Towards Tomorrow 10th Anniversary Auction Catalogue 2014

Towards TomorrowParasol unit 10th Anniversary Auction, 2014

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Towards Tomorrow

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Towards Tomorrow

FOREWORD

The beautiful art works that you see on page after page of this publication are priceless gifts from almost seventy artists and friends of Parasol unit foundation for contemporary art. These artists have either shown at the foundation – in some stunning and challenging exhibitions – or have made the gift simply out of esteem for Parasol unit. A number of them have even gone out of their way to create a special piece to be sold at our 10th Anniversary Auction, Towards Tomorrow. In every instance, these art works are testimony to the amazing friendship and generosity the artists feel towards the foundation, something for which I am hugely grateful. No such anniversary celebration would be possible without the presence of family and friends, and these wonderful art works are reminders of what the ‘Parasol family’ is about and also how much our artists mean to us. I take this opportunity to salute them all, primarily for having accepted my invitation to exhibit their works at Parasol unit, and now for so readily agreeing to assist the foundation in its next phase, thereby enabling us to continue supporting other artists and helping the local community. The proceeds of this momentous auction will benefita very important and noble cause – the Parasol unit Education programme, which is becoming ever more in demand by the residents of Hackney and Islington, and to support the increasingly ambitious exhibitions at the foundation. At a time when we look towards the future with great optimism and enthusiasm, I would like to appeal to all benevolent collectors to join these remarkable artists and me to bid passionately and generously for the art works presented in this auction, because together we can make a better world.

Ziba ArdalanFounder/ Director

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Towards Tomorrow

The Parasol unit 10th Anniversary Auction Towards Tomorrow has been made possible with the generous support of two auction committees:

AUCTION COMMITTEE

Chair: Farah Asemi

Executive Committee:

Caroline Landin

Berna Tuglular

Alia Al-Senussi

Vanessa Arelle

Elisabetta Cipriani

Michele Codoni

Serra Kirdar

My Phuong Lecocq

Anita Mahdi

Fiorella Massey

Ilaria Tosato

Yvonne Winkler

Burcu Yuksel

Roxane Zand

INTERNATIONAL COMMITTEE

Mehves Ariburnu

Charlotte Artus

Maria Baibakova

Jimena Blázquez Abascal

Diana Campbell Betancourt

Anne Pierre d’Albis-Ganem

Fariba Eigner

Stephanie Grose

Nina Hoas

Gary & Lauren Kemp

Ali Khadra

Lekha Poddar

Nadia Samdani

Samia Saouma

Andreas Siegfried

Anna Somers Cocks OBE, FSA

Claudia Steinfels

Paul Thompson

Michael Van Clarke

Ruth Whaley

SPECIAL THANKS

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Towards Tomorrow

The Parasol unit 10th Anniversary Auction Towards Tomorrow has been generously supported by:

Alek Sonman & Frame One Productions Limited

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Towards Tomorrow

TOWARDS TOMORROW

Parasol unit 10th Anniversary Auction

An auction in two parts: online in partnership with Paddle8; and live at Sotheby’s, London.

ONLINE at Paddle8.com, 16 – 30 September 2014Open for online bidding at Paddle8.com.

EXHIBITION Towards Tomorrow at Parasol unit, 22 – 30 September 2014All art works to be auctioned on either Paddle8.com or in Sotheby’s Contemporary Art Day Auction will be on view at the Towards Tomorrow Parasol unit 10th Anniversary Auction Exhibition at Parasol unit foundation for contemporary art, 14 Wharf Road, London, N1 7RW.

LIVE at Sotheby’s Contemporary Art Day Auction, 2pm, 18 October 2014Live bidding begins at Sotheby’s Contemporary Art Day Auction at 34–35 New Bond Street, London W1A 2AA. Works for sale in this part of the auction will also be on view at Sotheby’s from 11–17 October 2014.

Unless otherwise stated, all works and images are courtesy of the individual artists, their respective galleries, and Parasol unit foundation for contemporary art, London.

All works are sold framed unless stated otherwise.

Dimensions listed are height x width x depth. All sales on Paddle8.com and at Sotheby’s will be conducted in pounds sterling. The rate of exchange to US dollars used in this catalogue is current at the time of going to press. The

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estimates printed in the auction catalogue do not include the Buyer’s Premium, any applicable VAT or Artist Resale Rights.Buyer’s Premium for Sotheby’s lots is charged as follows: 25% of the hammer price up to and including £50,000, 20% of any amount in excess of £50,000 up to and including £1,000,000, and 12% of any amount in excess of £1,000,000. There is no Buyer’s Premium on Paddle8 lots.For more information on Sotheby’s conditions of sale, please visit: www.sothebys.com/en/buysell/buy

And for Paddle8 conditions of sale, please visit: www.paddle8.com/about/faqs

All proceeds raised will go towards the Parasol unit Exhi-bition and Educational Events programme and to securing thefutureofParasolunit.Astrengthenedfinancialbasewillensure that the foundation can continue to exhibit the work of nationalandinternationalartistsforthepublicbenefitandtogenerate cultural involvement among the local community.

