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拍賣 2021年10月14日 2pm 英國夏令時間

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倫敦伯克利廣場30號 W1J 6EX（地圖）

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預展

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2021年10月6至14日

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星期一至六 10am-6pm

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星期日 12pm-6pm

\n","auctionDetailsSmall","倫敦拍賣2021年10月14日","extraInfo","

Tamila Kerimova

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日間拍賣主管暨專家

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二十世紀及當代藝術

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+44 20 7318 4065
\ntkerimova@phillips.com

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Caroline Walker, Study for Floors, Room 324, 2018 (detail). 20th Century & Contemporary Art.

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On 14 October, Phillips, in collaboration with Comic Relief, will offer a group of four works in the London 20th Century & Contemporary Art Day Sale, donated by contemporary UK-based artists Antony Gormley, Caroline Walker, Tracey Emin, and Michael Armitage. All proceeds from the sale of these works will be donated to Comic Relief to invest in organisations in the UK and across the world, including those that harness the power of the arts for social change. The works will be available to view online and in Phillips’ galleries at Berkeley Square from 6 October where they will be displayed alongside highlights from the Day Sale ahead of the auction on 14 October. Here, we highlight the participating artists, each exploring the human condition on an intimate scale through sculpture, drawing, or painting.

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Caroline Walker

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Born in Dunfermline, Scotland, and now living and working in London, Caroline Walker illuminates the overlooked work of women traditionally omitted from art history. Her paintings depict individuals in the workplace or engaged in intimate moments of introspection within the home. The richly painted environments, rendered in as much detail as the women within them, are characterized as psychologically charged spaces. "The subject of my paintings in its broadest sense is women’s experience," Walker says, "whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I’ve had the privilege of spending time within their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female."

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Study for Floors, Room 324 is a preparatory work for the large-scale painting of the same name. Created in 2018, the painting belongs to the series Housekeeping, which depicts womens’ labour within the hotel industry. Paintings from the series have been included in significant solo exhibitions of the artist’s works including Women’s Work at the Midlands Art Centre (MAC), Birmingham (May-September 2021), and Caroline Walker at KM21, The Hague which is on currently view until 29 November 2021. In recent years, Walker has garnered significant critical acclaim and her work can be found in international collections including the Arts Council Collection, UK, Kunstmuseum Den Haag, The Hague, and the De Ying Foundation, South Korea.

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Michael Armitage, Snake Charmer, 2020. 20th Century & Contemporary Art.

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© Michael Armitage. © Photo White Cube (Theo Christelis)

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Michael Armitage

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Living and working between London and Nairobi, Kenya, Michael Armitage’s work questions Western cultural assumptions by bringing them into discourse with East African sources to explore contemporary social and political issues. For Armitage, "Painting is a way of thinking through something, trying to understand an experience or an event a little better, and trying to communicate something of the problem to others." Having received a BA from the Slade School of Fine Art, London, in 2007, he completed a postgraduate diploma at the Royal Academy of Arts in London where a number of his large-scale paintings were recently exhibited to great acclaim in Michael Armitage: Paradise Edict (May-September 2021).

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Snake Charmer is a compelling example of the ink drawings created by Armitage to capture the Kenyan landscape, its wildlife, and life on the streets in urban East Africa. These include character sketches of performers, entertainers, and musicians as represented by the present work on paper. Reflecting the rich subject matter explored through his artmaking practice, a selection of Armitage’s ink drawings was recently exhibited at White Cube’s online exhibition, Michael Armitage: Another’s Tongue (July-August 2020), and at the 58th Venice Biennale under the title May You Live In Interesting Times (2019). Snake Charmer is the first drawing by the artist to be offered at auction, a rare opportunity facilitated by the charitable collaboration between Phillips and Comic Relief through the Art For Change initiative.

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Antony Gormley, LIFT 5 (MEME) III, 2018. 20th Century & Contemporary Art.

