tokyo. Anyone familiar with Hirst knows that for him the cherry blossom is a symbol not just of beauty but also of ephemerality. In this way, Hirst has remained true to his most central theme.
About the Artist
At the beginning there was a dot. Circular, neither too large nor too small, unimposing, coloured. One dot, plain and simple. It stood on the wall of a warehouse in London, an area converted into an exhibition space. Other dots soon appeared around this dot, equidistant from one another, painted onto the wall. A square grid of coloured dots emerged. To prove how diverse such a grid of coloured dots could be, Damien Hirst painted a second next to it. They were called “Edge” and “Row”.
The effect was so effortlessly successful, the focus on a theme so profound. How can colours so concentrated, so bare, and yet so full of meaning, become art, become an image style? “Edge” and “Row” were both a product and the beginning of an artistic approach to colour that has been continually evolving since 1988.
Some of the grids remind us of medicines in the pharmaceutical industry. The soft pastel colours and uniform patterns of the coloured pills suggest a pain-free zone. The cryptic title given to the series by Hirst is also evocative of pharmaceutical ingredients. They have names that, were you to place them next to one another and read aloud, would sound like a poem in concrete prose: Mepromate Lepidine Histidyl - Abalone Acetone Powder.
The transferability of meaning and the transformation of content is very much in keeping with the style of the artist. One might recall the live tiger shark Hirst submerged in formalin in 1991. A silent killer of the deepest oceans, it looked out at the viewers from inside an enormous blue container, mouth wide open, teeth razor sharp. The threatening work was given the name “The physical impossibility of death in the mind of someone living”. Can anyone divide public opinion and whip the global art market into a frenzy in such a way? In 2007 he produced a human skull made from platinum and encrusted with 8601 pure diamonds, including a 52 carat diamond centrepiece mounted on the forehead. The skull was bought by an investment group for around $100 million. The plot thickened as we later learned that Hirst himself was a member of the group.
Hirst’s art is created to be ambivalent and revolves around a focal point in his thinking: “I’ve got an obsession with death … But I think it’s like a celebration of life rather than something morbid”. Whether preserving animals in formalin, creating kaleidoscopic images from butterflies, or covering skull x-rays with captivating colour mixtures, the young Tate Modern artist always manages to give death a smile.
Stephan Reisner
Bio
| 1965 | Born in Bristol, UK |
| 1986-1989 | Goldsmith College „Fine Arts“ |
| 1988 | Curator of the exhibition „Freeze“, Surrey Docks, London, UK |
| 1990 | Curator of the exhibition „Modern Medicine“, Building One, London, UK |
| 2007 | The artwork “For the Love of God” is sold for € 75 Million and is the most expensive work of contemporary art according to British media reports |
| Lives in Devon and has Studios in London, Gloucester and Devon, UK |
Awards
| 1995 Turner Prize |
Collections
The artist’s works belong to numerous museums worldwide, including Tate Modern in London, the Astrup Fearnley Collection in Oslo, and the Museum of Fine Arts Boston.
Exhibitions
Solo Exhibitions
| 2023 | Damien Hirst: Oranges and Lemons, Galerie Bastian, Berlin, Germany 2022 Damien Hirst: Cherry Blossoms, National Art Center, Tokyo, Japan |
| Damien Hirst: Myths, Legends and Monsters, Gagosian Gallery, Gstaad, Switzerland | |