For more information about the sale or events related to the Towards Tomorrow Parasol unit 10th Anniversary Auction, please contact:

Hanna HewinsParasol unit foundation for contemporary art

14 Wharf Road, London, N1 7RWTel: +44 (0) 20 7490 7373, ext. 23Fax: +44 (0) 20 7490 [email protected]

SOTHEBY’S 18 OCTOBER 2014, 2PM

10

Sotheby’s

ADEL ABDESSEMED (1971–)

Mappemonde, 2014 Printed steel

Diameter: 2 m (6 ft 7¾ in). Depth: 3.2 cm (1¼ in)Created especially for the Parasol unit 10th Anniversary Auction

Estimate: £100,000 – £150,000 ($167,500 – $251,500)

Photograph: Jack Hems

1110

Sotheby’s

DARREN ALMOND (1971–)

To Always Have, 2014Cast aluminium, cast bronze, paint, bronze screws

Unique (1 Artist Proof)30 x 127.5 x 2.5 cm (11¾ x 50¼ x 1 in)30 x 91 x 2.5 cm (11¾ x 35¾ x 1 in)Signed on the reverseCreated especially for the Parasol unit 10th Anniversary Auction

Estimate: £18,000 – £25,000 ($30,200 – $42,000)


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Sotheby’s

CHARLES AVERY (1973–)

Feeding the Gulls, 2007 Pencil and gouache on card

Sheet: 82 x 120.4 cm (32¼ x 47½ in)Framed: 85.4 x 123.3 x 3.4 cm (33¾ x 48½ x 1½ in)

Estimate: £6,000 - £8,000 ($10,100 - $13,400)


1312

Sotheby’s

Since 2004, Scottish artist Charles Avery has dedicated his art practice to the

description of a fictional island, on which he continues to elaborate. It has its

own population, customs, philosophy, nature and architecture, all variously

expressed in the form of large-scale drawings, sculptures, installations, texts

and moving images. This extensive series of works created within a defined

framework is rooted in Avery’s own life and upbringing on the Isle of Mull

off the west coast of Scotland and could be interpreted as a philosophical

meditation on art-making and varying concepts of truth.

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Sotheby’s

FIONA BANNER (1966–)

The Complete Text of Snoopy’s Novel: Filed Under Greatness (2) Reading (7), 2012 Screenprint on highly polished stainless steel

100 x 76 cm (39½ x 30 in)Initialled and dated on the reverseCourtesy of the artist and Frith Street Gallery, London

Estimate: £8,000 – £10,000 ($13,400 – $16,750)

Phot

ogra

ph: J

ack

Hem

s

1514

Sotheby’s

The title of this series refers to the 1966 pop song, Snoopy Vs. The Red Baron,

released by the Florida-based band The Royal Guardsmen shortly after The Red

Baron first appeared in Peanuts, the famous comic strip by Charles M. Schulz.

Since the band did not ask for permission to use Schulz’s characters, a legal

dispute soon ensued. Fiona Banner references the combative relations between

Snoopy and his nemesis, and the heavy-handed copyright issues surrounding

creative ownership. In the Peanuts comic strip the pet beagle, Snoopy, aspires

to be a great novelist and a World War I flying ace. In the latter incarnation,

Snoopy wants both to be the Red Baron and to destroy him. The Baron, however,

exists only in his mind – a heroicised representation of fear.

In Banner’s The Complete Text of Snoopy’s Novel: Filed Under Greatness

(2) Reading (7), an image of Snoopy is at the centre of Baron von Richthofen’s

family crest. Behind it is the absurd, hubristic text of Snoopy’s ‘great novel’.

The work alludes to acts of unmaking and destruction, as much as to the act of

creation, and examines how we mythologize ourselves, our history, and how we

are seduced by myths of our own making.

16

Sotheby’s

MICHAËL BORREMANS (1963–)

The Skirt, 2005Oil on canvas 70 x 60 cm (27½ x 23¾ in)Signed, titled, dated, dimensions inscribed on the reverseAnonymous donation

Estimate: £150,000 – £250,000 ($251,500 – $420,000)

1716

Sotheby’s

MICHAËL BORREMANS (1963–)

5, 2006Watercolour on paper

Sheet: 20.9 x 18.4 cm (8¼ x 7¼ in)Framed: 38.4 x 35.1 cm (15¼ x 13¾ in)Signed, titled, datedCourtesy of Zeno X Gallery, Antwerp

Estimate: £30,000 – £40,000 ($50,300 – $67,000)

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Sotheby’s

LOS CARPINTEROSMarco Antonio Castillo Valdes (1971–) and Dagoberto Rodríguez Sánchez (1969–) Girón VI, rojo, 2014Watercolour on paper

Sheet: 100.5 x 199.5 cm (39½ x 78½ in)Framed: 116.2 x 215.3 x 6 cm (45¾ x 84¾ x 2¼ in)Signed, titled, datedCopyright © 2014 Los Carpinteros, Girón VI, rojo

Estimate: £8,000 – £12,000 ($13,400 – $20,000)

1918

Sotheby’s

Marco Antonio Castillo Valdes and Dagoberto Rodríguez Sánchez, who

collaborate as Los Carpinteros (the carpenters), are internationally renowned

Latin American artists from Cuba. Their oeuvre occupies an intriguing area

between conceptualism, activism and formalism. Some of their more monumental

sculptures and installations extend the concept of sculpture to include

architectural constructions. Their three-dimensional works are complemented

by unique watercolours and drawings, making Los Carpinteros far more than

craftsmen, as their name seems to imply.

