Agathe Snow Exhibited at The Saatchi Gallery

Agathe Snow
Decaf Mochachino


Paper, sand, soil, stone, wood, plastic, glass, steel, coffee, acrylic and gold

15.2 x 30.5 x 30.5 cm

ITEMS LOCATED: Paper, sand, soil, stone, wood, plastic, glass, steel, coffee, acrylic and gold

REMARKS: Another American obsession, another distraction, another perverse entertainment, "Decaf Mochachino" found at Level 3. God forgive us for what we have done to each other. They used to say He is
the way. Which way to the Way? God left this place a long time ago. Anybody else?"
-Hey zombie why are you so doom and gloomy?
-You think I am the devil but only because I lived in hell. I want out. This place is about to explode. Now that I’m Fat, balding and older things are different, I want to spend my time with someone nice. My bodily dysfunctions? Anybody for? Going once? For? And garbage? The great romantic depot for the greatest romantic despot" What makes him sad is what makes him want. We’re all characters of a grand plot who struggle under strongly opposing desires. We seek a new beginning, a renewal. I am preparing myself for the coming take over and I am rearing up on my... Bing Bling Bang Bling Big Bing Bang Bing (decoy)

Agathe Snow
Hare Jordan


Paper, sand, soil, stone, plastic, glass, photograph, wood and gold

28 x 30.5 x 30.5 cm

ITEMS LOCATED: Paper, sand, soil, stone, plastic, glass, photograph, wood and gold

REMARKS: This first discovery was found like much of the others in and under Chatham Square. It was dug out at 4 feet, which for our sake will be Level 2 as opposed to Level 1 which deals with ground level, and Level 3 which deals with digs from 5 to 10 feet deep and ultimately, Level 4 which spans below 10 feet and up to 15 feet underground. This first "leftover" as we like to call them is named "Hare Jordan", and so
for the obvious lack, although strong suggestion of the presence of a hare. It deals with air, with reaching for air, for life…and if for life then deals with a lot more. What ever happened to science fiction?
Just add a few what ifs and it all becomes way to real, and then you find yourself as if frozen in time and space, as in a Pompei like setup with a lava like substance where all freezes in that last action, that
last gasp and all gets rooted, part of the roots. What happened was clearly established, we were waiting for a finisher, a messiah, it had all been foretold, but it all came too fast. Open your veins it’s quicker, and with your blood you renew the world from age to age. The hare did run faster. He probably had to, to be up for his sucky job at 6 am.

Agathe Snow
Hello Kitty


Sand, stone, steel, wood, marbles, plastic, paper, acrylic and gold

22.9 x 30.5 x 30.5 cm

ITEMS LOCATED: Sand, stone, steel, wood, marbles, plastic, paper, acrylic and gold

REMARKS: The second was dug out a little deeper than the last at about 6feet under or at Level 3, still around what would be Chatham Square. It is named "Hello Kitty" for the undeniable presence of many waving cats. For the Chinese and the followers of their fate and/or superstition these cats stand as lucky charms, as protectors and guarantors of a wish, probably that of financial security, as they are most often than not found at the entrance of businesses and more particularly very close to cash registers. There is no business like the one of money and luck. It follows the laws of supply and demand, but there are always more customers than actual products. What is it really? A substance of value? A value of substance? For all that died for the sake of gold, in all its shapes, for all the ones who survived, money always comes with a price. What the worth? What’s the worth of an individual? There is no business. There is income. What do you do for a living?