| Damien Hirst: Forgiving and Forgetting, Gagosian Gallery, New York, USA | |
| 2021 | Damien Hirst: His Own Worst Enemy, White Cube, Hong Kong, Hong Kong |
| Damien Hirst: Forgiving and Forgetting, Gagosian Gallery, Rome, Italy | |
| Damien Hirst: Cherry Blossoms, Fondation Cartier pour l'art contemporain, Paris, France | |
| Damien Hirst: Cathedrals Built on Sand, Gagosian Gallery, Paris, France | |
| 2020 | Damien Hirst: End of a Century, Newport Street Gallery, London, UK |
| Selections from The Last Supper, Kemper Museum of Contemporary Art, Kansas City, USA | |
| 2019 | Damien Hirst: Mandalas, White Cube, London, UK |
| Sneaker Collab, MUDAC, Musée de design et d'arts appliques contemporains ,Lausanne, Switzerland | |
| Damien Hirst, Yorkshire Sculpture Park, Wakefield, UK | |
| Damien Hirst: At Play, Gormleys Fine Art, Dublin, Irland | |
| Damien Hirst: Cherry Blossoms, Portland Art Museum, Portland, USA | |
| 2018 | Damien Hirst: Works from Schizophrenogenesis - Selected works, Galerie Boisséree, Cologne, Germany |
| Damien Hirst: Colour Space Paintings, Gagosian Gallery, New York, USA | |
| Damien Hirst: Mickey and Minnie, Lots of Spots, A Big Heart and A Butterfly or Two ,Gormleys Fine Art, Belfast , UK | |
| Damien Hirst: The Veil Paintings, Los Angeles, USA | |
| Damien Hirst: Schizophrenogenesis Limited Edition Book Launch, Paul Stolper, London, UK | |
| Damien Hirst, Galerie Bastian, Berlin, Germany | |
| 2017 | Damien Hirst: Visual Candy and Natural History, Gagosian Gallery, Hong Kong, Hong Kong |
| Damien Hirst: Treasures from the Wreck of the Unbelievable, Palazzo Grassi, François Pinault Foundation, Venice, Italy | |
| Damien Hirst, Gary Tatintsian Gallery, Moscow, Russia | |
| Damien Hirst, Gow Langsford Gallery, Auckland, New Zealand | |
| 2016 | Damien Hirst: New Religion, Paul Stolper, Skopje, Macedonia |
| 2015 | Psalm Prints by Damien Hirst, Other Criteria, New York, USA |
| Damien Hirst, Astrup Fearnley Museet, Oslo, Norway | |
| Damien Hirst x Lalique: ETERNAL ,Other Criteria, New York, USA | |
| Damien Hirst, Aurel Scheibler, Berlin, Germany | |
| Psalm Prints by Damien Hirst, Other Criteria, New York, USA | |
| Damien Hirst: LOVE, Paul Stolper, London, UK | |
| 2014 | Damien Hirst: Black Scalpel Cityscapes, White Cube, Sao Paulo, Brazil |
| Damien Hirst: Schizophrenogenesis, Paul Stolper, London, UK | |
| 2013 | Damien Hirst: Freedom not Genius, Multimedia Art Museum, Moscow / Moscow House of Photography, Moscow, Russia |
| Damien Hirst: He Tried to Internalise Everything, 1992-1994, The New Art Gallery Walsall ,Walsall, UK | |
| Damien Hirst: Entomology Cabinets and Paintings, Scalpel Blade Paintings and Colour Charts, White Cube, Hong Kong, Hong Kong | |
| Damien Hirst: The Spot Woodcuts, Carolina Nitsch Contemporary Art, New York, USA | |
| 2012 | Damien Hirst: Two Weeks One Summer, PinchukArtCentre, Kiev, Ukraine |
| Damien Hirst: Nucleohistone, Mattatoio Rome, Rome, Italy | |
| Damien Hirst. Retrospective at Tate Modern, London, UK | |
| Damien Hirst: The Complete Spot Paintings 1986-2011, Gagosian Gallery, New York, Beverly Hills, London, Paris, Rom, Genf, Athen, Hong Kong | |
| Damien Hirst Donation, Arken Museum of Modern Art, Ishøj, Dänemark | |
| 2011 | Damien Hirst: Artist Rooms, Tate Britain, London, UK |
| 2010 | Cornucopia, Musée océanographique de Monaco, Monte Carlo, Monaco |
| For the Love of God, Palazzo Vecchio, Florenz, Italien | |
| 2009 | Nothing Matters, White Cube/ Huxton Square/ Mason Yard, London, UK |
| 2008 | Requiem, PinchukArtCentre, Kiew, Ukraine For the Love of God, Rijksmuseum, Amsterdam, Niederlande |
| Damien Hirst, Museum of Contemporary Art Denver, USA | |
