Dirk Skreber (b. 1961)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Dirk Skreber (b. 1961)

Untitled (House)

Dirk Skreber (b. 1961)
Untitled (House)
oil on canvas
62¼ x 75in. (158 x 190.5cm.)
Painted in 1994
Luis Campaña Gallery, Cologne.
Anon. sale, Christie's London, 23 October 2005, lot 105.
Acquired from the above by the present owner.
Kyongju, Sonje Museum of Contemporary Art, Jung deutsche Kunst der 90er Jahre aus Nordrhein-Westfalen. Die Generation nach Becher, Beuys, Polke, Richter, Ruthenbeck (Young German Art in the 90s from North Rhine-Westphalia: The Generation after Becher, Beuys, Polke, Richter, and Ruthenbeck), 1995-1996. This exhibition travelled to Hong Kong, Pao Galleries Hong Kong Arts Centre; Taipei, Taipei Fine Arts Centre; Singapore, Sun Tec Exhibition Centre; Bejing, International Art Gallery; Osaka, National Museum of Modern Art and Bangkok, National Gallery.
Freiburg, Kunstverein, Dirk Skreber, 2002 (illustrated in colour, p. 15).
Special notice

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.

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Lot Essay

Often working on an epic scale, Dirk Skreber's paintings monumentalise the banal and the ordinary. Untitled (House) appears a simple, empty landscape--frozen and devoid of movement--yet the immediacy and clarity of Skreber's representation seems to point to a striving of photorealist perfection. However, an interpretation of this kind would only limit the many facets of Skreber's paintings. Through employing the method of appearing real and objective, Skreber confronts viewers with a kind of troubling hyperreality. This hyperreality is both familiar and distant, recognizable and yet completely imagined. It becomes the architectural unheimlich, the uncanny: a commonplace landscape translated through the lens of mechanical reproduction, and then once again retranslated by Skreber through the medium of oil on canvas. These various layers of translation act as methods of distancing the viewer from the original scene and similarly, mirror the way in which people approach media and information consumption within contemporary society. Today, the constant stream of high-resolution imagery, from television screens, personal computers to tabloid newspapers and mobile phones, has slowly created an edifice of visual culture within contemporary society, a complex and interconnected anatomy of visual signifiers which people have grown accustomed to living within. In growing accustomed to a post-modern world of abundant signification, it is easy to become desensitized. By championing the banal and exploring the ordinary, Skreber returns to the visual language of today and to its practitioners, the power to recognize how the age of mechanical and electronic reproduction has in fact shielded our eyes from seeing the most genuine and mundane forms of the sublime.

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