Andreas Gursky (b. 1955)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Andreas Gursky (b. 1955)

Cocoon II

Andreas Gursky (b. 1955)
Cocoon II
signed twice 'Andreas Gursky' (on two labels affixed to the reverse)
chromogenic print mounted on Plexiglas in artist’s frame
image: 77 x 191in. (195.5 x 485cm.)
overall: 83 ¼ x 199 3/8in. (211.5 x 506.5cm.)
Executed in 2008, this work is number two from an edition of six
Matthew Marks Gallery, New York.
Acquired from the above by the present owner in 2009.
Frankfurt, MMK Museum für Moderne Kunst Frankfurt am Main, Andreas Gursky. Cocoon, 2008 (another example from the edition exhibited).
Paris, Musée d’art modern de la ville de Paris, Objectivités. La photographie à Düsseldorf, 2008-2009 (another example from the edition exhibited).
Krefeld, Kunstmuseum Krefeld, Andreas Gursky Werke/Works 80-08, 2008, p. 255 (smaller version exhibited and illustrated in colour, pp. 240-241). This exhibition later travelled to Stockholm, Moderna Museet and Vancouver, Vancouver Art Gallery, 2009.
New York, Matthew Marks Gallery, Andreas Gursky, 2008-2009.
Hanover, Sprengel Museum, Photography Calling, 2011-2012 (another example from the edition exhibited).
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. Specifed lots (sold and unsold) marked with a filled square not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00 pm on the day of the sale will, at our option, be removed to Crown Fine Art (details below). Christie’s will inform you if the lot has been sent ofsite. If the lot is transferred to Crown Fine Art, it will be available for collection from 12.00 pm on the second business day following the sale. Please call Christie’s Client Service 24 hours in advance to book a collection time at Crown Fine Art. All collections from Crown Fine Art will be by prebooked appointment only.

Brought to you by

Tessa Lord
Tessa Lord

Lot Essay

'The camera’s enormous distance from these figures means they become de-individualized ... So I am never interested in the individual but in the human species and its environment'
–Andreas Gursky

Spanning five metres in width, Andreas Gursky’s Cocoon II offers a vast, immersive spectacle. With its sea of revellers surging as one, it exemplifies the artist’s ability to distil abstract order and crystalline detail from the chaos of human existence. Executed in 2008, and included in the artist’s major retrospective at the Kunstmuseum Krefeld that year, the work belongs to a small series of photographs depicting the former Cocoon Club in Frankfurt, owned and designed by the artist’s friend DJ Sven Väth. The series, which includes his first self-portrait, represents a rare instance of personal reference within his oeuvre, as well as an unusually extended focus on a single subject. Currently the subject of a major retrospective at the Hayward Gallery, London – his first in the UK – Gursky is noted for his encyclopaedic approach to arenas of global activity. Since the 1980s, he has captured airports, factories, stock exchanges and other sites of congregation with otherworldly clarity. From the early 1990s, the artist began to experiment with digital manipulation techniques, merging multiple shots in order to emphasise hidden linear patterns and rhythms. Fuelled by the artist’s love of techno and trance music, the German rave scene became a source of particular fascination, and the present work may be seen to extend from earlier masterpieces such as Union Rave (1995) and his celebrated May Day series (1997-2006). Captured from above, the distinctive honeycombed walls of the club and the swarming hive of dancers are brought into undulating unison, with specks of colour picked out like accented beats. The effect, much like the music itself, is one of sublime synchronicity.

More from Post-War and Contemporary Art Evening Auction

View All
View All