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

(i) Untitled (Crash 1) (ii) Untitled (Crash 2)

Dirk Skreber (b. 1961)
(i) Untitled (Crash 1)
(ii) Untitled (Crash 2)
(i) Red Mitsubishi Eclipse Spider 2001 with metal stand
(ii) Black Hyundai Tiburon 2001 with metal stand
(i) overall: 115 x 127 x 93in. (292.2 x 322.6 x 236.2cm.)
(ii) overall: 91 x 124 x 102in. (231.1 x 315 x 259cm.)
Executed in 2009
Friedrich Petzel Gallery, New York.
Acquired from the above in 2009.
(i) E. Booth-Clibborn (ed.), The History of the Saatchi Gallery, London 2011 (illustrated in colour, p. 610).
New York, Friedrich Petzel Gallery, Dirk Skreber, 2009.
London, Saatchi Gallery, Shape of Things to Come: New Sculpture, 2011 (installation view illustrated in colour, pp. 88-93).
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.
VAT rate of 20% is payable on hammer price and buyer's premium

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Bianca Chu
Bianca Chu

Lot Essay

Dramatically wrapping two cars around thick metal poles, German artist Dirk Skreber has created an extraordinary spectacle in Untitled (Crash 1) and Untitled (Crash 2). 'I wanted to go closer to the material reality of my subject. I started thinking about a simulated crash, which was staged according to my sculptural vision While making these works my concern was not at all about accidents but rather to use a massive and completely real transfer of energy as an opening door to a perspective on the flow of physical laws and metaphysical energies, loading and unloading, transforming and retransforming like batteries or spiritual bodies' (D. Skreber, reproduced at [accessed 5th June 2013]).

Growing up in a suburban district of northern Germany, Skreber's work draws from the industrial landscape of his youth, making sculptures and paintings that explore the link between industry and art. Starting as a painter, Skreber obsessively created dystopian wastelands comprised of car crashes, bike parts flung across barren roads, and cars wrapped around poles. Finding that there was a 'curiousness in the crash paintings that wasn't satisfied (D. Skreber, reproduced at -things-to-come-dirkskreber, [accessed 5th June 2013]), Skreber translated his unique visions into three-dimensions, creating dynamic sculptures that have an unassailably powerful visual impact.


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