Christie’s is holding a sale of 22 works by Contemporary artists to benefit Le Consortium in Dijon during its June 7th Art Contemporain sale in Paris. The three top lots are works by Wade Guyton from his latest series (above) Untitled, 2018, (150-200k EUR), a painting by Joe Bradley, Can, 2018, (150- 200k EUR) and an oil and screen print on paper by Christopher Wool, Untitled, 2016, (100- 150k) but also works by Brian Calvin, Roberto Cuoghi, Richard Prince, Valentin Carron, Ugo Rondinone, Charline von Heyl, Karen Kilimnik, Rachel Harrison, Roe Ethridge, Sturtevant, Fredrik Værslev, Alex Israel, Rodney Graham and David Hominal.
Following her recent retrospective at the Centre Pompidou, Sheila Hicks will open the session with Bâtons de parole, 2017 (20-30k EUR). French artists will include Pierre Huyghe, Dominique Gonzalez-Foerster, Xavier Veilhan and François Morellet.
Christie’s press release explains the history of Le Consortium:
Last year, Le Consortium celebrated its fortieth anniversary. Since 2011, the museum has been housed in a 4,000 m2 building specially designed for that purpose by Japanese architect Shigeru Ban. However, the history of this institution, in a genre all its own, began in 1977…There,
young university students pursued their ambition of showing the art of their era. With a handful of passionate collaborators, founders Xavier Douroux and Franck Gautherot began holding exhibitions for avant-garde artists in the late 1970’s : Christian Boltanski in 1978, Hans Peter Feldmann in 1979, Annette Messager in 1980, Cindy Sherman and Daniel Buren in 1982.
Recently hailed by the New York Times as “the under-the-radar French museum that quietly predicts art’s next big thing”, Le Consortium has spent the early years of the 21st century holding début shows in France for many American artists, including Christopher Wool, Kelley Walker, Rachel Feinstein, Joe Bradley, Ugo Rondinone, Josh Smith, Rachel Harrison, Wade Guyton, Joe Bradley, Roe Ethridge, Brian Calvin, Alex Israel, Oscar Tuazon, Larri Pittman – while dedicating retrospective exhibitions to the work of Lynda Benglis, Dadamaino, Luigi Ontani or Phillip King.
Le Consortium collection is now on permanent exhibit on the building’s second story and comprises just over 350 works. It is mostly made up of pieces donated by artists whose work has shown at Le Consortium at some point, making it a living record of the museum’s exhibitions through the years.
Le Consortium was devastated by the loss of Xavier Douroux, who left us too early last year; nevertheless, it is determined to march onwards, carrying on with the project that Douroux helped to found and build, with the ambition and spark that our present moment demands. To secure the means to do so, Le Consor- tium has decided to solicit, for the rst time, the assistance of artists whose a ection and con dence have surpassed its expectations. Their generosity is
a meaningful homage to Xavier Douroux’s unrelenting artistic commitment, expressing the wish—the demand, even—that, though he is no more, his vision should live on.
François Pinault signs the introduction to the catalogue by paying tribute to Xavier Douroux, who died last year, co-founder of the centre with Franck Gautherot : “As I commend this wonderful, exemplary venture and lend my support to this sale, which has been organised for its benefit, I would also like to pay respectful, poignant tribute to the memory of our dear Xavier Douroux, who hosted me in Dijon on several occasions and helped me appreciate the quality of his choices. He was a tremendous sower of projects… we are reaping the extraordinary results.”
- Ugo Rondinone, Zehnterjunizweitausendundsechzehn (2016): Obsessed with the question of time from his very first creations, Rondinone often titles his works with dates, such as Zehnterjunizweitausendundsechzehn. The title of the work also reveals the artist’s conceptual approach by once again alluding to the date of the painting’s completion – 10 June 2016. This neutral title is actually a way to relate his pieces to each other. “Together with its title the ‘sun painting’ suggests time and space. I see the world as a mysterious place where appearances are deceptive and ultimate reality is rarely perceived. A world where each individual creates her or his own time and space. It’s a paradox. On one side we experience time and space as reliable and predictable entities, whereas time and space present us with deceptive forms of reality. But the inner life of time and space is gloomy, labyrinthine, and perilous.”