Los Carpinteros have works in the permanent collections of many of the

major museums throughout the Americas, including MoMA and the Guggenheim

in New York, and in Europe. They have had solo exhibitions in Spain, Germany,

Switzerland, Buenos Aires, and Santiago de Compostela; and have participated in

numerous group shows, including in New York, London and Helsinki, and shown

installations at various international art festivals.

20

Sotheby’s

DAVID CLAERBOUT (1969–)

The Quiet Shore (03 A), 2011Black-and-white photograph on Baryte paper, mounted on aluminium

56.5 x 100.5 x 1.8 cm (22¼ x 39½ x ¾ in)Edition 1/2 Artist Proofs (Edition of 6 + 2 Artist Proofs + 1 Archival Copy) Signed label on the reverse

Estimate: £7,500 – £9,500 ($12,500 – $16,000)

2120

Sotheby’s

SHEZAD DAWOOD (1974–)

The Compassionate, 2014Neon, tumbleweed with enamelled plinth

163 x 51 x 51 cm (64¼ x 20 x 20 in)Created especially for the Parasol unit 10th Anniversary AuctionCourtesy of the artist and Paradise Row, London

Estimate: £15,000 – £20,000 ($25,000 – $33,500)

Photograph: Jack Hem

s

22

Sotheby’s

CECILIA EDEFALK (1954–)

Self-portrait, 1993-2004Silver gelatin photograph on matt paper (Neg. 14)

Sheet: 127 x 93 cm (50 x 36½ in)Framed: 138.2 x 102.1 x 3.7 cm (54½ x 40¼ x 1½ in)Edition 1/2 Artist Proofs (Edition of 3 + 2 Artist Proofs) Signed, dated 1993, inscribed ‘AP1 n.r. 14’ on the reverseCourtesy of the artist and Stene Projects, Stockholm

Estimate: £15,000 – £20,000 ($25,000 – $33,500)


2322

Sotheby’s

One of Sweden’s most internationally renowned artists, Cecilia Edefalk is

probably best known for her paintings. But photography, too, has been part of

her practice since her first solo exhibition at the end of the eighties, when, in

addition to a number of paintings, she exhibited a photograph that had light as

its main element. And it is light, as well as an increasingly manifest interest in

existential questions, that is at the core of her work.

24

Sotheby’s

ANTONY GORMLEY (1950–)

HOLD, 2002Carbon and casein on paper

Sheet: 26.4 x 41.5 cm (10½ x 16¼ in)Framed: 38 x 53 x 4.5 cm (15 x 20¾ x 1¾ in)Signed, titled, dated, inscribed ‘For the Parasol unit’ on the reverse

Estimate: £8,000 – £12,000 ($13,400 – $20,000)

2524

Sotheby’s

MONA HATOUM (1952–)

Untitled (meat grinder), 2006Bronze

7.6 x 19 x 24 cm (3 x 7½ x 9½ in)Edition 6/12Signed, dated ’06 and inscribed with ‘6/12’ on the undersideCourtesy of the artist and White Cube, London

Estimate: £7,000 – £9,000 ($11,750 – $15,000)

26

Sotheby’s

HANS JOSEPHSOHN (1920–2012)

Untitled, 1970 (cast 2005)Brass

60 x 28.5 x 21.5 cm (23½ x 11¼ x 8½ in)Edition 1/6 (Edition of 6 + 2 Artist Proofs)Signed, dated ’70 and numbered 1/6 on the reverseCourtesy of Iwan and Manuela Wirth

Estimate: £20,000 – £30,000 ($33,500 – $50,300)

2726

Sotheby’s

ISAAC JULIEN (1960–)

THE MAID / REFLECTIONS (Playtime), 2014Endura Ultra Photograph, mounted on aluminium

160 x 240 cm (63 x 94½ in)Edition 3/6 (Edition of 6 + 1 Artist Proof)Accompaniedbyasignedcertificateofauthenticity

Estimate: £20,000 – £30,000 ($33,500 – $50,300)

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Sotheby’s

‘I have been an enthusiastic supporter of Parasol unit since it was established

in 2004. I have always felt that Parasol unit shared affinities with my work

because of its grasp of global themes that reach far beyond the local boundaries

of Western curatorial interest. In my humble opinion Parasol has been one of the

UK’s key foundations in promoting exhibitions of the moving image in this country

over the last 10 years, showing artists such as Yang Fudong, Eija-Liisa Ahtila

and more. I greatly admire what Ziba has done in the past decade, but I have

a favourite exhibition that stands out. In 2006, Parasol showed a work by Yang

Fudong, No Snow on the Broken Bridge. I was so impressed with what I saw that

I asked the artist to appear in my 2010 work, Ten Thousand Waves, as the lover

of the beautiful actress Zhao Tao. I look forward to the next 10 years with great

excitement and curiosity!’

