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Auktionsarchiv: Los-Nr. 28

Damien Hirst

Schätzpreis
800.000 £ - 1.200.000 £
ca. 1.037.082 $ - 1.555.623 $
Zuschlagspreis:
n. a.
Auktionsarchiv: Los-Nr. 28

Damien Hirst

Schätzpreis
800.000 £ - 1.200.000 £
ca. 1.037.082 $ - 1.555.623 $
Zuschlagspreis:
n. a.
Beschreibung:

28Damien HirstThe Body of Christglass, stainless steel, steel, aluminium, nickel, paracetamol pills and blood 185.3 x 120.3 x 10.2 cm (72 7/8 x 47 3/8 x 4 in.) Executed in 2005. Full CataloguingEstimate £800,000 - 1,200,000 ‡ ♠ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
Overview'I was thinking that there are four important things in life: religion, love, art and science…Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end.' —Damien Hirst Exploring notions of life, death, religion and science, Blood of Christ seeps through the very core of Damien Hirst’s artistic investigation. Forming part of the artist’s series of Pill Cabinets, which he first began in 1999, the work constitutes a large-scale medicine cabinet, filled with eerily nebulous – yet impeccably arranged – components. As intended by the artist, the object’s removal from the pharmaceutical arena prompts analytical consideration, notably as to what lay inside the layered structure, and its deeper conceptual value. Answers to both of these prompts are provided upon sustained consideration of the work, whereby a dauntingly macabre vision takes over the minuscule contents. Indeed, a closer look reveals 1860 paracetamol pills, lined up behind the cabinet’s glass doors and pinned with animal blood to countless rows of stainless steel shelves. The work’s title provides additional clarity to this unsettling apparition. The reference to Christ, specifically, suggests a conceptual link to the journey of death Jesus was subject to during the Passion. Pit against an object of modern science – and mass commodity – the biblical allusion becomes metaphorical of a broader sociological clash between religion and contemporary research, the essence of life and death. ‘I was brought up a Catholic, but I don't believe in God’, Hirst once said. ‘I'm trying to be a hardcore atheist, and then I keep making work like this...’.i In Blood of Christ, the spiritual realm is demoted to earthly grounds, as Christ’s holy blood is weighed on by mild chemical composites. Included in Hirst’s The Death of God: Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, which took place at Galeria Hilario Galguera in Mexico City in 2006, Blood of Christ responds to the open meditation the artist laid out on the occasion of the show: ‘maybe it’s just the death of God as an idea has died – I mean all ideas die and are replaced by new ideas’.ii Detail of the present work. Audacity as a Motto Hirst has been known to employ audacity in his work for decades – perhaps since the inception of his creative gesture at Goldsmiths College, where, as early as 1988, he conceived his first medicine cabinet; a predecessor to his later Pill units. In these works, the artist tackles two realms that have promised a cure for our ills, and unifies them in a way that is distinctly and recognisably his own. The artistic vector through which they have been amalgamated posits as a remedy of its own, Hirst argued. ‘I’ve always loved the idea of art maybe, you know, curing people’, he said. ‘And I have this kind of obsession with the body’.iii With its minimal appearance and its loaded subject matter, Blood of Christ beautifully encapsulates Hirst’s joint aesthetic and conceptual endeavours, compelling the viewer to ponder the potential intersections of religion, medicine and art, through the common element of corporeal human existence. Weaving Art Historical References Quoting a number of art-historical elements that have visually alluded to the notions of order and serendipitously chosen items, Blood of Christ most strikingly recalls the creations of American Minimalists in the 1960s, as well as the cabinets of curiosities popularised by the Victorians. Specifically, the sculpture is reminiscent of Donald Judd’s iron stacks which, affixed to a wall, climb like rungs on a ladder. The neutral, reflective colour of Judd’s Untitled, 1969, residing at the Solomon R. Guggenheim Museum, notably echoes the icy feel of Blood of Christ’ s stainless steel shelves, furthering the clinical, distanced quality of the work. Equally, Blood of Christ exists within a lengthy lineage of object congregation wi

