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  • Provenance

    Tomio Koyama Gallery, Tokyo

  • Catalogue Essay

    In response to a world that is, for some, more intricately connected than ever, reticular metaphors prevail in contemporary art. Yet the complexities of this world - its financial markets, information and transportation networks, social relations, and so on - exceed figuration and its shifting spaces are opaque to conventional means of representation. In such a situation it is claimed that mapping is no longer a matter of describing the surface of the globe but of reconstructing a scene that has been lived through. This means that cartography comes back down to earth, so to speak. That sovereign power which once surveyed the world from on high, dividing out space, giving measure to it, and more often than not asserting proprietorial and territorial rights over it, is unsustainable: its panoptic eye sees from nowhere, which is, of course, impossible, and the knowledge which it claims of the world is detached, reductive, a fiction. Even if it were possible to occupy this elevated surveying position for a moment, one could hardly breath in its rarefied air. The cartographer who comes back to street level, where the air is, for the most part, breathable, immerses him- or herself in specific situations, the topography and horizons of which are set by social conditions to which we are all subjected, not least those of memory and architecture. It is these conditioned and situated experiences that might now provide material for maps.Taken from the Irish Museum of Modern Art, 2005

259

Untitled

2005
Oil on canvas.
124.5 x 155 cm. (49 x 61 in).
Signed and dated ‘Franz Ackermann ‘05' on the reverse.

Estimate
£70,000 - 90,000 ‡ ♠

Sold for £67,250

Contemporary Art Evening Sale

29 June 2008, 5pm
London