Urs Fischer "The Kiss" @ Sadie Coles Gallery In London

Urs Fischer’s 2017 exhibition at Sadie Coles HQ centers on a large-scale replica of Auguste Rodin’s The Kiss, cast in white Plasticine. The famous image of embracing lovers will morph and fragment over the course of the exhibition through the interventions of visitors, who will be free to remould the Plasticine at will. The image of an entwined couple also appears in a group of four new paintings, in which the artist uses classic movie stills as stock visual formulae – found images to be disrupted and redeployed. Urs Fischer "The Kiss" will be on view until March 11, 2017 at Sadie Coles in London. photographs by Mazzy-Mae Green

Rudolf Stingel @ Sadie Coles

Rudolf Stingel, Untitled, 2012 oil on canvas, 243.8 x 204.5 cm / 96 x 80 ½ in, Copyright the artist, courtesy Sadie Coles HQ, London

On view for only a couple of more days, Rudolf Stingel’s 2012 exhibition with Sadie Coles HQ takes place in a Grade II-listed Georgian townhouse whose interior looks back to French palatial architecture of the Renaissance. In the chandeliered first-floor ballroom, Stingel has installed a specially-designed carpet which spreads throughout the space. This site-specific installation is the latest in a twenty-year series in which the artist uses expansive carpets to dramatise and collapse the relationship between painting and its architectural contexts. Untitled (2012) hangs alone in an alcove in the manner of an altarpiece or devotional icon. This monumental self-portrait is painted from a photograph of Stingel illuminated by candlelight, which was taken by photographer Roland Bolego.  On view until 04 July 2012 Sadie Coles HQ (off-site), 9 Grosvenor Place London SW1

John Currin New Paintings @ Sadie Coles

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[DETAIL] John Currin, Lake Place, 2012, oil on canvas, 178.1 x 152.7 x 2.9 cm / 70 ⅛ x 60 ⅛ x 1 ⅛ in Copyright the artist, courtesy Sadie Coles HQ, London

In his latest show at Sadie Coles HQ, John Currin presents a new series of paintings centred on the female nude. These latest works combine the explicitness of his pornographic paintings of the last five years with a new level of psychological realism. In contrast to those works, which drew upon 1970s magazines, the majority were painted directly from life in the artist’s studio. They show reclining women who appear ambiguously caught between the art-historical trope of the female nude and an appearance of earthy naturalism. On view until August 18, 2012, atSadie Coles 69 South Audley Street London W1