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  • Catalogue Essay

    Including: Devotional Benches, Confessional Booths, Mercy Seats and Altars; Fundraising Tables; Gambling Tables; Workout Machines; Peep Show and Video Booths; and Workstations
    In The Neufert Suite, Kuitca continues his longstanding exploration of the relationship between the individual and the ordered environment. Here Kuitca uses the universal symbols derived from Ernst Neuferts’ Architects' Data and the architect’s cyanotype method, commonly known as a blue print, to render the spatial and equipment layouts of such varied spaces as a sex shop and a sausage factory. “I was always fascinated by the Neufert, that architectural catalogue where the world is completely organized, measured, calculated. Taken to painting, any project connected with that cataloging spirit becomes totally absurd. Painting produces an enormous referential arbitrariness, while architecture does just the opposite.” Guillermo Kuitca, edited by Hans-Michael Herzog and Katrin Steffen, Hatje Cantz, 2007

  • Artist Biography

    Guillermo Kuitca

    Argentinian • 1961

    Guillermo Kuitca is an Argentinean child prodigy who held his first solo exhibition at age thirteen. He emerged as a painter during the 1980s, rejecting the neoexpressionist trend of the time. Yet his art is intellectually demanding, formally complex and relevant to the historical moment.

    Kuitca is influenced by Antoni Tápies, Francis Bacon, Jenny Holzer and Pina Bausch. His paintings denote total abstraction and deal with space, language, deat, and travel. His series of maps from the 1990s depicted on canvases and mattresses explore themes of disappearance, migration and the importance of memory. He rarely depicts humans, and his map paintings are difficult to decipher geographically, allowing viewers to meditate on the psychology of space.

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The Neufert Suite

2002
The complete set of six cyanotypes, on Aquarelle Arches watercolor paper, the full sheets,
S. 46 1/2 x 46 1/2 in. (118.1 x 118.1 cm)
all signed, dated ‘2002’ and numbered 8/9 in white pencil (there were also 3 artist’s proofs), published by Graphicstudio USF, Tampa, Florida (with their blindstamp), all in very good condition, all framed.

Estimate
$18,000 - 25,000 

Evening Editions

21 April 2011
New York