Anne Hardy (B. 1970)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Anne Hardy (B. 1970)


Anne Hardy (B. 1970)
signed 'Anne Hardy' (on a label affixed to the reverse)
C-print mounted on diasec
49 ¼ x 60 7/8in. (125 x 154.5cm.)
Executed in 2004, this work is number one from an edition of five plus one artist's proof
Maureen Paley, London.
Acquired from the above in 2006.
Finland, Kunsthalle Helsinki, to be continued…/jaatku… Kunsthalle Helsinki, 2005.
London, Saatchi Gallery, Newspeak, British Art Now, 2010-2011 (illustrated in colour, pp. 113-114). 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

Cell is no straightforward photograph. Rather than portraying real environments, Anne Hardy painstakingly constructs entirely invented spaces, using found and second-hand items to generate narratives and create unnerving interiors. Here, glaring artificial light illuminates a disquieting scene: a forest of coloured cabling and lightbulbs hangs from the ceiling above a straw-strewn room, walled with mattresses sprouting further bulbs. A small walkway leads to a doorway framed in red, with a telephone at the entrance and tally marks daubed in white as if to count the passing days. The title, as with all her works, leaves things open, suggesting that this den could be related to a political cell or a peculiar monastic retreat. Hardy’s precise control over her artificial image recalls the photography of Jeff Wall or Thomas Demand, but her work has its own dark flavour and its origin is in a performative process leading to the creation of a place that happens to be an image, as opposed to the execution of a pre-visualized photograph. Although she builds her scenes in actuality, they are only ever seen through the mediating gaze of the camera. Every detail contributes to an uncanny synthetic vision, performing reality as something inherently imagined.

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