JOACHIM KOESTER Some Boarded up Houses, Chicago, 2013

JOACHIM KOESTER Some Boarded up Houses, Chicago, 2013

 With Some Boarded up Houses (Chicago) from the eponymous series started in 2009 in the States Joachim Koester brings together Walker Evans, the emblematic photographer of the Great Depression, and Bernd and Hilla Becher, the masters of objective photography. Formally, the series borrows its language from the Bechers' famous "typologies": frontal treatment of the architectural element, taken from a high view point with the neutral light of an open sky, no human presence etc. However, contrary to the Bechers and in line with Walker Evans' approach, the houses photographed by Joachim Koester are psychologically charged, haunted by the subprime crisis that saw millions of people lose their home. Noting that our current mortgage-based economy has become much more abstract, Koester suggests that 'maybe the boarded-up house can be seen as the physical manifestation of our present mode of production' (Camera Austria n°125, 2014). Joachim Koester's work thus goes beyond the already broad field of a conceptual, documentary and narrative approach to the social and political aspect of architecture. By seeking to decode the signs of repressed history in which the walls are impregnated, the artist acts as an explorer of the invisible, an observer of a reality inhabited by ghosts.

Produced on the occasion of the solo show The Place of Dead Roads, the limited edition Some Boarded up Houses (Chicago) echoes the exhibition itself with its wooden maze, its atmosphere describing according to Koester “a prohibited space where ghosts can meet and where chance encounters are not excluded”.

Joachim Koester is an artist born in 1962 in Copenhagen, Denmark. His works have been shown at Documenta X, Kassel; at the Johannesburg Biennale; the Kwangju Biennale; the Venice Biennale; the Busan Biennale; the Manifesta, Trento; Tate Triennial, London; Taipei Biennale, Taiwan; as well as in solo shows at Centre national de la photographie, Paris; Statens Museum for Kunst Copenhagen; CASM, Center d'Art Santa Mònica, Barcelona; Palais de Tokyo, Paris; Moderna Museet, Stockholm; Museo Tamayo, Mexico City; The Power Plant, Toronto; Kestnergesellschaft, Hanover; IAC,Villeurbanne; MIT, Boston; Charlottenborg Copenhagen; S.M.A.K, Ghent; and Camera Austria, Graz.

Description

Photograph on Ilford warmtone silver gelatin paper, 11x14 inches.

Format

28 x 36 cm

Edition of 30 (+3 AP), signed and numbered.

Price

CHF 1800 without frame
Frame: CHF 170
(frame à la Becher)

John M Armleder «Log», 2004

John M Armleder «Log», 2004

Combining geometric or abstract painting and objects, “Log”2 evokes John Armleder’s interest for the ready-made and seems to revive the origins of this practice. Marcel Duchamp said of his first ready-made created in 1913: “The Bicycle wheel is my first ready-made, so much so that at first it wasn’t even called a ready-made. To set the wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than everyday material life. I enjoyed looking at it, just as I enjoyed looking at the flames dancing in a fireplace.” In a similar way John Armleder views culture as an abundance of ready-mades to which are added at times other techniques, superimposed on the objects depicted*.

Produced in the context of a Xmas party organized by the Centre d’Art Contemporain Genève this real fake Christmas log bought in the States bears the artist’s monogram.

* André Gervais, “Roue de bicyclette, épitexte, texte et intertextes”, in Cahiers du MNAM, n° 30, p.59/80.

Format

Synthetic resin and electric lamp.

Dimensions

62 x 32 x 29 cm

Edition of 15 copies (+2 E.A.) initials of the artist, numbered.

Price

CHF 4500

Martin Boyce «sans titre», 2007

Martin Boyce «no title», 2007

Produced for a solo exhibition at the Centre, this limited edition by Martin Boyce is part of the project that the Scottish artist, who was awarded the Turner Prize in 2011, developed for two years and based on the "Chroniques de l’oiseau à ressort", a book by Japanese author Haruki Murakami based in Tokyo. If certain places refer directly to those in the novel, what Boyce really borrows is its emotional atmosphere, suggested by the description of suburban spaces where time seems to have stopped.

Boyce’s work explores the legacy of modern design and architecture from the first part of the 20th century, a legacy based on the hope for a better society that these designers and architects sought to establish through their practice. These dreams – nowadays broken – have left in their ruins residues of forms and ideas that Boyce uses in his sculptures, installations and murals.

The edition enhanced with spray includes a schematic plan of the Centre’s third floor as well as the letters composing the title of the exhibition “A Lost Cat and Alleyways. Back Gardens, Pools and Parkways” spread through out the surface and that seem to offer a possible itinerary for the viewing of the exhibition. These letters just as most of the works showed in the exhibition are freely inspired by the concrete tree created in 1925 by the architect Robert Mallet-Stevens for the “Exposition Internationale des Arts Décoratifs et Industriels Modernes” in Paris.

Description

Edition of the Centre d'Art Contemporain Genève.

Format

Serigraphy on paper Somerset Tub Sized Satin enhanced with spray.

Dimensions

152.4 x 102.5 cm

Edition of 20 copies signed by the artist (+5 EA), including 6 lots: enhanced with blue, red, yellow, gray, black or white spray.

Price

CHF 4000

MAYA ROCHAT, ShowerPower with Bermudaa 2015

Maya Rochat ShowerPower with Bermudaa 2015

Through her multidisciplinary practice, Maya Rochat handles photography and plays on multiple media, from collage to performance through video, to create new and enigmatic images. For the limited editions of the Centre, the artist proposes two variants: ShowerPower with Bermudaa and ShowerPower with U5.

ShowerPower with Bermudaa depicts the performance by the electro musician Bermudaa (AB Records) which took place during the first of the exhibitions conceived by Maya Rochat in the Project Space, A Plastic Tool.
Using the same principle, she reused a photograph of the work of the artist's collective U5 in the exhibition Protein Fix at the project space for ShowerPower with U5.

Trying to blur the boundaries between reality and fiction, the artist uses the shower curtain – on which she printed these images – as media for these limited editions. The strangeness of these colourful photographs transfigure this everyday object, giving it a new aesthetic dimension.

Description

Print on shower curtain.

Format

140 x 200 cm

Edition of 5 (+1 AP)

Price

CHF 400

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