Gothic Auction Catalogue Published by the Contemporary Art Society

Home , Jake and Dinos Chapman, Jane and Louise Wilson, Rebecca Horn

‘The great art of life is sensation, to feel that we exist, even in pain.’

Lord Byron

iv Published February 2009 © the Contemporary Art Society

Contemporary Art Society 11—15 Emerald Street London WC1N 3QL +44 (0)20 7831 1243

[email protected] www.contemporaryartsociety.org

ISBN 978 0 9517550 5 1 Designed by modernactivity.com Printed by Lecturis, Eindhoven Bound by Van Mierlo Bookbinders, Nijmegen Set in Golden Cockerel & Numbers Paper: Lessebo Design natural vi Gothic Auction Catalogue Published by the Contemporary Art Society

A fundraising event and auction to mark the beginning of the Centenary year of the Contemporary Art Society e 100 years of acquiring and commissioning contemporary art for museums in the UK

Collecting the Contemporary for Tomorrow Table of Contents

OVERTURE Silent Auction (contd.)

How to Bid ...... p.6 Rebecca Horn ...... p.68 Chairman’s Introduction ...... p.8 Shirazeh Houshiary ...... p.70 The Contemporary Gothic ...... p.10 Chantal Joffe ...... p.72 Dorota Jurczak ...... p.74 Idris Khan ...... p.76 ACT I — Live Auction Henry Krokatsis ...... p.78 Kate MccGwire ...... p.80 Cathy de Monchaux ...... p.18 Gosha Ostretsov ...... p.84 Grayson Perry ...... p.22—25 Cornelia Parker ...... p.86 Jake & Dinos Chapman ...... p.26 Paula Rego ...... p.92 Damien Hirst ...... p.30 Veronica Smirnoff ...... p.94 Anselm Kiefer ...... p.32 Rebecca Stevenson ...... p.96 Contemporary Art Society Charity Lot ...... p.34—39 Suzanne Treister ...... p.98 Francis Upritchard ...... p.100 Jane & Louise Wilson ...... p.104 Act II — Silent Auction Masaki Yada ...... p.106

James Aldridge ...... p.42 Artists Anonymous ...... p.44 Eulogies ...... p.111 Diann Bauer ...... p.46 Avner Ben-Gal ...... p.50 Anna Bjerger ...... p.52 EPILOGUE Ulla von Brandenburg ...... p.54 Christopher Bucklow ...... p.56 Auction Information ...... p.126 Ruth Claxton ...... p.58 Silent Auction & Pledge System ...... p.128 Tessa Farmer ...... p.62 Conditions of Business ...... p.130 Rachel Goodyear ...... p.64 Absentee Bid Form ...... p.133 Andreas Hofer ...... p.66 Artists Index ...... p.137

2 Overture

‘…that class of the terrifying which leads us back to something long known to us, once very familiar…’

Sigmund Freud, The Uncanny, 1919

‘No passion so effectually robs the mind of all its powers of acting and reasoning as fear.’

Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1757 How To Bid

Live Auction, 10th March 2009 Preview Exhibition Conducted by Oliver Barker, Senior International 26th February — 4th March 2009 Specialist at Sotheby’s, London, during Gothic at Shunt Sotheby’s, 34 — 35 New Bond Street, London W1 Vaults, SE1 (please contact Stephanie Post at the Monday — Friday 9am — 4.30pm Contemporary Art Society for tickets). Lots 1 — 7 inclusive, Sunday 12 — 5pm described on p.18 — p.44 of this catalogue, will be sold in the live auction. Gothic Auction & Banquet Tuesday 10 th March at Shunt Vaults, Silent Auction, 10th March 2009 London Bridge, SE1 By invitation only All art works on p.42 — p.109 (Lots 8 — 34) will be Reception: 7.00pm sold in the silent auction during Gothic at Shunt Vaults, SE1 Dinner & Auction: 8.15pm (please contact Stephanie Post at the Contemporary Art Carriages: 11.30pm Society for tickets). In order to bid in the silent auction, guests use their personalised IML card with the hand sets on the dinner tables. Full instructions on how to use these For more information contact Stephanie Post can be found on p.128. [email protected] +44 (0)20 7831 3217

Absentee Bidders If you are unable to attend the evening but would like to bid for any of the works, please fill out the absentee bid form on p.133 and return it to the Contemporary Art Society (as detailed on the form). In the event of tied bids, priority will be given to the first received. Absentee bids can be submitted up until 5pm on Friday 6th March 2009, but we would advise submitting them at your earliest convenience.

6 Collecting the Contemporary for Tomorrow Alison Myners Chairman, Contemporary Art Society

In 1909 the Contemporary Art Society was formed The Contemporary Art Society also offers mem- to ensure that museums throughout the United Kingdom berships for individuals, who join our exciting programme acquired fine works of contemporary art before they became of events and activities because they have a curiosity about impossible to purchase, thereby supporting new artists. contemporary art and wish to deepen their knowledge. We take pleasure in encouraging our members to inves- Over the last 100 years we have purchased tens of tigate art by living artists and to collect contemporary art thousands of works which we have gifted to museums. – in so doing supporting the artists whose work we believe The works of so many great artists are now in collections will endure. because of the Contemporary Art Society — Picasso, Matisse, Gauguin, Freud, Bacon and Caro, Gilbert & George, Cragg, Tonight, through Gothic — the beginning of our Emin and Hirst to name but a few. Centenary celebrations — you have the chance to make a dramatic impact on our vital work, ensuring significant new 100 years later, we continue to offer comprehensive art enters public collections around the United Kingdom. support and advice to our member museums, helping with purchases and commissions, and the development of inspi- Thank you. rational collections for audiences today and in the future. Why do we do this? Because we believe that contemporary art has the ability to inform, to transform and to change lives for the better. We would like everyone to be able to access at least one great collection wherever they live.

8 The Contemporary Gothic ‘The tendency to delight in Paul Hobson fantastic and ludicrous as well as in Director, Contemporary Art Society sublime images is a universal instinct of the Gothic imagination.’

John Ruskin, The Stories of Venice, 1853

The term ‘Gothic’ when applied to contemporary Gothic: opposites that should have remained apart in art is more ‘atmospheric’ than neatly defined. It is as much the natural order of things, are brought together with about how the scene is set as what happens next. Like a terrifying consequences — the living and the dead, the true Gothic novelist, the Gothic artist sets the scene in an pagan and the Christian, innocence and corruption, unfamiliar and frightening place… madness and science, death and regeneration, technology and the human body. Although a term broadly applied to artworks which focus on death and the macabre, true Gothic traits Although the themes in contemporary Gothic are to be found in the combination of a wide range of art originate in late eighteenth- and nineteenth- themes, symbols and emotions. An interest in the occult, century Gothic literature, they are today combined the unconscious, the unnatural; rituals, secrets and curses; unselfconsciously with, among other things: medievalism, dark mythologies, fairytales, psychologically charged sites; Romanticism, Victoriana, science fiction and a diverse hallucinations, hysteria, suicide, paranoia and split-person- range of post-modern punk Gothick subcultures, all ality; sexual perversions which run to necrophilia, rape, without concern for the contradictions and anachronisms incest and blood-lust; specters, disembodied voices and therein. This hybridity in no way damages the stock; quite fragmented bodies, are all sourced from the Gothic tradi- the contrary, it contributes to making the idea of the Gothic tion which has been reinforced and reinvented over time. so evocative and enduringly relevant, making it possible to Duality and opposition are the overriding logic of the suggest shared sensibilities amongst artists as different as

10 those included in these pages. The Gothic can also easily Although all the artists included here traffic in spill into related terminology: the ‘uncanny’, the grotesque, Gothic themes, few, if any of these artists would define the abject, yet it is the Gothic that retains its unique hold themselves as ‘Gothic’ per se. In the end, the term ‘Gothic’ over our communal imagination. in contemporary art is necessarily a partial one, which serves mostly to identify a dark sensitivity and unease, This is possibly because of its spectacular, highly flourishing in the fertile ground of excessive imagina- emotional effects. Often highly theatrical, studied, to a tion, springing from a surplus of fantasy and desire, and degree stagey, the Gothic tends towards the dramatic. giving rise to images of horror, lust, repulsion and disgust. Excessive, seductive and aesthetic, the Gothic is sensual, Just as the Gothic emerged as an expression of the social refined, affected even. In a post-Freudian world obsessed anxieties and upheavals of the turbulent late eighteenth- with repressed emotions and fears, the Gothic encourages century, it may well be that the Gothic has returned as an us to run the full ambit of our extreme emotional reper- enduring term serviceable in periods of crisis, as an escape toire. The natural inclination of the Gothic to transcend valve for the crises of our own times. the ordinary, to cultivate the anti-social and to experiment with the sexual unknown, makes the Gothic speak to the abiding adolescent in all of us.

