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拍賣 2024年4月19日
\n英國夏令時間下午1:00
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倫敦伯克利廣場30號 W1J 6EX（地圖）
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預展 4月11至17日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
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\n4月18日星期四上午10:00-下午2:00
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參閱富藝斯業務規定 >
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\n","auctionDetailsSmall","倫敦拍賣 2024年4月19日","extraInfo","

Charlotte Gibbs
\nNew Now拍賣主管暨副專家
\n+44 20 7901 7993
\nCGibbs@phillips.com
\n

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Leonard Baby, Medicine Cabinet, 2022. New Now: Modern & Contemporary Art, London.

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Leonard Baby

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Leonard Baby’s distinctive practice typically begins with cinema. Often viewing European technicolor films from the 1950s and 60s, the artist will discover a still frame that, in his words, “demands to be painted,” before cropping the image and painting it with masterful effect. In the captivating composition that makes up Medicine Cabinet, the protagonist’s hand reaches out to the top shelf as they make a cocktail, the Seagrams Canadian Whisky already at hand. It’s a scene that reflects the abundance, joy, and sophistication of a certain type of mid-century lifestyle (let’s not forget Don Draper drank Seagrams, among others), alongside the hazard for a privileged sense of ennui to descend into self-medication. The artist obscures the bottle labels only somewhat, inviting us to consider the only slightly less subtle brand and lifestyle product placement in our own time.

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A young artist quickly gaining steam in the global art world, Baby is based in Brooklyn, New York. His recent accolades include a solo show at the Fortnight Institute in New York and a residency with PLOP in East London. His solo exhibition L.A., Baby is on view at the Half Gallery in Los Angeles from 7 April through May 11 of this year.

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Francesca Mollett

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Francesca Mollett, Maiden, Mother, Hag, 2020. New Now: Modern & Contemporary Art, London.

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As the world entered lockdown mode in 2020, painter Francesca Mollett took to her garden to paint characteristic semi-abstract canvases that visually dissect the complex interrelationship between nature, body, and mind. The artist’s perception of this linkage was heightened during this time, as she remarked, “Making paintings in the garden in lockdown altered levels of pace, control, and distance, with light and weather affective like bodily energy.”

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Since graduating that year from the Royal College of Art, Mollett’s star has only risen. Her work has been featured at solo and group shows globally, and she has been represented by Grimm Gallery since 2022. Her work’s captivating presence is a testament to the remarkable painterly skill with which she suggests otherworldly scenes through a physical method of mark making, almost earth-like textures, and atmospheric washes. She often relates her work to contemporary literature, connecting her perception of reality to stream of consciousness autofiction, further explaining, “Influenced by material feminists, I imagine the human intermingling with the more-than human as I paint.”

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Jack Jubb

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Jack Jubb, Sometimes, 2021. New Now: Modern & Contemporary Art, London.

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Reflecting British artist Jack Jubb’s fascination with the ways that images degrade and become increasingly cryptic with time, Sometimes is highly characteristic of the young artist’s approach to painting. Initially drawn to a conceptual video and installation practice as a student at Goldsmiths, from which he graduated in 2015, Jubb turned to painting in 2020, explaining that the image and video files he archived for use in his new media works form the basis for his paintings. He elaborated, “I basically picked up the airbrush as a tool for reproducing images, but with the view to introducing a degree of degradation or blur to ‘found’ images which were already derived from found images online with low-resolution forms.”

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Focusing on the dystopian and referencing his love for horror films, his paintings convey an eerie sense of the uncanny and resonate strongly in contemporary culture. Their focus on the passage of time as well as the interplay between digital and analog modes of expression invite questions on the nature of reality and the possibility of permanence. Jubb’s works have been exhibited widely in solo and group exhibitions throughout the UK and Europe. Sometimes was included in the solo exhibition Jack Jubb: Feeling Sentimental at D-J Berlin in 2021.

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\nVictor Man

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Victor Man, Suburbian Hobbiest, 2004. New Now: Modern & Contemporary Art, London.

