Gilbert & George (b. 1943 & b. 1942)
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Gilbert & George (b. 1943 & b. 1942)

The Total Mystery of Each Man-Layed-Brick

細節
Gilbert & George (b. 1943 & b. 1942)
The Total Mystery of Each Man-Layed-Brick
titled 'THE TOTAL MYSTERY OF EACH MAN-LAYED-BRICK.' (lower centre); signed, inscribed and dated 'GILBERT GEORGE the sculptors. A twenty-three sheet Descriptive Work. Entitled THE GENERAL JUNGLE or Carry on Sculpting. LATE SUMMER 1971' (lower right)
charcoal on paper laid on canvas
108 ¼ x 87 7/8in. (275 x 223cm.)
Executed in 1971
來源
Sonnabend Gallery, New York.
MaxmArt, Mendrisio.
Private Collection, Switzerland (acquired from the above in 2005).
Thence by descent to the present owner.
出版
W. Jahn, The Art of Gilbert & George or an Aesthetic of Existence, New York 1989 (illustrated in colour, p. 95).
Mario Kramer, Paare / Couples, exh. cat., Frankfurt am Main, Museum für Moderne Kunst, 2001 (illustrated, p. 20).
展覽
New York, Sonnabend Gallery, Gilbert & George. The General Jungle, 1971.
Bufffalo, Albright-Knox Gallery, Gilbert & George. The General Jungle, April-May 1976.
Eindhoven, Municipal Van Abbemuseum, Gilbert & George 1968-1980, 1980-1981 (illustrated in colour, p. 97). This exhibition later travelled to Dusseldorf, Kunsthalle Düsseldorf, 1981; Paris, Centre National d'Art et de Culture Georges Pompidou, 1981; and London, Whitechapel Art Gallery.
Bordeaux, CAPC Musée d'art contemporain de Bordeaux, Gilbert & George. The Charcoal on Paper Sculptures 1970-1974, 1986, p. 145 (illustrated in colour, p. 83).
Rome, Museo Nazionale delle Arti del XXI Secolo, Gilbert & George, The General Jungle or Carrying on Sculpting, 2005, p. 87, no. 23 (illustrated, p. 23; detail illustrated, p. 52).
London, Tate Modern, Gilbert & George: Major Exhibition, 2007-2009, pl. 10 (installation view illustrated in colour, p. 45). This exhibition later travelled to Munich, Haus der Kunst; Rivoli-Turin, Castello di Rivoli; San Francisco, de Young Museum; Milwaukee, Milwaukee Art Museum; and New York, Brooklyn Museum.
London, Lévy Gorvy, Gilbert & George: The General Jungle or Carrying on Sculpting, 2017, p. 91 (illustrated in colour, p. 81).
注意事項
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. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

榮譽呈獻

Paola Saracino Fendi
Paola Saracino Fendi

拍品專文

‘ The content of mankind is our subject and our inspiration. Our art is the friendship formed between the Viewer and our pictures. Each pictures speaks of a “Particular View”, which the viewer may consider in the light of his own life.’
– Gilbert & George

Composed on a monumental scale, Gilbert & George’s 1971 drawing The Total Mystery of Each Man-Layed-Brick plunges the viewer into an illusory black and white exterior scene: behind a neatly manicured lawn, blossoming foliage seems to blow gently in the wind; just beyond stands a grand stately building with large French windows and a double row of balconies. The words of the title are imprinted like a gigantic comic strip across the bottom of the work: taken from their written work A Day in the Life of Gilbert & George, the text describes an element extracted from the artists’ daily lives, but deliberately does not quite equate with the drawn image. Rendered in charcoal on paper laid on canvas, the drawing comes from one of Gilbert & George’s most important early works, an extended body of twenty-three drawings collectively entitled The General Jungle or Carrying on Sculpting. First exhibited in 1971, this grandiose work combined Gilbert & George’s recently adopted status as self-declared ‘living sculptures’ with the strong tradition of English landscape painting. It was their first major pictorial statement to mark their setting out into the ‘general jungle’ of the world and the deliberate extension of their lives into art and of their art into life. The title The General Jungle alludes directly to Gilbert & George’s notion of life as an impenetrable entanglement, through which they wander as art works and the living embodiments of all art’s prospects of hope and romanticism, at once drawing from and parodying the canon of landscape painting.

Until 1969 Gilbert & George had been art students at St Martin’s College of Art in London where they had been taught in the college’s strong tradition of constructed metal sculpture established by artists such as Anthony Caro. Along with many others in their class including Jan Dibbetts, Richard Long and Barry Flanagan, Gilbert & George rebelled fiercely against this formal tradition in favour of a more conceptual approach to sculpture. Indeed, The General Jungle or Carrying on Sculpting stems from the artist duo’s series of so-called Charcoal on Paper Sculptures, which comprised of thirteen groups of drawings completed between 1970 and 1974. A visual manifestation of the artists’ Living Sculpture movement, the series sought to blend and blur the boundaries between art and reality. ‘The content of mankind is our subject and our inspiration,’ the artists have explained of their hybrid creations which, despite their papery materiality, verge on the sculptural by way of their colossal stature, and tactile physicality which protrudes into the viewer’s domain in gridded pleats of folded paper. ‘Our art,’ they continue, ‘is the friendship formed between the Viewer and our pictures. Each pictures speaks of a ‘Particular View’, which the viewer may consider in the light of his own life’ (Gilbert & George, quoted in P. Colombo, Gilbert & George: The General Jungle or Carrying on Sculpting, exh. cat., MAXXI, Museo nazionale della arti del XXI secolo, Rome 2005, p. 12).

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