| 2007 | Damien Hirst: Life, Death and Love, Kunsthuset Kabuso, Øystese, Norwegen |
| Damien Hirst: Four Works from the Board Art Foundation, Portland Art Museum, Portland, USA | |
| 2006 | The Death of God – Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, Galeria Hilario Galguera, Mexico City, Mexiko |
| 2005 | Damien Hirst, Astrup Fearnley Museet fur Moderne Kunst, Oslo, Norwegen |
| A Selection of Works by Damien Hirst from Various Collections, Museum of Fine Arts, Boston, USA | |
| 2004 | The Agony and the Ecstasy: Selected Works from 1989 – 2004, Museo Archeologico Nazionale di Napoli, Neapel, Italien |
| 2003 | Romance in the Age of Uncertainty, White Cube/Hoxton Square, London, UK |
Group Exhibitions
| 2022 | Best of British, Maddox Gallery, London, UK |
| Take Care: Art and Medicine, Kunsthaus Zürich, Zürich, Switzerland | |
| Crown Jewels: Best of British Contemporary, Gormleys Fine Art, Dublin, Ireland | |
| 2021 | Winter Contemporary, Maddox Gallery, Gstaad, Switzerland |
| The Art of Food, University of Arizona Museum of Art, Tucson, Arizona, USA | |
| Ti Con Zero, Palazzo delle Esposizioni, Rome, Italy | |
| The Hour Forever, Dellasposa, London, UK | |
| Stützmappe and Bonobos: Synergies, BORCH Editions & Studio, Kopenhagen, Denmark | |
| Summer Contemporary, Maddox Gallery, London, UK; Gstaad, Switzerland | |
| Neo-Abstraction: Celebrating a Gift of Contemporary Art from John and Sara Shlesinger, Georgia Museum of Art, Athen, USA | |
| Sante D'Orazio: Priests, Hall Art Foundation, Schloss Derneburg Museum, Hildesheim, Germany | |
| POP Power from Warhol to Koons, Figge Art Museum, Davenport; David Owsley Museum of Art, Muncie, USA | |
| Within Reach: Masters' Editions, Today Art Museum, Beijing, China | |
| Signatures (X), Smallville, Neuchatel, Switzerland | |
| Healing Power, Tropenmuseum, Amsterdam, Netherlands | |
| 2020 | Love, Life, Death, and Desire: An Installation of the Center’s Collections, Yale Center for British Art, New Haven, USA |
| Artcels Presents 'XXI’, HOFA Gallery, Mykonos, Greece | |
| Colección Jumex: On The Razor’s Edge, Museo Jumex , Mexico City, Mexiko | |
| Lichtblicke, Galerie Koch, Hannover, Germany | |
| Animals in Art, Arken Museum of Modern Art, Ishøj, Denmark | |
| Mythologies: The Beginning And End Of Civilizations, ARoS Aarhus Kunstmuseum, Århus, Denmark | |
| Astrup Fearnley Collection, Astrup Fearnley Museet, Oslo, Norway | |
| Animals in Art, Arken Museum of Modern Art, Ishøj, Denmark | |
| 2019 | Accrochage, Galerie Boisséree, Köln, Germany |
| Objects of Wonder: From Pedestal to Interaction, ARoS Aarhus Kunstmuseum, Århus, Denmark | |
| One Way Ticket to Mars, Kunsthal KAdE, Amersfoort, Netherlands | |
| Stützmappe, BORCHs Butik ,Kopenhagen, Denmark | |
| Objects of Wonder. British Sculpture from the Tate Collection 1950s – Present, PalaisPopulaire, Berlin, Germany | |
| Modern and Contemporary Works from the Permanent Collection, Middlebury College Museum of Art, Middlebury, USA | |
| 2018 | Au rendez-vous des amis, Aurel Scheibler, Berlin, Germany |
| The Last Image. Photography and Death, C/O Berlin, Berlin, Germany | |
| Do it, Kalamazoo Institute of Arts. Kalamazoo, USA | |
| Gonzalo Torné & Quico Rivas, CAC Málaga, Malaga, Spain | |
| Ellos y nosotros (Them and Us), Es Baluard, Museum of Modern & Contemporary Art, Palma De Mallorca, Spain | |
| Sights & Sounds: Art, Nature, and the Senses, Toledo Museum of Art, Toledo, USA | |
| Memory Palace, White Cube, London, UK | |
| Democracy Anew?, PinchukArtCentre, Kiev, Ukraine | |
| Walking On The Fade Out Lines, Rockbund Art Museum, Shanghai, China | |
| WOW!, Leopold Museum ,Vienna, Austria | |
| Brit Art, Rhodes Contemporary Art, London, UK | |
