Born in Bristol in 1965, Damien Hirst grew up in Leeds and studied at Goldsmiths College, London. Most notable amongst the exhibitions he curated whilst at college was Freeze, in 1988, in which he exhibited his work and that of his contemporaries. The exhibition is widely believed to have been the starting point of the Young British Artists’ careers, and a defining moment in kick-starting cutting edge British contemporary art.

Hirst’s body of work confronts the scientific, philosophical and religious aspects of human existence and includes sculpture, painting, drawing and printmaking. Arguably the world’s most famous living artist, he has exhibited widely and was awarded the Turner Prize in 1995 for ‘The Physical Impossibility of Death in the Mind of Someone Living’. In 2004, Hirst collaborated with Sarah Lucas and Angus Fairhurst to exhibit recent works at Tate Britain, under the title In-a-Gadda-da-Vida. In 2006, works from the artist’s murderme collection were exhibited at the Serpentine gallery, London: ‘In the darkest hour there may be light. ‘

Hirst’s work can be found in several important collections worldwide, including Tate, London, UK; British Council, UK; MoMA, New York, USA; Hirshorn Museum and Sculpture Garden, Washington DC, USA; National Galleries of Scotland, Edinburgh, UK; Broad Art Foundation; Centraal Museum, Utrecht, Netherlands; Neue Galerie Graz, Austria and State Museum of Berlin, Germany.

Texts by Victor Pinchuk, Eckhard Schneider and an interview between Damien Hirst and Richard Prince

Text in English and Ukrainian

Requiem II details all the previously unseen skull paintings from the Requiem exhibition at the Pinchuk Art Center, Kiev, Ukraine, in April 2009. Featuring over 40 works painted between 2006 and 2008, Hirst uses paint to convey the darker, philosophical attributes of death. Emerging from the midnight darkness, his Requiem skull paintings speak of a remembrance of corporeality and the transportation from body into soul. Using the skull as representative of this transition, Hirst appeals to our universal nature, his art merging sublime romanticism with life’s cold scientific reality: together we drive towards death.