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Antony Gormley

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Turner Prize-winning artist Antony Gormley creates sculptures that explore the relationship between the human body and its environment. Best-known for his large-scale public installations, including Angel of the North (1994) and Another Place (2005), the striking impact of Gormley’s sculptural works has cultivated global appeal. LIFT 5 (MEME) III belongs to the artist’s MEME series, commenced in 2007, which encapsulates the principles of scale and multiplication that are integral to Gormley’s practice. Each work in the series is comprised of 27 consistently sized cast-iron blocks arranged to depict bodies in different postures that evoke varied psychological states. The title of the series borrows the term coined by the evolutionary biologist Richard Dawkins in his best-selling book The Selfish Gene (1976). He defines a meme as a carrier of cultural ideas or behaviours which are transmitted from person to person through the act of imitation. Gormley’s small-scale sculptures transmit the emotional states suggested by the carefully positioned figures to the viewer through the dynamic expression of the human body. Gormley notes, “These small, solid iron works use the formal geometric and architectural language of blocks to articulate a range of body postures. The ambition is to make intelligible forms that comprise an abstract lexicon of body posture but which nevertheless carry the invitation of empathy and the transmission of states of mind.”

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Tracey Emin, Like an Old Fashioned Time, 2013. 20th Century & Contemporary Art.

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Tracey Emin

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Tracey Emin has occupied a prominent position in the British art scene since the 1980s, when her raw, autobiographical approach to artmaking garnered widespread critical acclaim. Profoundly personal in nature, her work draws upon the universal themes of love, desire, loss, and grief in her exploration of womanhood and the self. In recent celebrated exhibitions including A Fortnight of Tears at White Cube, Bermondsey (2019) and Tracey Emin/Edvard Munch: The Loneliness of the Soul at the Royal Academy of Arts, London (2021) Emin has reaffirmed the significance of the nude within her practice. Executed in gouache, Like an Old Fashioned Time is characteristic of Emin's idiosyncratic intervention in the genre. The work on paper depicts a reclining female figure articulated by the artist’s distinctive gestural brushstrokes. Expressing her understanding of the body as a means to convey the rich inner life of the subject, the drawing is deeply compelling in its simplicity.

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Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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Max Ernst Among the Stars >

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Speaking the Language of Art: In Discussion with Kano >

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\n","publishDate","2021-09-28T13:35:23.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/84402505/art-for-change-phillips-comic-relief-charity-auction","displayOrder",3,"auctionEditorialID",1364,"editorialID",3659,"flocklerID",84402505,"https://flockler.com/thumbs/sites/889/max-ernst-paintings-phillips-auction-house-354c8d9f-cc13-4034-b790-1d45a37b5523_s600x0.jpg","Astrophysicist Ravit Helled examines 20th century breakthroughs in planetary science alongside contemporary works by Max Ernst. ","Max Ernst Among the Stars ","

Max Ernst, Delicate Arch (Zion National Park), 1936. 20th Century & Contemporary Art, New York.

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The practice of art and the science of the cosmos combined in the surreal works of Max Ernst through his creative fascination with German astronomer Wilhelm Tempel. In 1861, Tempel discovered a planetoid and named it after Maximillian II, King of Bavaria. Ernst, in turn, would become engrossed in Tempel's unique approaches to astronomy, finding a kindred spirit in the relationship between science and the surreal; in the exploration of the limits of human perception of the universe. The stars continued to align when Ernst and director Peter Schamoni collaborated for a 1967 documentary on the life and work of Tempel, The Unlawful Practice of Astronomy, which began an artistic relationship betwen the director and the artist. Through his close friendship with Max Ernst, Peter Schamoni assembled an exceptional collection that serves as a lasting memento and retrospective of one of the most significant artists of the 20th century.

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Written by Ravit Helled

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We are part of the cosmos, but we are small and the universe is huge. It is important to open our eyes and hearts to better understand our place in the the grand picture, how insignificant, fragile and short-lived we are, how fascinating space is, and how we can be inspired by it. Perhaps astronomers and artists are not that different after all — they both aim to see beyond the visible and find a meaning to what’s around us.

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Max Ernst, Ohne Titel (les hommes ne le sauront jamais), circa 1921. 20th Century & Contemporary Art, New York.

