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Kunstauktion Für Das Hilfswerk International Zugunsten Syrischer Flüchtlinge Im Libanon Freitag, 22

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Kunstauktion Für Das Hilfswerk International Zugunsten Syrischer Flüchtlinge Im Libanon Freitag, 22 Kunstauktion für das Hilfswerk International zugunsten syrischer Flüchtlinge im Libanon Freitag, 22. November 2019 Dorotheum, Wien www.dorotheum.com Ausstellung The Other is Oneself Franz Josefs Kai 3 5. November – 14. Dezember Bidding information: Ingeborg Fiegl DOROTHEUM Dorotheergasse 17 1010 Wien Tel. +43-1-515 60-449 Mobile +43 (0)664 810 61 32 [email protected] www.dorotheum.com Please use the absentee bid form attached to the catalogue. Photocredits: Iris Andraschek (p. 55), Simon Veres (p. 7, 15, 23, 29, 39), Khaled Barakeh (p. 25), Elisabetta Benassi (p. 31), Nisrine Boukhari (p. 49), Anna Konrath (p. 19), Vincent Entekhabi (p. 53), Sylvia Eckermann (p. 45), François Doury (p. 11), Anna Jermolaewa (p. 21), Pablo Messil (p. 27), Florian Laczkovics (p. 9) Studio Jonathan Monk (p. 9), Klaus Mosettig (p. 35), Hans Schabus/ Bildrecht GmbH (p. 13), Sergey Zhdanovich (p. 47), Gerold Tagwerker (p. 37), Marko Lipuš (p. 33), Hans Schröder, Copyright Marta Herford (p. 41), Bernhard Cella (p. 51) Iris Andraschek Babi Badalov Khaled Barakeh Elisabetta Benassi Nisrine Boukhari Bernhard Cella Adriana Czernin Ramesch Daha Sébastien de Ganay Raffaella della Olga Sylvia Eckermann Simone Fattal Anna Jermolaewa Mirta Kupferminc Thomas Locher Jonathan Monk Klaus Mosettig Rudolf Polanszky Hans Schabus Slavs and Tatars Gerold Tagwerker Florian Unterberger Martin Walde Lawrence Weiner Nil Yalter Samia Ziadi Curator: Fiona Liewehr www.toio.org Lawrence Weiner has been one of the main representatives of concept art since the 1960s. The phrase ‚ON BOARD THE SHIPS AT SEA In 1968 he published his famous manifesto ARE WE‘ sounds as if it is rolling like the waves ‚Declaration of Intent‘, which remains unchanged themselves around the mind of the observer to this day: who is reading it. The lack of punctuation leaves 1. The artist may construct the piece. open a range of interpretations, but each one 2. The piece may be fabricated. invites the reader to identify with the ship itself, 3. The piece need not be built. its occupants and their journey. Associations Each being equal and consistent with the intent of rendition and insecurity – triggered by the of the artist, the decision as to condition rests natural power of the sea or human action, tran- with the receiver upon the occasion of receiv- scendence and fascination, trust and alienation, ership. holidays and luxury trips, city tourism and the Weiner’s practice is characterised by a radical arrival of refugees – alternate against the back- renunciation of implementation in favour of the ground of a shared characteristic – that of being linguistic formulation of his concepts. Intelli- human – unique to each passenger. This is a gent, poetic and often humorous, he generates message that Lawrence Weiner meticulously murals, drawings and works in public spaces in pursues in every element of the work. Drawn which he medially regards every letter and every in pencil, the large, red, crosshatched letters word as a sculptural element. He forms these are distributed, descending, across the sheet. word sculptures in English and at the same time, A small ship, its funnels highlighted in yellow, generally, in the local language of the exhibi- draws our attention to the upper right corner of tion location and, by only using terms that are the picture, while the frame is submersed in the absolutely essential, creates a broad spectrum powerful blue of the ocean. Weiner’s palette is of potential associations that shed light on the rich in signals and, like his language, limited to political, social, and critical issues of our time. the most essential elements. The archival paper, whose impregnation shimmers as the light falls Lawrence Weiner briefly studied literature and upon it, acts as a bearer of stories and reminds philosophy at Hunter College in New York. He us to be reflective, cautious, and critical in has exhibited globally since the 1960s includ- dealing with cultural, political, and social narra- ing, most recently, at the 56th and 55th Venice tives. As the phrase descends remorselessly, Biennales (2015/2013), documenta 13 (2012), the observer is almost drawn into the depths Galerie Hubert Winter, Vienna, OSL Contem- beyond the frame, subject to a pulling effect porary, Oslo (2019), Perez Art Museum, Miami that even challenges the sought-after stability and Milwaukee Art Museum (2017). His work of the geometrical form of the quadrat. Associ- is found in countless private and institutional ations with the growing movement of refugees collections including, DIA Foundation, Beacon, manifest themselves in this work by Lawrence Guggenheim Museum, MoMA and Whitney Weiner, whose humorous levity becomes, when Museum of American Art, New York, MOCA, considered at length, deadly earnest. (AK) Los Angeles, Art Gallery of Ontario, Toronto, British Museum, London, Centre Pompidou, Paris, Deichtorhallen, Hamburg, MMK Frank- furt, Sprengel Museum, Hannover, Städtische Galerie im Lenbachhaus, Munich, Boijmans Van Beuningen, Rotterdam, Stedelijk, Amsterdam, Guggenheim, Bilbao, Kunstmuseum Winterthur and MUMOK, Vienna. 