Francis Alÿs (b. 1959)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION
Francis Alÿs (b. 1959)

Untitled

Details
Francis Alÿs (b. 1959)
Untitled
(i) signed and inscribed 'F. Alÿs Rotulos Garcia' (on the stretcher)
(ii) signed and inscribed 'F. Alÿs Rotulos GOMEZ' (on the stretcher)
(iii) signed and dated'F. Alÿs 1993' (on the reverse)
(iv) signed and dated 'F. Alÿs 1994' (on the reverse)
(i)(ii) enamel on tin
(iii) oil on canvas
(iv) oil and encaustic on burlap
(i) 54½ x 46in. (137.4 x 116cm.)
(ii) 28½ x 21in. (71.8 x 53cm.)
(iii) 9½ x 12in. (24 x 30.3cm.)
(iv) 11 x 8¾in. (27.7 x 22cm.)
(i)(ii)(iv) Executed in 1994
(iii) Painted in 1993
Provenance
Galería Ramis Barquet, Monterrey.
Private Collection.
Anon. sale, Sotheby's London, 23 June 2004, lot 38.
Acquired at the above sale by the present owner.
Literature
T. Vischer, Sign Painting Project - Francis Alÿs with Juan García, Emilio Rivera, Enrique Huerta, Basel 2011 (no. (i) illustrated in colour, p. 79).
Exhibited
Monterrey, Galería Ramis Barquet, The Liar/The Copy of the Liar, 1994 (studio view illustrated in colour, p. 22).
Mexico City, Museo de Arte Moderno, The Liar/The Copy of the Liar, 1997.
New York, Annandale-on-Hudson, Bard College, Center for Curatorial Studies, The Happy Worker, 2004.
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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Alexandra Werner
Alexandra Werner

Lot Essay

Ineffable and uncanny, like the ungraspable lingering of a recurring dream, these four paintings, all Untitled, 1993-4, are part of Francis Alÿs’ celebrated Sign Painting Project, a collaborative enterprise which came to fruition in 1993. Each work in this grouping depicts a variation of a silhouetted man, seated upright on a chair. Shrouded in mystery, the anonymous figure is repeated in four separate compositions of differing dimensions. In each, a pitcher is perched precariously atop the protagonist’s knee: it balances implausibly, defying all laws of gravity. The surrealist iconography at play in these works is strikingly evocative of René Magritte’s dreamlike and illusory paintings of similarly suited and generic men, as in his seminal work The Great War of 1964. As if in homage to Magritte, Alÿs’ suited, seated character exudes an analogous air of intrigue and detachment. Cuauhtémoc Medina describes this ‘lone man, an archetype of the modern subject, dressed in a suit and tie and involved in a number of sculptural fantasies’ which characterise Alÿs’ work of this period. These he defines as ‘figurative translations of imaginary transitions between objects and the body, in which body parts and everyday things collided, fused and overlapped with the same unassuming magic of street situations’ (C. Medina, ‘Fable Power’ in Francis Alÿs: Cuauhtémoc Medina, Russell Ferguson, Jean Fisher, London 2007, pp. 82 – 86). It is this unassuming magic, which sees the quotidian infused with the peculiar, that is so compelling in Alÿs’ work.
The Sign Painting Project emerged on the one hand from the 16th century collective tradition of the painters’ workshop, and on the other from the abundance of hand-painted advertisements that lined the streets of his neighbourhood in Mexico City. Enthused by these vastly different practices, Alÿs established an interactive dialogue between his own paintings and those of three local rótulistas (sign painters): Juan García, Enrique Huerta and Emilio Rivera. Seeking to challenge notions of authorship and authenticity, Alÿs created a body of small oil paintings based on the flat, bright and vivid street signs; these were then translated back into larger works by the rótulistas, much like the street advertisements that had originally inspired them. Indeed, in the present group, one of the smaller oil paintings by Alÿs (iv.) has been interpreted and enlarged by the sign painters in two corresponding works on enamel on tin and oil on canvas respectively (i. and ii.). An additional work (iii.), an oil on canvas painting composed by Alÿs in 1993, invigorates this set with a further dimension of dynamism and enigma. As the project developed, Alÿs began to create more works based on the rótulistas’ interpretations, further blurring the lines of origin and originality. With its bright hues and entrancing simplicity, this beguiling selection of works provides a titillating insight into Alÿs’ innovative project from this pivotal period in his career.

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