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| Ryan GANDER |
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| Dominae Illud Opus Populare |
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| 2016 |
| Animatronics, sensors, computer, Dimensions variable cm |
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| 50411 |
| The National Museum of Art, Osaka |
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| Provenance |
| Taro Nasu, Tokyo; Purchased by the NMAO, FY2017. |
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| Exhibition History |
| 2016 |
Ryan Gander: I see straight through you, Lisson Gallery, London, 2016/09/16 - 2016/10/15 |
| 2017 |
Ryan Gander -These wings aren't for flying, The National Museum of Art, Osaka, Osaka, 2017/04/29 - 2017/07/02, cat. no. 11, pp. 52, col. repr., 70-71, 81-82. |
| 2018 |
The Myriad Forms of Visual Art: 196 Works with 19 Themes, The National Museum of Art, Osaka, Osaka, 2018/05/26 - 2018/07/01, 6. Movement. pp. 24, col. repr., 91, 107. |
| 2022 |
Ryan Gander; The Markers of Our Time, Tokyo Opera City Art Gallery, Tokyo, 2022/07/16 - 2022/09/19, cat. no. 52, [p. 36], col. repr., p. 107. |
| 2022 |
Ryan Gander; The Markers of Our Time, Tokyo Opera City Art Gallery, Tokyo, 2022/07/16 - 2022/09/19, cat. no. 52, [p. 36], col. repr., p. 107. |
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| Bibliography |
| 2019 |
The National Museum of Art, Osaka (Yamanashi, Toshio; Nakai, Yasuyuki; Takemoto, Ayako), supervision. Okazaki, Motoko, ed., design and text. Malik, Albert, trans., Masterpieces from The National Museum of Art, Osaka, National Museum of Art, Tokyo, cat. no. 74, pp. 91, 99, col. repr. |
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| Works by this artist |
| Any Vehicles (Association Photographs), 2004, The National Museum of Art, Osaka | | By Phone or Other Means (Association Photographs), 2004, The National Museum of Art, Osaka | | Ghostwriter Subtext ( Towards a significantly more plausible interrobang), 2006, The National Museum of Art, Osaka | | Dominae Illud Opus Populare, 2016, The National Museum of Art, Osaka | | Reality producer (Dramaturgical framework for structure and stability), 2017, The National Museum of Art, Osaka | | I be...(xviii), 2017, The National Museum of Art, Osaka |
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