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1926: A Breakthrough

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Although the Sun is just one of billions of similar stars in our galaxy, it is special to us because it provides the energy for nearly all living things on Earth. Our Sun has shone for four and half billion years and will continue for another seven billion. Its main source of energy was a mystery until Albert Einstein showed that matter itself is pure energy and Arthur Eddington demonstrated how atoms could fuse together in stars, liberating this energy. In 1926, Eddington published calculations that revolutionized our understanding of the structure of stars and how they evolve in time. He showed that there is an intricate balance between gravity that holds stars together and nuclear energy that prevents them from collapsing. This work led to the relation between the masses of stars and their brightness, allowing astronomers to estimate their ages. This in turn led to the first limits on the age of our universe, which had to be older than the oldest stars that are 13 billion years old. The leap in our understanding of the workings of stars was a crucial milestone for astrophysics and our investigation of the cosmos.

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Max Ernst, Kachina, le chien de Peggy Guggenheim, circa 1942. 20th Century & Contemporary Art, New York.

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1930: Planet X

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At the beginning of the 20th century, astronomer Percival Lowell thought that the irregular movements of the outer planets Uranus and Neptune could be due to a more distant, hypothetical planet X. In 1930, 14 years after his death, Pluto was discovered at the Lowell Observatory and officially added as the ninth planet of the Solar System. Its status as a planet lasted over seventy years, until the 2005 discovery of a larger object beyond the orbit of Neptune known as Eris, which initiated discussions on how planets in the solar system should be defined. After vivid and emotional debates culminating in a vote among professional astronomers, the International Astronomical Union (IAU) announced in 2006 that Pluto was no longer a planet, and classified it instead as a “dwarf planet.” One of the criteria for an object to be a planet is that it has to have cleared its planetary environment — in other words, it must be the dominant object in its orbital region. This is not the case for Pluto, which is part of the Kuiper belt, a region full of large rocky, icy objects beyond Neptune’s orbit. It was only in 2015 that we had our first close-up images of Pluto’s surface, showing that it is active with a liquid ocean that could even host life.

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Max Ernst, Hawaï, 1952. 20th Century & Contemporary Art, New York.

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1957-58: The Age of Exploration Begins

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1957 represents the dawn of the Space Age. That year, the Soviet space program launched Sputnik 1, the world’s first artificial satellite, triggering the space race. The following year, the United States launched its first satellites into space, including Vanguard 1, which still orbits the Earth today. Political dimensions aside, the space race triggered important technological and scientific developments, from communication and Earth monitoring satellites to landing humans on the moon and the remote exploration of our solar system. Today there is a new space race, as many nations plan return trips to the moon and beyond. We also have private companies and the beginnings of space tourism. These breakthroughs raise their own important questions, such as who owns space? What are we capable of achieving in terms of space exploration? Will we colonize space? How are we going to be affected by these efforts? Are there limits we should not cross?

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Max Ernst, Déchets d'oeuvres, 1968. 20th Century & Contemporary Art, New York.

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1969: To the Moon and Beyond

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Our planetary system is the remnant of the formation of the Sun. While today we know that planetary systems are common in the galaxy, just about two decades ago, the Solar System was the only known planetary system. Already in the late 1700s it was suggested that our planetary system was formed as a result of the collapse of a gaseous cloud. The collapse of this cloud was thought to lead to the formation of the young Sun, which was surrounded by a disk, from where the planets formed. Only in 1969 did the Russian astronomer Victor Safronov publish his theory on the “Evolution of the protoplanetary cloud and formation of the earth and the planets” in Russian. This work, which introduces key questions linked to the origin of planets, was been translated into English three years later. This theory represents the beginning of extensive research on the origin of the Solar System and planetary systems around other stars.

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Max Ernst, Portrait de Ernst Wilhelm Leberecht Tempel, 1965. 20th Century & Contemporary Art, New York.

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1974: A Message to the Stars

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The question of whether extraterrestrial life exists has been keeping scientists and philosophers busy well before we detected the first extra-solar planet. Only recently we have learned that small planets are common in the galaxy, suggesting that life in the universe is not a rare phenomenon, at least statistically speaking.

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In 1974, a message to space, known as the Arecibo message, was sent to the star cluster M13, near the edge of the Milky Way galaxy. The Arecibo message included 1,679 binary digits, and was sent from the Arecibo radio telescope in Puerto Rico. The message included basic information about human race, such as the fundamental chemicals of life, the formula for DNA, and graphics of the Solar System and the Arecibo telescope. The search for intelligent extraterrestrial communications in the universe and Earth-like planets are ongoing, and we seem to be closer than ever to finally answer the question: “Are we alone?”