Agathe Snow


Paper, sand, soil, stone, plastic, electronic circuit and gold

17.8 x 30.5 x 30.5 cm

ITEMS LOCATED: Paper, sand, soil, stone, plastic, electronic circuit and gold

REMARKS: This leftover is dedicated to "Lily", more women, more modern, more sacrifice and eventually more redemption. Because life had decided, had developed in a way where we could be together and it felt
like we should. Muse or Excuse. Beautiful in any country, she had walked up to me and said "Somehow, you don’t strike me as the innocent type, you’d think I hadn’t met people like you before. I smell you, killing is a way of life". As if. I had never even addressed her. Let’s get "tabloid", with the face of an angel, the body of a seductress, the eyes of the devil we can be sure that she’ll be around for years to come. O. She had posed nude for a tasteful Marilyn Monroe like spread. She even got to participate in steamy hot sex scene with the secret agent. Neither dress, nor manners fooled her in the least. She got married, divorced
and then dated a tobacco executive. That’s when she became eager to show off her softer more mature look. And although you may not recognize her name, she had one of those faces that is almost impossible to forget. At any rate a profound impression. Accordingly the reader assumes full responsibility for the use of the materials contained herein. Why? Why not? Just another unguided forum. Blinders. It’s sadness first and then offered relief. How does it feel? We’re not children anymore. The Brat is dead. People should get a permit to have children. One day all children realize that all parents are weak, that they should just pull
the trigger. When all they should have said was we won’t let any other go, we don’t want to lose you just yet, maybe I just give a fuck. Do you really only grow up the day you kill someone?

Agathe Snow
Pearl River


Aluminum, wood, salt, fake pearls, sand, thermometer, steel, photograph and gold

15.2 x 30.5 x 30.5 cm

ITEMS LOCATED: Aluminum, wood, salt, fake pearls, sand, thermometer, steel, photograph and gold

REMARKS: This next chance creation is named Pearl River, found at Level 4. It somehow retained its innocence, like a souvenir. I like pale hues. It’s very feminine. It says I am here for lack of a better idea;
too elusive to be a movement but a moment, definitely. A moment can give meaning to a life, to a lie. We see her take back the ownership of her body image, hard work, determination and a killer body. You can
only sabotage your feminist ethics for so long. Well, Hello officer, how can I help you today? You’re looking for genuine love. Sorry no I haven’t seen any lately. But do come back at some other time, you might get lucky. When the world as you know it is over and you happened to be one of the sole survivors isn’t it so nice to talk shit about somebody else…

Agathe Snow
Right on Target


Paper, sand, soil, plastic, glass, aluminum, photographs, goggles and gold

30.5 x 30.5 x 30.5 cm

ITEMS LOCATED: Paper, sand, soil, plastic, glass, aluminum, photographs, goggles and gold

"Right on Target" found at Level 2 under a shopping center on Division Street is proof that American history continues. Just like an old reliable obsession, America plans to extend her brood. Her self-proclaimed disdain for monogamy makes her an interesting little catch, a life long virus, physically debilitating, chemically altering. She’s running in and out of hospitals treating exhaustion and
appendicitis. REAL estate opportunities. The goddess of the scaffold shows no mercy. We save the government and that’s how they show their gratitude. There are no slaves and masters here. It’s cut throat. No hands. No vote. Let’s go far right. Who’s gonna cast the first stone?

Agathe Snow
Successful Hunt


Paper, sand, soil, plastic, glass, aluminum, sea shell, electronic circuit, wood and gold on birch wood

17.8 x 30.5 x 30.5 cm

ITEMS LOCATED: Paper, sand, soil, plastic, glass, aluminum, sea shell, electronic circuit, wood and gold on birch wood

REMARKS: "Successful Hunt" was found at Level 1 near Wall Street. At the cultural level there is only one such feat, and it’s an idea not an object. It reminds me of the elusive nature of words, wording and calling Words like rude, bitch, anger with angel wings or worse for better or for worse. For better or for words. I should have known better. (Laugh) Humor is the universal language. It lies in style.

Agathe Snow
Three (Cross With Balloons)


Mixed-media sculpture - materials include balloons, found objects, cloth, wood, concrete and wire mesh

320 x 216 x 80 cm

New Yorker Agathe Snow’s approach to art is more a way of life than a studio practice, informed by personal circumstance, travel, current events, counter-culture, and a drive to engage with and stamp her imprint on the world at large. Often using objects she’s found on the street her sculptures reconfigure the detritus of everyday life as deliriously apocalyptic monuments of societal breakdown. In Three (Cross With Balloons), Snow’s crucified effigy towers with effete comic horror. Mounted in mud, wrapped in cling film, and bound with a noose, her suburban victim is adorned, adulated and ridiculed with party hat and balloons, a pair of Converse All- Stars dangling from its death rood like a public notice of crime committed.

