Null MAURIZIO CATTELAN
(1960)
Robbed safe (part.) - 76,400,000
1992
Folder conta…

Description

MAURIZIO CATTELAN (1960) Robbed safe (part.) - 76,400,000 1992 Folder containing a cibachrome print, ed. 23/100 out of a total print run of 100 copies in Arabic numerals and 30 in Roman numerals, Danilo Montanari Editore, Ravenna Size of folder: 32 x 22 cm Size of cibachrome print: 20 x 27.8 cm Stamp and signature Danilo Montanari Editore and numbering on the back of the cibachrome print

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MAURIZIO CATTELAN (1960) Robbed safe (part.) - 76,400,000 1992 Folder containing a cibachrome print, ed. 23/100 out of a total print run of 100 copies in Arabic numerals and 30 in Roman numerals, Danilo Montanari Editore, Ravenna Size of folder: 32 x 22 cm Size of cibachrome print: 20 x 27.8 cm Stamp and signature Danilo Montanari Editore and numbering on the back of the cibachrome print

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Estim. 300 - 500 EUR

Maurizio Cattelan (born 1960) A.C.-Forniture Sud 1991 Photograph and collage on card signed and dated on the back H. 33 cm L. 22 cm

Starting price 40000 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 sale, London, October 17, 2013 (catalog no. 137) - Monegasque private collection. Exhibition: - "Maurizio Cattelan", Espace Jules Verne, Bretigny sur Orge, 1997 (reproduced in catalog) - "Présumé innocent (L'art contemporain et l'enfance)", Musée d'Art Contemporain de Bordeaux, 2000 (reproduced p. 117 of catalog) - "Maurizio Cattelan: All" Guggenheim Museum, New York, November 4, 2011 to January 22, 2012 (reproduced under no. 10 p. 192 of 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 young man 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).

Current bid 200 EUR

Maurizio CATTELAN (born 1960). Love - 2014 Resin print in snow ball Dated and titled (in the plate) below H : 16 ; W : 11.5 ; D : 11.5 cm. Note: Remake of the sculpture installed in 2010 in Milan's Piazza Affari

Estim. 10 000 - 12 000 EUR

FERNANDO GARCIA PONCE (Mérida, Yucatán, 1933 - Mexico City, 1987) Untitled. Oil and collage on canvas. Measurements: 76 x 115 cm. Provenance: Maria Lluisa Borrás Collection, Barcelona. Fernando García Ponce belongs to the generation of the late fifties called the "Generation of the Rupture", since his proposal marked a total distance with the so-called Mexican School. Thus, expressions such as geometrism, abstraction, informalism, neo-figurative, which were almost forbidden artistic expressions in the 60's, began to dominate the art scene. He was born on August 25, 1933 in Merida, Yucatan. When he was 11 years old, his family moved to the capital of the country. In 1952 he entered the National Autonomous University of Mexico to study architecture; he also attended the workshop of the Valencian painter Enrique Climent, who recognized his talent and, although he did not devote himself to teaching, decided to become his teacher. His first paintings date from 1954, they are family portraits, however, two years later, geometry increases significantly in his works. In 1957 he made several trips to Europe and decided to leave architecture to devote himself completely to painting. His first individual exhibition was at the Galería de Arte Mexicano (1959), with 26 oil paintings of still life; in 1960 he made an abstract composition entitled No. 1, a watershed that definitely marks his work. With a series of collages he receives an honorable mention in the Salón de la Plástica Mexicana. In the sixties the term Ruptura arises, which defines a generational group of artists, to which Fernando García Ponce belongs and which marked the new Mexican painting. García Ponce participates again in the Galería de Arte Mexicano and in the Colectiva de Pintura Contemporánea de México y América del Sur (1961). Two years later his painting is already totally abstract and he exhibits 14 works at the Juan Martin Gallery. He also participates in the Colectiva de Arte Actual de América y España, held in Madrid. By 1974 his painting reveals the will to synthesize the cold geometric order. During the summer of 1976 García Ponce travels with his wife Denise and his son Esteban to Paris, then spends a season in Barcelona, where he makes two graphic folders containing 10 serigraphs and 12 lithographs. Upon his return to Mexico, the Museum of Modern Art (1978) organizes a large exhibition of 40 works produced between 1977 and 1978. A year after this event, his wife Denise dies tragically, however, Garcia Ponce remains concentrated and his creativity remains intact; the painting of those years is powerful and extremely inspired. He regularly presents his annual exhibition at the Ponce Gallery and participates in group exhibitions at the Casa de las Americas (Cuba), the Picasso Museum (Antibes, France), the Jornadas Culturales de Colombia, the Carnegie Institute in Pittsburg (USA) and the National Art Center in Ottawa (Canada), among others. At 54 years of age and considered one of the most important artists of the national plastic arts, García Ponce died in his studio (July 11, 1987) of a myocardial infarction.

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