Auktionsarchiv: Los-Nr. 28
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
Beschreibung:

28Damien HirstThe Body of Christglass, stainless steel, steel, aluminium, nickel, paracetamol pills and blood 185.3 x 120.3 x 10.2 cm (72 7/8 x 47 3/8 x 4 in.) Executed in 2005. Full CataloguingEstimate £800,000 - 1,200,000 ‡ ♠ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
Overview'I was thinking that there are four important things in life: religion, love, art and science…Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end.' —Damien Hirst Exploring notions of life, death, religion and science, Blood of Christ seeps through the very core of Damien Hirst’s artistic investigation. Forming part of the artist’s series of Pill Cabinets, which he first began in 1999, the work constitutes a large-scale medicine cabinet, filled with eerily nebulous – yet impeccably arranged – components. As intended by the artist, the object’s removal from the pharmaceutical arena prompts analytical consideration, notably as to what lay inside the layered structure, and its deeper conceptual value. Answers to both of these prompts are provided upon sustained consideration of the work, whereby a dauntingly macabre vision takes over the minuscule contents. Indeed, a closer look reveals 1860 paracetamol pills, lined up behind the cabinet’s glass doors and pinned with animal blood to countless rows of stainless steel shelves. The work’s title provides additional clarity to this unsettling apparition. The reference to Christ, specifically, suggests a conceptual link to the journey of death Jesus was subject to during the Passion. Pit against an object of modern science – and mass commodity – the biblical allusion becomes metaphorical of a broader sociological clash between religion and contemporary research, the essence of life and death. ‘I was brought up a Catholic, but I don't believe in God’, Hirst once said. ‘I'm trying to be a hardcore atheist, and then I keep making work like this...’.i In Blood of Christ, the spiritual realm is demoted to earthly grounds, as Christ’s holy blood is weighed on by mild chemical composites. Included in Hirst’s The Death of God: Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, which took place at Galeria Hilario Galguera in Mexico City in 2006, Blood of Christ responds to the open meditation the artist laid out on the occasion of the show: ‘maybe it’s just the death of God as an idea has died – I mean all ideas die and are replaced by new ideas’.ii Detail of the present work. Audacity as a Motto Hirst has been known to employ audacity in his work for decades – perhaps since the inception of his creative gesture at Goldsmiths College, where, as early as 1988, he conceived his first medicine cabinet; a predecessor to his later Pill units. In these works, the artist tackles two realms that have promised a cure for our ills, and unifies them in a way that is distinctly and recognisably his own. The artistic vector through which they have been amalgamated posits as a remedy of its own, Hirst argued. ‘I’ve always loved the idea of art maybe, you know, curing people’, he said. ‘And I have this kind of obsession with the body’.iii With its minimal appearance and its loaded subject matter, Blood of Christ beautifully encapsulates Hirst’s joint aesthetic and conceptual endeavours, compelling the viewer to ponder the potential intersections of religion, medicine and art, through the common element of corporeal human existence. Weaving Art Historical References Quoting a number of art-historical elements that have visually alluded to the notions of order and serendipitously chosen items, Blood of Christ most strikingly recalls the creations of American Minimalists in the 1960s, as well as the cabinets of curiosities popularised by the Victorians. Specifically, the sculpture is reminiscent of Donald Judd’s iron stacks which, affixed to a wall, climb like rungs on a ladder. The neutral, reflective colour of Judd’s Untitled, 1969, residing at the Solomon R. Guggenheim Museum, notably echoes the icy feel of Blood of Christ’ s stainless steel shelves, furthering the clinical, distanced quality of the work. Equally, Blood of Christ exists within a lengthy lineage of object congregation wi

Auktionsarchiv: Los-Nr. 28
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
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