Agathe Snow
Four (Center Cross)


Mixed-media sculpture - materials include balloons, found objects, cloth, wood, concrete and wire mesh

Dimensions vary with installation. 320 x 330 x 100 cm

Snow explains this series of work as being about “cartooning archetypes of power that I hated, with Mother Nature on my side”. Drawing together a wide variety of reference points – from
consumer culture to Renaissance painting – Snow’s Four (Center Cross) humorously poses as a contemporary St. Sebastian, a stick-riddled martyr of modern decadence. Nailed to a graffitied
crucifix, conveying a medieval jubilee at the display of enemy corpses, Four (Center Cross) is a triumph of loathing and decay, its battered shopping bag and McDonald’s flag denoting a member of the foe camp.

Agathe Snow
Five (Cross On The Left With Spider Web)


Mixed-media sculpture - materials include balloons, found objects, cloth, rope, wood, concrete and wire mesh

Dimensions vary with installation. 320 x 330 x 100 cm

Within Snow’s work is the intrinsic value of creative methodology and material negotiation, the infusion of her idiosyncratic interpretation and belief into the structures she assembles. The making of Snow’s sculptures is an intensely physical process, and for this series of work she created each piece in the gallery where it was originally exhibited, inhabiting the space for the duration of the show. This performative dimension of her work is evidenced in the finished pieces, such as Five (Cross On The Left With Spider Web), which expose her modes of assemblage, spontaneous decision making, and playful innovation, transforming simple objects
such as used clothing and twigs into totems of artistic creation and fictionalised degeneracy.

Agathe Snow
John Fitzgerald Kennedy


Masonite, acrylic and hardware

77.5 x 129.5 x 5 cm

Other artists in
Artists in future exhibitions

Caroline Achaintre    Rebecca Ackroyd    Markus Amm    Ivan Argote    Dan Attoe    Michael Bauer    Dan Bayles    Anna Freeman Bentley    Emilia Bergmark    Gabriele Beveridge    Gabriella Boyd    Sarah Braman    Bozidar Brazda    Jonny Briggs    David Brooks    Joey Bryniarska    Agnieszka Brzezanska    Peter Linde Busk    Carter    Nathan Cash Davidson    Loz Chalk    Ronin Cho    James Clarkson    Lucy Coggle    Andy Collins    Ana Cvorovic    Ian Davis    Inez de Coo    Nicholas Dedics    Dominic From Luton    Robert Dowling    Stef Driesen    Colden Drystone    Howard Dyke    Ara Dymond    Judith Eisler    Annabel Emson    Ayan Farah    Dee Ferris    Daphne Fitzpatrick    Michael Fullerton    Dmitri Galitzine    Julia Goldman    Elias Hansen    Hilary Harnischfeger    Chris Hawtin    Kati Heck    Patrick Hill    Dan Holdsworth    Phillipa Horan    David Humphrey    Tom Hunter    Florence Hutchings    Jessica Jackson Hutchins    Merlin James    Jacob Dahl Jürgensen    Bernadette Kerrigan    Terence Koh    Alice Könitz    Ulrich Lamsfuss    Liane Lang    Molly Larkey    Paul Lee    George Henry Longly    Juliette Losq    Lake & Evans    Jill Mason    Simon Mathers    Claire McArdle    Ella McCartney    Martin McMurray    Ryan McNamara    Turay Mederic    Robert Melee    Ian Monroe    Kristine Moran    Eduard Moreno    Luisa Mota    Carlos Noronha Feio    Nick Nowicki    William J. O'Brien    Matt O'dell    Marco Palmieri    Selma Parlour    Oliver Perkins    Dustin Pevey    Marius Pfannenstiel    Arthur Prior    Max Prus    Neil Raitt    Sean Raspet    Brian Reed    Halsey Rodman    Jessica Sanders    Hideyuki Sawayanagi    Amba Sayal-Bennett    Lara Schnitger    Maaike Schoorel    Macrae Semans    Jamie Shovlin    Daniel Silver    Agathe Snow    Jeni Spota    Jack Strange    Miriam Sweeney    Shaan Syed    Emma Talbot    Mateo Tannatt    Stephanie Taylor    Adam Thompson    Rafal Topolewski    Ryan Trecartin    Nobuko Tsuchiya    Caroline Walker    John Wallbank    Ben Washington    Chuck Webster    Aaron Wexler    Poppy Whatmore    Julia Whiting    Jenny Wiener    Alexi Williams Wynn    Susanne M. Winterling    Joel Wyllie    John Wynne    Haeri Yoo