ISAAC JULIEN

2928

Sotheby’s

Y.Z. KAMI (1956–)

Blue Dome I, 2014Oil on linen

114.3 x 137.2 cm (45 x 54 in)Signed and dated on the reverseCreated especially for the Parasol unit 10th Anniversary AuctionCourtesy of the artist and Gagosian Gallery, New York

Estimate: £60,000 – £90,000 ($100,000 – $150,000)

30

Sotheby’s

IDRIS KHAN (1978–)

Untitled (Black on Black), 2014Oil-based ink on 480g screened acid-free paper

Sheet: 118 x 100 cm (46½ x 39½ in)Framed: 139.4 x 120.5 x 5.9 cm (55 x 47½ x 2½ in)

Estimate: £20,000 – £30,000 ($33,500 – $50,300)


s

3130

Sotheby’s

BHARTI KHER (1969–)

Journeys + steps, 2010Bindis on aluminium composite panel

85 x 85 x 7 cm (33½ x 33½ x 2¾ in)Signed, titled, dated on the reverse

Estimate: £20,000 – £30,000 ($33,500 – $50,300)


32

Sotheby’s

SOL LeWITT (1928–2007)

Torn Paper Piece Red, c.1975Paper

Sheet: 50 x 70 cm (19¾ x 27½ in)Framed: 58.5 x 77.5 x 4 cm (23 x 30½ x 1½ in)Signed and inscribed ‘R122a’Courtesy of Annemarie Verna Gallery, Zürich

Estimate: £4,000 – £6,000 ($6,700 – $10,100)


3332

Sotheby’s

ROBERT MANGOLD (1937–)

Column Structure IV, 2006 Pastel and black pencil on paper

Sheet: 76.2 x 57.2 cm (30 x 22½ in)Framed: 84.7 x 65.2 x 3.8 cm (33½ x 25¾ x 1½ in)Signed, titled, datedCourtesy of the artist and Pace Gallery, New York

Estimate: £18,000 – £25,000 ($30,200 – $42,000)

Photograph: G.R. Christmas, courtesy of Pace Gallery, N

ew York

34

Sotheby’s

KATY MORAN (1975–)

Disco Rabbit, 2013Acrylic and collage on canvas

56.6 x 47.6 x 5 cm (22¼ x 18¾ x 2 in)Signed and dated on the reverseCourtesy of the artist and Stuart Shave/Modern Art, London

Estimate: £8,000 – £12,000 ($13,400 – $20,000)

3534

Sotheby’s

SHIRIN NESHAT (1957–)

‘Tooba’ Series, 2002Black-and-white unique photograph

Sheet: 41.1 x 56.6 cm (16¼ x 22¼ in)Framed: 60 x 73.8 x 2.6 cm (23¾ x 29 x 1¼ in) Signed, titled, dated, inscribed ‘unique copy’ on the reverse

Estimate: £8,000 – £10,000 ($13,400 – $16,750)


36

Sotheby’s

SHIRIN NESHAT (1957–)

Untitled from the ‘Rapture’ series, 1999Gelatin silver print

Sheet: 110 x 173.3 cm (43¼ x 68¼ in)Framed: 125.7 x 189 x 2.8 cm (49½ x 74½ x 1¼ in)Edition 2/5Signed, titled, dated, inscribed ‘2/5’ on the reverseAnonymous donation

Estimate: £10,000 – £15,000 ($16,750 – $25,000)


3736

Sotheby’s

CHRIS OFILI (1968–)

Afromatrix-11, 2000–201411 drawings, pencil on paper, in a single frame

Sheet: 43 x 28 cm (17 x 11 in)Framed: 48 x 33 x 3.3 cm (19 x 13 x 1½ in)

Estimate: £3,000 – £5,000 ($5,000 – $8,400)

38

Sotheby’s

WILHELM SASNAL (1972–)

Untitled, 2010Oil on canvas

70 x 55 cm (27½ x 21¾ in)Signed and dated on the reverseAnonymous donation

Estimate: £15,000 – £20,000 ($25,000 – $33,500)

Phot

ogra

ph: J

ack

Hem

s

3938

Sotheby’s

DAVID SCHNELL (1971–)

Regel, 2014Oil on canvas

100 x 70 cm (39½ x 27½ in)Signed and dated on the reverseCreated especially for the Parasol unit 10th Anniversary AuctionCourtesy of the artist and Galerie EIGEN + ART, Leipzig/Berlin

Estimate: £15,000 – £20,000 ($25,000 – $33,500)

Photograph: Uwe W

alter, Berlin

40

Sotheby’s

CONRAD SHAWCROSS (1977–)

Paradigm Decay (Structural), 2013Aluminium

30 x 90 x 27 cm (11¾ x 35½ x 10¾ in)Edition 1/2 Artist Proofs (Edition of 3 + 2 Artist Proofs)

Estimate: £10,000 – £15,000 ($16,750 – $25,000)


4140

Sotheby’s

YINKA SHONIBARE, MBE (1962–)

Toy painting, 2013Dutch wax cotton textile, MDF, acrylic paint, wire, toys

Diameter: 140 cm (55 in). Depth: 8 cm (3¼ in)

Estimate: £15,000 – £20,000 ($25,000 – $33,500)



42

Sotheby’s

CANAN TOLON (1955–)

ONE MORE TIME (diptych), 2014Oil on boards

Each: 122 x 91.5 x 5 cm (48 x 36 x 2 in)Whole: 122 x 183 x 5 cm (48 x 72 x 2 in)Signed, titled, dated on the reverse of each panelCreated especially for the Parasol unit 10th Anniversary Auction

Estimate: £30,000 – £40,000 ($50,300 – $67,000)

4342

Sotheby’s

LUC TUYMANS (1958–)

The Barrel (triptych), 2013Oil on copper

Each: 30 x 40 cm (11¾ x 15¾ in)Framed: 70 x 160 cm (27½ x 63 in)

