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Koh was particularly fortunate to hook up with a dealer able to fund (and sell) anything he conceives. Peres spent nearly $400,000 on an art assembly line in Berlin to produce the 1,400 vitrines required for Koh’s Zürich and London shows. Twenty-eight assistants worked for three months “whiting” the objects Koh collected from sex shops and flea markets. Peres’s investment promptly paid off. The Kunsthalle vitrines, grouped into some ten sets priced between $65,000 and $265,000, sold out. The other objects in the show—a set of white-chocolate paintings, a suspended double-sided mold of Koh’s head, and two towering white-chocolate sculptures (part mountains, part Twin Towers, part phalluses)—brought in $400,000. Likewise, the installation at the Royal Academy cost super-collector Saatchi more than $200,000…It may be tempting to chalk up Koh’s market ascendancy purely to Peres, but there would be no hype if there weren’t something substantive to promote. Koh’s work isn’t all about the easy impact of gold-plated excrement and all-white rooms. What intrigues curators and collectors is that with each installation, he’s constructing an idiosyncratic and visually stunning universe.

Terence Koh

nymag Koh article

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