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Online Auction

\n\n

15 - 23 April 2020
\n30 Berkeley Square, London (map)

\n\n

Ending 14:00 BST 23rd April 2020.

\n\n

A selection of contemporary art, editions & design.

\n\n

COVID 19 pandemic revised arrangements

\n\n

As Phillips’ offices and warehouses are temporarily closed in response to the COVID 19 pandemic and UK government restrictions, we have the following revised arrangements in place.

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Payment

\n\n

We have temporarily increased our normal credit card limit to GBP75,000 to make it easier for you to pay using this method.

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Storage, Collection & Shipping

\n\n

All lots bought in the auction which have been paid for in full will be held in our storage facilities free of charge until Phillips’ operations resume and for a thirty (30) day period after we notify you lots are available for collection or delivery. Storage charges will apply after this 30-day period for any lots which have not been collected.

\n","auctionDetailsSmall","Online Auction 15 - 23 April 2020","extraInfo","

Charlotte Gibbs

\n\n

Head of Sale, London

\n\n

+44 20 7901 7993

\n\n

cgibbs@phillips.com

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Donna Huanca pictured at the London opening of The Store X The Vinyl Factory’s Transformer curated by Jefferson Hack, October 2019. Photo: Darren Gerrish/Getty Images.

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By Hettie Judah

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Talking about her art, Donna Huanca often describes the Festival of Urkupiña, held every August in the small town of Quillacollo in Bolivia. She celebrated Urkupiña as a child, traveling from her childhood home in South Side Chicago to spend summers in the country of her parents. Swallowed whole by the song, dance, ritual and costume of the fiesta, Huanca experienced intense, multisensory stimulation in which apparent chaos gave way to loving order and a sense of belonging.

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The disconnect between the Bolivian bubble of home, the Anglophone world beyond her front door in Chicago, and the altered reality of Urkupiña left Huanca feeling like a divided soul. She turns 40 this year, and is based for the most part in Berlin - a place in which she has said that she felt immediately at ease when she first arrived there - yet still considers herself essentially nomadic, de-racinated.

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Donna Huanca SCAR CYMBALS, 2016, installation view at Zabludowicz Collection, London. Photo: Thierry Bal.

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All this has come to inform the saturating, intensely satisfying and bodily environments for which she has become celebrated. They are composed of five interrelated elements, some permanent, others ephemeral: painting, sculpture, sound, performance and scent. Everything starts with the feminine body, which performs at once as painted surface, painting tool, moving sculpture and – linking one work to the next – the basis for Huanca’s "skin" paintings.

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Installing her environments, Huanca pushes the clinical artifice of the gallery to extremes. The walls and floor are whiter than white. The lighting is intense and tinged with blue. Freestanding painted panels and perforated sculptures occupy pools of sand as synthetically white as arctic snowfall. In this landscape without shadows, supporting surfaces disappear, leaving painted canvases, sculptures and bodies all apparently free-floating. The performances, enacted with her troupe of models, have the feel of "happenings."

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The olfactory dimension of Huanca’s work associates it with neo-shamanic practices. She has often spoken of the hallucinatory nature of her work, describing her performances as "live meditations." In recent works such as Scar Cymbals (2016) and Espejo Espiral (2019) the air carries woody notes of cedar and Palo Santo, both fragrant plants burnt to accompany ayahuasca and peyote ceremonies. You can smell Huanca’s work before you see it. A diminutive total environment installed at the 2019 Frieze London fair progressively permeated the air of surrounding booths with smoky, bodily, resinous incense, creating an overlap between the work and the world beyond. It’s a reminder that art is not confined to a tight frame, neatly set apart from life.

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Donna Huanca PEDIALYTE, 2015. Estimate: £10,000-15,000. Offered in Desktop.

\n\n

Huanca studied painting in Houston and Frankfurt, before more years of travels, work and residencies around the world, notably Mexico City, New York and Argentina (her paintings are now held in public collections in the US, China and Europe, including the Solomon R Guggenheim Collection in New York). But as well as her studies as a painter – albeit a rebellious one – Huanca has a background in improvised music, performing under the electronic alias Rua Minx and she has talked of the inspiration she finds in Berlin’s nightclubs. The soundscapes she creates for her art are sparse and disconcerting. Field recordings of chattering birds, trickling water, purring cats and the human voice commingle with machine-generated ticks and whines. A percussive quality hints at rhythmic processes of the body – breathing, heartbeat, digestion – as if we and everything with us in the space occupied the interior of a much larger living being. Again – where does the work end, and where does it begin?

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Huanca refers to the performers she collaborates with as "models." It’s a term chosen to evoke specific associations with the power dynamic that traditionally existed between male artist and the exposed female body – perhaps most pointedly, the power dynamic between Yves Klein and the ‘models’ who performed as his human paintbrushes. The environments Huanca constructs are conceived as protective spaces for her models, who are asked to ponder and record their experience of the long, durational performances. The performances are improvised according to minimal instruction: slow, stately movement; engagement with sculptural works and paintings, against which the models become camouflaged or visible only in part; the smearing of paint from the body onto surfaces. Her models - often drawn from her circle of fellow creatives and friends - are viewed as collaborators, and Huanca is at pains to emphasize their agency in the work.

