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Hiroshi Sugimoto (b. 1948)
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Hiroshi Sugimoto (b. 1948)

Aegean Sea, Pilion

Hiroshi Sugimoto (b. 1948)
Aegean Sea, Pilion
signed 'H. Sugimoto' (on a label affixed to the reverse)
gelatin silver print
image: 47 x 58¾in. (119.5 x 149.3cm.)
overall: 60¼ x 71 7/8in. (153 x 182.5cm.)
Executed in 1990, this work is number three from an edition of five
Galerie Rodolphe Janssen, Brussels.
Private Collection, Brussels (acquired from the above in 2005).
Anon. sale, Christie's London, 6 February 2008, lot 13.
Acquired at the above sale by the present owner.
New York, Metropolitan Museum of Art, Sugimoto, 1995-1996, p. 89 (another from the smaller-scale edition illustrated, on the cover; illustrated in colour, p. 39). This exhibition later travelled to Houston, Contemporary Arts Museum; Tokyo, Hara Museum of Contemporary Art and Arkon, Akron Museum of Art.
Madrid, Sala de Exposiciones de la Fundación "La Caixa", Sugimoto, 1998, pp. 152 and 196, no. SUG-349 (another from the smaller-scale edition exhibited, illustrated, p. 153). The exhibition later travelled to Lisbon, Centro Cultural de Belém.
Tokyo, Mori Art Museum, Hiroshi Sugimoto, 2005-2006, p. 360 (another from the edition exhibited, illustrated, p. 121). The exhibition later travelled to Washington, D.C., Hirshhorn Museum and Sculpture Garden.
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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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Katharine Arnold
Katharine Arnold

Lot Essay

‘Sugimoto’s seascapes (begun in 1980) represent various bodies of water in the same deceptively simple composition: the horizon line evenly divides the frame into water and air ... They are not so much depictions of geographic locations as they are attempts at capturing on film the qualities of light, air, water and atmosphere. In emphasizing these natural elements, Sugimoto drapes like a veil the decidedly intangible over the specific, the concept over the concrete, returning all seas to their fundamental state as water and air. Through the nearly abstract, almost sacred geometric composition and the repetition of this yin-yang relationship from image to image, from ocean to ocean around the world, the sea is returned to a kind of primordial state untouched by humankind. Sugimoto’s seascapes are not photographs of the sea; rather they are images that arise out of the murky depths of the past, time machines that are capable of extending our vision back beyond our own existence, images that focus on the sea with the very substances - water and air - that would ultimately give rise to life itself’
(K. Brougher, ‘Impossible Photography’, Hiroshi Sugimoto, exh. cat. Smithsonian Institution, Washington D.C., 2005, p. 23).

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