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Ravit Helled is a Professor of Theoretical Astrophysics at the Institute for Computational Science, Center for Theoretical Astrophysics & Cosmology, University of Zurich. Helled’s scientific work concentrates on planet formation and evolution, planetary interiors, and extrasolar planets. She is an international expert in planetary modeling, and uniquely addressing the link between planetary formation, evolution, and internal structure, as well as linking exoplanetary studies with solar system science. Professor Helled is strongly involved in space exploration and is a key member in several ESA and NASA space missions.

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Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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Maximiliana: Max Ernst from the Collection of Peter Schamoni >

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The Art Lover's Guide to Porto >

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\n","2021-09-29T15:25:24.000000Z","https://www.phillips.com/article/84427892/max-ernst-stars-art-phillips-auction",2,1375,3661,84427892,"https://flockler.com/thumbs/sites/889/max-ernst-paintings-sale-auction-phillips-pyramid-lake-58496501-9f3b-4aa9-a45e-9d83bf0886df_s600x0.jpg","Phillips' specialists highlight works from the upcoming 14-15 October 20th Century & Contemporary Art auctions. ","Specialist Picks: Selections from Day & Evening Sales, London","

Max Ernst, Pyramid Lake, 1946. 20th Century & Contemporary Art.

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Thibault Stockmann, International Specialist, Paris

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Pyramid Lake is a very fine example of a Surrealist landscape by one of its leading figures. To me, it bears on the one hand a very calming and peaceful quality, but on the other, it has a sense of angst and tension suggested by the dark clouds gathering over an empty landscape composed mainly of rocks and water. I find it masterfully executed with the artist’s signature techniques of decalcomania and frottage, which reveal a myriad of subtle intertwining colors.

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Lynette Yiadom-Boakye, Wren, 2011. 20th Century & Contemporary Art.

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Tamila Kerimova, Head of Day sale, London

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Wren strikes me as a wonderful example of Lynette Yiadom-Boakye’s signature intervention in the history of portraiture. Her palpable brushstrokes imbue the figure with a charismatic dynamism that asserts her distinctly contemporary approach to capturing the human condition. She uses the traditional medium of oil paint to depict fictional subjects drawn from her imagination. Wren’s typically poetic title shrouds the subject in an ambiguity heightened by the nondescript monochromatic background of the work. I am drawn to the bright white of the subject’s eye as it flashes in contrast against the darker hues of the painting, enlivening the figure, and imbuing the painting with a timeless quality. Yiadom-Boakye’s remarkable work was presented in a critically acclaimed solo exhibition at the Tate Britain earlier this year, asserting her virtuosic approach to contemporary portraiture.

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Sigmar Polke, Negerplastik, 1968. 20th Century & Contemporary Art.

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Tobias Sirtl, International Specialist, Munich

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This work by Sigmar Polke is a magnificent example of his amazing sense of humor, like no other German artist ever had, in my view. His comedic visual language is sharp, observing and intelligent, but without taking itself too seriously and always pointing at his own kind. The painting is one of the last works from the early and much coveted Stoffbilder series to come to market, its vitality and subtle complexity marking it out as a truly exceptional piece. Previously on a long-term loan to the Kunstmuseum Bonn, the present work has an exceptional exhibition history, included in both the 1976 mid-career retrospective, and in the highly anticipated Alibi’s: Sigmar Polke 1963-2010 at the Museum of Modern Art, New York, and Tate Modern, London, in 2014.

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Maria Helena Vieira da Silva, Champs de Sainte-Claire, 1958. 20th Century & Contemporary Art.

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Carolina Lanfranchi, Senior International Specialist, Milan

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I love the airy and dreamy quality of the chromatic language in this work, which at the same time maintains a strong geometric organization in its architectural elements. In the balance between these two opposite concepts, I find this work both calming and vibrant. Considered by many to be Portugal's "greatest contemporary painter," Vieira da Silva's unique approach to depicting space in her work eschews traditional devices of perspective. Instead, she dissolves positional relationships into elements of form, giving Vieira da Silva's use of perspective a hazy, ruminative quality.

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Gerhard Richter, Abstrakt 474-1, 1981. 20th Century & Contemporary Art.

