VÉNERA KASTRATI VÉNERA KASTRATI

(1975)

Red/White, Mirupafshim, Shadows of Voic…

Description

VÉNERA KASTRATI

VÉNERA KASTRATI (1975) Red/White, Mirupafshim, Shadows of Voices 2007 Coloured DVD video without sound, 2'11'' lenght, ed. 2/3 Work accompanied by a certificate of authenticity issued by Galleria Federico Bianchi Contempoaray Art, Milan and signed by the artist PROVENANCE: Galleria Federico Bianchi Contempoaray Art, Milan Private collection, Lecco

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VÉNERA KASTRATI

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Estim. 8 000 - 10 000 EUR

Egyptian Limestone Female Bust. Coptic, 3rd-6th century A.D. Modelled in the half-round on a flat background as a bust of a woman with stern expression, dressed in a tunic emphasising the rounded shape of the bosom, and a mantle worn on the shoulders descending to the arms; beaded collar to the chest and detailed head-covering; significant remains of polychrome (red, black, and traces of blue) on the face, clothing and hair; mounted on a custom-made display stand. Cf. stela of noblewomen from Oxyrincus, in MFA Boston, accession no.1972.875; the Brooklyn Museum, accession number 70.132; the Harvard Art Museum, no.1977.197; the Musées Royaux d’Art et d’Histoire, Brussels, E.08239; see also Schneider, H.D., ‘Four Romano-Egyptian Tomb-Reliefs from el Behnasa, Egypt’ in Bulletin Antieke Beschaving: Annual Papers on Classical Archaeology, 50, 1975, pp.9-12, plates 12-16, for a series of funerary stelae in the same style. 6.77 kg, 27 x 19.5 cm (10 5/8 x 7 3/4 in.). From the collection of Nicolas Koutoulakis, Paris-Geneva, 1967. Ex Barbier-Mueller, Geneva, Switzerland. with Boisgirad, Arts D'Orient, 16 November 2007, no.88. Acquired on the French art market in 2007. European private collection. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of the relevant Boisgirad, Arts D'Orient catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12065-218189. The base, back and sides are flat and rough-hewn: it is possible that it served as a funerary stele, perhaps placed as a “lid” of a niche or a loculus. The Egyptian stelae and statues found at the site of Oxyrhynchos (present-day Benhasa) provide the best parallels for the style that characterises this image. These are most often funerary works showing men, women or children (stelae in very high-relief and statues) which are still little known - and even the chronology of which is subject of discussion: current opinion one inclines towards an earlier dating, between the 3rd and 4th centuries A.D., rather than the Coptic period which was previously favoured. In fact these figures, which are devoid of the attributes linked to Christian iconography, generally hold or carry objects which relate to classical cults (ie. Isis). Despite a certain naivety of the work, typical of Egyptian sculptures from this region, the woman depicted on this stele certainly belonged to the high contemporary nobility as is evidenced by the richness of her well-pleated clothing and the abundance of adornment, comprising a large necklace with two rows of pearls and some brooches; likewise, the hairstyle, organised in small curls and spiral locks, is worthy of a high-ranking personage. (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]

