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JAUME PITARCH (Barcelona, 1963). "Entropía de Jackson".2009. Mixed media (collage on cardboard". Provenance: Gallery dels Àngels of Barcelona. Measurements: 77 x 107 cm. This piece was part of an exhibition of the same name by Jaume Pitarch at the Àngels Barcelona gallery, in which the theme of time was treated from a new perspective both as a concept and as a plastic development. As the press release read: "Pitarch transforms mundane objects and work rituals into instruments for critical reflection. Frequently, his work consists of obstinate actions that lead to apparently absurd, unproductive, invisible or unimaginable results. This absurdity is not, however, self-indulgent: it questions the identity, socializing, and behavioral relations between man and his material production. For Pitarch, this is simply the consequence of the angst of a man lost in a web of constantly mutating social structures to which he derives all his energy in a failed attempt to belong, "to insert himself into them". The theme of time (time as that which constantly leaves us out of the game) is therefore a constant in his work. A Virilian time that is sometimes alluded to, stopped or converted into an invisible ally called process". Currently based in Barcelona, Jaume Pitarch studied Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others.

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JAUME PITARCH (Barcelona, 1963). "Entropía de Jackson".2009. Mixed media (collage on cardboard". Provenance: Gallery dels Àngels of Barcelona. Measurements: 77 x 107 cm. This piece was part of an exhibition of the same name by Jaume Pitarch at the Àngels Barcelona gallery, in which the theme of time was treated from a new perspective both as a concept and as a plastic development. As the press release read: "Pitarch transforms mundane objects and work rituals into instruments for critical reflection. Frequently, his work consists of obstinate actions that lead to apparently absurd, unproductive, invisible or unimaginable results. This absurdity is not, however, self-indulgent: it questions the identity, socializing, and behavioral relations between man and his material production. For Pitarch, this is simply the consequence of the angst of a man lost in a web of constantly mutating social structures to which he derives all his energy in a failed attempt to belong, "to insert himself into them". The theme of time (time as that which constantly leaves us out of the game) is therefore a constant in his work. A Virilian time that is sometimes alluded to, stopped or converted into an invisible ally called process". Currently based in Barcelona, Jaume Pitarch studied Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others.

Estimate 4 500 - 5 500 EUR
Starting price 2 000 EUR

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JAUME PITARCH (Barcelona, 1963). From the series "Parenthesis", 2007. Photograph, copy P.A. Signed and dated on the back. Measurements: 49 x 38 cm; 50 x 39,5 cm (frame). Jaume Pitarch, an artist currently based in Barcelona, trained in Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others. Pitarch states that his work "focuses on how productivity has affected our notion of time. Market, work, value or leisure are only complementary expressions of it. It seems that contemporary art practice, participation and consumption are time-based activities and therefore subject to a system of production." He continues "Part of my practice consists of rescuing and reorganizing objects, actions or simple episodes that belong to these contexts in order to provide them with a new reading outside the limits that scheduled or productive time determines. These objects, the reproduction of these actions and episodes should be read as critical and poetic devices that make possible a decelerated revision of reality".

JAUME PITARCH (Barcelona, 1963). From the series "Matches", n.11. 1999-2000. Photography on baryta paper. Provenance: Gallery dels Àngels of Barcelona. Measurements: 80 x 80 cm; 81 x 81 cm (frame). Artist currently based in Barcelona, Jaume Pitarch studied Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others. Pitarch states that his work "focuses on how productivity has affected our notion of time. Market, work, value or leisure are only complementary expressions of it. It seems that contemporary art practice, participation and consumption are time-based activities and therefore subject to a system of production." He continues "Part of my practice consists of rescuing and reorganizing objects, actions or simple episodes that belong to these contexts in order to provide them with a new reading outside the limits that scheduled or productive time determines. These objects, the reproduction of these actions and episodes should be read as critical and poetic devices that make possible a decelerated revision of reality".