nairy baghramian haegue yang damián ortega carlos amorales roberto gil de montes wilfredo prieto miguel calderón

basel miami beach online viewing room november, 2020 Gabriel Orozco (1962)

Samurai Tree (Invariant 1F) , 2006 Tempera, burnished gold leaf and calcium sulphate (plaster) and animal glue on cedar wood 62 x 62 x 8 cm. (24.41 x 24.41 x 3.15 in.)

66 USD 600,000 69 70 72 74 75 Gabriel Orozco (1962)

Untitled, 2019-2020 Tempera and gold leaf on canvas 200 x 200 cm. (78.74 x 78.74 in.)

USD 950,000

76 78 79 80 82 Gabriel Orozco’s tempera were created in 2020. Each canvas began as spontaneous, quick, and fluid line drawings on paper in Orozco’s notebooks. As a nomadic artist, Orozco’s notebook plays a key role in his practice, often replacing the studio as a daily site of experimentation and new ideas. Small, loose sketches are selected to be increased in scale on canvas, carrying with them the authen- ticity of line from their original form. The process of color placement is more methodical and becomes an almost sculptural operation of carving in chosen lines from the original drawing to create shapes with weight and form. The resulting images resemble flowers, leaves, tree branches, or other elements of nature—a motif that runs through much of Orozco’s work. In this series, he incorporates a selective palette comprised of colors he began to use with more frequency after his move to Asia in 2015. For Orozco, the pigments are a continued exploration initially inspired by Japanese painters and their influence on the work of Henri Matisse. 86 Nairy Baghramian

Dwindler (NYT), 2018 2 parts, glass, zinc coated metal, colored epoxy resin Installed: 163 x 46 x 65 cm. (64.17 x 18.11 x 27.17 in.) Top element: 93 x 46 x 65 cm. (36.61 x 18.11 x 25.59 in.) Bottom element: 68 x 46 x 65 cm. (26.77 x 18.11 x 25.59 in.)

EUR 100,000

276

280

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322 Installation view: Nairy Baghramian, Breathing Spell, Palacio de Cristal, Museo Reina Sofía, Madrid, 2018. 328 Installation view: Nairy Baghramian, 45th Venice Biennial (2011).

332 Nairy Baghramian (1971)

Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 72 x 76 x 18 cm. (28.35 x 29.92 x 7.09 in.)

EUR 32,000

88 Beliebte Stellen, installed last year at the Temporary Stedelijk 2 in Amsterdam, highlights modes of reception and presentation. In this work, Baghramian more specifically probes the lingering prominence of site-specific strategies that — in addition to having historically been privileged at the Stedelijk — have been forma- tive for her own development. In this installation, metal rods that look like large, opened rings are attached to the walls and the floor. These forms are covered with several layers of color, applied so that drips of paint are visible as the result of the process, without, however, being necessarily recognizable as the traces of bodily activity.

These bent rods are usually supported at only one or two points, in a way that keeps them at a slight distance from the walls, resulting in a tension between the lightness of the objects, as suggested by their form, color, and mounting, and their actual materiality. The status of these radically reduced remains sus- pended between the poles of genuine work and simple demarcation. Once again, they operate as placeholders. On the one hand, some objects are at eye level and others are sited on the floor, slightly displaced in relation to the entrance and exit of the gallery, marking the privileged points of a museum or gallery space tradi- tionally used for the presentation of artworks.

On the other hand, their non-geometric arrangement could be seen as a critical interaction with the conventions of display. Baghramian explicitly includes herself in this reflection on site-specific methodologies, particularly given her repeated emphasis on insular spaces such as passageways or the margins of an exhibition parcours. Yet in this case, the association with decoration, ornament, and even jewelry, already clearly invoked, is amplified by the mint green, dark blue, navy, pink, and beige chosen for the paint--colors that seem to be taken from the spec- trum of midcentury modern design. Raising the question of the added critical val- ue that supposedly accompanies the accentuation of the specific places within a gallery where paintings or are usually displayed, Baghramian’s installation also answered it.”

– Andre Rottmann

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90 94 Nairy Baghramian (1971)

Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 46 x 41 x 21 cm. (18.11 x 16.14 x 8.27 in.)