| 2017 | Jewellery by Artists: From Picasso to Koons. Diane Venet’s Collection, LNMM, Latvian National Museum of Art, Riga, Latvia |
| Like a Moth to a flame, OGR - Officine Grandi Riparazioni, Turin, Italy | |
| We Are Not Alone, Athr Gallery, Jeddah, Saudi Arabia | |
| Beyond Limits, Sotheby's London, UK | |
| Giving back to Nature, Opera Gallery, Beirut, Lebanon | |
| Colori. The Emotions of Color in Art, Castello di Rivoli Museum of Contemporary Art, Turin, Italy | |
| Palm Springs Popup, Ikon Ltd., Santa Monica, USA | |
| 2016 | Art Against Art, Parkett Editions, Zürich, Switzerland |
| Creature, The Broad, Los Angeles, USA | |
| In the Cage of Freedom, Kunstmuseum Wolfsburg, Wolfsburg, Germany | |
| Corpus: Anatomical Theatre, National Centre for Contemporary Arts, St. Petersburg, Russia | |
| Skulls, Fried Contemporary, Pretoria, South Africa | |
| Curated By (?), Fondazione Sandretto Re Rebaudengo, Turin, Italy | |
| Sculpture on the Move 1946–2016, Kunstmuseum Basel, Basel, Switzerland | |
| Audacious: Contemporary Artists Speak Out, Denver Art Museum, Denver, USA | |
| LIFE ITSELF, Moderna Museet, Stockholm ,Stockholm, Sweden | |
| 2015 | The World is Made of Stories, Astrup Fearnley Museet, Oslo, Norway |
| Wintertime, Aurel Scheibler, Berlin, Germany | |
| Maurizio Nannucci: Top Hundred, Museion, Museo d'Arte Moderna e Contemporanea, Bolzano, Italy | |
| Beyond Limits: The Landscape of British Sculpture 1950-2015, Sotheby's London, UK | |
| What We Call Love: From Surrealism to Now, Irish Museum of Modern Art, Dublin, Ireland | |
| The Rise of Sneaker Culture, Brooklyn Museum of Art, New York, USA | |
| Fire and Forget on Violence, KW Institute for Contemporary Art, Berlin, Germany | |
| Magnificent Obsessions: The Artist as Collector, Barbican Art Gallery, London, UK | |
| 2014 | Peter Marino: One Way, Bass Museum of Art, Miami, USA |
| CORNUCOPIA, Parkett Editions, Zürich, Switzerland | |
| Beyond and Between, Leeum, Samsung Museum of Art, Seoul, South Korea | |
| Art Multiples, 313 Art Project, Seoul, South Korea | |
| 14 Rooms, Art Basel, Basel, Switzerland | |
| Second Life, KMAC Museum ,Louisville, USA | |
| Front Row, CFA, Contemporary Fine Arts, Berlin, Germany | |
| 2013 | Love, Now More Than Ever, Mori Art Museum, Minato-ku, Tokyo, Japan |
| The Gesture and the Sign, White Cube, São Paulo, Sao Paulo, Brazil | |
| 2012 | Don't Be Shy, Don't Hold Back ,SFMOMA, San Francisco Museum of Modern Art ,San Francisco, California, USA |
| ARTandPRESS - Art. Truth. Reality., ZKM | Center for Art & Media, Karlsruhe, Germany | |
| 12 Rooms, Museum Folkwang Essen, Essen, Germany | |
| Made in Britain : Modern Art from the British Council Collection, Benaki Museum of Greek Culture, Athen, Greece | |
| Regarding Warhol: Sixty Artists, Fifty Years, The Metropolitan Museum of Art, New York, USA | |
| Art and Press, ZKM/ Museum of Contemporary Art, Karlsruhe, Martin-Gropius-Bau, Berlin, Deutschland | |
| 12 Rooms: Ruhr Triennale 2012, Museum Folkwang, Essen, Deutschland | |
| British Design 1948 – 2012: Innovation in the Modern Age, Victoria Albert Museum, London, UK | |
| Made in Britain: Modern Art from the British Council Collection, Benaki Museum, Athen, Griechenland | |
| 2011 | O’Clock: time design, design time, Triennale di Milano, Mailand, Italien |
| In the Name of the Artists – American Contemporary Art from the Astrup Fearnley Collection, Bienal pavilion, Sao Paulo, Brasilien | |
| Selected works from the Francois Pinault Collection: Agony and Ecstasy, ongeun Artspace, Seoul, Korea | |
| Yokohama Triennale, Yokohama Museum of Art, Japan | |
| Fondazione Prada _ Ca'Corner della Regina, Prada Foundation, Venedig, Italien | |