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Donna Huanca SCAR CYMBALS, 2016, installation view at Zabludowicz Collection, London. Photo: Thierry Bal.

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The paint applied directly to the models’ skin combines warm, naturally derived pigments of turmeric and clay with cool artificial blues and whites. International Klein Blue melds with zinc whites and the cool greens of verdigris. Recently, Huanca has used spray paint to achieve graphic patterns and crisp lines on the skin, but she has previously also used her hands, smearing the body thickly with clay-like layers of color.

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Photographs of the painted bodies from one work provide the basis for her large works on canvas in the next. These "micro paintings" that she discovers on the body are digitally printed onto canvas, and then painted over again, uniting the traces of model’s body and artist’s gesture. The expanding quality of her art extends not only from the artwork out into the world, but from one work to the next. Donna Huanca is an artist who defies boundaries.

\n\n

\nLearn more about Donna Huanca's PEDIALYTE in Desktop >

\n\n

\n","publishDate","2020-04-16T19:34:29.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/56767323/donna-huanca-painting-performance-art-auction","displayOrder","auctionEditorialID",770,"editorialID",2918,"flocklerID",56767323,"https://flockler.com/thumbs/sites/889/18_001-d998c193-6c4c-4ec0-91e0-6ccbfa3b7934_s600x0.jpg","We delve into an exceptional group of works that derive their form from their function, all now open for bidding in our online auction Desktop. ","Off The Wall: Contemporary and Post-War Furniture","

Donald Judd Standing Writing Desk #40, design 1984, executed 2012. Estimate: £5,000-7,000.

\n\n

The present grouping of furniture, designed by leading contemporary and post-war artists, champions the spirit of craftsmanship by those who have used the parameters of "function" to realize their artistic concepts. In this sense, within each piece of furniture in this selection, artistic form and design have been woven into a single entity in a unifying purpose. Indeed, it is interesting to think of the artist's approach to creating furniture in response to the infamous Mies van der Rohe dictum “Less is more”. Or to Robert Venturi’s rebuttal “less is a bore”. Desktop explores the artist’s reply: both in the variety of forms a specific type of furniture can take but also in the artistry realized in these modes of usable sculpture.

\n\n

\n
If a chair or a building is not functional, if it appears to be only art, it is ridiculous.
\n– Donald Judd
\n

\n\n

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Donald Judd A Set of Four Chairs #84, designed 1982, executed 2014. Estimate: £4,000-6,000.

\n\n

Desktop includes two works by Donald Judd, lots 18 and 19, which both encapsulate the tenets of Minimalism explored by the artist throughout his seminal body of work. With his "specific objects" made of steel, wood, aluminum and Plexiglas, Donald Judd notably revolutionized the definition of space in the sculptural realm in the 1960s, powerfully invigorating the movement of Minimalism that defined the art scene of the time. Conceived with the principles of progression and seriality, Judd’s objects embraced notions of simplicity and democracy while espousing the fluctuating environments in which they existed. Through precise positioning, rectilinearity and ordered structural logic, they fused with their surrounding architecture, becoming one with their habitat. In the 1970s and 1980s, Judd created a setting — in a compound on a former military base in Marfa, Texas — which afforded the opportunity for permanent installations of both his own work and that of other artists, in architecture as well as natural surroundings. Through Marfa, Judd was able to realize his ideal context for the exhibition of contemporary art. Transporting the vigor and meticulousness of his artistic approach to the field of design, Donald Judd’s furniture carries the force of his vision, exemplified in lot 18 and 19.

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Rachel Whiteread Lamp, 2009. Estimate: £500-700.

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Sol LeWitt Coffee Table, designed 1981, executed 2010. Estimate: £2,000-3,000.

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Through each piece of furniture in the grouping, it is evident to see the unique and different ways each artist has applied their own approach to creating usable objects. While Rachel Whiteread’s bronze lamp (lot 25) is a reference to her eminent casted sculptures, and Sol LeWitt’s coffee table (lot 17) offers a materialization of his geometric visions, Joseph Beuys’ minimalist Royal Pitch Pine and Table II Tête (lots 20 and 21) eschew the conceptualism that the artist was known to deploy in his art. While some artists view the realm of design as a space to pursue the usual appearance and spirit embodied by their creative verve, others envisage it as an entirely new realm of possibilities – one where they can experiment with new ideas.

\n\n

\n
You can't create a work without being aware that it will change dependent upon the context or the society where it is developed or consumed.
\n– Sarah Morris
\n

\n\n

\n\n

Joseph Beuys Royal Pitch Pine, designed 1953, executed 2008. Estimate: £3,000-5,000.

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The present design pieces each embody an individual artwork, but are also transfigured into affordable, democratic items, allowing the honest intentions of seminal artists to exist within the reach of all. Venturing from two dimensions to three, the artists have realized their artistic sensibilities within a new realm – one that stands, sits and lives with their possessor. Throughout this grouping each work bends and adapts to the need of the owner, integrating into their life to be afforded a refreshed purpose. It is through this flexibility that new life within the object is born and the relationship between owner and artwork is far more tangible and tactile in comparison to painting or sculpture. Lots 17 – 25 in our Desktop sale celebrate the individuality of the artist in sculptural yet functional form.

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23

Jean-Marc Bustamante

Table (Pink)

Full-Cataloguing

Jean-Marc Bustamante