EUR 24,000

98 102 100 104 Nairy Baghramian (1971)

Beliebte Stellen (Privileged Points), 2015 Steel, epoxy resin 75 x 101 x 15 cm. (29.53 x 39.76 x 5.91 in.)

EUR 42,000

106 108 109

110 106 Installation view: Nairy Baghramian’s Beliebte Stellen/Privileged Points (2017) at Vue d’installation, Mudam Luxembourg, 2019.

Haegue Yang (1971)

Knotty Spell in Windy Red Fruits on Gradation, 2020 Clothing rack, powder-coated steel, casters, powder-coated turbine vents, jute twine, nylon cord, knitting yarn, brass and black plated bells, metal rings, Moroc- can vintage jewelry, screw eyes, jacaranda brasiliana capsule, palm ring, delonix regia pod, Colombian pompons, Mardi Gras beads 195 x 110 x 106 cm. (76.77 x 43.31 x 41.73 in.)

EUR 70,000

114

Haegue Yang uses Knotty Spell in Windy Fruits and Gradation (2020) to engage with the theatricality of sculpture and its performative potential. Constructed of ba- sic components, this luminous sculpture merges together a subtle combination of industrially produced objects with traditional textile works produced by hand. A commercial metal display stand is repurposed, to which bells, metal rings, wool- en dreamcatchers, iridescent light bulbs and tangles of electric cords are added. Yang dissociates such materials from their original cultural contexts, rearranging them into abstract compositions that build upon a unique and personal visual vo- cabulary. Knotty Spell in Windy Fall Foliage (2016) functions through the collection and association of these connoted elements, between phantoms of contemporary trends and impossible collages of more intuitive, formal referents, creating other worlds or even monsters.

Socioculturally, Knotty Spell in Windy Fruits and Gradation can be seen as a mi- crocosm comprised of crisscrossing routes of trade and migration from far off points of the world. The sculpture is saturated in the connective possibilities of exchange available in a modern global world. The title retraces this interpretation, in particular her employment of the word ‘dual,’ meaning to consist of two parts, elements or aspects. Reinforcing this idea, the mobility of this piece is an import- ant feature to note. As historian and curator, Steinar Sekkingstad, explains:

“Mobility is associated here, not only in purely physical or formal terms (with mechanical devices and kinetic constructions), but also in political and historical terms. Mobility and motion correspond to major concerns to which Yang con- stantly returns: migration, postcolonial diasporas, enforced exile, social mobility or what one could perhaps call lifetime mobility.”

Ironically, even as movement is actualized with the introduction of wheels, it re- mains serenely immobile. As a further act of ambiguity, like Yang’s cultural blurring, she fuses and confuses formalist concerns. Although heavily abstract Knotty Spell in Windy Fruits and Gradation is also figurative in form, teetering onto the anthro- pomorphic.

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122 Haegue Yang (1971)

Sonic Rotating Identical Circular Twins – Copper and Silver #3, 2020 Powder-coated stainless steel frame, powder-coated mesh, ball bearings, copper and nickel plated bells, metal rings Installed: 100 x 171 x 14 cm. (39.37 x 67.32 x 5.51 in.)

128 EUR 74,000 https://vimeo.com/483347534/4a45de923e 129 120 122 123 Haegue Yang’s work is well known for its eloquent language of visual abstraction that combine direct sensory manipulation. Her work is defined by industrial- ly manufactured items that unfold in unconventional arrangements that express Yang’s investigations into specific historical figures and their concrete domestic environments. Recently, bells have been introduced as sonic and performative ele- ments, which illuminate one of her current interests in the notion of movements, in physical, social as well as metaphorical sense.

Sonic Rotating Geometries (since 2013) are sonic sculptures consisting of geomet- ric shapes covered with patterns of brass, nickel or copper plated bells. Mounted on the wall the works can be rotated by hand to produce the rattling sound of bells. Once the sculpture is set in motion, the geometric shapes begin to blur, disinte- grating the rigorous physical angular geometry into an illusory geometry of circles at high speed. The act of spinning also triggers the tinkling of the bells, filling the surrounding space with a rhythmic sound corresponding to the speed of rotation.