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Compelling and inquisitive imagery meet Victor Man’s extraordinary painterly skill in works that institutions, galleries, and collectors find highly desirable. Man represented Romania at the 52nd Venice Biennale in 2007 and his work is held in important public collections, including London’s Tate Gallery, the Musée Nationale d’Art Moderne, Centre Pompidou in Paris, and the San Francisco Museum of Modern Art.

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Often taking images from media sources, Man removes their original context in paintings that engage memory, metaphor, and confutation. Living through the communist regime and ultimately experiencing its downfall, the pitfalls of deterioration, scarcity, and isolation have been recurrent throughout his life and are among the themes he explores through his practice. In Suburbian Hobbyist, the visible erasure of the figure’s mouth paired with the nearly void space in which he exists combine to form an image that presents a subversive expression of Romanian suburban life — which, the artist points out, remain typically marginalized and underprivileged communities in contrast to suburban environments in much of the developed world.

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Xie Lei

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Xie Lei, Obsession, 2023. New Now: Modern & Contemporary Art, London.

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Xie Lei’s immediately recognizable paintings typically present mysterious figures, their features obscured, in an otherworldly void that suggests a space between states of existence. The aptly titled Obsession is no different, but perhaps its principal pictorial interest is the ambiguous reach of a second figure. We’re unable to tell if the outstretched hand is moving away from the face or towards it, or if its touch is an embrace or something more sinister. Overall, the painting, though dark, is rendered with soft curvilinear washes of transparent blue that lend the work an inviting glow and a source of endless visual fascination.

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The allure of the arresting worlds that the Chinese-born artist builds have captured the attention of art lovers around the globe. Fresh on the heels of successful global solo and group shows, including at the Fondation Louis Vuitton in Paris, the Kandlhofer in Vienna, and Lyles & King in New York, Xie Lei’s 2021 painting Swallow shattered its low estimate at December’s New Now auction in London.

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Alfie Caine

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Alfie Caine, Ocean Retreat, 2020. New Now: Modern & Contemporary Art, London.

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An inviting study of the interplay between interior spaces and nature, Alfie Caine’s Ocean Retreat is a masterclass in the handling of light, shadow, reflection, and form. In this work, nearly everything depicted in the interior finds its counterpart in the natural world, reflecting visual parallels between what is man-made and what is natural (the pool versus the sea, the indoor potted plants versus the outdoor vegetation, the vibrant sun versus the soft glow of the interior lighting in both buildings). An expert draftsman who studied architecture at Cambridge University, the angled lines of the buildings separate the fields of the composition. These lines lead our eyes to the transparent orange curtain — lit from both sides — which summarizes the visual fluidity of the painting as a whole.

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Since his work first appeared at auction in 2023 at the Whitechapel Gallery Art Icon Charity Auction hosted by Phillips, Alfie Caine’s paintings have gone on to generate global enthusiasm among collectors. Just last December, Houlgate Villa, a painting from the same year as Ocean Retreat, achieved more than six times its low estimate at Phillips’ New Now sale in London.

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Gillian Carnegie

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Gillian Carnegie, Untitled, 2001. New Now: Modern & Contemporary Art, London.

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British artist Gillian Carnegie is a master of traditional painting who engages with the historical categories of the medium, her paintings of flowers being among her most lauded. There is much more than meets the eye at first glance however, as evident in the sculptural depth of the impasto layers in this still life from 2001. The effect lends a striking depth to the composition and Carnegie’s use of a pale, muted palette and clever handling of shadow challenge the delineation between foreground and background, ultimately lending an abstract quality to the work. There’s a subtlety and intrigue to her works that only reveal themselves with extended time in front of them. A highly respected painter, Carnegie was shortlisted for the Turner Prize in 2005 and has exhibited widely at galleries and institutions throughout the US, UK, and Europe.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Sculpture as an Encounter >

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What is New Now? >

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\n","publishDate","2024-04-09T21:34:23.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/142948494/artists-to-watch-london-auction-contemporary-art","displayOrder","auctionEditorialID",2081,"editorialID",4508,"flocklerID",142948494,"https://flockler.com/thumbs/sites/889/cattelan-final-lead-3-b89313fb-2e07-423e-8f8f-fc8072f51fc1_s600x0.jpg","How do we perceive artworks as an experience of space?","Sculpture as an Encounter","

Maurizio Cattelan, Less than ten items, 1997. New Now: Modern & Contemporary Art, London.