12 The Gothic Committee The Contemporary Art Society and the Gothic Committee are grateful to the artists, galleries and individuals who have generously donated artwork for Gothic Alison Myners (Chair) in support of the Contemporary Art Society. Tiqui Atencio-Demirdjian Maria Baibakova Myriam Blundell James Aldridge Dorota Jurczak Philippa Bradley Artists Anonymous Idris Khan Ivor Braka Diann Bauer Anselm Kiefer Patricia Chi Avner Ben-Gal Henry Krokatsis Angie Drake Anna Bjerger Kate MccGwire Sarah Elson Ulla von Brandenburg Cathy de Monchaux Tania Fares Chris Bucklow Gosha Ostretsov Linda Grosse Jake & Dinos Chapman Cornelia Parker Jenny Halpern Prince Ruth Claxton Grayson Perry Susan Hayden Tessa Farmer Paula Rego Paul Hobson Rachel Goodyear Veronica Smirnoff Fatima Maleki Damien Hirst Rebecca Stevenson Valeria Napoleone Andreas Hofer Suzanne Treister Catherine Petitgas Rebecca Horn Francis Upritchard Estefania Renaud Shirazeh Houshiary Jane & Louise Wilson Lilly Scarpetta Chantal Joffe Masaki Yada Anthony Spira Mark Stephens David Tang Angelica Pediconi Theotokis Cathy Wills Dina Wulfsohn Anita Zabludowicz

14 ACT I LIVE AUCTION

‘…the moon gazed on my midnight labours, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places.’

Mary Shelley, Frankenstein: or, The Modern Prometheus, 1818

‘I took white bread, mixed it with spit and moulded a figure of my father. When the figure was done I started cutting off the limbs with a knife.’

Louise Bourgeois, statement in Louise Bourgeois, 1994 Live Auction 1 Cathy de Monchaux Redemption —Invader On The Horizon A new site-specific work created for Gothic and generously donated by the Artist. Wood, elastoplast, brass, paper, copper wire, pigment, red velvet and feathers, 2008. 61cm (h) 15.2cm (w) 35.6cm (d) Estimate: £4,000 — £7,000

Cathy de Monchaux (UK, b. 1960) studied at the Camberwell School of Art and at Goldsmiths College in London. Her sculptures typically juxtapose seductive soft materials and forms with strongly sexual overtones, with harder materials, which tend to be spikey or in some way appearing to constrain the softer parts, resulting in work which is both sensual and threatening. De Monchaux’s work from the early 1990s often achieved this effect by the combination of red velvet and steel; more recently, her practice has shifted towards incredibly detailed, textured and obsessive compositions including a number of relief sculptures of bat- tles scenes inspired by Uccello and the Parthenon frieze. The enduring feel of her work is anxiety; about the state of the world we live in, but also about all those irrational, emotional, repressed fears which cloud our minds from time to time. De Monchaux was shortlisted for the Turner Prize in 1998. Following pages: detail of Redemption — Invader on the Horizon.

18 © copyright image the artist and photographer, Dave Morgan

Live Auction 2 Grayson Perry · Untitled Ink and coloured pencil on paper, 2005 29cm (h) 20.5cm (w) Estimate: £2,000 — £3,000 Generously donated by the Artist and Victoria Miro gallery, London.

Awarded the Turner Prize in 2003, Grayson Perry (UK, b. 1960) trained at Portsmouth Polytechnic and lives and works in London. Perry is best known for his ceramic works: classically shaped vases covered with figures, patterns and text. The revealing and often dark subject matter depicted on these pots is at first disguised by their colourful, decorative appearance. His uncompromising engagement with personal and social concerns includes autobiographical images of himself, his transvestite alter ego Claire, and his family, as well as references to political events and an investigation of cultural stereotypes. In recent years, Perry has also used embroidery and photography to explore these themes, which are often sourced from his childhood in the Essex countryside. For Gothic, Perry has generously donated two drawings which extend this iconography: a fantastical scene from a Gothic fairytale, as menacing as it is idyllic; and an aerial view of a secluded hamlet which reveals, in its typography, the presence of Death.

22 © copyright image the artist, courtesy of Victoria Miro gallery, London Live Auction 3 Grayson Perry · Untitled Ink on paper, 2005 29cm (h) 20.5cm (w) Estimate: £2,000 — £3,000 Generously donated by the Artist and Victoria Miro gallery, London.

24 © copyright image the artist, courtesy of Victoria Miro gallery, London Live Auction 4 Jake & Dinos Chapman Etchasketchathon I (No. 5) Etching with watercolour, 2005 52.8cm (h) 57.3cm (w) (incl. frame) Estimate: £2,500 — £3,500 Generously donated by the Artists and Jay Jopling/White Cube, London.

Jake and Dinos Chapman (UK, b. 1966 and 1962) graduated from the Royal College of Art in 1990 and make iconoclastic sculpture, prints and installations that examine, with searing wit and energy, contemporary politics, corporate capitalist culture, religion and morality. The Chapmans first rose to prominence in the early 1990s with their three-dimensional recreations of Goya’s series of etchings, The Disasters of War. With installations that include scenarios which depict atrocious acts of violence, carefully and playfully reconstructed with miniature and life-size figures, they have constantly use the body as a way to explore an aesthetic of horror. Through imagery which combines historical, religious and mythic narratives, the Chapmans challenge the very boundaries of taste, forcing the viewer into an uncomfortable position that fluctuates between child-like fascination and sheer revulsion, and offer an unflinching vision of the aspirations and deeds of humanity past and present. Jake and Dinos Chapman were nominated for the Turner Prize in 2003. Following pages: detail of Etchasketchathon I (No.5)

26 © copyright image the artist and photographer, Gareth Winters, courtesy of Jay Jopling/White Cube, London

Live Auction 5 Damien Hirst Toddington Spins for Contemporary Art Society Auction Acrylic paint on paper, 2008 200.7cm (h) 233.8cm (w) 7.6cm (d) Estimate: £20,000 — £40,000 A new work created for Gothic and generously donated by the Artist.

Arguably the most influential artist of his genera- tion, Damien Hirst (UK, b. 1965) needs little introduction. Graduating from Goldsmiths College, London in 1989 he has dominated the British art scene since the 1990s and is a major figure in the international art world. The most famous and infamous of the Young British Artists (YBAs), he is best known for his Natural History series — dead animals, such as a shark, a sheep or a cow, preserved in for- maldehyde — along with his ‘spot paintings’ and his ‘spin paintings’, the latter of which this newly created work for Gothic is a signature piece. Based on the forbidding sil- houette of Toddington Manor, Gloucestershire — the 300 room Grade I listed neo-Gothic mansion that Hirst purchased in 2005 to house his collection and accommodate his studio — Hirst has created a unique work in response to the idea of the Gothic in support of the Contemporary Art Society’s Centenary. Damien Hirst was awarded the Turner Prize in 1995.

30 © copyright image the artist and photographer, Prudence Cuming Associates Live Auction 6 Anselm Kiefer Des Herbstes Runengespinst Photograph and branches, 2005 63.5cm (h) 85cm (w) Estimate: £15,000 — £30,000 Generously donated by Gallerie Thaddaeus Ropac, Paris/Salzburg.

Over the past four decades, Anselm Kiefer (Germany, b. 1945) has produced a diverse body of work in painting, sculpture and installation that has made him among the most important artists of the post-war genera- tion. Often sourced from the fraught territory of German history and identity, his subject-matter ranges over sources as diverse as Teutonic mythology and history, alchemy and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding found materials to the painted surface of his immense tableaux, he invents a compelling third space between painting and sculpture, creating new forms for expressing the angst of the human psyche.

32 © copyright image the artist, courtesy of Gallerie Thaddaeus Ropac, Paris/Salzburg Live Auction — Charity Lot Live Auction — Charity Lot 7 Collecting the Contemporary for Tomorrow Art for you, and you, and you!