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Marianne Hoet, Senior Specialist & Deputy Chairwoman, Europe, Antwerp

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Created in 1981, Abstrakt 474-1 is an early example of Gerhard Richter’s engagement with abstraction. I am immediately pulled to the dazzling sweeps of yellow and the way the contrasting fields of icy blue exude a vitality that gives the work a visceral presence. See how the ayers of peaked impasto are laid upon the softly gradated background, evidencing the artist’s virtuosic handling of paint. The work illustrates Richter’s distinctive use of the squeegee to spread layers of paint across the canvas to create highly textured surfaces. In Abstrakt 474-1, the squeegee is used to add further textural depth to the painting, providing key accents within the dynamic energy of the composition.

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Etel Adnan, Untitled, 2015. 20th Century & Contemporary Art.

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Clara Rivollet, International Specialist, Paris

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At the crossroad between figuration and abstraction, Etel Adnan’s intimate compositions encompass at once the sensations of memory and subjective perception. I am reminded of Nicolas de Staël by Adnan's skillfully articulated geometric shapes that exude a vital energy. Such as her own Sainte-Victoire mountain, the Mount Tamalpais, as seen from her home view in Sausalito, California, often appears in her compositions with shifting lights and weathers. In addition to her painterly practice, she is widely renowned for her writings, poems and plays in Arabic, French and English. About the different modes of expression, she has stated: “It seems to me I write what I see, paint what I am.”

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Discover More from 20th Century & Contemporary Art >

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Gallery Tour

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Join Kate Bryan, Head of Evening Sale, on a personal tour of our London galleries ahead of our 20th Century and Contemporary Art auctions. From the dizzy heights of Sigmar Polke and Marlene Dumas to the rising stars of today, the auction preview includes a diverse mix stunning artworks.

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Recommended Reading

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Speaking the Language of Art: In Discussion with Kano >

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Théâtres de Mémoire: Jean Dubuffet’s Last Decades >

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\n","2021-10-06T17:35:46.000000Z","https://www.phillips.com/article/84935395/specialist-picks-selections-from-day-and-evening-sales-london",1374,3669,84935395,"https://flockler.com/thumbs/sites/889/kano-phillips-auction-63aca73a-1cb6-4b49-af0b-7d3752c5085b_s600x0.jpg","Phillips sits with the musician and actor to talk inspiration and his selections for our partnership. ","Speaking the Language of Art: In Discussion with Kano","

Photo by Thai Hibbert, Thomas De Cruz Media. @thaimatic for @thomasdecruzmedia

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Between six albums and an acting career, his CV speaks for itself. In partnership with Phillips, East London's very own Kano turns his attention to new experiences in art. Ahead of the 15 October auction in London, we discuss his chosen picks from the collection, along with how he stays inspired and what it means for artists to communicate across mediums.

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PHILLIPS: Thinking of your overall practice as an artist, how does your creative process unfold? Are there any particular places you find inspiration?

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KANO: With me, when it comes to, say, writing lyrics, my inspirations are drawn from personal experiences, whether they’re positive or negative — things I’ve gone through, my upbringing, the city I’m from. Those are the general themes that come across in most of my work. London features quite heavily. It always rises to the surface whenever I’m writing material. But overall, it’s that theme of day-to-day life that ends up in my music.

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P: Do those ideas come up throughout the day, or do you prefer to sit down and concentrate on one thing at a time? How does it all piece together for you?

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K: There will be moments throughout the day when I think of a line or an idea, but generally those experiences get absorbed and stored until I’m sitting down at home and writing, and then they come to the surface again. Creating music is a collaborative experience — I’ll be in the studio with different musicians and producers and we’ll build an instrumental track, but writing lyrics is quite a solitary experience for me. I normally take that music home and stay up late to pen all my thoughts. At times a line will pop up and I’ll work with that, but overall it’s an individual process. Music is performed in front of thousands, but often created in a room of one.

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When I’m not in the process of creating material, I often don’t think about it at all. But when I’m in the mindset of making an album, I can’t think about anything else. I think about it all day in the studio, then more on the way home. Then it’s hard to sleep at night. Sometimes I’ll be struggling with a piece or a few lines that I can’t quite get, and I’ll go to bed without finishing them and wake up with the missing words, so even then, it feels like I never stopped thinking about it.

