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

Glory Hole _ Charly Huet

Details
PIERRE ET GILLES (ACTIFS DEPUIS 1976)
Glory Hole _ Charly Huet
signé, daté et titré (au dos)
Photographie peinte marouflée sur aluminium encadrées par les artistes
Image : 81.3 x 62.5 cm. (32 x 24 5/8 in.)
Avec cadre : 99 x 80 cm. (39 x 31½ in.)
Réalisé en 1994, pièce unique.
Provenance
Galerie Jérôme de Noirmont, Paris
Literature
B. Marcadé, D. Cameron; Pierre et Gilles l'Oeuvre Complet 1976-1996; Köln, 1997 (illustré p.328).
Exhibited
Sydney, Roselyn Oxley 9 Gallery, Pierre et Gilles, février-mars 1995 (illustré en couleurs p.45 au catalogue d'exposition).
Melbourne, Australian Centre for Contemporary Art, Pierre et Gilles, mars-avril 1995 (illustré au catalogue d'exposition).
Wellington, Wellington City Gallery, Pierre et Gilles, mai-juin 1995 (illustré au catalogue d'exposition).
Auckland, Auckland City Art Gallery, Pierre et Gilles, juillet-septembre 1995 (illustré au catalogue d'exposition).
Weimar, ACC Galerie Weimar, Pierre et Gilles, juillet-septembre 1996 (illustré en couleurs p.84 au catalogue d'exposition).
Munich, Fotomuseum, Die Welt von Pierre & Gilles, mai-août 1997. Paris, Tous les Dragons de notre vie, Pour un objet-dard : Dildo Show, juin 1998.
Turku, Turun Taideomuseo (Turku Art Museum), Pierre et Gilles, novembre 1999-février 2000 (illustré en couleurs p.98 au catalogue d'exposition).
Special Notice

" 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)
Post Lot Text
'GLORY HOLE - CHARLY'; SIGNED, DATED AND TITLED ON THE REVERSE; UNIQUE HAND-PAINTED PHOTOGRAPH MOUNTED ON ALUMINUM IN ARTISTS FRAME.

Brought to you by

Elodie Morel
Elodie Morel

Lot Essay

In Pierre et Gilles's Glory Hole, the potential for anonymity is wickedly subverted in order to position the viewer as a potential voyeur, turning the observer into another participant in the scene, and giving him a privileged view of the events happening before his eyes. Although the participants are located within an exuberant and conveniently secret ambiance _ that a few years later will reappear lusciously enhanced at the core of the series entitled as "les plaisirs de la forêts" _ they are not alone. Framing the image there is a concave surface, a peep hole, inviting to witness the action at first-hand (no pun intended) as if the artists were worried also to satisfy the most intimate voyeuristic cravings of the audience;

The picture may seem disturbing as it is one of the most sexually-explicit works ever crafted by Pierre et Gilles. It was made in the middle of the nineties, a time of full-frontal confrontation about setting up the limits between art and pornography in the world in a decade in which decency in the art aimed to be the common rule, fueled by conservative groups, mostly in the United States. As courageous and aggressive the artists' statement could be, one must take into account that Glory Hole is a staged parody of an erotic practice performed by adults under mutual (yet silent) agreement. This is nothing but a theatrical reflection of a man's urgency and submission _ and the artists wanted to make sure the audience will view it as such.

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