Agathe Snow's Biography

金殿棋牌Agathe Snow
Born in 1976, Corsica
Lives and works in New York


Continuum, The Journal Gallery, Brooklyn, NY
Coyote Ugly, Albertz Benda, New York, NY

Smile / Slime, Galerie Hussenot, Paris, France

Tout Dit, OHWOW Gallery, Los Angeles, CA
I like it here. Don’t you?, Maccarone, New York, NY

All Access World, Deutsche Guggenheim, Berlin, Germany

Agathe Snow, Galerie Hussenot, Paris, France

Views from the Top, Vertigo and Constellations, Jeu de Paume, Paris
Master Bait Me, New Museum, New York, NY

James Fuentes LLC, New York
Jonathan Vyner/Fortescue Avenue, London

James Fuentes LLC, New York


99 Cents or Less, Museum of Contemporary Art Detroit, Detroit, MI
Unobstructed Views, Hawkins Ferry House. Grosse Point Shores, MI
Animal Farm, Curated by Sadie Laska, Brant Foundation, Greenwich, CT
CON-Figuration, Postmasters, New York, NY
Agathe Snow and Odessa Straub, Marlborough Contemporary, Viewing Room, New York, NY

Eternal, Moran Bondaroff, Los Angeles, CA

Storylines: Contemporary Art at the Guggenheim, Guggenheim Museum, New York, NY

And those who were seen dancing were thought to be insane by those who could not hear the music, Friedman Benda Gallery, New York, NY
Dead Inside, Bleecker Street Arts Club, New York, NY

It Ain’t Fair 2012, OHWOW, Miami, FL

Fresh Hell, Palais de Tokyo, Paris, France
Post 9-11, OHWOW, Los Angeles, CA
Gloria Hole, The Fireplace Project, East Hampton, NY
It Ain’t Fair: Materialism, OHWOW, Miami, FL

Gelatin: Blind Sculpture, Greene Naftali Gallery, New York, NY
The Coke Factory, Ritter/Zamet, London, UK
Detox, Concrete Allotment Projects, London, UK
Get Behind Me Satan and Push, Peres Projects, Berlin, Germany

It Ain’t Fair 2009, OHWOW, Miami, FL
Aberrant Abstraction, Newman Museum of Contemporary Art, Kansas City, KS
Spaced Out / On Time, CANADA, New York, NY
New York Minute, Macro Future Museum, Rome, Italy
Elevator to the Gallows, Forgotten Bar Project, X Initiative, New York, NY
THE NEW YORKERS, V1 Gallery, Copenhagen, Denmark
Abstract America: New Painting and Sculpture, Saatchi Gallery, London, UK

The Shape of Things to Come, Saatchi Gallery, London, UK
Peanut Gallery, curated by Joe Bradley, Journal Gallery, New York, NY
Pretty Ugly, Maccarone, New York, NY
SAND: Memory, Meaning, and Metaphor, Parrish Art Museum, New York, NY
The Whitney Biennial, Whitney Museum of American Art, New York, NY

Beneath the Underdog, Gagosian Gallery, New York
Group Show, 303 Gallery, New York
Group Show, Peres Projects, Berlin
The Perfect Man, White Columns, New York

Invasionistas, Kling and Bang Gallery, Iceland
Kate Moss Show, Foam Museum, Amsterdam
GRUPE NY and LA, Passerby and Mandrake
Interwoven Echoes..., Migros Museum, Zurich
Dimes of March, Reena Spaulings Fine Arts
Collaboration with Nate Lowman, Midway Minneapolis
Mid-Life Crisis, Salander-O’Reilly Galleries, New York

Feed the Hering..., Canada Gallery, New York
Manhattan, 100 Center Street, New York
Reena Spaulings, Haswellediger, New York
Jump on Me, with Rita Ackerman, Bonner Kunstverein

Follow Me, Follow You, Reena Spaulings Fine Arts, New York