Quartz Eroded Vogue Magazine 101

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  • Condition Report

  • Provenance

    Donated directly by the artist

  • Catalogue Essay

    “Crystals grow over millennia, so is the work falling apart, or growing together?” (Daniel Arsham, quoted on Instagram, 24 September 2019, online)

    With a noteworthy career spanning over a decade, New-York based artist Daniel Arsham has established a name for himself that exceeds any niche or discipline, touching each end of the art world spectrum. Through thought-provoking and eye-catching work, Arsham has masterminded a multidisciplinary practice that exists between art, architecture, and performance. Unpacking the world we live in through a range of media, the one thread that ties his work together is that of inevitability – namely that objects in the present reflect ideas from the past, and are destined to be transformed by the future. Renowned for reimagining objects of nostalgia into ‘Future Relics’— objects of the past that appear to have been unearthed from archaeological digs in the year 3019; Arsham also explores dichotomies between reality and fiction, as well as destruction and creation.

    Showcasing the iconic Vogue magazine in his signature minimalist aesthetic— quartz crystals that seem to grow out of eroded surfaces on a clean matte background, the artist brings the humble domestic sized periodical into the realm of a massive fine sculpture. Rendered in his signature pale shades of monochrome blues, Arsham creates a work that marries the past and the future, in turn speculating on the fate of humanity through the exploration of space and light. Executed in 2019, the artist also pays homage to the passing of legendary architect I. M. Pei, his name carved in relief onto the lower left of the magazine cover of the magazine, immortalising him as part of an object that transcends time.

    Arsham has been honoured with solo exhibitions around the world, including most recently at the HOW Art Museum, Shanghai (2019). The past couple of years have also seen Arsham exhibit at venues including Galerie Ron Mandos, Amsterdam (2019), as well as the Perrotin Gallery in New York (2018) and Tokyo (2018).

  • Catalogue Essay

    「水晶經千年長成,那作品是會逐漸瓦解,還是一起成長呢?」丹尼爾·阿瑟姆,錄於 Instagram,2019年9月24日,截自網路

    駐紐約藝術家丹尼爾·阿瑟姆的藝術事業獲得關注已橫跨十載,他的創作超越任何一種歸類或定義,涉及藝術界幅度兩端。其作品引人注目,並激發思考,阿瑟姆的跨界創作遊走於藝術、建築和行為表演之間,透過各種媒介表達出我們生活的世界。貫穿其作品的一個元素就是不可逃避的必然性,當下的一個物件代表了來自過去的概念,在未來也必將被改變。藝術家常把懷舊的物品重現為「未來的紀念品」,就像是3019年出土的文物一般。阿瑟姆也經常探討真實與虛構、破壞與創造之間的兩分法。

    阿瑟姆以其別樹一幟的極簡美學呈現出 Vogue 時尚雜誌,風化水晶仿佛從侵蝕的表面而生,背景是一片淡雅素色。藝術家把身活中常見、不起眼的雜誌變成大型精美的雕塑。作品呈藝術家標誌性的淺藍單色調,結合了過去與未來,從而通過空間和光線推測人類的命運。此作品創作於2019年,藝術家亦向剛去世的貝聿銘致敬,其名字被立體地銘刻在雜誌封面左下方,成為超越時間的一部分。

    阿瑟姆受邀在世界各地舉辦個展,包括最近在上海昊美術館(2019年)的展覽。近兩年,阿瑟姆亦曾在阿姆斯特丹 Ron Mandos 畫廊(2019年)、紐約貝浩登畫廊(2018年)和東京(2018年)等地展覽。

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HOCA Foundation Benefit Auction

Quartz Eroded Vogue Magazine 101

2019
quartz, selenite, hydrostone
121.9 x 92.7 x 5.7 cm. (47 7/8 x 36 1/2 x 2 1/4 in.)
Executed in 2019, this work is unique.

Estimate
HK$150,000 - 250,000 
€17,200-28,700
$19,200-32,100

Place Advance Bid
Contact Specialist
Danielle So
Associate Specialist, Head of Day Sale

20th Century & Contemporary Art & Design Day Sale

Hong Kong Auction 25 November 2019