- Brian Calvin californiana artist, that we saw also in Milan last year at Cabinet, here represented by New Bloom (2017) : Brian Calvin’s paintings depict a detached and connected youth that loves nothing more than contemplating itself. They portray these selfie generation. His faces appear vacant, expressionless and gazing far beyond the confines of the canvas.
- Richard Prince Untitled (man’s hand on pocket with watch) 1980 Estimate:€20.000/30.0000
- Christopher Wool with a wonderful Untitled from 2016: an eloquent testimony to Wool’s words, showing the tension between the intentional and the unexpected, the hand-painted and the mechanical which are so central to his oeuvre.
- There’s also the Italian artist Roberto Cuoghi, defined in the catalogue as ” protean artist who defies categorization.Cuoghi has unceasingly explored questions of identity, metamorphosis and hybridization.In 2016, invited by the art collector Dakis Joannou to put on Putiferio, an exhibition on the Greek island of Hydra, he red dozens of ceramic crabs, and tongued them archaic kilns he had made for the occasion. Odd and disturbing, the work presented here is the fruit of such experiments, that the artist has continued developing, experimenting unpredictable ring and colouring techniques.
Rodney Graham with Awakening from 2006 (exhibited also in Zurich Hauser & Wirth gallery). Consortium hosted an important exhibition of this artist on 2017. Estimate:€ 60.000/80.000.
- Dominique Gonzalez-Foerster continually questioned the relationship between reality and ction, in works in a range of formats including films, photographs, installations and performances, in which music and literature played an important role. Between 2012 and 2014, for her M.2062 project, she staged sixteen appearances of di erent personas (real and imagined) – Ludwig II, Lola Montez, Bob Dylan, Emily Brontë, Scarlett O’Hara, Fitzcarraldo and Edgar Allan Poe (identi ed here by his initials, EAP), each time in a di erent place. For the artist, each of these avatars represents a refuge from standardisation, “they are an outburst of desire and the unconscious, of what is organic, fantasy, sporadic, tension. They are full of this magic which […] nowadays seems more necessary than ever”. Together, these personas make up a fragmented play where the past and present overlap in a game of hide and seek with the viewer, at the same time suggesting a portrait of the artist herself. Estimate € 8.000-12.000
- Pierre Huyghe with Timekeeper from 2018: ince his rst Timekeeper in 1999, shown in the original white cube, the Vienna Secession at hisLe procès du temps libre (Free Time on Trial) exhibition, Pierre Huyghe has continued to expose the multitudes of paint layers on walls, buried over successive seasons and exhibitions, by sanding down the pictorial surface. Bringing together time and space, the past and present in a single step, these chromatic layers are a testament of the quasi-organic evolution of the exhibition space.
- François Morellet, with the geometries of Pinox n°3, 1=10°. Stima:€8.000 /12.000.
Then the action see some more lots from prestigious private collections:
- The art/designer FRANÇOIS-XAVIER LALANNE, already main player in last Christie’s auction in London and New York, here represented by this cute lamp. Stima: €120.000-180.000.
- From the family collection to benefit the HILLMAN Fondation, will be sold a JEAN DUBUFFET, Partition from 1965: Estimate : €600.000/800.000.
- From the Jacqueline & Jean Hélion collection we find a wonderful Calder’s mobiles from 1963, with all its dancing and lyric balance in suspension.Calder created his rst mobiles at the turn of the 1930s when working in Paris where he made friends with avant-garde artists and Jean Hélion in particular.Created in 1963 at the summit of the artist’s stylistic maturity and given to Jacqueline and Jean Hélion as a wedding present, Untitled bears JEAN-PAUL SARTRE witness to the thirty year friendship between Calder and Hélion and a complicity which shines out of the happy photographs taken at the private view at the Louis Carré gallery in the summer of 1962. Deploying its elongated shapes in space, alternating between stillness and movement, half way between the material and life, Untitled ultimately seeks to resolve a fundamental enigma: “What is space”? And, like Balzac, Calder might answer “Movement alone reveals it to us; without movement, space is no more than a meaningless word” (Honoré de Balzac, La peau de chagrin).