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There’s an inherent fluidity to an encounter with three-dimensional works, and even more so when they’re of great scale. Many factors — the space in which the works are placed, the influence of other art or objects that surround them, and our shifting position while viewing them — can alter our understanding of forms, provoking a fluctuating and visceral response. With such works, our gaze is active in a multifaceted process that requires our input. In short, to truly perceive works of this nature we need to share physical space with them.

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These aspects of sculpture are among those explored in the lauded exhibition When Forms Come Alive, currently on view at the Hayward Gallery, and the possibility of an extension of many ideas presented by the show exists with several works in our upcoming New Now auction in London. Like the Hayward exhibition, many of these works reveal playful or humorous facets of their nature as they engage with everyday objects to trigger an immediate and joyful sensation that ultimately leads to deeper consideration. Further, the participatory, almost collaborative aspect of viewing sculptural works is heightened in our offering by a few works made by artists who themselves were working in collaboration.

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Though viewing sculptural works on a digital screen is gratifying, the pleasures of such works are inherently physical, lifelike, and enchanting. And as with the Hayward exhibition, the viewing at Phillips ahead of the auction invites engagement with the physical world. Below, we highlight several works on view through 19 April in our magnificent gallery space at 30 Berkeley Square that await your encounter.

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Elmgreen & Dragset

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Elmgreen & Dragset, Second Marriage, 2008. New Now: Modern & Contemporary Art, London.

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The provocative conceptual works of Scandinavian artist-duo Michael Elmgreen and Ingar Dragset take ideas we expect to be fixed and unexpectedly prove they can be flexible. Their 2008 work Second Marriage is part of a lineage of works. It essentially takes the scene of 2004’s Marriage and adds soap dispensers, humorously inviting us to question what has changed between the first and second iterations of the idea. Their 2010 work Gay Marriage presents a similar sight but utilizing urinals, with each work calling on an inoperable intertwining of pipes to playfully probe the institution of marriage and the role of sexuality in contemporary society.

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Here, by literally bending the functional rules of everyday objects, they offer the possibility for pliability in the face of the more rigid aspects of culture. As Michael Elmgreen told Artspace in 2020, “It’s so important to show that you can break the rules, even on a small scale, especially in societies that have become more and more regulated. If you don’t keep that flame alight, what is there, in the end?”

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Maurizio Cattelan

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Maurizio Cattelan, Less than ten items, 1997. New Now: Modern & Contemporary Art, London.

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Less than ten items is a distorted supermarket shopping cart, extending more than seven feet long, seemingly to allow for the volume of consumption rampant in the developed world. Its placement within a fine art context — either in a gallery space or in an art-filled home — draws parallels between mass consumerism and the collection of cultural objects. Its cheeky title suggests a container for very few, large-scale items, comically just under the requirement for using the express check-out lane. Who else could the artist behind this work be other than the one who made global headlines with a simple idea, a roll of duct tape, and a banana?

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Frequently described as the court jester of the art world, Maurizio Cattelan makes works that place themselves squarely within the ongoing oscillation between popular culture and high art, commercial consumerism and cultural production. Along the way, they irreverently reflect a sublimation of the desires instilled in us by both mass-market advertising and the ideals and ideas of contemporary fine art, offering us the power as viewers to consider whose influence we’re under and to reclaim it if we choose. Cattelan knows what will get our attention and makes a fool of us as he captures it, but it’s impossible to not love every minute of it.

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Michelangelo Pistoletto

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Michelangelo Pistoletto, Two Less One, 2009. New Now: Modern & Contemporary Art, London.

