• Original 2015 Alex Bag The Van (Redux) ICA Miami exhibition poster, large-format offset print on glossy blue ground with bold white condensed sans-serif type reading 'LEROY LELOUP / PRESENTS / THE VAN / (REDUX)' at upper half, overlaid on two dark photographic stills from video: upper image showing a shadowed figure in a hat, lower image showing a figure in a cowboy hat with a gloved hand reaching into frame; date 'December 1, 2015 – January 31, 2016' in large white italic type at lower left; asterisk note
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ICA Miami

Alex Bag — The Leroy Group: The Van (Redux)* — Exhibition Poster, ICA Miami, 2015

Alex Bag — The Leroy Group: The Van (Redux)* — Exhibition Poster, ICA Miami, 2015

Artist
Alex Bag
Issued by
ICA Miami
Place & year
Miami, 2015
Type
Poster
Format
Large-format poster; offset print on glossy stock, folded as issued
Condition
Good vintage condition; original fold lines throughout, light surface wear, minor handling marks, soft creasing and light edge wear consistent with institutional poster distribution and storage.
Register
TNR-2026-0189 · 12 June 2026
£100
£100
Sale Placed
Register No. TNR-2026-0189
Registered 12 June 2026
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Notes

ICA Miami / The Leroy Leloup Corporation
1 December 2015 – 31 January 2016

Large-format exhibition poster produced for The Van (Redux)*, a 2015–2016 presentation by Alex Bag at the Institute of Contemporary Art Miami. The poster documents Bag’s long-running fictional corporate structure surrounding the character Leroy Leloup: an unstable salesman, producer, cultural entrepreneur, media drifter, and failed executive figure moving between parody, performance, television culture, and administrative language.

The exhibition is framed not simply as an artwork but as a licensed presentation by “The Leroy Leloup Corporation, a licensed subsidiary of Blood Oath Holding Company LLC,” extending Bag’s practice of collapsing entertainment branding, corporate identity, authorship, and institutional display into the same structure.

Part exhibition announcement, part fictional corporate advertisement, part administrative hallucination, the poster functions as a surviving support object from a moment when contemporary art increasingly absorbed the language of branding, licensing, subsidiaries, media performance, and entertainment economies. Seen now, the work feels unexpectedly adjacent to post-internet image circulation, corporate roleplay, delegated identity, and the unstable authorship structures later intensified through platform culture and AI-generated personas.

A temporary institutional surface retained long enough to become object again.

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