The Contemporary Art Society plays a unique, visionary and often solitary role in purchasing contemporary art for public collections in this country, ensuring that new works of art are accessible to everyone. Art has the ability to inspire, to excite and to change lives. The Contemporary Art Society’s Acquisition Fund enables us to use our unique curatorial expertise to purchase new works, building meaningful and enduring collections around the UK for all to enjoy. In this Charity Lot, we invite you to make a vital donation to our Acquisition Fund, enabling us to collect the art of today for tomorrow, before it becomes too expensive to purchase. Your support will make a huge difference to so many and we will keep in touch with you and tell you what we are purchasing and where it is going, ensuring you are part of this inspirational process!

Please note the following works on pages 35 — 39 have been acquired through the Contemporary Art Society by public collections and are not included in the Gothic auction. Mike Nelson Lionheart (detail) Mixed-media installation, 1997 Collection The New Art Gallery Walsall, purchased through the Contemporary Art Society Special Collection Scheme with lottery funding from Arts Council England

34 © copyright image the artist, courtesy of Matts Gallery, London Live Auction — Charity Lot Live Auction — Charity Lot Collecting the Contemporary for Tomorrow Collecting the Contemporary for Tomorrow

Toby Zeigler Gillian Wearing I wish I was a Hole in the Ground, 2005 Self Portrait as my Uncle Bryan Gregory Collection The New Art Gallery Walsall, purchased through the Digital C-print, edition 6 of 6 & two artist’s proofs, 2003 Contemporary Art Society Special Collection Scheme with lottery Collection Ferens Art Gallery, purchased through the funding from Arts Council England. Contemporary Art Society Special Collection Scheme with lottery funding from Arts Council England

36 © copyright image the artist and photographer, © copyright image the artist, Angelo Plantamura, courtesy of Spruth Magers Lee courtesy of Maureen Paley, London Live Auction — Charity Lot Live Auction — Charity Lot Collecting the Contemporary for Tomorrow Collecting the Contemporary for Tomorrow

Goshka Macuga Paul Noble The Source of Life is in the Art of a People Unified Nobson (still) Painted wooden table, 2004 DVD projection, 3-minute loop, edition 1 of 3 and 1 artist’s proof, 2001 Collection The South London Gallery, one of a series of works commissioned Collection Middlesborough Institute of Modern Art, purchased through the Contemporary Art Society Special Collection Scheme with through the Contemporary Art Society Special Collection Scheme Lottery Funding from Arts Council England. with lottery funding from Arts Council England

38 © copyright image the artist, © copyright image the artist and photographer, courtesy of Maureen Paley, London Mauricio Guillen, courtesy of South London Gallery Act II SILENT AUCTION ‘Everyone knows how their body is organised and how many of each part they have: this is a given and never thought about. To become aware of these particulars, one must imagine oneself un-whole, cut into parts, deformed or dead.’

Mike Kelley, Playing with Dead Things: On the Uncanny, 1993/2004

‘I always think about the people who build buildings and then they’re not around any more. Or a movie with a crowd scene and everybody’s dead. Its frightening.’

Andy Warhol, The Philosophy of Andy Warhol: From A to B and Back Again, 1975 Silent Auction 8 James Aldridge The Artist is making a new work for Gothic. Please note that the image opposite is for illustration only. Estimate: £2,000 — £4,000 Generously donated by the Artist and David Risley Gallery.

James Aldridge (UK, b. 1971) studied at the Royal College of Art, London and now lives and works in Sweden. Informed by his immediate environment — the forests of Småland in Southern Sweden — Aldridge’s work is acclaimed for its classically Gothic repertoire of iconography including crows, thorns and skulls with each element entangled, smothered by each other, fighting for space within a compressed, claustrophobic picture plane. Much of the music he listens to is also Scandinavian, embracing imagery that deals with good and evil, elemental forces, folklore, mythology and the strength of nature, and contains traces of a Nordic melancholy tapped from the same source as Ibsen, Munch and Stindberg.

Image: Dead Raven Paper cut-out, 2008 144cm (h) 108cm (w)

42 © copyright image the artist and David Risley Gallery Silent Auction 9 Artists Anonymous · Flutterby After-image, 2008 90cm (h) 80cm (w) Estimate: £2,000 — £4,000 Generously donated by the Artists.

Formed on 9/11 2001, Berlin-based collective Artists Anonymous work across performance, photography, painting, video and installations, reflecting the apocalyptic condition of twenty-first century existence. Central to their practice is the ‘after-image’: a painting produced from a photograph, where the colour values are inverted as if a negative photographic image, a visual signature of the ‘unnatural hybrid’. The photograph will usually be of a character or characters in sinister mise en scene, often constructed from sets derived through a similar process. The ‘after image’ will be worked on to different stages of completion, and photographed again numerous times, spawning new versions of itself which are then re-worked on to the point where the lines of division between photographic and painting processes are indis- tinct, creating complex spatial relationships and layers of imagery which are recycled virally time and time again within the work. This imagery will then be represented in a variety of different formats within an installation environment to disorientating and disturbing effect.

44 © copyright image the artists Silent Auction 10 Diann Bauer · Medusa Study Pencil on drafting film, 2007 29.7cm (h) 42cm (w) Estimate: £1,000 — £2,000 Generously donated by the Artist and Paradise Row, London.

Diann Bauer (US, b. 1972) studied in New York and at Goldsmiths College, London and lives and works in Berlin. Her large-scale paintings and drawings perform like installations, altering the architecture of the spaces in which they are presented and forcing viewers to move around these spaces in order to explore their intricate detailing. The work is spectacular and highly seductive, drawing the viewer unknowingly into its violent content. Bauer splices together imagery drawn from sources as diverse as Rubens, Japanese prints, Manga comics and Lebbeus Woods’ architectural drawings. Her works appear to be structured according to a cinematic vision, derived as much from history painting as from popular films. Delivering an excess of information, her singular images compress historical time, suggesting a moment of violence so great, so spectacular, so exciting that it bypasses ordinary sequential logic. Following pages: detail of Medusa Study

46 © copyright image the artist and Paradise Row, London

Silent Auction 11 Avner Ben-Gal Inferior To A Slave Acrylic on canvas, 2008 120cm (h) 120cm (w) Estimate: £2,000 — £4,000 Generously donated by the Artist and Sadie Coles HQ, London.

Acclaimed artist, Avner Ben-Gal (Israeli, b. 1966) studied at the Bezalel Academy of Art and Design in Jerusalem. Ambiguous, emotional and atmospheric, Ben-Gal’s paintings convey the foreboding of contemporary society, with all of its attendant horrors, both perceived and actual. Employing a muted palette, he paints landscapes of anxious and unsettling places drawn from dreams, novels, rumours and myths, and his compositions include blurred figures or solitary vegetation. Although his spaces are bleak and charged with emotion, they are neither prescriptive nor didactic. The works offer a more oblique reflection on our collective anxiety, and a condition that, although at times desolate, is punctuated by intense beauty.

50 © copyright image the artist, courtesy of Sadie Coles HQ, London Silent Auction 12 Anna Bjerger The Artist is making a new work for Gothic. Please note that the image opposite is for illustration only. Estimate: £2,000 — £3,000 Generously donated by the Artist and David Risley Gallery.

Anna Bjerger (Sweden, b. 1973) graduated from the Royal College of Art in 2001 and lives and works in Sweden. Bjerger’s paintings convey joy and celebration mixed with dejection, melancholy and yearning. Having built up a library of research material from out-of-date reference books, travel journals and instruction manuals, Bjerger works with images where the viewpoint appears ambiguous and unsettling, forcing the viewer to become the protagonist. Comparing her chosen scenes to pervasive scents, Bjerger is a connoisseur of the lingering quality of images, of their aftertaste, consuming photographs, old and recent, personal and found, searching for captivating fault lines, inexplicable awkwardness, destabilizing emotional echoes and in doing so, registers the psychic imprints they leave upon her.

Image: Dark Portrait Oil on board, 2008 50cm (h) 40cm (w)

52 © copyright image the artist and David Risley Gallery Silent Auction 13 Ulla von Brandenburg Kleiner Wald (Little Forest) Ink on paper, 2005 63cm (h) 87cm (w) 2.5cm (d) Estimate: £2,000 — £3,000 Generously donated by the Artist and Produzentengalerie, Hamburg.