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For Michelangelo Pistoletto, the mirror has long been a fruitful device, simultaneously serving as a medium for renewed approaches to self-portraiture, a way to mimic and alter reality, and a tool for extending the eye’s reach. These mirrors were part of the 2016 performance work Eleven Less One at the Kunsten Museum of Modern Art Aalborg. At the performance, the artist crushed 10 of 11 mirrors with a large mallet, explaining in his concluding speech that “the broken pieces of the mirror are an image of society. Everybody is simultaneously an individual and part of a larger whole, and when we make eye contact, we see both ourselves and a projection of the other’s mind.”

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Installed at the corner of a wall, the mirrors that comprise Two Less One in a sense “see” both us and each other. What is in reality one space, one person, and two objects, becomes four people, four objects, and four spaces. The subtractive notion of the work’s title can be seen to be represented by the shattered portions of one mirror’s surface, creating an additive contradiction as the imperfections are reproduced and amplified through reflection.

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Wade Guyton

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Wade Guyton, U Sculpture (V. 5), 2007. New Now: Modern & Contemporary Art, London.

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Wade Guyton’s U Sculpture (V. 5) extends the artist’s characteristic exploration of production, reproduction, and mistranslation between the analog and digital worlds. Well-known for creating paintings that result from misfeeding primed canvas through ink-jet printers designed for paper, his iconic imagery is the result of the technology’s failure to correctly reproduce simple keystrokes of X’s and U’s. In the case of this sculpture, the typed letter U is cleanly lengthened, mirror polished, and given dimension, placing it in conversation with the surrounding space and Guyton’s broader work, and contextualizing it within American Minimalist art history through his use of the same fabricators who produced many of Donald Judd’s works — Milgo in Brooklyn, New York.

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Kelley Walker and Wade Guyton

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Kelley Walker and Wade Guyton, Red Coconut Chandelier, Cablage, 2006. New Now: Modern & Contemporary Art, London.

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Each an iconic artist with their own respective practices, when Kelley Walker and Wade Guyton collaborate, their goal is to function as a single independent artist. The pair treat their individual styles and approaches as things than can be incorporated and altered as they see fit. There’s a freedom in how they unpack questions of authorship, production, commodity, and distribution that is immediately identifiable, cheeky, and compelling. The coconut is an everyday organic object often incorporated in their collaborative works, in this case taking the form of an ornate and functional chandelier. Placed in a functional interior context, the organic shapes of the coconut are transformed, appearing as something otherworldly or manufactured rather than naturally grown. This notion plays into their approach as a duo, as Guyton explained in a conversation with Walker published in ARTFORUM, “It’s weird to feel ownership but then also feel as if you’re separate from it — that it’s alien.”

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Mike Kelley

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Mike Kelley, Lingam and Yoni (Grosse Île), 2002. New Now: Modern & Contemporary Art, London.

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In the Lingam and Yoni series, Mike Kelley explores ideas of nature and desire through the Hindu symbol for male and female genitalia. Kelley employs soil and litter from islands on the Detroit River — near where he grew up in Michigan — to construct the works in the series. The works call on this Hindu visual lineage to express his desire to scout these islands, one that he has described as a sexual fantasy. In this work, the large Yoni basin is a vessel for the naturalistic recreation of the Grosse Île’s soil and a base for the phallic Lingam. Ultimately, the work presents an eccentric tangle of associations between eroticism, orientalism, and the conception of home.

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Discovering Interplay

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Left: Damien Hirst, Pharmacy Cross Banquette, 1997–98. Right: Xavier Veilhan, The Horse, 2009. New Now: Modern & Contemporary Art, London.

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When encountering sculptural works in a space, we discover that they also encounter each other. Works can find surprising ways to resonate with or connect to each other when skillfully assembled and well-placed in a gallery. Damien Hirst’s Pharmacy Cross Banquette and Xavier Veilhan’s life-sized sculpture The Horse don’t just share a similar hue of striking green, they each explore geometric forms, the play of light and shadow, and subvert the meanings of cultural symbols that typically signify authority — the state-erected equestrian statue and the international symbol of pharmacists.

