Null TONY QUERREC (1983)
Living form, 2022
FineArt Baryta Hahnemühle print 315g …

Description

TONY QUERREC (1983) Living form, 2022 FineArt Baryta Hahnemühle print 315g signed and numbered 3/30 on the back 32x40cm

85

TONY QUERREC (1983) Living form, 2022 FineArt Baryta Hahnemühle print 315g signed and numbered 3/30 on the back 32x40cm

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Estim. 40 000 - 50 000 EUR

Maurizio CATTELAN (born 1960). Punizion - 1991. Ink and pen on thirty sheets of school paper pinned to a painted wooden panel. Signed and dated on the back of one sheet. 165 x 188 cm (frame). Includes painted wooden box with Galerie Perrotin certificate signed by the artist. Provenance: - Galerie Perrottin, Paris - Private collection, Paris - Sotheby's London sale, October 16, 2009 (catalog no. 33) - Phillips London sale, October 17, 2013 (catalog no. 137) - Private collection, Monaco. Exhibition: - "Maurizio Cattelan", Espace Jules Verne, Bretigny sur Orge, 1997 (reproduced in the catalog) - "Présumé innocent (L'art contemporain et l'enfance)", Musée d'Art Contemporain de Bordeaux, 2000 (reproduced p. 117 in the catalog) - "Maurizio Cattelan: All" Guggenheim Museum, New York, November 4, 2011 to January 22, 2012 (reproduced under no. 10 p. 192 in the catalog). Bibliography: - "Maurizio Cattelan", by Francesco Bonami, London, 2000 (reproduced p. 66,68 and 69) - "Maurizio Cattelan", by Francesco Bonami, London, 2003 (reproduced p. 66,68 and 69). Note: Duchamp is dead! Long live Cattelan! Such is Maurizio, a self-taught artist, certainly the most gifted of the 21st century, the very man who overthrew the Pope and brought Hitler to his knees. A shocking yet thought-provoking artist. In the work we're auctioning, he asks us about the role of school, which the artist sums up as "learning to fail". In the same spirit as the work "Charlie don't surf", in which the youngster is literally nailed to his school desk by pencils, he shows how, through constraint, we seek to subjugate those who don't fit the mold, those who are different because they are too lively, too intelligent, too free or too much of everything. These punishments, in the form of repetitive, stupid and alienating lines, lead to minor humiliations and bruised egos. Not everyone dies, of course, but some go down, and others, rarer still, decide to escape... Today, his works can be found in the world's most famous museums, in the most prestigious collections, including that of François Pinault. Each new work by the artist provokes a systemic reaction and emotion in the art world and in society at large. After his retrospective in New York in 2012, the ultimate recognition for a living artist, the Asian world has recently taken an interest in his work, with a retrospective at Art Beijing in China in 2022. Whether it's his banana taped to the wall sold for €120,000 at Art Basel, his self-portraits sold for several million dollars or his "Him" sold for $17 million in New York, the prices of Cattelan's works are soaring with him! There's no stopping the former dunce Maurizio, half embarrassed half amused on his bike, he smiles... "This work created in 1991, originally entitled repetita invant, refers to the repetitive writing exercises that teachers used to give pupils, as a form of punishment. "Fighting in class is dangerous" was spelled out a thousand times, dictated over and over again, and written on numerous sheets of school notebooks, which the little Italians then had to display on the classroom walls. Equally present and insistent are the red corrections that change a simple preposition in each sentence. The slightest change in the preposition ("in" versus "di") carries with it a more important warning through its repetition: "Class struggle is dangerous". In interviews, Cattelan has explained how his work was influenced by the difficulties he experienced at school, in particular a failed reading test, which he remembers with particular pain. More than a simple reflection on education, this work relates disruptions at school to political resistance, seeing the school system as a microcosm of the social tensions that persist and endure in the adult world. Indeed, the lesson learned by heart (through repetition), forces docility and submission in young minds that are future citizens" (Nancy Spector, Maurizio Cattelan: All - Guggenheim Museum Exhibition Catalogue, New York, 2009, page 93).

Starting price 2000 EUR

François BOISROND (b. 1959) Untitled, 1983 Acrylic on paper Signed "F.Boisrond" and dated on reverse 39.5 x 60 cm Framed 65.5 x 85 cm (frame) Resale rights will be charged to the buyer. Condition report available on request: [email protected] PROVENANCE Lebanese private collection BIBLIOGRAPHY - Hervé Peyrediolle, "Figuration Libre, figures libres", Edition AD Galerie, Mauguio, 2022; work reproduced on page 63 EXHIBITION Galerie AD, "Figuration Libre, Figures Libres" from June 11 to July 23, 2022 NOTICE François Boisrond is associated with the Figuration Libre movement, a French artistic movement of the 1980s that advocated a return to figuration and freedom of expression after a period dominated by abstract and conceptual art. Boisrond was one of the founding members of this movement, alongside artists such as Robert Combas, Hervé Di Rosa and Rémi Blanchard. Figuration Libre is characterized by a spontaneous, expressive and sometimes caricatural style, combining elements of popular culture, comics, graffiti and primitive art. Boisrond's Figuration Libre works are distinguished by their bright colors, simplified forms and playful exploration of the human figure and contemporary society. His style was often humorous and provocative, reflecting a desire to break with established artistic conventions.

Estim. 3 000 - 3 500 EUR

GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

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