Prova-Car

細節

Panamarenko (b. 1940)
Prova-Car
wood, tin, plastic, fabric, foam and screws
37 3/8 x 78¾ x 114 1/8in. (95 x 200 x 290cm.)
Executed in 1967

來源

On loan to the Museum van Hedendaagse Kunst, Ghent, 1975-2005.

出版

H. Theys, Panamarenko, Ghent 1992, no. 16 (illustrated, p. 82-83).

展覽

Brussels, Reportage, 1967, no. 48. This exhibition later travelled to Leuven, Ghent, Liége and Antwerp.
Antwerp, Wide White Space Gallery, Panamarenko. Opgepast! Bochten! Blijf op het voetpad, 1967.
Lucerne, Kunstmuseum Lucerne, Panamarenko, Automobile und Flugmaschinen, 1972-1973, no. 3 (illustrated). This exhibition later travelled to Dusseldorf, Städtische Kunsthalle, and Stuttgart, Württembergischer Kunstverein.
Paris, Musée d'Art Moderne de la Ville de Paris, Panamarenko, 1973, no. 3 (illustrated).
Berlin, Nationalgalerie, Panamarenko, 1978, no. 10 (illustrated, pp. 51-52). This exhibition later travelled to Otterlo, Rijksmuseum Kröller-Müller and Brussels, Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten.
Munich, Haus der Kunst, Panamarenko, 1982, no. 10 (illustrated).
Antwerp, Openluchtmuseum voor Sculptuur Middelheim, Automobiënnale, Biënnale 18, 1985 (illustrated).
Berlin, Künstlerhaus Bethanien, Fünf Finger an einer Hand, 1986.
Ghent, DSM, Flanders Technology, 1987. This exhibition later travelled to Geleen.
Ghent, Floraliapaleis, Collectie & Collecties, 1988.
France, Centre de Création Contemporaine, Panamarenko. Expérimentations, 1989.

注意事項

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

拍場告示

Please note that the correct medium of this work is wood, tin, plastic, fabric, foam and screws.

拍品專文

This work, which is based on racing cars models, does not have a motor and as such can not move. Furthermore, the material used does not allow it to be put outside. However, it does not need to work in order to expose its poetic nature and challenge the established norms. Prova Car challenges not only our perception of sculpture but also our way of life and our human perception of the materiality of things as opposed to the way they appear.

In 1970, Anny De Decker said in conversation about the Prova Car "he [Panamarenko] was always interested by aeroplanes but thought they would never be perceived as artworks by the general public. And one day he said to himself "Why not? They seem to like everything I do." And so he came back with a big car. It was fantastic; in fact it was the first mechanical object he introduced to the gallery" (A. de Decker, "Entertien avec Jan Leering, 1970," in Panamarenko, exh. cat., Berlin 1978, p. 54).