Ulla von Brandenburg (Germany, b. 1974) works through a wide range of media including film, drawing, installation and performance. Von Brandenburg’s practice is inspired by a diversity of historical elements, many reverting back to the late 19th-century, sourced from literature and the visual arts and reflecting the escapism, extreme aestheticism and fashionable despair that characterized the literary and artistic climate of the European fin de siècle. For much of her subject matter, Brandenburg returns to the themes of occultism, psychoanalysis and illness, as well as to imagery associated with folklore, magic and the circus. Her graphic drawings, made on razor-thin translucent paper, reduce psychologically disturbing scenes to the point of abstraction, and often reflect her fascination with female figures in uncertain or liminal states; women depicted as intermediaries between this world and another.

54 © copyright image the artist, courtesy of Produzentengalerie, Hamburg Silent Auction 14 Christopher Bucklow · Tetrach 10:34AM, 4th December 2005 Photographic print, 2005 100cm (h) 150cm (w) 4cm (d) Estimate: £2,000 — £4,000 Generously donated by Ivor Braka and Christopher Bucklow, the Artist.

Acclaimed British photographer Christopher Bucklow (UK, b. 1957) is best known for his Guest series. Using a technique similar to the pinhole photography developed in the nineteenth-century, Bucklow creates unique and unrepeatable photographic images drawn from his friends and family, which he describes as ‘a collective self-portrait’. Each image in the series is a ‘Guest’, one of a cast of characters each representing a type of personality that he already possesses — or that he admires and aspires to incorporate into himself. Others in the Guest series represent attributes he wishes to expel from his mind. Like a contemporary William Blake, Bucklow creates eerie yet beautiful spectral images, glowing with an inner light. The figures seem disembodied, yet at the same time powerfully present: they are at once human and inhuman, bound to the earth and reaching for the heavens.

56 © copyright image the artist Silent Auction 15 Ruth Claxton Nest (Bundled Robin) Painted steel, glass, vinyl, found ceramic figurine, cut tights, 2008 26cm (h) 35cm (w) 30cm (d) Estimate: £2,000 — £3,000 Generously donated by the Artist and Arquebuse, Geneva. Ruth Claxton (UK, b. 1971) studied MA Sculpture at the Royal College of Art, graduating in 2002. Claxton has attracted acclaim for her sculptural installations in which she works with a variety of media, in particular, recon- figuring or altering pre-existing objects and figurines to create objects and environment which question what it is to look, see or experience. As an artist, she is concerned with articulating the fragile relationship between vision and bodily experience, image and that which it depicts. Kitsch humor is often balanced with disturbing psychological overtones and a playful but fetishistic violence, especially as the head of each and every figurine is typically, as Claxton puts it ‘blindly cosseted in isolating balls of suffocating pretti- ness’. Their senses baffled, these creatures fail to experience the world around them because they are suspended by the wonder of what is right in front of their eyes. Following pages: detail of Nest (Bundled Robin)

58 © copyright image the artist and photographer, Stuart Whipps, courtesy of Arquebuse, Geneva

Silent Auction 16 Tessa Farmer The Artist is making a new site specific work for Gothic. Please note that the image opposite is for illustration only. Estimate: £2,000 — £3,000 Generously donated by the Artist.

Tessa Farmer (UK, b. 1978) completed her MA in Fine Art at the Ruskin School at Oxford University in 2003. She describes her practice as a ‘tool to realise imaginative pos- sibilities that might otherwise linger unseen, just beneath the surface’. The tiny fairies and hell’s angels she creates from birds and animal bones, insects, plant and tree roots owe their scale to the insect wings which sprout from their backs. Within her practice, Farmer considers herself as the conjurer rather than creator of these creatures, examining their behaviour and evolution like a Victorian scientist. Her most recent investigations have documented the increasingly cruel behaviour of fairies that mutate, mimic and torture the insects around them. Farmer’s miniature worlds reflect the obsessive, dark and fantastical imaginings of our childhood, our impulse for deliciously cruel speculation, and our capacity to project our fantasies into other worlds we believe are hidden away from view.

Image: The Horned Skullship (detail) Ram skull, bird legs, dried frog, dried pipistrelle bat, wasp nest section, insects, plant roots, 2008 Dimensions variable

62 © copyright image the artist and Spencer Brownstone Gallery, New York Silent Auction 17 Rachel Goodyear Holding The Bear Pencil and watercolour on paper, 2008 42cm (h) 30cm (w) Estimate: £600 — £800 A new work produced for Gothic and generously donated by the Artist.

Rachel Goodyear (UK, b. 1978) completed her BA in Fine Art at Leeds Metropolitan University in 2000 and lives and works in Manchester. Her exquisite drawings or her manipulation of found objects present, in her words, ‘a mass of ambiguous truths and the blatantly invented, offering blurred boundaries of curiosity and torment, and the blessed and the cursed’. She looks for unlikely relationships in everything she encounters; an idea is just as likely to be sparked by a peculiar happening that interrupts the mundane, as a major event that changes the way she lives, as a few words lifted from an advert for car insurance. From this constant everyday cross-referencing she creates carefully constructed coincidences that are delicate in their rendering and disturbing in their content. Most of her drawings suggest a scenario where the balance of power is tense and could at any moment tip either way, and playful curiosity can just as easily become sadistic torment.

64 © copyright image the artist Silent Auction 18 Andreas Hofer Sterndeuter (Astrologer) Pen on paper, 2007 29.7cm (h) 20.5cm (w) Estimate: £1,000 — £1,500 Generously donated by the Artist and Hauser & Wirth Zurich/London.

Berlin-based artist, Andreas Hofer (Germany, b. 1963) trained at the Academy of Fine Arts, Munich, and at the Chelsea College of Art and Design in London, graduating in 1997. Hofer works across a diverse range of media — painting, drawing, collage, installation, sculpture, video, book and object — creating highly complex, poetic and menacing visual works populated by characters that exist outside of rules, limits or security. Hofer’s art merges the worlds of fact and fiction, combining symbols from history with imagery culled from literature, film and comic books. Through sculpture, painting, photography and installation, he creates realms steeped in and perpetuating his own particular brand of Gothic mythology, where traditional images, removed from the popular lexicon are distorted and expanded to nightmarish effect.

66 © copyright image the artist and Hauser & Wirth Zurich/London. Silent Auction 19 Rebecca Horn Land Of Floating Meteors (2) Iris print, 2006 Edition 6 of 12 with 8 artist’s proofs 24cm (h) 32cm (w) Estimate: £1,000 — £1,500 Generously donated by Sean Kelly Gallery, New York, and the Artist.

Rebecca Horn (Germany, b. 1944) studied at the Hamburg Academy of Fine Art graduating in 1970. Since the beginning of the 1970s, Horn has been creating an oeuvre which constitutes an ever-growing flow of per- formances, films, sculptures, installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works within a particular space at a particular time. In her first perform- ances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her more recent works define and cut through spaces with reflections of mirrors, light and music. Celebrating the physicality of the senses and the body in time and space, she generates new metaphors for a heightened interior world drawing on mythical, historical, literary and spiritual imagery.

68 © copyright image the artist and Sean Kelly Gallery, New York Silent Auction 20 Shirazeh Houshiary · Rapture White pencil with black and white Aquacryl on canvas, 2007 28cm (h) 28cm (w) Estimate: £3,000 — £6,000 Generously donated by the Artist and Lisson Gallery, London.

Shirazeh Houshiary (Iran, b. 1955) left her native country in 1973. She graduated from the Chelsea School of Art, London in 1979 and has lived and worked in London ever since. Houshiary’s paintings stand at the very edge of perception, the signs both emerging from nothingness and simultaneously melting back into it, creating a space for unveiling the elemental and the invisible from the unknown. Yet these paintings obsessively and painstakingly record a process of obstinate mark-making, of personal gestures inscribing time, of checking the presure of one’s presence against the resistant surface. Although her work is strongly influenced by the mysticism of Islamic culture, particularly the poetry of Jalalu’ddin Rumi, a thirteenth- century Sufi mystic, Shirazeh’s haunting imagery shares a Gothic yearning to give form to heightened states of consciousness. Houshiary was a nominee for the 1994 Turner Prize.

(We would like to draw your attention to the fact that the artist has requested specific conditions regarding the re-selling of this work in the future. For further information see Resale on p.127)

70 © copyright image the artist and Lisson Gallery, London Silent Auction 21 Chantal Joffe · Backstage Oil on board, 2007/8 30cm (h) 15cm (w) Estimate: £2,000 — £4,000 Generously donated by the Artist and Victoria Miro gallery, London.