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P: Was there a moment for you when you knew for certain you were an artist?

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K: I was probably an artist before I knew I was. I was writing lyrics and making music around 13 or 14, but giving yourself the title of ‘artist’ feels like a jump in confidence. I was still in school, doing graphic design and other creative things, but I was still making music at home. It wasn’t until I started getting into pirate radio and performing at raves that I started feeling that confidence and acceptance from people outside my immediate area. That’s when I thought, alright, I’m an artist now. From that moment on it’s all I’ve wanted to do. I started producing my first studio album at quite a young age, which was an exciting experience. And then to follow that process with touring, traveling around the country, then outside the country doing support gigs was a mad experience for me as a young person, and to experience that with my mates was something else. It’s all something I really, really loved.

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Serge Attukwei Clottey, Fashion icons, 2020-2021. 20th Century & Contemporary Art.

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P: You've selected a number of artworks from the upcoming Philips Contemporary Art auction. What drew you to those works?

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K: I was drawn to them for various reasons. For some it was the striking quality of their colors, for others I was interested in the techniques of the artists. But it was also about getting to know their backgrounds that drew me even closer — hearing the artists’ stories and how they represent where they’re from, or use their art to talk about issues close to them. Today was my first time seeing these works in person and really getting to get a sense of things like color and texture, depth and scale. On a phone everything’s the same size, but getting to see them up close gave me a whole new perspective with them.

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P: Are there any background stories in this collection that stand out for you?

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K: I’ve selected a piece by an artist named Aboudia from the Ivory Coast. The way he goes about his work is very inspired by the street, which is something I can clearly identify with. He takes inspiration from graffiti and materials you might find on the streets and then repurposes them in his work. It’s little things like that that I can identify with: taking something that’s used and finding a new use for it. To me that sounds like sampling in music. We take an old record and flip it in a different way. Sampling changes things so you’ve never seen it in this new light; you’ve never heard it in this way. That relationship really connects me to a piece of work.

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I think my favorite is the Titus Kaphar piece. Before today I’d only seen it in 2D, so to experience it up close and move around it and feel the depth of the work was very cool. I’ve also come to understand more about his work and how he approaches things; the way he paints historical images and puts a Black face where it wasn’t before, yet manages to make it feel like it’s always belonged there is both powerful and inspirational for me. I’m glad there are contemporary artists out there who are really using their voices and creativity to say something meaningful. The works I’ve selected follow that idea in that the pieces seem at first to be one thing, one aspect, and then they say a bit more and make you question something. It jumps from the surface of the pieces. I’ll leave here and I'll be thinking about the same thing.

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Titus Kaphar, Holy Absence II, 2014. 20th Century & Contemporary Art.

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P: You've been to Philips a few times. What was it like coming for the first time, and how did you feel in the galleries?

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K: Coming here for the first time was great, because at first I was on the outside looking in, literally — I wasn’t sure if you could just walk into the gallery! But knowing then that anyone could come in and see the exhibitions was great. During my first visit I came across an amazing piece by Wonder Buhle Mbambo, and when I left I looked him up on Instagram and chatted with him about his work. It’s that process of discovery that’s a continuous thing. Art is a world I’ve always respected but knew little about, so coming to Phillips and learning about the contemporary art scene and these artists has been a great experience.

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P: Here’s a trade secret: If you see people drinking wine behind a large glass window, you can just walk in.

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K: I saw a big guy in a suit at the door and thought, is it a guest list thing? I walked in and it was all good.

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Photo by Thai Hibbert, Thomas De Cruz Media. @thaimatic for @thomasdecruzmedia

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P: Thinking about the whole project, what was it that excited you about this partnership?

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K: For me it was about discovering a new world, and as an artist, being able to learn about art in a different medium that creates new connections. Being able to showcase work like that is amazing. Where I come from, not a lot of people get to do that, or even think contemporary art is accessible, but it is, and it can be. It doesn’t mean you have to own it, but you can enjoy it, and that’s what I wanted to show through this process.

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P: Do you collect art or anything else? What does collecting mean to you?

