UGO RONDINONE, still.life. (apple), 2008

UGO RONDINONE, still.life. (apple), 2008                                                                                                                   2.25 x 2.5 x 2.25 inches
painted bronze, lead
edition 20
not available

Ugo Rondinone’s “still.life (apple)” is a highly realistic, lead-filled, painted bronze sculpture. A promotion text explains: ‘As the title still.life suggests, Rondinone’s multiple represents a self-contained, frozen moment; weighted and isolated with lead. This apple is an object of desire: it is a sublime example of trompe l’oeil, which reflects a long tradition of still life in paintings’.

History of prices:
Sculpture Center, New York, USA     US$ 6,500.- February 2012

LAWRENCE WEINER, Stars don’t stand still in the sky, 2011

LAWRENCE WEINER, Stars don’t stand still in the sky, 2011
12,7 x 20,3 x 0,6 cm / 5 x 8.25 inches
enamel, raised metal plaque
signed on certificate, edition 100
published by ArtSpace Edition

not available

 

This sculpture employs Weiner’s signature use of language and instructions. The blue arrow, red star, and yellow tags depict a kind of navigational sign based on an empirical fact. “Stars dont stand still in the sky” and yet where they’re going there are three possibilties as indicated: “wheresoever,” “whensoever,” or “howsoever.”

History of price:
€ 715,- / US$ 900.- August 2012

MAI-THU PERRET, set of 4 glasses, 2010

MAI-THU PERRET, 2010
set of 4 glasses, edition 100
Swiss Institute, New York      US$ 100.-   January 2011

Mai-Thu Perret’s works, in a variety of media, from ceramics and textiles to paintings, sculptures or film, have all in common a hand-made aesthetic and use the formal vocabulary of modernism. References to Russian constructivism, 19th-century Arts & Crafts Movement, early-20th-century mysticism, Minimalism, and various other modern art movements can be found all over her work. By interweaving historical movement and her own fiction,  Mai-Thu Perret questions utopias and how they could be a context for the production of objects and especially works of art. Within the production of both utilitarian and decorative objects, she’s interested in the status of artworks.

JOHN CAGE, Where is the war?, 1985

JOHN CAGE, Where is the war?, 1985
49 x 69 cm, torn black cardboard, edition 30 + 20 AP, signed and numbered
edition A: 30 copies, numbered 1/30 – 30/30 and
edition B: 20 copies, numbered I/XX – XX/XX, as AP
published by Edition René Block, Berlin

sold

History of prices:
€ 2.200,- March 2009

SONG DONG, Waste Not, 2012

SONG DONG, Waste Not, 2012
height: ca 5 cm
metal, 2 parts, edition 100
Barbican Gallery, London    € 120,- / GBP 95.-    August 2012
 

For his first solo exhibition in UK at Barbican Gallery, Song Dong a monumental work, Waste Not, was shown in The Curve. Comprising over 10,000 items collected by Song Dong’s mother over five decades, ranging from a section of the house to metal pots and plastic bowls to blankets, bottle caps, toothpaste tubes and toys. The installation is a tribute to his mother, as well as a meditation on family life during the Cultural Revolution.

 

MATIAS FALDBAKKEN, Untitled (Plastic Bag / B.F.), 2012

 
MATIAS FALDBAKKEN, Untitled (Plastic Bag / B.F.) 1-5
60 x 55 cm
Marker pen on printed plastic bag, series of 5 unique works, framed
publishers by ICA, London, UK

 

“Untitled (Plastic Bag / B.F.) 1-5 are a continuation of the artists’ ‘container’ works previously involving wardrobe lockers, VHS cassettes, liquor bottles, newspaper vending machines and empty Marshall cabinets. With these works Faldbakken tries, in various ways, to collapse the difference between sculpture and mould, container and content. These ‘plastic bag drawings’ are an ongoing series which the artist has presented in various forms and configurations, sometimes framed uniformly and precisely, often simply taped to the wall with packing tape. The bags are printed with cropped newspaper images which the artist then further works on with an abbreviated text drawn sketchily with marker pen. In this case the ‘writing’ says B.F.”

History of price:
ICA, London, UK € 2.000,- July 2012 (year of launch)

JOSEPH BEUYS, Kunst=Kapital, 1980

 

JOSEPH BEUYS, Kunst=Kapital, 1980
screen print on slate, framed 32 x 44 x 0,9 cm
signed, numbered, her nr. 12/50
Edizioni Factotum-Art, Verona, Italy
Ref. Schellmann 367
not available

 

JOSEPH BEUYS, Kunst = Kapital  1980
screenprint (Art = Capital) on blackboard, wood. Courtesy Walker Art Center, Minneapolis, USA
signed in pencil on wooden frame
not available

 

History of prices:
Estimate by Auction House Lempertz, Cologne, € 20.000,- 5 December 2009 hammer price
Estimate by Lempertz, Cologne € 8000 – 10000,- 12 March 2012