Estimate: £300,000 – £400,000 ($500,750 – $667,750)

44

Sotheby’s

KEITH TYSON (1969–)

Nature Painting, 2009Mixed media on aluminium

122 x 122 cm (48 x 48 in)Signed, titled, dated on the reverse

Estimate: £20,000 – £30,000 ($33,500 – $50,300)


4544

Sotheby’s

TOBY ZIEGLER (1972–)

Study, 2014Oil paint on aluminium

57.5 x 55.5 cm (22¾ x 21¾ in)Signed and dated on the reverseCourtesy of the artist and Simon Lee Gallery, London

Estimate: £6,000 – £8,000 ($10,100 – $13,400)


PADDLE816-30 SEPTEMBER 2014

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Paddle8

EIJA-LIISA AHTILA (1959–)

Singing/March 15, 2014Photographic print

Sheet: 93 x 70 cm (36½ x 27½ in)Framed: 114.6 x 89.4 x 4.1 cm (45¼ x 35¼ x 1¾ in)Artist Proof 1/1 (Edition of 3 + 1 Artist Proof)Signed, titled, dated, inscribed ‘1/1’ Created especially for the Parasol unit 10th Anniversary AuctionCourtesy of the artist and Marian Goodman Gallery, New York/Paris

Estimate: £6,000 – £8,000 ($10,100 – $13,400)

49

Paddle8

SIAH ARMAJANI (1939–)

Glass Bridge, 2003Wood, Plexiglas

43.7 x 136 x 20.4 cm (17¼ x 53½ x 8 in)Courtesy of the artist and Alexander Gray Associates, New York

Estimate: £22,000 - £25,000 ($36,500 - $42,000)


50

Paddle8

CHARLES AVERY (1973–)

Untitled (Where Rocco found a dead monster), 2014Pencil, ink and gouache on paper

Sheet: 63 x 84 cm (24¾ x 33 in)Framed: 72.7 x 93.8 x 5 cm (28¾ x 37 x 2 in)Courtesy of the artist, Max Hetzler and Samia Saouma

Estimate: £3,000 – £4,000 ($5,000 – $6,700)


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Paddle8

HEMALI BHUTA (1978–)

Shedding, 2009Archival print on Somerset paper

Large piece: 55.8 x 76.2 cm (22 x 30 in)Framed: 64 x 84 x 3.8 cm (25¼ x 33 x 1½ in)7 smaller pieces: 12.7 x 17.8 cm (5 x 7 in)Frames: 21.8 x 26.4 x 3.9 cm (8½ x 10½ x 1½ in)Edition 2/5 (Set of 8 prints)Signed, titled, dated, inscribed with materials and edition numberCourtesy of the artist and Project 88, Mumbai

Estimate: £1,500 – £2,000 ($2,500 – $3,400)


52

Paddle8

JANE BUSTIN (1964–)

Beloved V, 2012Black ink on oak and paper

18 x 57 x 3.5 cm (7 x 22½ x 1½ in)Signed, titled, dated, measurements inscribed on the reverse

Estimate: £4,000 – £6,000 ($6,700 – $10,100)

53

Paddle8

NATHAN CASH DAVIDSON (1988–)

Brunch with Embassy, 2009Acrylic on card, unique experimental painting

Sheet: 90 x 120 cm (35½ x 47¼ in)Framed: 94.2 x 128.5 x 5.5 cm (37 x 50¾ x 2¼ in)Courtesy of the artist and Hannah Barry, London

Estimate: £8,000 – £12,000 ($13,400 – $20,000)

‘This is an experimental painting. I was thinking about graphic advertisements

shown at an Imax cinema.’

54

Paddle8

ANTHONY CELLS (1965–)

Piece 01, 2013Car paint on aluminium sheet

232 x 185.5 x 3.5 cm (91¼ x 73 x 1½ in)Signed, titled, dated

Estimate: £8,000 – £12,000 ($13,400 – $20,000)

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Paddle8

‘Piece 01 offers the opportunity for making oneself aware of one’s own unique

identity and presence in life among the thousands of others. The colour and shape

of Piece 01 builds a mirror-like situation and shows the spectator an identity

similar to their own. Piece 01 is the first of a group of works that will follow the

website www.anthonycells.com in real exhibitions.’

56

Paddle8

JIMMIE DURHAM (1940–)

Beyond the hills, 2014Acrylic paint and text on paper

Sheet: 69.5 x 99.5 x 0.5 cm (27½ x 39¼ x ¼ in)Framed: 89.2 x 116.6 x 5 cm (35¼ x 46 x 2 in)Signed, dated ’14Created especially for the Parasol unit 10th Anniversary Auction

Estimate: £6,000 – £7,000 ($10,100 – $11,750)


57

Paddle8


ARMEN ELOYAN (1966–)

Untitled, 2008Oil on canvas

64.5 x 59 cm (25½ x 23¼ in)Signed and dated ’08© 2008 Armen EloyanCourtesy of Galerie Bob van Orsouw, Zurich

Estimate: £5,000 – £7,000 ($8,400 – $11,750)

58

Paddle8

AZADEH GHOTBI (1970–)

Twisted Tales 1, 2013Acrylic on canvas

90 x 90 cm (35½ x 35½ in)Signed and dated

Estimate: £3,000 – £5,000 ($5,000 – $8,400)