Estim. 45 000 - 50 000 EUR

SLATER BRADLEY (San Francisco, California, 1975). "Perfect Empathy (Alina Melancholina)," 2012. Crumpled black and white fiber print and silver marker pen. Unique piece. Enclosed certificate signed by the artist. Measurements: 200 x 145 x 11 cm. Drawing from intimate experiences, Slater Bradley explores the universal narrative of lost love in a photographic and video corpus starring Alina. In a brilliant play of mirrors between reality and fiction, Alina is assimilated to filmic characters, such as the dream woman in Chris Marker's "La Jetée" or the mysterious protagonist of Hitchcock's "Vertigo". Bradley achieves the image of the idealized and unattainable woman they embody by manipulating the backgrounds with painstaking techniques and achieving timeless qualities. Slater Bradley graduated from the University of California at Los Angeles in 1998. Bradley's photographic series Don't Let Me Disappear (1997-2003), named after a phrase from Holden Caulfield's Catcher in the Rye, is replete with autobiographical references, personal symbols, and artistic and musical influences. In JFK Jr. (1999), the camera voyeuristically follows a young woman waiting her turn to lay a flower in memory of John F. Kennedy Jr. and Carolyn Bessette Kennedy; the mourner does not notice the filmmaker's gaze until the final frame. Bradley compares his art to butterfly collecting in the video I Was Rooting For You (Butterfly Catcher at Home) (2000). In The Laurel Tree (Beach) (2000), actress Chloë Sevigny recites a passage about art from Thomas Mann's novel Tonio Krögor. Female Gargoyle (2000) presents a woman standing precariously near the ledge of a building. The video Theory and Observation (2002) reflects on the relationship between reason and faith through images of a choir singing in Notre Dame Cathedral and excerpts from Stephen Hawking's A Brief History of Time. For "The Doppelganger Trilogy" (2001-04), Bradley staged concerts by three fallen heroes of the pop music world - Ian Curtis of Joy Division, Kurt Cobain of Nirvana and Michael Jackson - performed by his real-life doppelganger, Benjamin Brock. Since the artist met Brock in a nightclub in 1999, he has repeatedly employed him in various guises in his photographs, videos, and drawings, reflecting on complicated notions of duplicated and erased identities. In the video The Year of the Doppelganger (2005), Bradley casts Brock in the role of a skinny rock musician who plays the drums so intensely that he doesn't realize that his soccer field is empty and is usurped for team practice. In Uncharted Settlements (2005), Bradley, Brock and a plethora of fans are unrecognizable under their Star Wars costumes, a situation characterized by both anonymity and community. The film My Conclusion/My Necessity (2005-06) tours the Père-Lachaise cemetery in Paris and captures a young woman applying a lipstick kiss to Oscar Wilde's headstone. Brock appears in an astronaut suit wandering through New York's Museum of Natural History to the sound of Beethoven's "Moonlight Sonata" in Dark Night of the Soul (2005-06), reminiscent of Stanley Kubrick's 2001: A Space Odyssey. Bradley has participated in solo exhibitions at the P.S.1 Contemporary Art Center in New York (2000), the Solomon R. Guggenheim Museum in New York (2005), the Berkeley Art Museum and Pacific Film Archive (2005), and the Contemporary Art Museum in St. Louis (2007), among others. His work has also been included in important group exhibitions such as the Whitney Biennial (2004), video-music-video at the Museo Reina Sofia in Madrid (2005), and Sympathy for the Devil: Art and Rock and Roll since 1967 at the Museum of Contemporary Art in Chicago (2007). In 2005 he received the Louis Comfort Tiffany Foundation Video Award. Bradley lives and works in New York.

Estim. 100 - 200 EUR

[Audio Video Performance] Ulay, Phase white echo. T.B. SHEETS – Ulay 1976 plus Beuningen, Brummense Uitgeverij Van Luxe Werkjes, 1975. Artists' edition, consisting of 6 postcards, 10.5 x 15 cm, featuring reproductions of polaroids from Ulay's performance 'namen, uiterlijkheden, personenruil' (names, appearances, personswap) held at Galerie 't Venster in Rotterdam 1975. The cards were also part of the publication 'Transit. Taal, Beeld, Taal' edited by Maarten Beks, published by Brummense Uitgeverij van Luxe Werkjes in 1975. This set is in excellent condition. (total 6)

Estim. 2 000 - 3 000 EUR

Piene, Otto (Laasphe 1928 - 2014 Berlin, studied at the KA Munich and Düsseldorf, co-founder of the artist group ZERO, painter and graphic artist), (Laasphe 1928 - 2014 Berlin, studied at the KA Munich and Düsseldorf, co-founder of the artist group ZERO, painter and graphic artist), "Sky TV", 1986/2007, DVD, labelled P (proof). Provenance: received directly from the artist; private property Charlotte Moorman, the famous performance artist and cellist, plays a free interpretation of non-cello sounds based on a drawing by Nam June Paik under the direction of Otto Piene in front of a running video camera. The drawing is shown briefly at the beginning of the video. A music stand is a clearly visible part of the scenery. The drawing lying on it remains hidden from the viewer due to the frontal camera angle. Charlotte Moorman is wearing a crimson evening dress. It is one of her favourite dresses, which was given to her by one of her New York fashion designers out of appreciation . The colour can be interpreted as a signal of Charlotte Moorman's dignity and freedom. She places her entire oeuvre and her virtuosity at the service of the contemporary avant-garde. At the time of the recording of Sky TV, she was already seriously ill with cancer. Five years later, she died as a result of her illness. Charlotte Moorman's performance is divided into three 'acts' - analogous to the three monitors indicated in Paik's drawing. Otto Piene himself chooses the caesuras in the post-production, following the inner quality of the performance. At the end of the third act, we hear applause from Otto Piene, who then enters the picture himself to congratulate and thank the artist. This ends the recording. This video work can be seen as an independent work by Otto Piene. It is not merely a recording of a performance from the past, but the post-production by Otto Piene gives the recording its very own performative character.

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