Chantal Joffe (UK, b. 1969) completed her MA in Painting at the Royal College of Art in 1993 and lives and works in London. Joffe’s expressive and emotionally charged paintings have often seen her female subjects disintegrating into claustrophobically decorative and unstable backgrounds, as if struggling to maintain their sense of presence. She attracted critical acclaim with paintings boldly drawing on both intimate family photographs and images from pornography; followed by a more intro- spective and disturbing series of self-portraits made soon after the birth of her first child, in which she appeared wild-eyed and slightly unhinged. Like contemporary versions of archetypal Gothic heroines, Joffe’s distinct style of painting offers an uncompromising sense of power, complexity and impetus to the women she portrays, who in return, offer themselves up for the projection of heightened imagined psychological and emotional states.

72 © copyright image the artist and Victoria Miro gallery, London Silent Auction 22 Dorota Jurczak Jeder Fasse Sich An Die Eigene Rotze (Everyone Is Touching Their Own Snot) Framed etching, 2004 Edition 3 of 3 and 1 artist’s proof 29.5cm (h) 20cm (w) Estimate: £1,000 — £2,000 Generously donated by Corvi-Mora, London.

Dorota Jurczak (Poland, b. 1978) trained in Fine Art in Hamburg where she now lives and works. The quirky and surreal personalities that inhabit Jurczak’s macabre world appear to reference folklore and myths but are, in fact, drawn from her imagination. An intriguing array of characters appear throughout her work, engaged in mysterious and sinister activities. Birds, spiders, maggots, snot and excrement are common motifs in these peculiar and disturbing settings in which people, animals, and inanimate objects are subject to surreal transformations. Whether in the form of sculpture, a painting or etching, the world of her imagination offers a uniquely grotesque carnival, whose dreamlike qualities give the impression of providing access to a psychological unconscious infected by a dark and twisted humour.

74 © copyright image the artist, courtesy of Corvi-Mora, London Silent Auction 23 Idris Khan · Toscanini’s Last Printed on 300g Velin de Archers paper, 2008 Edition 7 of 60 59cm (h) 81cm (w) Estimate: £1,000 — £1,500 Generously donated by the Artist and Victoria Miro gallery, London.

Idris Khan (UK, b. 1978) completed his MA in Fine Art from the Royal College of Art in 2004 and lives and works in London. Employing seminal texts, musical scores and paintings as well as key works from the photographic oeuvre, Khan often photographs a variety of material — sometimes borrowed, sometimes of his own creation — and then digitally layers the results, accentuating certain areas or adjusting the light, shade or opacity of the images so that resonant composites are created. The resulting image augments the aura of the original through a dark and mysterious abstraction, celebrating the beauty of repetition and the anxieties of authorship, whilst generating new responses to the original content and opening up new seams of interpretation.

76 © copyright image the artist, courtesy of Victoria Miro gallery, London Silent Auction 24 Henry Krokatsis The Artist is making a new work for Gothic. Please note that the image opposite is for illustration only. Estimate: £2,000 – £3,000 Generously donated by the Artist and David Risley Gallery.

Henry Krokatsis (UK, b. 1965) completed his MA at the Royal College of Art in 1990. Krokatsis makes site- specific installations, sculpture, paintings and drawings. Most of Krokatsis’ work derives from found objects and other discarded material which is then re-fashioned to generate new meaning. The artist says, ‘My works and installations start from a similar position – an act of faith in the seemingly bankrupt. You could say it is about saving things from oblivion or obscurity and a faith in the obsolete’. Krokatsis’ smoke drawings reflect these concerns: made from the smoke from a burning rag held over a cut- out template, the artist controls and directs the inten- sity of the fumes, creating different layers, surfaces and contrasts, but the process is also exposed to the contin- gency of chance and accident. The resultant images have a haunting, residual quality, partly due to their often ambiguous subject matter, as if the record of some event, image or memory revealed unknowingly over time.

Image: Slab Smoke on paper, 2004 122cm (h) 94cm (w)

78 © copyright image the artist and David Risley Gallery Silent Auction 25 Kate MccGwire · Rile Feathers, glue, felt and polystyrene, 2008 180cm (h) 60cm (w) 60cm (d) Estimate: £5,000 — £8,000 A new work produced for Gothic and generously donated by the Artist.

Kate MccGwire (UK, b. 1964) graduated from the MA Sculpture course at the Royal College of Art in 2004 and lives and works in London. MccGwire’s work draws on the duality of the nature of beauty and plays with its more complex, even repulsive aspects; what Freud referred to as ‘the uncanny’: a place where the familiar can somehow excite fear. MccGwire’s practice treads the line between seduction and repulsion, rapture and disgust, reason and superstition. Working with everyday materials or objects, often sourced over months – chicken wishbones, pigeon feathers or books – and, by re-framing them, she generates a field of attraction around these objects, often using spirals and circular compositions to lure the viewer in. The viewer is left reeling, simultaneously seduced and alienated, rel- ishing the spectacle but at the same time aware of something disquieting, something ‘other’. Following pages: detail of Rile

80 © copyright image the artist and photographer, Paul Bland

Silent Auction 26 Gosha Ostretsov · Agony Acrylic and varnish on canvas, 2008 240cm (h) 175cm (w) Estimate: £4,000 — £6,000 Generously donated by the Artist, Baibakov Art Projects, Moscow, and Paradise Row, London.

Gosha Ostretsov (Russia, b. 1967) graduated from the Theatre Art School of the Bolshoi Theatre in Moscow in 1984 and lives and works in Russia. Ostretsov’s practice comprises large-scale paintings, installations and interventions, and combines the old style comic book imagery that inspired Roy Lichtenstein with lewd language, graffiti, crude brushstrokes and spray paint. In highly theatrical and uncomplicated scenarios where good and evil can still do battle, Ostretsov creates a dynamic, colliding world full of superheroic gestures and Gothic props. With heightened and simplified hyper- bole, this is a world on the brink of disaster, full of terror, where Death reigns supreme. In a theatre populated by superhuman villains, heroes and iconic images of women in distress, Ostretsov offers us a contemporary version of Gothic drama.

84 © copyright image the artist Silent Auction 27 Cornelia Parker · Blue Shift Set of 4 polaroids, framed, 2002 8.5cm (h) 8cm (w) each Estimate: £2,000 — £3,000 Generously donated by the Artist and Frith Street Gallery, London.

Acclaimed British artist, Cornelia Parker (UK, b. 1956) received her MFA from Reading University in 1982 and an Honorary Doctorate from the University of Wolverhampton in 2000 and the University of Birmingham in 2005. She lives and works in London. She is best known for her site-specific installations of suspended exploded and manipulated structures, and her poetic representation of residual and archival material. Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary. In this work, Parker has created a powerful sequence of almost abstract images from the filmRosemary’s Baby (1968) capturing the moment of disbelief and horror when Mia Farrow realises her child is, as she feared, the son of the Devil. Cornelia Parker was nominated for the Turner Prize in 1997. Following pages: detail of Blue Shift

86 © copyright image the artist and photographer, Alex Delfanne, courtesy Frith Street Gallery, London

Silent Auction 28 Paula Rego · Lullaby Etching and aquatint, 2009 Artist’s proof aside from an edition of 35 110cm (h) 110cm (w) Estimate: £2,000 — £3,000 Generously donated by the Artist and Marlborough Fine Art, London.

Renowned Portuguese artist, Paula Rego (Portugal, b. 1935) has lived in Britain for most of her life, training at the Slade School in London, and was awarded the Degree of Doctor of Letters honoris causa by Oxford University in 2005. Rego’s works take real and imagined stories as their starting points, though she allows the complex narratives in her pictures to evolve out of the process of making the work. The action in her pictures almost always takes place in domestic settings, as in this new unreleased edition. Rego says she can only understand ideas in terms of human relationships. Her works belong to an expressive, non-literary tradition of storytelling, a practice that has been shared amongst women for generations, providing an alternative voice that undercuts traditional modes of authority. The stories she has inherited and personalized, like fairytales and myths, are often deeply embedded in our collective consciousness, and by subtly reworking their prevailing meanings she challenges our institutionalised values and moral codes. Paula Rego was shortlisted for the Turner Prize in 1989.

