Ugo Rondinone ACHTERFEBRUARZWEITAUSENDUNDSIEBEN (February 8, 2007) 2007 acrylic on linen, Plexiglas plaque with caption diameter 86 5/8 in. (220 cm) Signed "Ugo Rondinone" on a label affixed to the reverse.
Provenance Eva Presenhuber, Zurich Acquired directly from the above by the present owner Catalogue Essay "I like art that is capable of organizing a space of perpetual and indefinite accumulation of time and language and image in an immobile place." Ugo Rondinone Ugo Rondinone’s ACHTERFEBRUARZWEITAUSENDUNDSIEBEN (February 8, 2007) from 2007, is a mesmerizing example from the series of target paintings that the Swiss-born artist has been making since the mid-nineties. While reminiscent of the work of the American Color Field painter Kenneth Noland and the target paintings of Jasper Johns Rondinone’s circular, flat, vibrantly colored out-of-focus paintings have a contemporary aesthetic. These target paintings create a powerful visual experience – the viewer’s gaze is drawn hypnotically into the depths of the painting by the concentric circular bands of glowing color. By appropriating these key works of his predecessors, Rondinone’s work contains a subtle irony directed at modernism. Although the target is closely linked with the acts of looking and aiming, the concentric circles of his version are blurred, annihilating the essence of a target. Any Abstract Expressionist spirituality to be perceived in the work is banished by the banality of the work’s title which, as with every painting in this series, simply refers to the date of its creation – in the case of this work, February 8, 2007. The artist’s intention is to enthrall the viewer at first sight by simultaneously questioning our engagement with art in a very pure way. The monumental pictorial quality accelerates our desire towards the mystical work of art and invites us to dive into its sphere of new reality. The magical sphere is romantic in a naïve way, allowing the idea of a dream to take over the everyday. Rondinone’s artistic strategy is based on a precise vocabulary that he shares with fellow Swiss artists such as Peter Fischli & David Weiss and Urs Fischer Together with other key series of work, Rondinone reuses the target paintings for many exhibitions, reassembling them in repeated arrangements. In this sense, the artist is building up a poetic monologue of a personal artistic reality. “It’s a monologue … The viewer has the symbols from which they can create their own story, but it’s not required that you decode my motivation. It’s a bit like Duchamp. He had his own monologue.” (in M.Falconer, “Masquerade: Ugo Rondinone Uncovered”, Modern Painters, March 2006) Read More
Ugo Rondinone ACHTERFEBRUARZWEITAUSENDUNDSIEBEN (February 8, 2007) 2007 acrylic on linen, Plexiglas plaque with caption diameter 86 5/8 in. (220 cm) Signed "Ugo Rondinone" on a label affixed to the reverse.
Provenance Eva Presenhuber, Zurich Acquired directly from the above by the present owner Catalogue Essay "I like art that is capable of organizing a space of perpetual and indefinite accumulation of time and language and image in an immobile place." Ugo Rondinone Ugo Rondinone’s ACHTERFEBRUARZWEITAUSENDUNDSIEBEN (February 8, 2007) from 2007, is a mesmerizing example from the series of target paintings that the Swiss-born artist has been making since the mid-nineties. While reminiscent of the work of the American Color Field painter Kenneth Noland and the target paintings of Jasper Johns Rondinone’s circular, flat, vibrantly colored out-of-focus paintings have a contemporary aesthetic. These target paintings create a powerful visual experience – the viewer’s gaze is drawn hypnotically into the depths of the painting by the concentric circular bands of glowing color. By appropriating these key works of his predecessors, Rondinone’s work contains a subtle irony directed at modernism. Although the target is closely linked with the acts of looking and aiming, the concentric circles of his version are blurred, annihilating the essence of a target. Any Abstract Expressionist spirituality to be perceived in the work is banished by the banality of the work’s title which, as with every painting in this series, simply refers to the date of its creation – in the case of this work, February 8, 2007. The artist’s intention is to enthrall the viewer at first sight by simultaneously questioning our engagement with art in a very pure way. The monumental pictorial quality accelerates our desire towards the mystical work of art and invites us to dive into its sphere of new reality. The magical sphere is romantic in a naïve way, allowing the idea of a dream to take over the everyday. Rondinone’s artistic strategy is based on a precise vocabulary that he shares with fellow Swiss artists such as Peter Fischli & David Weiss and Urs Fischer Together with other key series of work, Rondinone reuses the target paintings for many exhibitions, reassembling them in repeated arrangements. In this sense, the artist is building up a poetic monologue of a personal artistic reality. “It’s a monologue … The viewer has the symbols from which they can create their own story, but it’s not required that you decode my motivation. It’s a bit like Duchamp. He had his own monologue.” (in M.Falconer, “Masquerade: Ugo Rondinone Uncovered”, Modern Painters, March 2006) Read More
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
