Reconstruction of Vladimir Tatlin's 'Complex Corner Relief, 1915'

细节

MARTYN CHALK (B. 1945)
Reconstruction of Vladimir Tatlin's 'Complex Corner Relief, 1915'
iron, aluminum, zinc, oil pigment, priming paint, wire and fastening components
31 x 60 x 30in. (78.8 x 152.4 x 76.2cm)
First edition number reconstructed in 1966, last edition reconstructed in 1994, this work is from an edition of five

来源

The artist.
Annely Juda Fine Art, London.
Galerie Beyeler, Basel.

出版

Configurations 1910-1940 and Seven Tatlin Reconstructions, exh. cat., London, Annely Juda Fine Art, 1981 (illustrated).
Foundation Beyeler, Connaissance des Arts, Paris 1988 (illustrated, p. 66).
S. Nodelman, The Rothko Chapel Paintings: Origins, Structure, Meaning, Houston 1997 (illustrated).
B. Buchloch, Neo Avant-Garde and Culture Industry: Essays on European and American Art from 1955 to 1975, Cambridge 2000 (illustrated, p. 58).
H. Foster, R. Krauss, Y. Bois, and B. Buchloch (eds.), Art Since 1900: Modernism, Antimodernism, and Postmodernism, London 2005 (illustrated).

展览

London, Annely Juda Fine Art, Configurations 1910-1940 and Seven Tatlin Reconstructions, 1981 (illustrated).
Thessaloniki, Greek State Museum of Contemporary Art, Tatlin and After, 2001-2002.
Bilbao, Guggenheim Bilbao, ArchiSculpture, 2005-2006.
Wolfsburg, Kunstmuseum Wolfsburg, ArchiSculpture: Dialogues between Architecture and Sculpture from the 18th Century to the Present Day, 2006 (another example exhibited).

注意事项

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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拍品专文

Martyn Chalk began his reconstructions in 1966 after persuasion from his late friend and art dealer Annely Juda, who mentioned to Chalk the lack of Tatlin originals and requested he assemble some replicas of his lost era for her gallery. Chalk accepted the request and proceeded with a project that was to conclude 30 years later. Chalk was originally under instruction but soon assumed it his own practice, his research developed personal aesthetic choice through the restoration of another's misplaced practice. Many of Chalks Relief reproductions are single entities from 1913/14 but one piece in particular, Complex Corner relief, 1915 has been replicated more than once during the process. Chalk formulated an edition of five replicas between 1966-1994 displaying replication integral to his practice of sculpture: "History is not data but conquest, renewed in time and space by a thorough knowledge, unceasingly continued, unceasingly supplemented" (N. Leleu, "The Model of Vladimir Tatlin's Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge", Tate Papers, https://www.tate.org.uk/research/tateresearch/tatepapers/). Chalk's reconstructions can be witnessed as an historical product made in a particular context. His sculptures are not copies or reproductions as such, they are the reinterpretation of a missing era represented by the artists own natural continuation of his working practice, artistic commitment and aesthetic judgment.

Other examples of this work are held in the Australian National Gallery and the Greek State Museum of Contemporary Art.