Rashid Rana

By Christopher Mooney

Dis-Location 5 (Place Vendôme), 2012, c-print and Diasec. Courtesy the artists and Lisson Gallery, London Dis-Location 5 (Place Vendôme) (detail), 2012, c-print and Diasec. Courtesy the artists and Lisson Gallery, London Veil 5, 2007, c-print and Diasec, c. Courtesy the artist and Lisson Gallery, London Veil 5, (detail) 2007, c-print and Diasec, c. Courtesy the artist and Lisson Gallery, London The Stove, 2007–10, inkjet UV print on aluminium. All images: courtesy the artist and Lisson gallery, London The Stove, 2007–10, inkjet UV print on aluminium. All images: courtesy the artist and Lisson gallery, London

While trawling through the interminable displays at Frieze Art Fair in London in 2011, Gay Gassmann, an art historian formerly with the Getty Museum, was, for the first and only time that day, stopped dead in her tracks by a work of art. The piece, which was hanging on the exterior wall of the of the Lisson Gallery’s exhibition stand, was a wall-size digital photograph of an exotic-looking building on a city square. Leaning closer, Gassmann saw that it was…

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