92 © copyright image the artist and Marlborough Fine Art, London Silent Auction 29 Veronica Smirnoff · Monachina Tempera on wood, 2008 31cm (h) 27cm (w) 2.5cm (d) Estimate: £2,000 — £3,000 Generously donated by the Artist.

Veronica Smirnoff (Russia, b. 1979) studied at the Slade before graduating from the Royal Academy Schools in 2007 and lives and works in London and Moscow. Smirnoff embraces her Russian spiritual heritage by making beautifully rendered icon paintings, made with egg tempera on Russian birch boards treated with gesso using the ancient techniques still used today by the Russian Orthodox community. Her work strongly references the aesthetic and allegorical tradition of the Russian miniatures, main- taining an intensely symbolic appearance, but is disrupted by the incorporation of imagery and stylistic elements from other sources such as early Renaissance painting, Bruegel, Bosch, Folk art, cartoons, the media and contemporary fashion. Her expert handling of her materials, and the strongly melancholic scenarios she creates, gives her work a powerful yet ambiguous meaning.

94 © copyright image the artist and photographer, Irina Kalashnikova Silent Auction 30 Rebecca Stevenson · Conjunction #1 Cast aluminium, 2004/5 20cm (h) 40cm (w) 35cm (d) Estimate: £2,000 — £3,000 Generously donated by the Artist and Mogadishni, Copenhagen.

Rebecca Stevenson (UK, b. 1971) studied at Chelsea College of Art and Design and graduated from the Royal College of Art in 2000. She lives and works in London. Stevenson’s obsessively decorated and ornamental sculptures celebrate visceral sensuality, beauty and decay, often presenting exquisitely crafted sculptures of animals and other natural forms which erupt violently with vibrant floral elements. Working across a range of materials often including wax and aluminum, and referencing funerary ornaments, her practice combines the classical and traditional concern with naturalism with grotesque and macabre interventions, redolent of anatomical dissections. Through her practice, Stevenson’s acts of violent transformation, decay and bru- tality are beautifully, seductively presented, citing not only the Gothic but also the over-ornamental, excessive and morbid decadence of the Baroque.

96 © copyright image the artist, courtesy of Mogadishni, Copenhagen Silent Auction 31 Suzanne Treister · Alchemy (The Guardian, 16th September 2008) Watercolour and felt tip pen on watercolour paper, 2008 152.5cm (h) 122cm (w) Estimate: £4,000 — £6,000 Generously donated by the Artist.

Suzanne Treister (UK, b.1958) studied at Central St Martins and Chelsea Schools of Art in London, and lives and works in London and Berlin. Utilising various media, including video, the internet, interactive technologies, photography, drawing and painting, Treister’s practice deals with notions of identity, history, power and the hallu- cinatory. Operating under her alter ago, Rosalind Brodsky from the mid-1990s, Treister developed a body of work which aimed to link military technologies for psychological warfare to occult societies. In 2007, Treister embarked on a new project where she created a series of works which transcribe front pages of international daily newspapers into alchemical drawings, reframing the world as a place animated by strange forces, powers and belief systems. These works redeploy the languages and intentions of alchemy: the transmuta- tion of materials and essences and the revealed understanding of the world as a text, as a realm of powers and correspondences which, if properly understood, will allow man to take on transformative power.

98 © copyright image the artist Silent Auction 32 Francis Upritchard · Walter Found plastic vase and modeling material, 2008 23cm (h) 26.5cm (diameter) Estimate: £2,000 — £3,000 Generously donated by the Artist and Kate MacGarry, London.

Francis Upritchard (NZ, b. 1976) studied at the University of Canterbury and now lives and works in London. Upritchard creates voodoo-like sculptures and installations which reference an implausibly wide delta of ethnographic cultures, from Egyptian to Maori to European heraldry to Romanticism to unidentifiable ‘otherness’. Upritchard blends all these together into improbable objects that make a mockery of our attempts to identify and categorise them, whilst installing them in the neutral status of museological display. Although these might appear to be desirable objects, they are also politi- cised propositions, drawing out confusions inherent in our understanding of that which is alien. Wrought with a very personal touch, they endeavour to find common threads throughout humanity; the comic, the ugly, the disturbing appear in equal measure and can be traced back to any number of hybrid sources. Francis Upritchard will represent New Zealand at the 2009 Venice Biennale. Following pages: detail of Walter

100 © copyright image the artist, courtesy of Kate MacGarry, London

Silent Auction 33 Jane and Louise Wilson The New Brutalism #6 Two framed digital prints mounted on aluminium, 2006 Edition 1 of 4 75.5cm (h) 61.6cm (w) Estimate: £2,000 — £3,500 Generously donated by the Artists and Lisson Gallery, London.

Jane and Louise Wilson (UK, b. 1967) graduated from Goldsmiths College in 1992. Using film, photography and sculpture, the Wilson twins have created a series of highly theatrical and atmospheric installations that investigate the darker side of human experience. In their cinematic journeys through highly charged environments, a sense of unease and threat predominates but is never realised. They first began working together in 1989, and have since been fascinated by the power of the unconscious mind, creating an internationally acclaimed body of work which probes collective anxieties and phobias, arouses unwanted memories, and reveals things which are usually repressed. Jane and Louise Wilson were shortlisted for the Turner Prize in 1999.

104 © copyright image the artists, courtesy of Lisson Gallery, London Silent Auction 34 Masaki Yada · Forbidden Fruit Op. 3 Acrylic and oil on board, 2007 50cm (h) 40cm (w) 2cm (d) Estimate:£1,500 — £3,000 Generously donated by the Artist.

Masaki Yada (Japan, b. 1979) studied at Central St Martins and Chelsea College of Art and Design, graduating in 2008. Yada’s practice to date extends across a range of media including painting, photography and drawing often drawing on imagery from the media to comment on broader social and political concerns. More recently his work has been more intro- spective, interrogating his interior psychology through dreams, fetishism, childhood memories and an explora- tion of ideas related to Freud’s notion of the ‘uncanny’ in order to articulate a sense of self, creating compelling dark images. Following pages: detail of Forbidden Fruit Op. 3

106 © copyright image the artist

Eulogies

‘You try to scream but terror takes the sound before you make it You start to freeze as horror looks you right between the eyes… They’re out to get you, there’s demons closing in on every side They will possess you unless you change the number on your dial.’

Michael Jackson, song Thriller, 1982, written & composed by Rod Temperton. Auctioneer Master of Ceremonies Oliver Barker is Senior International Specialist, at As Master of Ceremonies for Gothic, the Sotheby’s London, having joined Sotheby’s Impressionist & Contemporary Art Society could not have imagined Modern Art Department in June 1994. He was closely involved anyone more exemplary than the extraordinary and with the co-ordination of the Man Ray Estate sale in 1995 and flamboyant contemporary Gothic dandy, Robin Dutt. has been active in co-ordinating a range of Impressionist, Crossing the worlds of contemporary art and Modern, and Contemporary Art sales ever since. fashion, Robin has contributed to numerous projects as Oliver has extensive experience in the art market a curator, writer and commentator, and is known to many worldwide, having spent time in Paris and New York. Home House members as creator of the Style, Arts, Poetry, He was Director and Deputy Head of the European Creative Writing and Fencing Societies. Impressionist & Modern Department in London, before We are thrilled to have Robin’s inimitable style moving to the European Contemporary Art Department and personality for Gothic, a vital ingredient in making in the summer of 2001. In October 2004 he oversaw the sale the evening such a memorable success. of Damien Hirst’s Pharmacy, which sold at Sotheby’s London for £11 million against a pre-sale estimate of £3.5 — 4.9 million. Recently he was instrumental in organising the (RED) auction in New York to benefit the Global Fund and the landmark Damien Hirst sale, Beautiful Inside My Head Forever, which achieved a world record for a single-artist sale. The Contemporary Art Society is honoured and delighted to have Oliver leading the live auction.

112 The Contemporary Art Society is extremely We are indebted to Modern Activity for their grateful to Sotheby’s for their generosity and incredible provision of the identity and graphic design for Gothic. support in hosting the preview exhibition and conducting the auction. Special thanks are due to Oliver Barker, Julie Noble, Clare Harris, Lydia Soundy and their colleagues, for their commitment to Gothic.

As a longstanding patron of the Arts, we are The Contemporary Art Society offer their warmest sincerely grateful to the boutique House of Champagne thanks to Hallett Independent, specialists in art insurance, Perrier-Jouët who has supported the Contemporary Arts for sponsorship of the insurance requirements for Gothic. Society for the past 4 years. We are delighted that Perrier- Jouët has given us magnificent support for Gothic.