59

Paddle8

KATE GILMORE (1975–)

Break of Day, 2010Photograph

53.3 x 101.6 cm (21 x 40 in)Edition 3/10 (Edition of 10 + 2 Artist Proofs)

Estimate: £1,200 – £2,000 ($2,000 – $3,400)

60

Paddle8

ÖZLEM GÜNYOL (1977–) & MUSTAFA KUNT (1978–)

State Paintings (ongoing series), 2008–2013Inkjetprint(pigmentedink)on240g/m²Archival/fineart cotton paper

Each sheet: 29.7 x 42 cm (11¾ x 16½ in)Framed: 37.4 x 49.5 x 4 cm (14¾ x 19½ x 1½ in)Edition 5/5 (Set of 8 prints)Signed, titled, dated 2008, inscribed ‘5/5’

Estimate: £8,000 – £9,000 ($13,400 – $15,000)

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Paddle8

‘The passport is a document that officially represents a person’s country and

culture abroad. For that reason one can say that the motifs printed on the pages

of a passport are an official representation of that culture. State Paintings show

enlarged details of the patterns from the passports of various countries. These

details change into images which consist of abstract decorative lines that no

longer have any recognizable link to their original meaning.’

STEFANIE MÜLLER

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Paddle8

THOMAS HIRSCHHORN (1957–)

Collage-Truth no. 63, 2012Prints, adhesive tape, plastic foil

29.5 x 42 cm (11½ x 16½ in)Signed, titled, dated on the reverse

Estimate: £2,000 – £3,000 ($3,400 – $5,000)


63

Paddle8

Reduction to Fact (One thought about Collage-Truth)

‘In today’s world of facts, information, opinion and comment, a lot is reduced to

being factual. Fact is the new “golden call” of journalism, and the journalist wants

to give it the assurance and guarantee of veracity. But I am not interested in the

verification of a fact.

I am interested in Truth. Truth as such, which is not a verified fact or

the “right information” of a journalistic story. The Truth I am interested in resists

facts, opinions, comment, and journalism. Truth is irreducible. Therefore, the

images of destroyed human bodies are irreducible and resist factuality. I don’t

deny facts and actuality, but I want to oppose the texture of facts today. The habit

of reducing things to fact is a comfortable way to avoid touching Truth, and to

resist this is a way to touch Truth. Such acceptance wants to impose on us factual

information as the measure, instead of looking and seeing with our own eyes.

I want to see with my own eyes. Resistance to today’s world of facts is

what makes it important to look at such images.’

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Paddle8

WILLIAM KENTRIDGE (1955–)

Processional, 2010Photogravure, sugarlift, drypoint, scraping and burnishing

Sheet: 41.9 x 47.6 cm (16½ x 18¾ in)Framed: 48.8 x 53.6 x 3.4 cm (19¼ x 21¼ x 1¼ in)Edition 23/30Signed and numberedCourtesy of the artist and Marian Goodman Gallery, New York

Estimate: £3,000 – £4,000 ($5,000 – $6,700)

‘In the activity of making work there’s a sense that if you spend a day or two days drawing an object or image there’s

a sympathy towards that object embodied in the drawing.’

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William Kentridge is best known for his drawings, prints and animated films,

and in 1988 he co-founded the Free Filmmakers Co-operative in Johannesburg,

South Africa. A major retrospective of his work, which opened in 2009 at the San

Francisco Museum of Modern Art, CA, USA, went on to tour internationally for

three years. His work has been exhibited widely throughout the world, including

at Tate Modern, London, the Louvre and Centre Pompidou, Paris, at the Palais

des Beaux-Arts, Brussels, and at dOCUMENTA (13). His film Shadow Procession,

1999, was screened as part of the 2009 exhibition Parades and Processions at

Parasol unit. This exhibition featured works by twelve international artists who

took their inspiration from traditional meanings of ‘parades’ and ‘processions’, to

create works that epitomise the social and political context of our time. William

Kentridge was born 1955 in Johannesburg, South Africa.

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AVISH KHEBREHZADEH (1969–)

Maskhara (with Squirrel), 2013Graphite, marker and oil pastel on layers of paper and Mylar

Sheet: 92 x 92 cm (36¼ x 36¼ in)Framed: 104.6 x 101.6 x 4.5 cm (41¼ x 40 x 1¾ in)Signed and dated

Estimate: £5,000 – £6,000 ($8,400 – $10,100)


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‘This work is part of a series that I have been working on to explore the “mask”

and its role in a manipulated transformation of our image. As part of the research

for these works I came across the word “maskhara”, which is the Arabic source of

the word mask. In modern Farsi language, the word is used to mean “ridiculous”.

This particular drawing focuses on the latter definition of the word “maskhara”,

rather than on the mask itself.’

