Premium-Seiten ohne Registrierung:

Auktionsarchiv: Los-Nr. 11

Ilya Kabakov and Emilia Kabakov

Schätzpreis
150.000 £ - 200.000 £
ca. 195.978 $ - 261.304 $
Zuschlagspreis:
212.500 £
ca. 277.636 $
Auktionsarchiv: Los-Nr. 11

Ilya Kabakov and Emilia Kabakov

Schätzpreis
150.000 £ - 200.000 £
ca. 195.978 $ - 261.304 $
Zuschlagspreis:
212.500 £
ca. 277.636 $
Beschreibung:

Ilya Kabakov and Emilia Kabakov Follow Flying 12 signed, titled and dated (in Cyrillic) '2009' on the stretcher oil on canvas 282 x 189 cm (111 x 74 3/8 in.) Painted in 2009.
Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Thaddaeus Ropac, Flying , 17 March - 17 April 2010, p. 26 (illustrated on the cover) Hannover, Sprengel Museum; Høvikodden, Henie Onstad Kunstsenter, Ilya Kabakov A Return to Painting 1961 - 2011 , 29 January - 16 September 2012, p. 125 and p. 178 (illustrated) Catalogue Essay Transporting the viewer to another realm, Flying 12, a naturalistically abstract masterpiece by Ilya and Emilia Kabakov encapsulates the artists’ enduring ability to blend nostalgia and memory, whilst formally engaging with the visual culture of the Soviet Union. Presenting a new holistic perspective, the monumental canvas from their renowned Flying series was exhibited in 2010 at Galerie Thaddaeus Ropac in Paris and featured on the cover of the exhibition catalogue. 2009, the year in which the present work was created, saw a major retrospective for the artists held in Moscow at the Pushkin Museum with a subsequent show at the CCC Melnikov Garage. Testament to the artists’ enduring legacy and international acclaim, the collaborative duo, who have been working together since 1989, are currently being celebrated at the Hirshhorn Museum in Washington, D. C., prior to the opening of their forthcoming exhibition at the Tate Modern, London on 18th October 2017. A recurring theme throughout the artists’ oeuvre, the concept of flight is prevalent in works such as The Man who Flew Into Space From His Apartment (1985) and The Palace of Projects (1995 - 1998). Born in Russia under the rule of the Soviet Union, the pervasive notion of flying can be interpreted as a desire to escape from the confinement of the standardised artistic norms and social restrictions of Soviet Russia. Instantly recognisable as being evocative of the Soviet Socialist Realist style, the painterly technique employed in Flying 12 is, at first glance, a naturalistic scene of the Russian landscape. Examining the composition, mounting abstract qualities come to the foreground; the predominance of white endows it with spatial priority creating a tension between the abstract and the naturalistic. The white expanses of canvas melt into a blank slate, upon which scraps of memory slide over and take root, providing an ephemeral viewing experience. In the present composition, the Kabakovs masterfully hold the viewer in a transitory moment, presenting an insight into their wistful and private world, the viewer contemplating the tranquillity of the pastoral scene. Floating above the canvas, the inset picture appears to resist gravity, heightening the sense that the image could simply drift away. The notion of memory and forgetting is crucial to the Kabakovs' work due to the political rewriting of Soviet history that fostered a continuous state of flux within the collective memory. Flying 12 presents the viewer with a paradox: the stylistic roots within Soviet imagery are contrasted with a satellite perspective. A distance is established between the viewer and the subject, emphasising the problematic nature of publicised reality. Referencing the malleable nature of recollection, Flying 12 presents the fragility of memory whilst alluding to the selective and sometimes deceptive nature thereof. This small window into a forgotten personal experience emphasises the larger reality of Soviet culture that we cannot see; the blank space is brimming with what has been omitted. The viewer is invited to adopt an active role when interpreting the composition, emphasising art as a reciprocal dialogue. Celebrating the importance of dialogue in highlighting conflicting viewpoints, the Kabakovs draw on the notion favoured by Mikhail Bakhtin. Flying 12 encourages the viewer to fill this blank page of history, the diagonal slant of the inset picture leading the viewer’s eye on an upwards trajectory into whiteness. A presiding influence for the pictorial arrangement of the Kabakovs' Flying series is the work of

