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Alastair MacKinven (B. 1971)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Alastair MacKinven (B. 1971)

Pop Was The Sound Of The Bubble Bursting

Alastair MacKinven (B. 1971)
Pop Was The Sound Of The Bubble Bursting
titled 'POP WAS THE SOUND OF THE BUBBLE BURSTING' (on the overlap)
screenprint and oil on canvas
86 ¾ x 63 1/8in. (220.4 x 160.2cm.)
Executed in 2009
Hotel Gallery, London.
Acquired from the above in 2009.
London, Hotel Gallery, Alastair Mackinven: Abstract Capitalist Realism, 2009.
London, Saatchi Gallery, Newspeak, British Art Now, 2010-2011 (illustrated in colour, p.188). This exhibition later travelled to St. Petersburg, State Hermitage Museum.
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.
VAT rate of 20% is payable on hammer price and buyer's premium

Lot Essay

‘The one true reality under capitalism is paying to live,’ says Alastair MacKinven, ‘and that is the harshest reality, which forces one to do all kinds of horrors, like paint for example.’ MacKinven’s abstract canvases form a critical language with which to deconstruct ideas of power and worth within the art system – the role of the artist, how art is displayed and mediated to the viewer by galleries, and how art is transacted through the market and mass media. Pop Was The Sound Of The Bubble Bursting is part of a series titled Abstract Capitalist Realism, in which MacKinven directly examines the interplay between art and economics. The ornamental motifs repeated throughout these works are taken from the data protection patterns that line the envelopes of MacKinven’s utility bills and bank statements. The zig-zag surface in this painting is brightly coloured, varied and exciting, yet its ovoid ‘bubble’ form seems liable to collapse at any moment: a drama heightened by the tension between the gestural, handpainted background and the mechanic screenprinting of the overlaid pattern. MacKinven sardonically appropriates the genre of decorative painting in order to expose the dilemma of artists striving for creative integrity while entangled with the practical realities of the art economy. The title makes punning reference to ‘pop’ as an art movement, and as an expression of the unsustainable inflation of art-market hype.

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