| The Luminous Interval, Guggenheim, Bilbao, Spanien | |
| 2010 | Plus Ultra, Macro, Rom, Italien |
| Have You Ever Really Looked at the Sun?, Haunch of Vension, Berlin, Deutschland | |
| I LOVE YOU, ARoS Aarhus Kunstmuseum, Arhus, Dänemark | |
| C’est la vie: Vanités de Caravage à Damien Hirst, Musée Maillol, Paris, Frankreich | |
| 2009 | BAROCK – Art, Science, Faith and Technology in the Contemporary Age, MADRE, Neapel, Italien |
| Medicine and Art: Imagining a Future for Life and Love, Mori Art Museum, Tokyo, Japan | |
| Pop Life, Tate Modern, London, UK, 2010 Hamburger Kunsthalle, Hamburg, Deutschland | |
| 15 Years of Collecting - Against the Grain, Kunstmuseum Wolfsburg, Deutschland | |
| Spridd isolerad konst (Scattered and Isolated Art), Kalmar Art Museum, Kalmar, Schweden | |
| 2008 | Drei. Das Triptychon In Der Moderne, Kunstmuseum Stuttgart, Deutschland |
| Art, Price and Value – Contemporary art and the market, Palazzo Strozzi, Florenz, Italien | |
| Statuephilia, British Museum, London, UK | |
| END GAME – British Contemporary Art from the Chaney Family Collection, Museum of Fine Arts, Houston, USA | |
| Blood on Paper: The Art of the Book, Victoria and Albert Museum, London, UK | |
| Color Chart: Reinventing Color, 1950 to Today, MOMA, New York, USA | |
| The Inaugural Installation, Broad Contemporary Art Museum at LACMA, Los Angeles, USA | |
| 2007 | Art Machines – Machine Art, Schirn Kunsthalle, Frankfurt/M, Deutschland |
| Reflection, PinchukArtCentre, Kiew, Ukraine Turner Prize: A Retrospective, Tate Britain, London, UK | |
| Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, USA | |
| David Bailey & Damien Hirst: The Stations of the Cross, Essl Museum of Contemporary Art, Wien, Österreich | |
| RE-OBJECT, Kunsthaus Bregenz, Bregenz, Österreich | |
| Draw, Middlesborough Institute of Modern Art, Middlesborough, UK | |
| 2006 | Aftershock: Contemporary British Art, 1990-2006, Guangdong Museum of Art, Peking, China |
| The François Pinault Collection, a Post-Pop Selection, Palazzo Grassi, Venedig, Italien | |
| RADAR: Selections from the Collection of Vicki & Kent Logan, Denver Art Museum, USA | |
| Visitaciones, Museo de San Carlos, Mexico City, Mexiko | |
| Into Me / Out of Me, PS1 MOMA, New York, USA | |
| Tokyo Blossoms: Deutsche Bank Collection meets Zaha Hadid, Hara Museum, Tokyo, Japan | |
| 2005 | Rückkehr ins All/ Return to Space, Hamburger Kunsthalle, Deutschland |
| Douglas Gordon’s The Vanity of Allegory, Deutsche Guggenheim, Berlin, Deutschland | |
| Contemporary Voices: Works from the UBS Art Collection, MOMA, New York, USA | |
| Prague Biennale 2, Prag, Tschechien | |
| 2004 | From Moore to Hirst: Sixty Years of British Sculpture, National Museum Of Art, Bukarest, Rumänien |
| Intra-muros, Musée d’Art Moderne et d’Art Contemporain, Nizza, Frankreich | |
| Works and Days: Acquisitions for the Louisiana Collection 2000-2004, Louisiana Museum of Modern Art, Humlebæk, Dänemark | |
| Monument To Now, Nea Ionia Exhibition Space, DESTE Foundation for Contemporary Art, Athen, Griechenland | |
| La Collection d’Art Contemporain D’Agnes B, Les Abattoirs, Toulouse, Frankreich | |
| Secrets of the ‘90s, Museum voor Moderne Kunst Arnhem, Arnhem, Niederlande | |
| In-A-Gadda-Da-Vida, Tate Britain, London, UK | |
| Turning Points: 20th Century British Sculpture, Tehran Museum of Contemporary Art, Teheran, Iran | |
| 2003 | Dreams and Conflicts: The Dictatorship of the Viewer, 50. Biennale Venedig, Italien |
| 1997 | Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, UK |
| 1988 | Freeze, Surrey Docks, London, UK |
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