PIERRE ET GILLES (ACTIFS DEPUIS 1976)
" f " : In addition to the regular Buyer’s premium… 顯示更多
PIERRE ET GILLES (ACTIFS DEPUIS 1976)

Matador _ Fernando Leonne

細節
PIERRE ET GILLES (ACTIFS DEPUIS 1976)
Matador _ Fernando Leonne
signé, daté et titré (au dos)
Photographie peinte marouflée sur aluminium encadree par les artistes
Image : 117 x 91 cm. (46 1/8 x 35¾ in.)
Avec le cadre : 144.2 x 117.9 cm. (56¾ x 46 3/8 in.)
Réalisé en 1999, pièce unique.
來源
Galerie Jérôme de Noirmont, Paris
出版
Beaux-Arts Collection, Pierre et Gilles, Paris 2000 (illustré en couverture).
Galerie Jérôme de Noirmont, Album Pierre et Gilles, Paris, 2002 (illustré p.117).
展覽
Paris, Galerie Jérôme de Noirmont, Pierre et Gilles : Arrache mon coeur, novembre 2001-janvier 2002 - Vienne, KunstHaus, février-mai 2002 (illustré en couleurs p.51 au catalogue d'exposition).
Paris, Jeu de Paume, Pierre et Gilles, double je, 1976-2007, juin-septembre 2007 (illustré en couleurs p.184 au catalogue d'exposition).
注意事項
" f " : In addition to the regular Buyer’s premium, a commission of 7% (i.e. 7.49% inclusive of VAT for books, 8.372% inclusive of VAT for the other lots) of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit.(Please refer to section VAT refunds)
更多詳情
'MATADOR - FERNANDO LEONE'; SIGNED, DATED AND TITLED ON THE REVERSE; UNIQUE HAND-PAINTED PHOTOGRAPH MOUNTED ON ALUMINUM IN ARTISTS FRAME.

拍品專文

From the dew at night rises the impassive figure of a bull-fighter young and good-looking. He is framed by a bouquet of roses _ the distinctive feminine symbol of purity, although his figure evokes a sure and undeniable masculinity. In our hero's eyes there is no trace of doubt or fear. There is no place for fragility either. Embroidered with the bravery that only a secure victory could grant, our gladiator proudly wears his montera _ the typical matador hat. His hands remain unseen, hidden behind the crimson capote, and waiting in anticipation with an iron temple, the colossal attack of the bull.

He shows only an expression of flesh-driven aspiration, materialized in his unequivocal image of a raw masculinity.

In this way, Pierre et Gilles are able to reinterpret the old archetype of the fight between man and beast (and the resulting human victory), and to overturn it against us.