4 Lawrence Weiner *1942 in The Bronx, New York, lives and works in New York and Amsterdam ON BOARD THE SHIPS AT SEA ARE WE, 2018 Faber Castell pencil, Faber Castell ink on folded archival paper, 50.5 × 65.1 cm, framed Courtesy of the artist Live auction, lot 1: € 13.600.- 5 Austrian artist Rudolf Polanszky has been settings as the Centre Pompidou, Paris, Rubell developing a diverse oeuvre ranging from Family Collection, Miami (2019), Secession conceptual film, video and photographic work Wien, Leopold Museum, Vienna (2018), Belve- via drawing and painting, to sculptural objects dere 21 (2016/2014), Galerie Andreas Huber and assemblages, since the mid-1970s. From (2015/2013), Kunsthalle Wien (2011), Malmö a starting point in which he seeks to rearrange Konsthall (2008), and the 52nd Venice Biennale and change, as well as reorganise how we think (2007). about, various sorts of conceptual patterns, he incorporates chance into his artistic method In his sculpture TUBE SCULPTURE, Polanszky as a category of input beyond causality and also addresses the potential for recognition determinism. To this end he often uses waste that is generated by inverting how we look at materials such as Plexiglas, metal, reflective foil, negative and positive spaces and internal and synthetic resin, wire and foam, which have been external boundaries. A tattered sheet of Plexi- exposed to the weather or show other signs glas with traces of pink paint, coiled around a of wear, exploiting the fact that these cannot dented metal roller, rests upon a filigree metal easily be shaped into predetermined forms and, framework supported by a thin metal plate hence, defy the creative and constructional will that stands upon a somewhat-crooked table of the artist. He combines a fascination with formed of welded steel rods and a battered scientific explanatory models, which employ piece of foam board. The table acts as a base such objective calculable rules as the basics of for the volume as it rises dynamically upwards mathematics or cognition theory in order to help while also becoming part of the sculpture us understand the internal relationships that itself and, like the roll of metal and Plexiglas, underpin our world, with a certain scepticism activating the empty spaces below and within toward all allegedly unshakeable shows of logic the sculpture – the negative spaces – in the or purely rational views of the world. Polanszky imagination of the viewer. Polanskzy himself uses a non-linear process – which he calls speaks of Primskulpturen, Hypertransforme ‘ad-hoc synthesis’ – in which he spontaneously Skulpturen, Konfusionsskulpturen, and the combines any available materials by means of Hyperbolische Räume as: ‘imagined conceptual superimposing, layering, overlapping, interlock- spaces of multidimensional structures [that], ing and folding in order to create random forms, just like the transaggregate structure, [escape] new structures and ‘translinear’ and ‘transaggre- direct observation.’ His sculptures appear just as gate’ objects that he sees as unstable products playfully light, fragile and open-ended as they of a subjective reality. are daringly constructed and have precisely balanced proportions. Neither one thing nor the Polanszky was already addressing questions other, they are always the in-between, subject of perception and recognition, appearance, to constant change. In its spatial concretisation, deception and illusion in such early, hand- TUBE SCULPTURE manifests itself as a random painted Super 8 films as Die Semiologie der snapshot of a process of constant transfor- Sinne (1976) and Der musikalische Affe (1979). mation that involves both artistic method and In the 1980s he integrated the principle of the subjective perception. (FL) random and the uncontrolled into his work in the shape of his Sprungfedern-, Sitz- und Wälzbilder, in which he often incorporated his own body into the creative process. In the 1990s he began his Reconstructions, in which he transformed selected waste material into intuitively created sculptures that took the form of wall-mounted or freestanding objects. More recently, his work has been exhibited in such 6 Rudolf Polanszky *1951 in Vienna, lives and works in Vienna TUBE SCULPTURE, 2011 diverse material, aluminium, glue, plastic, Plexiglas, steel, 147 × 75 × 50 cm Courtesy of the artist Live auction, lot 2: € 40.000.- 7 British artist Jonathan Monk employs ironic and often humorous strategies to generate Monk is represented in this exhibition by a work appropriations of important works of Minimal from the series ‘The World in…’, clearly inspired Art and conceptual art. As a precise observer, by the series ‘Mappa’ by the Italian artist and Monk enters into dialogue with artists such graphic designer Alighiero Boetti (1940–1994). as Sol LeWitt, Ed Ruscha, Bruce Naumann, or Boetti created his embroidered maps of the Lawrence Weiner rather than creating a genuine world – between 1971 and his death in 1994 new work because he has a consciously crit- – as conceptual works, which were largely ical view of the (im)possibility of original, new produced in Afghanistan and Pakistan.
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