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JORGE MACCHI (1963–)

Untitled (dos moscas), 2002Watercolour on paper

Sheet: 22.6 x 30.4 cm (9 x 12 in)Framed: 28 x 35.5 x 3.5 cm (11 x 14 x 1½ in)Signed label on the reverseCourtesy of the artist and Galerie Peter Kilchmann, Zurich

Estimate: £3,000 – £5,000 ($5,000 – $8,400)

Photograph by Thomas Strub

Photograph: Thomas Strub

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SHAUN McDOWELL (1981–)

Wildcard, 2013Oil on board

80 x 80 cm (31½ x 31½ in)Courtesy of the artist and Hannah Barry, London

Estimate: £3,000 – £5,000 ($5,000 – $8,400)

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NAVID NUUR (1976–)

Try to realize the inception of tomorrow’s new and mint condition, 2008–2013Acrylic on canvas

163 x 109 cm (64¼ x 43 in)Signed and dated 2013 on the reverse

Estimate: £4,000 – £6,000 ($6,700 – $10,100)


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AMY O’NEILL (1971–)

ADBC, 2012Pigmented Hydrocal mounted on MDF

30.5 x 50.8 x 3.8 cm (12 x 20 x 1½ in)

Estimate: £800 – £1,200 ($1,350 – $2,000)

‘This wall plaque attempts to bridle the horses’ hooves of today’s instant-

messaging culture.’

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SHINRO OHTAKE (1955–)

Time Memory 25, 2013Oil, felt-tip pen, cellophane tape, rice paper, brown paper and cardboard

Sheet: 100 x 70 cm (39¼ x 27½ in)Framed: 111.4 x 81.5 x 3 cm (44 x 32¼ x 1¼ in)Signed and dated © Shinro Ohtake Courtesy of the artist and Take Ninagawa, Tokyo

Estimate: £5,000 – £8,000 ($8,400 – $13,400)

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ELIZABETH PEYTON (1965–)

Elias, November, 2013Original lithograph printed on 300 gr Velin d’Arches paper

Image: 43 x 32.5 cm (17 x 13 in)Sheet: 60 x 47.5 cm (23¾ x 18¾ in)Framed: 67.8 x 55.1 x 3.8 cm (26¾ x 21¾ x 1½ in)Edition 17/30 (Edition of 30 + 3 Printer’s Proofs + 1 Archive Print)Signed and inscribed ‘17/30’Courtesy of the artist and Gladstone Gallery, New York

Estimate: £2,000 – £2,500 ($3,400 – $4,200)

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CHRISTINE REBET (1971–)

Ash Orchestra, 2012Ink on paper

Sheet: 24 x 32 cm (9½ x 12½ in)Framed: 33 x 45 x 3.8 cm (13 x 17¾ x 1½ in)Signed, titled, dated

Estimate: £800 – £1,200 ($1,350 – $2,000)

‘The writing of stones’ [series] is inspired by philosopher and science historian

Roger Caillois’s minerals collection held by the Musée d’histoire naturelle in Paris.

The department was shut down until 2014, so I tried to reimagine the beliefs and

rituals elicited by Caillois’s artefacts.’

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‘I worked during the summer of 2012 with a filmmaker who was making a

documentary about Brigitte Bardot. We went to her house in St Tropez and my role

was to approach her biography and cinematography. The palm trees of the 1960

drawing represent both cinema – the Cannes Festival – and leisure.’

CHRISTINE REBET (1971–)

1960, 2012Drawing, colour ink on paper

Sheet: 22.9 x 30 cm (9 x 11¾ in)Framed: 34.5 x 42 x 3.8 (13¾ x 16½ x 1½ in)

Estimate: £800 – £1,200 ($1,350 - $2,000)

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ANRI SALA (1974–)

The point at which all boundaries coincide with a breath, 2013Two C-prints on Baryte paper

Each sheet: 39 x 50 cm (15¼ x 19¾ in)Framed: 46.2 x 57 x 2.5 cm (18¼ x 22½ x 1 in)Edition 4/10 (Edition of 10 + 2 Artist Proofs)Both signed and dated on the reverse

Estimate: £1,000 – £2,000 ($1,700 – $3,400)

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‘The musical notations in the background are transcriptions of song patterns from

an Australian aboriginal songline.* In each song there is a moment when the

major structural boundaries coincide with a breath, similar to that breathing-in

moment which briefly anticipates the sipping of a spoon.’

*Crisscrossing the whole Australian landscape, through the deserts of its interior, the songlines provided

travel directions and location indicators of landmarks, waterholes and other natural phenomena, the

whereabouts of which were encoded in the song structure. Singing the songs in the appropriate sequence

enabled the indigenous people to navigate vast distances. It is said that the melodic contours of the songs

coincide with the landscape while their rhythm is key to their understanding.

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KARIN SANDER (1957–)

A Person to be selected 1:5, 20143-D colour scan of the living person, polychrome 3-D printing, black and white plaster material

Scale 1:5Two scans are to be auctioned. The buyer nominates someone to be scanned and have a 1:5 scale model made of them.

Estimate per scan: £5,000 – £7,000 ($8,400 – $11,750)

Image: Karin Sander 1:5, 20123D color scan of the living person, polychrome 3D printing, plaster material, color pigment inkScale: 1:5, height: ca. 33cm

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A person is scanned using a 3-D white light scanner, specially developed for the

work of Karin Sander. The resulting data is sent to a 3-D colour printer to construct

the person, layer by layer, as a photographically realistic, plastic plaster figure

in scale 1:5. The process of 3-D printing produces a faithful reproduction of the

person being scanned. It results in a sculpture in freely chosen pose - a three-

dimensional black and white photograph -a self-portrait.