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Right: Franz West, Three works: (i-iii) Onkel-Stuhl (Uncle Chair), 2006. Left: Alex Da Corte, GOBS/A Boxes (White Closet), 2015. New Now: Modern & Contemporary Art, London.

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Alex Da Corte’s GOBS/A Boxes (White Closet) and Franz West’s three Uncle Chairs each investigate the relationship between art and object. For West, who is included in the current Hayward exhibition, the question of why furniture was separated from its function when placed in museums was an early fascination. Chairs became a consistent presence in his practice, with the colorful weave here being emblematic of his lauded series of Uncle Chairs. His aim was to create works of art that challenge viewers but also invite them to interact with them. Da Corte draws on a myriad of art historical and cultural connotations in his practice, with the present work reading like a fever dream of American consumerism and entertainment. It makes use of such objects as a plastic bust of David, an animatronic Homer Simpson statue, a Marge Simpson Halloween costume, and various Christmas and Halloween decorations, including an iconic Freddy Krueger candy bowl.

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Sterling Ruby, SNAKE (4694), 2013 (left) and Lips (4748), 2014 (right). New Now: Modern & Contemporary Art, London.

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Interplay between works can be experienced both within the work of one artist and across multiple — even when their works at first seem very different. The works of Sterling Ruby and Alicja Kwade stand in contrast to each other aesthetically, but each seeks new means of understanding fundamental questions of existence through a free engagement with everyday objects, natural materials, historical and art historical symbols, and much else. It’s these personal and unexpected discoveries of interplay that can make encountering sculptures particularly unique, and many such discoveries await you this month at Phillips London.

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Alicja Kwade, Heavy times (3pm), 2014 (left) and Raum - Zeit - Krümmung 2, 2009 (right). New Now: Modern & Contemporary Art, London.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Artists to Watch >

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What is New Now? >

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“I feel art in my thoughts. I stand still and imagine the fish and the birds in movement, then I start formulating the colours. Formulating is a gesture. I paint and sing, feeling the history of the painting for myself or for those who listen to me. They say my painting is folk because I paint what I focus on with my eyes, according to my feelings. In the case of modern art, it’s formulated via engineering. It’s designed via thought, by painting with no feeling […].”
\n—Chico Da Silva Francisco da Silva, known as 'Chico', was a Brazilian artist of indigenous descent who established a pioneering studio practice, passed down to the later generation of Contemporary Brazilian Indigenous artists. Born to a Brazilian mother and a native Peruvian father, he was one of the first artists with indigenous ancestry to achieve international fame in the 1960s. The artist's body of work represents and praises the Brazilian fauna and flora, rejecting its decorative component to revitalise it as a proper formal expression of the organic subjectivity of the Amazon area. This painting from 1972 reveals the theatrical qualities of Chico da Silva's eccentric gouache and dynamic compositions featuring Amazonian mythologies. These mythical figures, referred to as 'bichos’, appear frozen in animated combat and hallucinatory spheres of bright colours and patterns. They underline the painter's familiarity with the creatures of his natural surroundings and his interest in Brazilian mythologies and cosmologies.

\n\n

Chico da Silva’s legacy was only recently reconsidered, revealing him to be an artist of remarkable talent and a visionary painter for whom working alongside his local community was the instinctive result of a long-established way of living centred around communal gathering. In growing a practice that avoided the ambitions and ethic systems of the mid-century Western Art world, Chico forged an independent Brazilian artistic form as visually striking as resilient to colonial interference.

\n\n

Chico da Silva's works are held in leading international institutions and private collections such as the Centre Pompidou in Paris, the Tate in London, and the Guggenheim Abu Dhabi, among many others. After completion, this painting was acquired directly from the artist by the renowned Brazilian architect and curator Janete Costa, remaining in her prestigious art collection for many years. Chico da Silva represented Brazil in the 33rd Venice Biennale in 1966. There is a current exhibition of his works at Massimo de Carlo in Paris.

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6

Chico da Silva

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Chico da Silva