The phenomenological interaction generated by the physical movement of the work, its momentary shape, the sound of the bells tinkling, the optical illusion and the blending of colors lead the viewers to imagine a heightened possibility where ordinary objects tremble and individual entities reverberate.

125 126 127 Jimmie Durham (1940)

Holey Iron, 2016 Iron, acrylic paint 15 x 77 x 48 cm. (5.91 x 30.31 x 18.9 in.)

EUR 60,000

128 130 131 “I found this piece of iron close to my studio in the Gleisdreieck (translates to track triangle) Park, which was an old railroad sites. This piece of iron was al- ready folded and bent in a way that has nothing to do with anything but especially not with iron, if at all more with paper. I wanted to cancel the ironess of the iron (iron is not really very hard or dense: Neutrinos pass through it very quickly and easily without even noticing it.)

The color combination of pink and green which I especially use on stone and iron, as it is an anti-stone and anti-iron combination of soft light colors, reminds one more of soft sugar candy or mints. It contributes to the cancellation of the iro- nies.”

- Jimmie Durham

132 135 136 Installation view: Jimmie Durham (1940), Venice: Objects, Work and Tourism, Fondazione Querini Stampalia, Venice, May - September, 2015.

138 Jimmie Durham (1940)

Pink Marble, Lavender-Colored Stone With Complementary Material, 2015 Stone, wood, glass, iron, glue 99 x 62 x 30 cm. (38.98 x 24.41 x 11.81 in.)

140 EUR 70,000

144 146 Damián Ortega (1967)

Estructura caótica 2, 2020 Cement, metallic internal support, brick and concrete block and cement base 240 x 130 x 80 cm. (94.49 x 51.18 x 31.5 in.)

USD 120,000 150

154 Abraham Cruzvillegas (1968)

Empty Lot (12), 2015 Iron, copper, metal, rubber, wood, fabric, lightbulb and cable 435 x 232.5 x 130 cm. (171.26 x 91.54 x 51.18 in.)

USD 75,000

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172 174 176 Abraham Cruzvillegas’ lamp sculptures were first exhibited on the platforms of Empty Lot, the inaugural Hyundai Commission at ’s Turbine Hall, which was on view from October 2015–April 2016. For this large-scale site-specific in- stallation, the artist proposed a sculpture comprised of two giant raised triangular platforms held up with scaffolding, on which rested a grid of similarly shaped tri- angular planters. These were filled with earth collected from public parks, heaths, commons, green spaces and private gardens across . The trays were wa- tered regularly and lit by a variety of lights, including Cruzvillegas’ lamps, however no flowers or bulbs were planted. Over the course of six months, sporadic gen- eration took place as plants began to sprout and grow: weeds, organic matter and mushrooms bloomed in empty lots, along with wider ideas of chance, change and hope.

Cruzvillegas´ lamps were installed on the platform as a light source for the soil and the unsuspecting plant life that grew while it was on display. The sculptures were built using materials recovered and collected from skips and building sites near the Tate Modern, and in a formal way, they are related to some of his recent sculptures and environments, which incorporate demolition debris and materials that many people would regard as rubbish or detritus: discarded pieces of wood, metal tub- ing, copper rods, glass bottles, used wire, old bricks, as well as light bulbs and cable.

In conceiving and making functional objects, Cruzvillegas tries to stay away from designer DIY aesthetic. He is inspired by objects which are born from specific ne- cessity. These lamps are the product of observing and improvising, trying to invent an immediate solution for a specific need. This conception of sculpture comes out of the idea of autoconstruction, a term that described the self-made kind of buildings his parents accumulatively produced when they arrived in Ajusco, City in the 1960s, where Cruzvillegas was born. For the artist, autoconstruction, a self-construction, implies an approach to sculpture involving improvisation and instability, and a constant process of learning: about materials, people and himself.