Auktionsarchiv: Los-Nr. 11
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
Beschreibung:

Ilya Kabakov and Emilia Kabakov Follow Flying 12 signed, titled and dated (in Cyrillic) '2009' on the stretcher oil on canvas 282 x 189 cm (111 x 74 3/8 in.) Painted in 2009.
Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Thaddaeus Ropac, Flying , 17 March - 17 April 2010, p. 26 (illustrated on the cover) Hannover, Sprengel Museum; Høvikodden, Henie Onstad Kunstsenter, Ilya Kabakov A Return to Painting 1961 - 2011 , 29 January - 16 September 2012, p. 125 and p. 178 (illustrated) Catalogue Essay Transporting the viewer to another realm, Flying 12, a naturalistically abstract masterpiece by Ilya and Emilia Kabakov encapsulates the artists’ enduring ability to blend nostalgia and memory, whilst formally engaging with the visual culture of the Soviet Union. Presenting a new holistic perspective, the monumental canvas from their renowned Flying series was exhibited in 2010 at Galerie Thaddaeus Ropac in Paris and featured on the cover of the exhibition catalogue. 2009, the year in which the present work was created, saw a major retrospective for the artists held in Moscow at the Pushkin Museum with a subsequent show at the CCC Melnikov Garage. Testament to the artists’ enduring legacy and international acclaim, the collaborative duo, who have been working together since 1989, are currently being celebrated at the Hirshhorn Museum in Washington, D. C., prior to the opening of their forthcoming exhibition at the Tate Modern, London on 18th October 2017. A recurring theme throughout the artists’ oeuvre, the concept of flight is prevalent in works such as The Man who Flew Into Space From His Apartment (1985) and The Palace of Projects (1995 - 1998). Born in Russia under the rule of the Soviet Union, the pervasive notion of flying can be interpreted as a desire to escape from the confinement of the standardised artistic norms and social restrictions of Soviet Russia. Instantly recognisable as being evocative of the Soviet Socialist Realist style, the painterly technique employed in Flying 12 is, at first glance, a naturalistic scene of the Russian landscape. Examining the composition, mounting abstract qualities come to the foreground; the predominance of white endows it with spatial priority creating a tension between the abstract and the naturalistic. The white expanses of canvas melt into a blank slate, upon which scraps of memory slide over and take root, providing an ephemeral viewing experience. In the present composition, the Kabakovs masterfully hold the viewer in a transitory moment, presenting an insight into their wistful and private world, the viewer contemplating the tranquillity of the pastoral scene. Floating above the canvas, the inset picture appears to resist gravity, heightening the sense that the image could simply drift away. The notion of memory and forgetting is crucial to the Kabakovs' work due to the political rewriting of Soviet history that fostered a continuous state of flux within the collective memory. Flying 12 presents the viewer with a paradox: the stylistic roots within Soviet imagery are contrasted with a satellite perspective. A distance is established between the viewer and the subject, emphasising the problematic nature of publicised reality. Referencing the malleable nature of recollection, Flying 12 presents the fragility of memory whilst alluding to the selective and sometimes deceptive nature thereof. This small window into a forgotten personal experience emphasises the larger reality of Soviet culture that we cannot see; the blank space is brimming with what has been omitted. The viewer is invited to adopt an active role when interpreting the composition, emphasising art as a reciprocal dialogue. Celebrating the importance of dialogue in highlighting conflicting viewpoints, the Kabakovs draw on the notion favoured by Mikhail Bakhtin. Flying 12 encourages the viewer to fill this blank page of history, the diagonal slant of the inset picture leading the viewer’s eye on an upwards trajectory into whiteness. A presiding influence for the pictorial arrangement of the Kabakovs' Flying series is the work of

Auktionsarchiv: Los-Nr. 11
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
LotSearch ausprobieren

Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!

  • Auktionssuche und Bieten
  • Preisdatenbank und Analysen
  • Individuelle automatische Suchaufträge
Jetzt einen Suchauftrag anlegen!

Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.

Suchauftrag anlegen