Gregor Hildebrandt (B. 1974)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Gregor Hildebrandt (B. 1974)

Elliptische Platten Target

Gregor Hildebrandt (B. 1974)
Elliptische Platten Target
signed, titled and dated '2013 Gregor Hildebrandt „elliptische Platten Target"' (on the reverse)
cassette tape, cassette wheel, plexiglas cover and wood
diameter: 36 5/8in. (93cm.)
Executed in 2013
Almine Rech Gallery, Paris/Brussels.
Acquired from the above by the present owner.
R. Mönig (ed.), Gregor Hildebrandt Sterne Streifen die Fluten, exh. cat., Saarbrücken, Saarlandmuseum Moderne Galerie, 2015 (installation view illustrated in colour, pp. 50-51).
Brussels, Almine Rech Gallery, Orphische Schatten, 2013.
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.

Lot Essay

Gregor Hildebrandt uses cassettes, vinyl and videotape to create surprising conceptual works. Although he takes stylistic cues from minimalism, his use of the materials of analogue recording weights the resulting objects with a world of biographical and socio-cultural intrigue, registering his own lived experience of popular culture. He deconstructs what was once a container of audio or visual information, creating playful composite objects tinged with these now invisible collective associations. In Romy Als Poupée (in Boccaccio 70) (2010) he presents an inkjet print of Romy Schneider as Poupée, a character in ‘Il lavoro,’ the third part of Boccaccio ’70, a 1962 anthology film which deals with different aspects of modern love and morality in the episodic style of the medieval author Boccaccio. This already intertextual film is transmuted further into a referential object; the title points up the artificiality of the image, privileging equally the actress’s first name and that of the character she plays. Ribbons of Hildebrandt’s signature cassette tape reel down the image, exposing the two-dimensional picture plane and threatening rupture like worn film in an old projector. The ephemerality of the defunct medium makes poignant the image of Romy Schneider, who died young in 1982. Elliptische Platten Target (2013) employs a different use of cassette tape, forming a vinyl ‘record’ whose function has been wryly elided; the word ‘Target’ in the title highlights the ambiguity of this new hybrid object, held remote, oversized and useless, in its Plexiglas case. No longer document or entertainment commodity, this strange stand-in hovers with latent memorial overtones, imbued with an abstracted reliquary aura and uncanny beauty.

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