Installation view: Abraham Cruzvillegas (1968), Hyundai Commission 2015: Empty Lot, Tate Modern, London, October, 2015 - April, 2016. 156 157 Cruzvillegas drew inspiration from the childhood home his parents created over time using found materials on a plot of land they squatted upon in . Their home came together in a manner Cruzvillegas refers to as autoconstruc- ción, which translates to “self made” and is colloquially used to refer to houses built by the people that inhabit them. He is clear to distinguish this phenomenon from ‘do-it-yourself’ which he views as, “…more like a hobby. Autoconstrucción is more the result of a history that is about the failure of the promise of consump- tion. I use materials that are discarded but that will change in time…”. Cruzvillegas is assessing both what is discarded and what is consumed by this practice in the Abraham Cruzvillegas (1968) various places he cohabits. It is his process to understand the local way of life and micro-economy via the trail of its transactions. The outcome is a series that is at Blind self portrait misspelling my own name to an office employee, regretting of not finding a good pretext to lack of time organization for reading Frans de international while retaining a local identity and the artists own history in it. He Waal’s ‘The last interview’, while listening to ‘Unpretty’, by TLC, running to ‘Aux constructs a dialogue between items that form a harmonious whole, a destabilized Bones Crus’ for a Summer pot-au-feu, believing this not over, and that very soon, diary entry that the viewer is left to trust in Cruzvillegas’s claim of their proximity we’ll be confined again, but hoping in my heart that this shouldn’t happen..... , 2020 to intimate details of the artists life while being unable to ascertain what they are. Purple and pink acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, drawings, posters, fly- By Cruzvillegas’s own description, “there is no real technical skill. It is more about ers, cards, recipes, napkins and steel pins on wall Variable dimensions. Installation of 272 pieces joining parts together” in a reorganization of information, of shapes, of energy. It is a practice and a work that elicits optimism, hope, and change that rely on humor, USD 70,000 playfulness, and trust. 158

164 166 167 Carlos Amorales (1970)

Jungla de estrellas (Star Jungle) 1, 2020 Collage. Painted cardboard cutouts glued on linen 40 x 30 cm. (15.75 x 11.81 in.)

USD 12,000

180 182 184 185 Carlos Amorales (1970)

Jungla de estrellas (Star Jungle) 2, 2020 Collage. Painted cardboard cutouts glued on linen 40 x 30 cm. (15.75 x 11.81 in.)

USD 12,000

186

190 191 Carlos Amorales (1970)

Jungla de estrellas (Star Jungle) 3, 2020 Collage. Painted cardboard cutouts glued on linen 40 x 30 cm. (15.75 x 11.81 in.)

USD 12,000

192 193 194 196 198 Roberto Gil de Montes (1950)

The Dream, 2020 Oil on linen 60 x 100.3 cm. (23 5/8 x 39 1/2 in.)

164 USD 24,000 166 168 170 172 Wilfredo Prieto (1978)

Vecinos insultan a enfermeras o niños, 2020 Acrylic on canvas 29.7 x 42 x 4 cm. (11.69 x 16.54 x 1.57 in.)

218 USD 4,000 Wilfredo Prieto (1978)

Asciende a 5,100 y supera los 215,000, 2020 Acrylic on canvas 29.7 x 42 x 4 cm. (11.69 x 16.54 x 1.57 in.)

220 USD 4,000 Wilfredo Prieto (1978)

Alfombras de Luis Vuitton, cinco dormitorios, jacuzzi y piscina, 2020 Acrylic on canvas 29.7 x 42 x 4 cm. (11.69 x 16.54 x 1.57 in.)

222 USD 4,000 Wilfredo Prieto (1978)

Los liberales y sus advertencias, 2020 Acrylic on canvas 29.7 x 42 x 4 cm. (11.69 x 16.54 x 1.57 in.)

224 USD 4,000 Miguel Calderón (1971)

Amenaza cocotera, 22, 2020 Watercolor on paper Paper Size: 30.5 x 24.7 cm. (12.01 x 9.72 in.)

26 USD 6’000 27 Miguel Calderón (1971)

Amenaza cocotera, 23, 2020 Watercolor on paper Paper Size: 30.5 x 24.7 cm. (12.01 x 9.72 in.)

28 USD 6’000 29 Miguel Calderón (1971)

Amenaza cocotera, 27, 2020 Watercolor on paper Paper Size: 30.5 x 24.7 cm. (12.01 x 9.72 in.)

36 USD 6’000 37 All prices are exclusive of any applicable taxes and / or VAT

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