.jpg?w=1)
拍品专文
Robert and Nicolas Descharnes have confirmed the authenticity of this work.
The present lot is a study for a nightclub in Acapulco which Dalí was commissioned to design in 1957. Of the project Robert and Nicholas Descharnes write: "The proposed night club was to be named Dalí Noche: the cabaret would be a gigantic sea urchin with space for about 500 people. The seat cushions would breathe through a pneumatic system, representing the delicacy of delicacies for Dalí, the edible part of the sea urchin. The guests would arrive in its interior via an elevator incorporated into the 'digestive tube.' The urchin itself, supported by an ensemble of four gigantic fly legs, would be drawn towards the sea by 25 giraffes in rock, each one 15 meters high. These giraffes, each one alight, would illuminate the entire complex; the two first would be submerged for those guests who might wish to go swimming in the night." (R. and N. Descharnes, Dalí, The Hard and the Soft, Spells for the Magic of Form, Sculptures and Objects, Azay-le-Rideau, 2003, p. 94). Perhaps not surprisingly, this ambitious surrealist project was never realized.
The present lot is a study for a nightclub in Acapulco which Dalí was commissioned to design in 1957. Of the project Robert and Nicholas Descharnes write: "The proposed night club was to be named Dalí Noche: the cabaret would be a gigantic sea urchin with space for about 500 people. The seat cushions would breathe through a pneumatic system, representing the delicacy of delicacies for Dalí, the edible part of the sea urchin. The guests would arrive in its interior via an elevator incorporated into the 'digestive tube.' The urchin itself, supported by an ensemble of four gigantic fly legs, would be drawn towards the sea by 25 giraffes in rock, each one 15 meters high. These giraffes, each one alight, would illuminate the entire complex; the two first would be submerged for those guests who might wish to go swimming in the night." (R. and N. Descharnes, Dalí, The Hard and the Soft, Spells for the Magic of Form, Sculptures and Objects, Azay-le-Rideau, 2003, p. 94). Perhaps not surprisingly, this ambitious surrealist project was never realized.