Image: Karin Sander 1:5, 20123D color scan of the living person, polychrome 3D printing, plaster material, color pigment inkScale: 1:5, height: ca. 33cm

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MAAIKE SCHOOREL (1973–)

Lisa via webcam, 2013Oil on canvas

81 x 107 cm (31¾ x 42¼ in)© Maaike SchoorelCourtesy of the artist and Maureen Paley, London

Estimate: £8,000 – £10,000 ($13,400 – $16,750)

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YINKA SHONIBARE, MBE (1962–)

It’s my party and I’ll cry if I want to, 2013Dutch wax cotton textile, gold leaf, pen, found images

Sheet: 65 x 49 cm (25½ x 19¼ in)Framed: 81.5 x 65 x 4 cm (32¼ x 25½ x 1½ in)Unique (Artist Proof 8/15)Signed, dated, inscribed ‘AP 8/15’

Estimate: £900 – £1,200 ($1,500 – $1,700)


s

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LAURIE SIMMONS (1949–)

American Midlake, 1997Ilfochrome photograph

Sheet: 101.5 x 150 cm (40 x 59 in)Framed: 114.8 x 164.1 x 1.9 cm (45¼ x 64½ x ¾ in)Edition 5/5Signed, dated, inscribed ‘5/5’Anonymous donation

Estimate: £3,000 – £5,000 ($5,000 – $8,400)


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YUTAKA SONE (1965–)

Next Door Sky, 2014Acrylic on canvas

76.5 x 102 cm (30 x 40¼ in)Signed and datedCreated especially for the Parasol unit 10th Anniversary AuctionCourtesy of the artist and David Zwirner, New York/London

Estimate: £5,000 – £8,000 ($8,400 – $13,400)


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SPENCER SWEENEY (1973–)

Boogie MonsterBall. w/ saliva dog., 2012Charcoal and coloured pencil on paper

Sheet: 35.2 x 27.3 cm (13¾ x 10¾ in)Framed: 43.6 x 35.6 x 3.8 cm (17¼ x 14 x 9½ in)Initialled and inscribed ‘914’ on the reverseCourtesy of the artist and Gavin Brown, New York

Estimate: £1,000 – £1,500 ($1,700 – $2,500)

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TABAIMO (1975–)

mushiasobi, 2007 [mushi means insect; asobi, play]Ink on Japanese paper

Sheet: 42.3 x 25 cm (16¾ x 10 in)Frame: 52.1 x 34.8 x 4.3 cm (20½ x 13¾ x 1¾ in)Courtesy of the artist and Gallery Koyanagi, Tokyo

Estimate: £3,000 – £5,000 ($5,000 – $8,400)

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NOT VITAL (1948–)

Mountains, 2012Marble and plaster

64 x 55 x 18.7 cm (25¼ x 21¾ x 7½ in)

Estimate: £30,000 – £40,000 ($50,300 – $67,000)


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Since 2008, Not Vital has had a studio in Caochangdi, the arts district of Beijing,

China, where he spends between 4–5 months every year. This immersion has

naturally led to a fascination with new materials and forms for his work that

originate from China itself. The stone in this work originates from Dali, an area in

the northwest Yunnan province of China famed for its spectacular marble quarries.

Dali marble possesses distinctive linear striations that occur naturally throughout

the stone, creating beautiful patterns that give the impression of natural landscape

elements, and also recall the poetic grace of Chinese ink drawings. Vital places

carefully selected sections of marble within uniquely sculpted plaster mounts,

which echo the form of window shapes from his native Engadin valley in

Switzerland. In this way the artist creates a quasi-realist impression that the

marble stone itself is a viewpoint, the culmination of a remarkable landscape

impression.

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NOT VITAL (1948–)

Sprecinia, Tumales, Sukhothai, 2007Mixed media on paper

Sheet: 43.3 x 35.5 cm (17 x 14 in)Framed: 51.6 x 43.7 x 3.5 cm (20¼ x 17¼ x 1½ in)Signed, dated ’07, titled ‘Sprecinia, Tumales’Courtesy of Ladina Knoch

Estimate: £2,500 – £3,500 ($4,200 – $6,000)


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JAMES YAMADA (1967–)

The summer shelter retreats darkly among the trees, 2011Powder-coated cast aluminium, stainless steel fasteners, galvanisedroofing,fullspectrumandblue640NMT5HOwatertight lighting.

3.65 x 3.65 x 3.65 m (12 x 12 x 12 ft)

Estimate: £18,000 – £24,000 ($30,200 – $39,900)

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JAKUB JULIAN ZIÓŁKOWSKI

Fra Francesca, 2012Oil on wooden panel

29.7 x 23 cm (11¾ x 9 in)Framed: 33.5 x 27 cm (13¼ x 10¾ in)Signed, dated, inscribed with dimensionsCourtesy of the artist and Foksal Gallery Foundation, Warsaw, Poland

Estimate: £8,000 – £12,000 ($13,300 – $20,000)

Published 2014 in Great Britain byParasol unit foundation for contemporary art14 Wharf Road, London, N1 7RW

Copyright © 2014 Parasol unit foundation for contemporary art, London

Front cover: Michaël Borremans, The Skirt, 2005Back cover: Cecilia Edefalk, Self-portrait, 1993–2004

Design by Ben SteersPrinted in Great Britain by JamJar Print

Towards Tomorrow 10th Anniversary Auction Catalogue 2014

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Transcript of Towards Tomorrow 10th Anniversary Auction Catalogue 2014