In addition the Contemporary Art Society is indebted to: Ivor Braka, for kindly providing red wine We would like to sincerely thank Janine Stone Interior and Architectural Design for their support and Anne and Anthony Fry for kindly sponsoring the white wine collaboration on the design of the Gothic exhibition and OTT Transport event at Shunt Vaults. The Admirable Crichton Those generous sponsors and supporters who wish to remain anonymous.

114 Contemporary Art Society The Contemporary Art Society is extremely grateful to the supporters who generously invest in our work. Trustees

Alison Myners (Chair) Lance Blackstone Javid Cante Caroline Collier Tommaso Corvi-Mora Angie Drake David Gilbert Jenny Halpern Prince Bettie Morton Anthony Spira Michael Stanley Mark Stephens Caroline Summerfield Edwin Wulfsohn

116 Collections Patrons International Collectors Forum Members Nasser Azam Lance & Pat Blackstone Myriam Blundell (Chair) Myriam Blundell France Borno Philippa & Michael Bradley Betty Bui Lord Chadlington Isabelle de Maison Rouge Patricia Chi Robert & Renee Drake Angie & Chris Drake Martina & Yves Klemmer Wendy Fisher Nikola Kuehne Anne Fry Margery Safir David & Susan Gilbert Tasneem Salam Mark Glatman Jenny Halpern Prince And those who wish to remain anonymous Susan Hayden Michael & Morven Heller Joe La Placa Catherine Mason & Keith Morris Alison & Paul Myners Dasha Shenkman Audrey Wallrock For more information on becoming a supporter Cathy Wills of the Contemporary Art Society please contact: Edwin & Dina Wulfsohn Stephanie Post, Patrons’ Programmes Manager [email protected] +44 (0) 207 831 3217 or +44 (0) 7816 143 273

Centenary Patrons

Marie Elena Angulo & Henry Zarb Richard Sykes & Penny Mason

118 Contemporary Art is about your own time. Deepen your insight. Contribute to the debate. Engage with your world. Join the Contemporary Art Society.

Membership of the Contemporary Art Society offers tailored programmes of events that embrace all media and disciplines and are carefully curated to generate a critical discourse about the key developments in contemporary art at the moment.

aa Blood membership £95 (£50 for students) aa Collector membership £275 aa Centenary Patron £1,000 aa Collections Patron £2,500 aa International Collectors’ Forum £2,500

Patrons’ Event at Parasol Unit featuring The Islanders: An Introduction by Charles Avery For more information call: +44 (0)20 7831 3217 or email [email protected] www.contemporaryartsociety.org

120 Thinking about Contemporary Art?

CAS Consultancy is the UK’s leading contemporary art advisory team. We offer bespoke consultancy services, bringing our expertise in identifying outstanding creative talent to clients in the UK and internationally. With over 30 years of experience in commissioning, curating and project management, our Moving World (Night & Day), Langlands & Bell, Square the Block, Richard Wilson, BAA commission for Heathrow T5 commission for London School expertise is in understanding client needs and creating of Economics visionary linkages to the best in contemporary art, from monumental public art to corporate and private collections, exhibitions and art events. Our advisory services include: aa development of outstanding art collections aa curation and commission of public art, interior commissions and site-specific installations aa innovative exhibition and contemporary art Prop, Kate Davis, acquisition for Black Teapot, Dave Miko, acquisition for Aspen Re Collection Aspen Re Zurich Collection programmes to enhance the brand aa practical assistance with managing collections With our thanks to clients past and present including: CAS Consultancy: bringing the imaginative power London School of Economics of art to business. Pictet Asset Management Ltd the Economist Group Head of Consultancy: Fabienne Nicholas the BAA [email protected] Aspen Re +44 (0)20 7831 3225 Shell and others.

122 Epilogue

‘I collected bones from charnel-houses and disturbed, with profane fingers, the tremendous secrets of the human frame.’

Mary Shelley, ‘The disease which has thus Frankenstein: or, The Modern Prometheus, 1818 entombed the lady in the maturity of youth, had left… the mockery of a faint blush upon the bosom and the face, and that suspiciously lingering smile upon the lip which is so terrible in death.’

Edgar Allan Poe, The Fall of the House of Usher, 1839 Auction Information Payment When the live and silent auctions have finished, Live Auction, 10th March 2009 successful bidders should speak with a representative of the Contemporary Art Society who will take payment. Payment Conducted by Oliver Barker, Senior International can be made by credit card, debit card, cheque (made payable Specialist at Sotheby’s, London during Gothic at Shunt Vaults, to the Contemporary Art Society) or cash. Successful SE1 (please contact Stephanie Post at the Contemporary Absentee Bidders will be contacted on Wednesday 11th March Art Society for tickets). Lots 1 — 7 inclusive, described on to arrange payment. p.18 — p44 of this catalogue, will be sold in the live auction.

Collection Silent Auction, 10th March 2009 Once payment has been received, buyers will be given All art works on pages p. 42 — p. 109 (Lots 8 — 34) will the contact details of Tony Ancell, OTT Transporters, who be sold in a silent auction during Gothic at Shunt Vaults, SE1 have agreed to deliver art works, at no charge to the Buyer, (please contact Stephanie Post at the Contemporary Art to any central London address within 3 weeks. Delivery out- Society for tickets). In order to bid in the silent auction, side of London or outside London or outside this time- guests use their personalised IML card with the hand sets frame can be arranged by agreement with Tony Ancell and at on the dinner tables. Full instructions on how to use these cost to the Buyer. can be found on p. 128.

Resale Absentee Bidders The Contemporary Art Society respectfully requests If you are unable to attend the evening, but that works purchased at Gothic are not resold in the near future. would like to bid for any of the works, please fill out Should an owner wish to sell a work at a later date, it is good prac- the absentee bidders form on p. 133 and return it to the tice to offer the work in the first instance to the gallery which Contemporary Art Society (as detailed on the form). represents the artist. If you would like guidance on this, please In the event of tied bids, priority will be given to the first contact the Contemporary Art Society on +44 (0) 207 831 1243. received. Absentee bids can be submitted up until 5pm on Friday 6th March 2009, but we would advise submitting them at your earliest convenience. Sale Results Sale Results can be obtained from the Contemporary Art Society after 14th March 2009. 126 Silent Auction & Pledge System

Step One Further Information Insert your Smartcard into the top of aa To bid on another item, simply press ‘C’ your keypad, with the IML logo facing upwards. and follow the above steps again. aa If your bid is the highest, the display panel will reflect this. Step Two aa If your bid is less than the current highest bid, Enter the lot number you would like to bid the display panel will tell you that the current on using the numerical keypad and then press the large leading bid is held by another guest. central button to enter. The highest bid will be displayed. aa You may bid on the silent auction or pledge a donation at any time during the evening. Step Three aa Please return your smartcards at the end To bid, press the large central button, of the event. then key in the amount you wish to bid, without commas; (press ‘C’ to cancel or amend the amount).

Step Four Once you have entered the correct amount, press the large central button again.