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K: When I was young, my brother and I used to collect garage records. I don’t know where they went, but I wish I had them now. In terms of collecting art, I actually have a few pieces made by a family member — he'd never sold art before, but I saw his work and I wanted a piece, so I got it framed and up on the wall. To him it was this moment of someone else wanting to hang up his work, and that solidified the fact for him that he’s an artist. It gives that kick for him to create his next piece. It’s not always about spending millions of pounds; you can always start at any level and still get to enjoy the art.

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P: Were there any moments like that for you?

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K: It was when I made my first tune and pressed it onto a one-off dubplate. A DJ from my area played it on the pirate radio and it was like yeah, this is it, I’m in it. It solidified what I was doing as an artist. It was only at the local level, but it was big to me; you never forget moments like that. They help you move on to the next stage and give you that confidence.

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P: How do you think artists of different mediums can inspire each other?

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K: They can inspire each other a lot. You see it with film and music, how visual art and sound take inspiration from each other. It might not be immediate with contemporary art, but when you see some of these pieces, it’s very inspirational. They make you think about the process and the message and all of these things that can be used by other artists to go and create their own works. It happens in reverse, too — the artist can paint with music on in the background, or they find a song that makes them feel a certain way when working, and they then create a piece through that. It’s this back and forth, this synergy that artists share around the world. Once you’re an artist, you’re one with all of that. You’re together. We get each other. We speak the same language even though we use different techniques.

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Kano is a British rapper, songwriter and actor from East Ham, London. A significant contributor to UK music, Kano is widely considered one of the pioneers of grime music and culture. Launching in 2004 with his debut single "P's and Q’s" which was an underground hit, Kano has since gone on to release six studio albums. Made in the Manor (2016) was considered one of the best albums of the year by numerous publications. It was shortlisted for the 2016 Mercury Prize and won Best Album at the 2016 MOBO Awards. Most recently, Kano’s album Hoodies All Summer (2019) was acclaimed by music critics across the board, and was shortlisted for the 2020 Mercury Prize. Alongside his music, Kano is known for his acting, most notably playing the role of Sully in Top Boy.

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Discover More from 20th Century & Contemporary Art >

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The Artist & The Athlete: In Conversation with Milo Matthieu and Deron Williams >

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Théâtres de Mémoire: Jean Dubuffet’s Last Decades >

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Kounellis: XXII Stations on an Odyssey 1969-2010, Munich, 2010, no. 81, pp. 119, 333 (illustrated, on the cover, pp. 117-118, 120)","exhibited","Athens, Cargo Vessel Ionion, Piraeus, 1 October - 13 November 1994","mainImagePath","https://dist.phillips.com/auction-assets/UK010721/158691_001.jpg","additionalImagePaths",[526,527],"estimateSymbols",[524,525],"enhancedLotComponents",[509],"conditionReport","The work is structurally sound. 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Executed in 1989, Jannis Kounellis’s Untitled is comprised of two iron bars hung from hooks and partially enveloped in gathered burlap sacking. The paired ridged beams, suspended in parallel, strike a harmonious balance. The arrangement reflects the artist’s career-long experimentation with constructing alternate material worlds by staging poetic encounters with familiar objects. Relocating to Rome from Greece in 1956, Kounellis was a key pioneer of the Arte Povera movement that emerged amongst a group of socially-conscious artists in Italy in the late 1960s and 1970s. As evidenced in the present work, his use of non-traditional materials dismantles ‘the dichotomy between art and life’ to imagine an alternative mode of society, demonstrating the ongoing relevance of the ideologies and artistic practices of the earlier movement to his subsequent artmaking.ⁱ

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'The artist has always been a visionary […] I think that the artist is the inventor of the new as an affirmation of freedom.' —Jannis KounellisDespite the industrial quality of the sculptural work, Kounellis places the human subject at the heart of his practice: ‘It’s always about man’.ⁱⁱ He understands his artmaking as an extension of a humanist tradition that can be traced back to the Renaissance. The dimensions of Untitled (2 metres high and 1.8 metres wide) are approximately the same as a double bed, situating the proportions of the human body in dialogue with that of the twinned iron bars. Here, the human aspect of the work is not represented through figurative visual language but presented in the spatial relationship established between sculpture and viewer.