- Very interesting is also the piece from 1962 by Martial Raysse, Béatrice (title bleu)
Béatrice belongs to a series of eight works that Martial Raysse created on mirror in 1961 (La France Miroir, 1961, from this collection is kept in the Mumok collections in Vienna), a year before this medium was used by another prominent artist from the second half of the 20th century, Michelangelo Pistoletto. The mirror, that essential tool of
female vanity, allowed the artist to incorporate a “mise en abyme” or image within an image of the appearance of the viewer, who then contemplates himself or herself at the same time as viewing the work in front of him or her. Describing himself
as a “vision engineer” , Raysse uses the re ective properties of the mirror to grab hold of the viewer and bring him or her right into the heart of his work, in the same way that advertising pushes the viewer to project themselves into it and take on the aspirations that it arouses. Béatrice is an iconic example of the tension which is at the heart of beauty as it is celebrated by Martial Raysse in his art: it is a beauty staged with the accessories found on the shelves of large stores and therefore so close that we readily identify with it; but at the same time it is a beauty made from glazed paper, destined to remain forever an inaccessible mirage, hidden behind the mystery of those half-open eyes. Estimate. €600.000/800.000
- Inevitable to be offered also a great piece by Hans Hartung, as the moment of raising interest on the artist works. Here we can find a desirable work from 1955, T 1955-9 , very likely to overcome the estimate € 650.000-850.000.
- Another masterpiece in the catalogue is the chromatic poetry of Fleury by NICOLAS DE STAËL from 1952: with a substantial curriculum (it was exhibited also in the first de Staël important solo show ) it is datate to a crucial year for the artist: in fact 1952 proved to be a turning point in Nicolas de Staël’s dazzling artistic career. He felt the need to adjust his vision to the actual world, to leave the studio, to truly get to grips with reality. “The thick solid swaths of colour, the blocks that made up the abstract canvas were rearranged into ‘landscapes’, ‘bottles’, ‘windows’, ‘ owers’” (M. du Bouchet, Nicolas de Staël, Une illumination sans précédent, Paris, 2003, p. 67). At the same time, the painter’s palette underwent a radical change as he encountered the sunlight in the South of France, where Staël spent part of the year. The prestige of the work is confirmed by the high estimate of €3.500.000/5.000.000
Other highlights from the sale are : 2 big names from Japan as Yayoi Kusama(Infinity Nets, 2005, estimate € 500.000/700.000) and Kazuo Shiraga (Chikakusei Dokukakuryu, 1962 estimate€ 800.000/1.200.000 milioni); some important names from french contemporary and modern art scene as Pierre Soulage (Peinture 227 x 306 cm, 2 mars 2009, estimate € 1/1.5 milioni), Jean Paul Riopelle (in particular Sans Titre del 1954 estimate € 500.000-700.000) eandNiki De Saint Phalle, Dawn (Saune),from 1995 estimate € 200.000/300.000, but also some of the greatest names of international scene over last century as a Homage to the Square di Josef Albers (Friendly sky, 1958b, estimate € 200.000/300.000), Georg Baselitz (Ekeby, 1943 , estimate € 140.000/200.000) and the funny sculpture by Keith Haring from 1986 (Estimate € 250.000/350.000)
From the Day Sale selection the following day (On June 8 ), we can mention as interesting highlights: 2 wonderful Matta (Sans Titre, 1963, estimate €100.000/150.000 and Ecrire son cri, 1970 estimate €60.000/80.000),a fluorescent composition by Peter Halley (Optimized input, 2000, estimate:€50.000/70.000), the convoluted red sculpture by Tony Cragg (Red square, €80.000/100.000) and a work from 2008 by Gilbert &George coming directly from the Naples italian gallery Alfonso Artiaco (White hands, €60.000/80.000) .
Christie’s POST-WAR AND CONTEMPORARY ART Paris, Evening Sale
7 th June , 19.00 pm (Lots 1-47)
8th June , 14.00pm (Lots 101 – 326)
Exhibition : 1/7 June, 10.00 /18.00