128 4. Sotheby’s and the Contemporary Art Society reserve the right to reject a bid from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, Conditions of Business the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the lot in dispute. If any dispute arises for the GOTHIC event & after the sale, the sale records of the Contemporary Art Society shall be con- clusive in all respects. auction to be held on 5. If the auctioneer determines that any opening bid is not commen- surate with the value of the property, he may reject the same and withdraw the TH property from sale, and if, having acknowledged an opening bid, he decides that Tuesday 10 March 2009 any advance thereafter is insufficient, he may reject the advance. at Shunt Vaults, 6. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot subject to all of the conditions set forth herein and thereupon (a) assumes the risk and responsibility thereof, London Bridge, SE1 (b) will sign a confirmation of purchase thereof and (c) will pay the full purchase price or such part as the Contemporary Art Society may require. The Contemporary Art Society will not release a lot to a successful buyer until The property offered in this sale and listed in this catalogue payment of the total amount due has been made. After payment, the purchaser will be sold by the Contemporary Art Society, registered with the Charity shall remove the Property from the Contemporary Art Society, or their Agent’s Commissioners under number 208178. Any questions in relation to the auc- premises (if held at the Contemporary Art Society). If the property is not so tion should be directed to the Contemporary Art Society and not to Sotheby’s, removed, it may be sent by the Contemporary Art Society at its discretion to which serves merely as auctioneer for the Contemporary Art Society in con- storage for the account, risk and expense of the purchaser and such charges ducting the sale and participates on the following terms and conditions which will then be added to the purchase price of the property. govern the sale of all the property offered (as amended by any posted notices or oral announcements during the auction): If the foregoing conditions and other applicable conditions are not complied with, in addition to other remedies available to the Contemporary 1. (a) Neither Sotheby’s nor the Contemporary Art Society assumes any Art Society by law including, without limitation, the right to hold the purchaser risk, liability or responsibility for the authenticity or the authorship of any liable for the bid price, the Contemporary Art Society, at its option, may either (a) property identified in this catalogue (that is, the identity of the creator or the cancel the sale, retaining as liquidated damages all payments made by the pur- period, culture, source or origin, as the case may be, with which the creation chaser or (b) resell the property on three days notice to the purchaser and for the of any property is identified herein). account and risk of the purchaser, either publicly or privately, and in such event the purchaser shall be liable for payment of any shortfall between the original (b) All property is sold with all faults and imperfections and errors of sale price and the price achieved upon resale, all other charges due hereunder description and neither Sotheby’s nor the Contemporary Art Society makes any and any incidental damages. representations or warranties of any kind or nature, expressed or implied, with respect to the property and in no event shall either of them be responsible for 7. Payments for purchases must be made in Sterling and in the the correctness of any descriptions of property, nor be deemed to have made, any following forms; cash, cheque and all major credit cards. representations or warranties of physical condition, size, quality, rarity, impor- tance, genuineness, attribution, authenticity or provenance of the property. No 8. In the case of commission bids or absentee bids, Sotheby’s and the statement in the auction catalogue or other description made at the sale, in any Contemporary Art Society are not responsible for errors or omissions arising sale invoice or elsewhere, shall be deemed such a representation or warranty. out of or resulting from mechanical difficulties or failure. (c) Prospective bidders should inspect the property before bidding to 9. In no circumstances will Sotheby’s or the Contemporary Art Society determine its condition, size and whether or not it has been repaired or restored. rescind any purchase made or refund the amount paid in respect of any lot. Neither shipping nor delivery costs are included in the price at which a lot is (d) Property may be offered subject to reserves. knocked down by the auctioneer to the buyer. 2. Any property may be withdrawn by Sotheby’s or the Contemporary 11. These Conditions of Sale, as well as the purchaser’s, the Art Society at any time before the actual sale. Contemporary Art Society’s and Sotheby’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accord- 3. Unless otherwise announced by the auctioneer at the time of sale, ance with the laws of England and Wales. By bidding at an auction, whether all bids are per lot as numbered in the catalogue. present in person or by agent, commission bid, telephone or other means, the purchaser shall be deemed to have consented to the exclusive jurisdiction of Courts of England and Wales. 130 10th March 2009 ABSENTEE BID FORM

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) as stated below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amounts. I agree to be bound by the Conditions of Business as printed in the Catalogue. PLEASE USE CAPITAL LETTERS Full name: Address:

Postcode: Telephone: Email: Date: Signature:

Lot N° Title or description:

Bid Price: £

Lot N° Title or description:

Bid Price: £ 132 Absentee Bids: If you are unable to attend Gothic and wish to place bids you may give the Contemporary Art Society instructions to bid on your behalf. We will then try to purchase the lot(s) of your choice at the lowest price possible and to a maximum price as indicated by you. Please note that the Contemporary Art Society offers this service to help supporters who are unable to attend the event and although we will make every effort, we will not be responsible for any errors or failure to execute bids. Absentee bids must be received in writing.

Absentee Bid Form: Please use this absentee bid form. Bids in any other format will not be accepted. Be sure to record accurately the lot numbers and descriptions and the maximum price you are willing to pay for each lot - this should be the amount to which you would bid if you were attending the sale yourself. Unlimited bids will not be accepted. Alternative bids can be placed by using the word “or” between lot numbers. Bids must be placed in the same order as the lot numbers appear in the catalogue. Please place your bids as early as possible. In the event of identical bids, the earliest received will take precedence.

Successful Bids: Successful bidders will receive an invoice from the Contemporary Art Society detailing their purchases and giving instructions for payment and clearance of goods. Please fax your form to +44 (0)20 7831 1214 on completion NO LATER than 5pm on Friday 6th March 2009.

Arrangements For Payment: I intend to pay by: Credit Card Cheque Credit Card Details: Switch Mastercard Visa Expiry Date: Start date: Security Code: Issue Number: Credit Card Number: Name, as on the card:

Please fax this form on completion to Attn Stephanie, Contemporary Art Society on +44 (0)20 7831 +44 (0)20 7831 1214, no later than 5pm, Friday 5th March 2009, OR give it to the Contemporary Art Society representative at the Gothic Preview exhibition at Sotheby’s, 26th February–4th March 2009. 134 Artist Index

James Aldridge ...... p.42 LOT 8 est. £2,000 — £4,000

Artists Anonymous ...... p.44 LOT 9 Flutterby, est. £2,000 — £4,000

Diann Bauer ...... p.46 LOT 10 Medusa Study, est. £1,000 — £2,000

Avner Ben-Gal ...... p.50 LOT 11 Inferior To A Slave, est. £2,000 — £4,000

Anna Bjerger ...... p.52 LOT 12 est. £2,000 — £3,000

Ulla von Brandenburg ...... p.54 LOT 13 Kleiner Wald... , est. £2,000 — £3,000

Christopher Bucklow ...... p.56 LOT 14 Tetrach... , est. £2,000 — £4,000

Jake & Dinos Chapman ...... p.26 LOT 4 Etchasketch... , est. £2,500 — £3,500

Ruth Claxton ...... p.58 LOT 15 Nest... , est. £2,000 — £3,000

Tessa Farmer ...... p.62 LOT 16 est. £2,000 — £3,000

Rachel Goodyear ...... p.64 LOT 17 Holding The Bear, est. £600 — £800 136 Damien Hirst ...... p.30 LOT 5 Cathy de Monchaux ...... p.18 LOT 1 Toddington Spins..., est. £20,000 — £40,000 Redemption..., est. £4,000 — £7,000

Andreas Hofer ...... p.66 LOT 18 Gosha Ostretsov ...... p.84 LOT 26 Sterndeuter... , est. £1,000 — £1,500 Agony, est.£4,000 — £6,000

Rebecca Horn ...... p.68 LOT 19 Cornelia Parker ...... p.86 LOT 27 Land Of Floating... , est. £1,000 — £1,500 Blue Shift, est. £2,000 — £3,000

Shirazeh Houshiary ...... p.70 LOT 20 Grayson Perry ...... p.22—25 LOT 2+3 Rapture, est. £3,000 — £6,000 Untitled (x2), est. £2,000 — £3,000 each

Chantal Joffe ...... p.72 LOT 21 Paula Rego ...... p.92 LOT 28 Backstage, est. £2,000 — £4,000 Lullaby, est. £2,000 — £3,000

Dorota Jurczak ...... p.74 LOT 22 Veronica Smirnoff ...... p.94 LOT 29 Jeder Fasse... , est. £1,000 — £2,000 Monachina, est. £2,000 — £3,000

Anselm Kiefer ...... p.32 LOT 6 Rebecca Stevenson ...... p.96 LOT 30 Des Herbstes... , est. £15,000 — £30,000 Conjunction #1, est. £2,000 — £3,000

Idris Khan ...... p.76 LOT 23 Suzanne Treister ...... p.98 LOT 31 Toscanini’s Last, est. £1,000 — £1,500 Alchemy... , est. £4,000 — £6,000

Henry Krokatsis ...... p.78 LOT 24 Francis Upritchard ...... p.100 LOT 32 est. £2,000 — £3,000 Walter, est. £2,000 — £3,000

Kate MccGwire ...... p.80 LOT 25 Jane & Louise Wilson ...... p.104 LOT 33 Rile, est. £5,000 — £8,000 The New Brutalism #6, est. £2,000 — £3,500

Masaki Yada ...... p.106 LOT 34 Forbidden Fruit Op.3, est.£1,500 — £3,000 138 ‘No man knows ‘til he has suffered from the night, how sweet and dear to his heart and eye the morning can be.’

Bram Stoker, Dracula, 1897

140