Eberhard Havekost (b. 1967)
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Eberhard Havekost (b. 1967)

7.00 Uhr (1-3)

Details
Eberhard Havekost (b. 1967)
7.00 Uhr (1-3)
each: signed, titled and dated 'Havekost DD99 7:00 Urh' and consecutively numbered from '1' to '3' (on the reverse)
oil on canvas, triptych
each: 15 7/8 x 23 5/8in. (40.2 x 60cm.)
Painted in 2003
Provenance
Galerie Gebrüder Lehmann, Dresden.
Acquired from the above by the present owner.
Exhibited
Prague, Prague Biennale 1, National Gallery/Veletrzni Palace, Lazarus Effect, June-August 2003.
Special notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Lot Essay

Three views of the head of a person resting, seen from above: there is an intimacy to the three pictures that comprise Eberhard Havekost's 7.00 Uhr (1-3), painted in 2003. They clearly show someone who is on personal enough terms with the subject that they could take source photographs, moving around her, implying that this is the artist's partner. The repetition is also emphatic, the result of the artist's continued celebration of his visual motif.

Havekost's paintings are a reaction to the image-drenched world of advertising, television, magazines, newspapers, MTV, Fox and Sky to which we are exposed every day. There is a strange equivalency between his paintings of gleaming, geometric buildings, crashed cars, skiers and his own family, between the pictures that he has culled from the teeming world of the media and the photographs that he himself has taken. All are shown from a similar cool perspective. This variety of image origins is crucial as a background to 7.00 Uhr (1-3). The diverse range of sources in Havekost's paintings results in a blurring of the boundaries between the public and the private, a blurring that is itself extended through the public display of this, which seems to be a group of private images. The repetition of girl's features, shown three times, itself paradoxically celebrates the status of the subject to the artist while also deliberately detracting from the individuality of artist and subject alike. In this light, 7.00 Uhr (1-3) is the result of a strangely clinical and analytical continuous observation of the face from three angles. 7.00 Uhr (1-3) thus expressly straddles the worlds of mass media and personal, private life, as does the daily existence of almost every modern viewer.

Havekost's images often show the peripheral and incidental aspects of our existence. The crashed, the disposable, the momentary all provide visual impetus to the artist. It is in relation both to our consumer-filled, advertising-fuelled society and to the inner poetry of his own personal life that Havekost's pictures aim to capture these fleeting elements: 'I try to make pictures that freeze the ephemeral' (Havekost, quoted in L. Seyfarth, 'User Interfaces,' pp. 97-108, Eberhard Havekost Harmonie: Bilder/Paintings 1998-2005, exh. cat., Wolfsburg & Amsterdam, 2005, p. 105).

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