Albert Oehlen Titankatze Mit Versuchstier (Titanium Cat with Laboratory Tested Animal) 1999 Oil on canvas. 43 x 118 in. (109.2 x 299.7 cm). Signed, titled, and dated "A. Oehlen 99 Titankatze Mit Versuchstier" on the reverse.
Provenance Galerie Barbel Grasslin, Frankfurt Exhibited Hannover, Kestner Gesellschaft, Albert Oehlen Terminale Erfrischung: Computercollagen und Malerei, January 13 - March 11, 2001; Musée cantonal des Beaux-Arts Lausanne, Albert Oehlen Peintures = Malerei, 1980-2004, June 18 - September 5, 2004; Salamanca, Domus Artium 2002, Albert Oehlen Peintures = Malerei, 1980-2004, December 9, 2004 - January 30, 2005; Nuremberg, Kunsthalle Nürnberg, Albert Oehlen Peintures = Malerei, 1980-2004, April 28 - June 26, 2005 Literature C. Ahrens and C. Albrecht Haenlein, eds., Albert Oehlen Terminale Erfrischung: Computercollagen und Malerei, Berlin, 2001, pl. 45 (illustrated); R. Biel, Albert Oehlen Peintures/Malerei, 1980-2004, Zurich, 2004, p. 112 (illustrated); A. Gingeras and B. Schwabsky, The Triumph of Painting, 2005, p. 185 Catalogue Essay In the universal search for a standard there is something tragic, a sort of cosmic sadness. The belief in the ability to set loose grim analyses in brackets on the basis of phantom inspirations is marked by this: I am on this earth only to serve as material for doctors, cannon fodder, horses and students (of horses). The promise to take me to the circus or to play cook is the only happy thing that can happen to me now, a decoy, found on the miserable façade of things, their inadequacy long since established. New hope for the search of something concrete, something that could be so true and at the same time universal that it could sugar-coat my pills. It is like waving in houseboats and small ships in order to reap the distance in nautical miles. The fruit is blind. The tree is the seeing one. The fire is never permitted to, and is never going to go out. A world of insanity, of despair, of the measurement of decline, of genuine meteoric material, for many the primordial stone of the losers. If sensation is meaning, then the representation is pictorial and the mental treatment appears in episodes.Albert Oehlen taken from Albert Oehlen Inhaltsangabe, Berlin, 2000, p. 101 Read More
Albert Oehlen Titankatze Mit Versuchstier (Titanium Cat with Laboratory Tested Animal) 1999 Oil on canvas. 43 x 118 in. (109.2 x 299.7 cm). Signed, titled, and dated "A. Oehlen 99 Titankatze Mit Versuchstier" on the reverse.
Provenance Galerie Barbel Grasslin, Frankfurt Exhibited Hannover, Kestner Gesellschaft, Albert Oehlen Terminale Erfrischung: Computercollagen und Malerei, January 13 - March 11, 2001; Musée cantonal des Beaux-Arts Lausanne, Albert Oehlen Peintures = Malerei, 1980-2004, June 18 - September 5, 2004; Salamanca, Domus Artium 2002, Albert Oehlen Peintures = Malerei, 1980-2004, December 9, 2004 - January 30, 2005; Nuremberg, Kunsthalle Nürnberg, Albert Oehlen Peintures = Malerei, 1980-2004, April 28 - June 26, 2005 Literature C. Ahrens and C. Albrecht Haenlein, eds., Albert Oehlen Terminale Erfrischung: Computercollagen und Malerei, Berlin, 2001, pl. 45 (illustrated); R. Biel, Albert Oehlen Peintures/Malerei, 1980-2004, Zurich, 2004, p. 112 (illustrated); A. Gingeras and B. Schwabsky, The Triumph of Painting, 2005, p. 185 Catalogue Essay In the universal search for a standard there is something tragic, a sort of cosmic sadness. The belief in the ability to set loose grim analyses in brackets on the basis of phantom inspirations is marked by this: I am on this earth only to serve as material for doctors, cannon fodder, horses and students (of horses). The promise to take me to the circus or to play cook is the only happy thing that can happen to me now, a decoy, found on the miserable façade of things, their inadequacy long since established. New hope for the search of something concrete, something that could be so true and at the same time universal that it could sugar-coat my pills. It is like waving in houseboats and small ships in order to reap the distance in nautical miles. The fruit is blind. The tree is the seeing one. The fire is never permitted to, and is never going to go out. A world of insanity, of despair, of the measurement of decline, of genuine meteoric material, for many the primordial stone of the losers. If sensation is meaning, then the representation is pictorial and the mental treatment appears in episodes.Albert Oehlen taken from Albert Oehlen Inhaltsangabe, Berlin, 2000, p. 101 Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
