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William Kentridge (né en 1955)
William Kentridge (né en 1955)
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Artist's Resale Right ("droit de Suite"). If the … Read more
William Kentridge (né en 1955)

Porter series - Noah tapestry

Details
William Kentridge (né en 1955)
Porter series - Noah tapestry
signé 'Kentridge' (au dos)
tapisserie en mohair, soie et broderie
283 x 404 cm.
Réalisée en 2001, cette œuvre porte le numéro un d'une édition de trois exemplaires.

signed 'Kentridge' (on the reverse)
mohair tapestry, silk and embroidery
111 3/8 x 159 in.
Executed in 2001, this work is number one from an edition of three.
Provenance
Marian Goodman Gallery, Paris
Collection Claude Berri, Paris
Collection privée, Paris
Exhibited
Osnabrück, Félix Nussbaum Haus, La trace cachée - dialogues de l'Avant-Garde, décembre 2008-avril 2009.
Special Notice

Artist's Resale Right ("droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also 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.
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection details.

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Etienne Sallon
Etienne Sallon

Lot Essay

« Traduire les collages en tapisseries est un processus d’amplification, d’expansion et de raffinement. Ils sont redessinés et plus détaillés au fil. Les lignes rouge, jaune et bleue, voilées dans les collages, deviennent plus claires. De nouvelles lignes sont aussi ajoutées, ce qui donne aux œuvres un plus grand sens de flux, comme si Mr. Kentridge les repensait. Les cartes deviennent plus lisibles, les bords du papier déchiré s’affirment. Réveillant et donnant vie aux images de Mr. Kentridge, on pourrait dire du processus de tissage qu’il anime les collages, et leur donne une énergie visuelle qui se rapproche du mouvement. » Roberta Smith
“Translating the collages into tapestries is a process of amplification, expansion and refinement. They are redrawn and further detailed in thread. Lines of red, yellow and blue, muted in the collages, become brighter. New lines are added too, giving the works a greater sense of flux, as if Mr. Kentridge were rethinking them. The maps become more legible, the edges of the torn paper more assertive. In awakening and giving life to Mr. Kentridge’s images, the weaving process could almost be said to animate the collages, to give them a visual energy bordering on motion.” Roberta Smith

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