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\"An — An installation created in the interior of Ruderi del Teatro Margherita in Bari, Italy (2010) that cultivated a dynamic relationship between Kounellis’s art and the body of the visitor as they moved through the space. Bari, Ruderi del Teatro Margherita, Mostra, Jannis Kounellis a Bari nella foto le installazioni della Mostra. Foto: Gaetano Lo Porto© 2021. AGF/Scala, Florence © Adagp, Paris, 2021 - Photo : Adagp images

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Preoccupied with imagining alternative socio-political orders centred on the human subject, Kounellis, like the great German artist Joseph Beuys, thought profoundly about the role of the artist in post-war European society: ‘I search among the fragments (emotional and formal) for the scatterings of history. I search dramatically for unity, although it is unattainable, although it is Utopian, although it is impossible’.ⁱⁱⁱ This sentiment is mirrored in the structure of the artist’s exhibitions from the mid-1970s onwards. He presented small-scale retrospectives of his work in which earlier pieces were brought into dialogue in installations. Untitled was included in one of the most significant exhibitions of this kind devised by Kounellis in 1994: Cargo Vessel M/V Ionion (1 October–13 November 1994).

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For this first retrospective of his work in Greece, the artist chose to stage the exhibition in the hold of a working cargo vessel tethered in the port of Piraeus – a bustling dock on the outskirts of Athens where he had grown up. Visitors descended into the belly of the vessel only to find the commodities usually stored within the industrial interior replaced with a curated grouping of Kounellis’s sculptural works. The two beams that constitute Untitled were hung from a wall, reconfiguring the industrial materials readily associated with the shipping industry in a poetic meditation on the overarching theme of the exhibition: the voyage.

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\"Another — Another work made in the late 1980s and included in Kounellis’s 1994 exhibition, *Cargo Vessel M/V Ionion*. Jannis Kounellis, *Senza titolo*, 1988, steel, jute, travertine and limonite. Museo del Novecentro, Milan. Mondadori Portfolio/Electa/Luca Carrà / Bridgeman Images © Adagp, Paris, 2021 - Photo : Adagp images

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The idea of the voyage had preoccupied Kounellis since 1969 when he produced an exhibition poster featuring a photograph of him standing on the back of a fishing boat crossing the Bay of Naples. In 1974, during the 36th Venice Biennale, he first experimented with the site-specificity of the boat. He presented a row of scale pans and ground coffee illuminated by a kerosene lamp inside a barge moored on one of the Floating City’s canals. Yet, for Kounellis, the idea of the voyage is not solely associated with physical travel (the boat) but resounds with metaphorical and symbolic significance: ‘Every journey has an initiatory character, it is an active, loving, expansive idea of knowledge’.^iv Created in 1989 and presented in his birthplace of Piraeus in 1994, Untitled has accumulated open-ended meaning as it has resurfaced throughout Kounellis’s artistic journey, standing as a powerful material exploration of the artist’s ever-expanding quest for knowledge.

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\"© — © Adagp, Paris, 2021 - Photo : Adagp images. Manolis Baboussis, Jannis Kounellis, MV Ionion, Piraeus, 1994.

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\"© — © Adagp, Paris, 2021 - Photo : Adagp images. Manolis Baboussis, Jannis Kounellis, MV Ionion, Piraeus, 1994.

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\"© — © Adagp, Paris, 2021 - Photo : Adagp images. Manolis Baboussis, Jannis Kounellis, MV Ionion, Piraeus, 1994.

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Speaking in 2015, Jannis Kounellis discusses the conceptual framework within which he undertakes his artistic practice and the contemporaneity of the colour grey introduced to his work through his use of industrial materials.

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\nⁱ Germano Celant, quoted in ‘In Memory of Germano Celant: Arte povera. Notes on a guerrilla war’, Flash Art, 29 April 2020, online
\nⁱⁱ Jannis Kounellis, quoted in ‘Jannis Kounellis: Gray is the Color of Our Time’, YouTube, 10 March 2015, online
\nⁱⁱⁱ Jannis Kounellis, quoted in Gloria Moure, Jannis Kounellis: Works, Writings 1958-2000, Barcelona, 2001, p. 140
\n^iv Jannis Kounellis, quoted in Gloria Moure, Jannis Kounellis: Works, Writings 1958-2000, Barcelona, 2001, p. 281

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