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Danh Vo (B. 1975)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Danh Vo (B. 1975)

We The People (detail)

Details
Danh Vo (B. 1975)
We The People (detail)
numbered ‘P7’ (on the reverse)
hammered copper
79 ½ x 101 ¼ x 44 ¾in. (202 x 257 x 114cm.)

Executed in 2011
Provenance
Galerie Chantal Crousel, Paris.
Acquired from the above by the present owner.
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.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

‘[The Statue of Liberty] is such a strong icon, tracing back to so many histories, and then just discovering the fragility of it... I thought it would be interesting to make something that people felt so familiar with, in all the different ways that people project on the sculpture, and try to destabilize your own thinking of it’ — D. Vo

A dynamic swathe of copper drapery, Danh Vo’s We The People (detail) (2011-13) is both monumental and enigmatic. As part of the vastly ambitious project We The People, it forms a powerful inquest into fractured selfhood, belonging and identity: over two years, Vo recreated the entirety of the 93-metre Statue of Liberty using copper sheets no thicker than two pennies. Rather than assembling its constituent parts into a whole, the artist scattered the 267 sections around the globe. We The People (detail) is a piece of the robe clothing her raised shoulder; other elements have travelled to major exhibitions such as a 2014 show at City Hall Park and Brooklyn Bridge Park, New York, and are in public collections including Kunsthaus Zürich. The American ideals of Lady Liberty, which has stood welcoming incomers to New York since 1886, are disjointed and dispersed; the full-scale encounter with her flowing robes in the present work is at once abstracted and curiously intimate. A strikingly dramatic fragment, its mighty and kinetic folds echo Minimalist sculpture as much as a ruined ancient Colossus. Vo raises challenging questions of idealism and nationhood as an edifice of democracy is shattered and displayed to all the world.

A century after Frédéric-Auguste Bartholdi began construction on the Statue of Liberty in the 1870s, Vo’s family fled South Vietnam for the United States. Vo was four years old. The family’s boat was intercepted at sea by a Danish container ship, and in 1979 they settled in Denmark, where the artist grew up. Vo’s treatment of the statue is therefore born of a complex experience that is reflected in the work’s fabrication: while its aspirational gleam resonates with his own family’s attempt to reach the United States, We The People also complicates an already layered story. As with much of the artist’s oeuvre, which often employs historically potent purchased objects and family artefacts, personal biography is interwoven with wider global history. Bartholdi’s original statue was a gift from France to the United States after their victory in the American Civil War: Vo’s version was financed by his French gallery Chantal Crousel, manufactured in Shanghai, and shipped to sites all over the world. In an age of global economies and mobile narratives, we are left to put the pieces of the puzzle together ourselves. The title’s words are taken from the United States Constitution, but We The People refuses to define who ‘we’ or ‘the people’ might be. As the artist has commented, ‘I thought it would be interesting to make something that people felt so familiar with, in all the different ways that people project on the sculpture, and try to destabilize your own thinking of it’ (D. Vo, quoted in H. M. Sheets, ‘Lady Liberty, Inspiring Even in Pieces, New York Times, 20 September 2012). The Statue of Liberty is an icon of freedom: does its power stand strongest as a unified symbol, or is it in fact made freer in its fragmentation? Vo assigns no specific meaning but leaves the work open.

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