Auction

in favour of ONE FINE DAY e.V.

Total: 303.900 Euro

Sunday, February 10, 2013, 5 p.m.
Auctioneer: Daniel von Schacky (Villa Grisebach)
Contemporary Fine Arts
Am Kupfergraben 10, 10117 Berlin
Tel. + 49 - 30 - 288 78 70

Artists

Markus Bacher
Peter Böhnisch
Birgit Brenner
Anton Corbijn
Aldo Cristofaro
Tacita Dean
Christa Dichgans
Zhivago Duncan
Martin Eder
Laurence Egloff
Marcel Eichner
Oliver Flössel
Max Frisinger
Douglas Gordon
Mathew Hale
Gregor Hildebrandt
Olaf Holzapfel
Andy Hope 1930
Volker Hueller
Christian Jankowski
Thomas Kiesewetter
Michael Kunze
Alicja Kwade
Jonathan Meese
Olaf Nicolai
Tal R
Anselm Reyle
Daniel Richter
Julian Rosefeldt
Michael Sailstorfer
Norbert Schwontkowski
Katja Strunz
Gert & Uwe Tobias
Marlon Wobst
Ralf Ziervogel
Thomas Zipp

Preview

TUESDAY 29 JANUARY– SATURDAY 9 FEBRUARY 11 AM–6 PM
SUNDAY 10 FEBRUARY, 10 AM–4 PM

Lot No. 1

Andy Hope 1930 (* 1963, München)
FOREVER PEOPLE, 2012
Tusche auf Papier, 43 x 21 cm

Courtesy the artist and Galerie Guido W. Baudach

Andy Hope 1930 is known for crossing and contrasting his basis in Modernism with stylistic elements from the popular mass media. His work spans a variety of media. Things, forms, properties, techniques, references, genres, attitudes and stories coincide, but without ever giving the impression of being custom-fit, for gaps and inconsistent materials are intentionally allowed to remain. Elisions and proliferations occur, and, most notably, surprising hybrids which move between historic monuments, relics of the contemporary and spectres of futuristic fantasies.

Minimal bid 2.500 Euro / Hammer 3.100 Euro

Lot No. 2

Tacita Dean (* 1965, Canterbury, UK)
Ugly Dolly Diptych, 2010
gefundene Postkarten, gerahmt, je 13,5 x 8,5 cm

Courtesy the artist

”Ugly Dolly Diptych“, 2010 is a found postcard work. In about 2001, I began looking for postcards in the Berlin flea market. I found the postcard of the doll without the eyes very early on; it was one of the first. I have an aversion to dolls but I was attracted to her blindness. Then ten or so years later, I found the doll with sight. I thought the dolls would be the same but when I put them together, they were significantly different. It is simple, and a bit ugly, but a lot happens between the sight of one and the blindness of the other. (Tacita Dean)

Minimal bid 6.000 Euro / Hammer 8.000 Euro

Lot No. 3

Markus Bacher (* 1983, Kitzbühel, AT)
COLOGNE, 2011
Acryl auf Leinwand, 180 x 150 cm

Courtesy the artist and Contemporary Fine Arts

As an artist, Markus Bacher works with rare intensity and exclusively as a painter. It is through painting, and only through painting, that he communicates his artistic vision. (Peter Weiermair)

Minimal bid 7.000 Euro / Hammer 11.000 Euro

Lot No. 4

Anselm Reyle (* 1970, Tübingen)
Hufeisen, 2013
Fundstück, verchromt, gerahmt, 16 x 14 cm

Courtesy the artist and Contemporary Fine Arts

Reyle may be regarded as an archaeologist of the present or the recent past. His art has focused mainly on reconsidering-according to some critics, perverting-certain works of art and artefacts of 20th-century modernism, post-modern pop culture and street art. In every instance he goes against the grain of what is expected, what is currently valued, or considered tasteful in the art-world mainstream. (David Ebony)

Minimal bid 3.000 Euro / Hammer 10.000 Euro

Lot No. 5

Marlon Wobst (* 1980, Wiesbaden)
Einer für alle, 2011
Öl auf Leinwand, 60 x 80 cm

Courtesy the artist and SCHWARZ CONTEMPORARY

Mit Ölfarbe auf Leinwand arbeitet Marlon Wobst sich durch eine Vielzahl an Motiven, immer interessiert an der Schnittstelle von Inhalten und kompositorischen Fragen, die auf das Objekt Leinwand hinweisen können, der Wahrnehmung desselben dienlich, gleichzeitig die Illusion des Inhaltlichen zerstörend. Wechselwirkend ist man angezogen und abgestoßen; das heißt dann für mich, so Marlon Wobst, Malerei.

Minimal bid 800 Euro / Hammer 1.600 Euro

Lot No. 6

Jonathan Meese (* 1970, Tokio, JP)
Jail Or Zeus / Uwe Bohm, 1998
bemaltes Photo auf Leinwand, 159 x 100 cm

Courtesy Contemporary Fine Arts

I believe these Wonders of the World could only arise thanks to humility, mixed with a shot of megalomania, something that was not exactly innate to the humble but must have come from somewhere. Perhaps individual persons or priests. (Jonathan Meese)

Minimal bid 5.500 Euro / Hammer 11.000 Euro

Lot No. 7

Martin Eder (* 1968, Augsburg)
Ohne Titel / Untitled, 2012
Aquarell, 28 x 21.5 cm

Courtesy the artist, Galerie EIGEN + ART and Hauser & Wirth

For a long time, Martin Eder’s work was to be read as a coded irony, a melancholic intermediary stage in the cosmos of New Objectivity, sharp, cynic anti-attitude, contemporary figurative painting and installation. His works are referring topically to the poles of considerate aesthetics and superficial triviality. The result is an almost psychological insight into the female figures that ranges from euphoria to helplessness up to debilitating lethargy. The on the one hand baffling but also common moment of the situation bares the cognition of the social immaturity in contrast to the sensual impoverishment of the presence.

Minimal bid 3.500 Euro / Hammer 7.500 Euro

Lot No. 8

Anton Corbijn (* 1955, Strijen, NL)
Gwyneth Paltrow hitchhiking, 1995 and Allen Ginsberg hitchhiking, 1996,
Photos, Unikate, zusammen in einem Rahmen, je 40 x 40 cm

Courtesy the artist

In the years since he used his dad‘s camera to snap an obscure prog-rock band called Solution, Anton Corbijn has remained besotted with photography. He‘s been such an exhaustive chronicler of U2 and Depeche Mode that he‘s known as both bands‘ invisible member. Then, three years ago, he became a film director, making the award-winning Control about troubled Mancunian glum rockers Joy Division. ”I didn‘t really know how to make a film when I made Control. I had to create my own language, just as I did when I started taking photographs. I never studied either one.“ But surely clueless film directors don‘t win prizes at Cannes? ”True, but film-making is extreme for me. I can‘t use lights. I need others to help me to put shots together. Directing film is the hardest thing I have ever done.“ Even though you directed more than 100 rock videos? ”I know just enough not to look stupid. Mostly that means I know who to ask.“ (Anton Corbijn in conversation with Stuart Jeffries, The Guardian, 25 November 2010)

Minimal bid 6.000 Euro / Hammer 10.000 Euro

Lot No. 9

Olaf Nicolai (* 1962, Halle / Saale)
KOMBINATION, 2008-36, 2008
Farbige Papiere, Flechtarbeit, 24 x 24 cm

Courtesy the artist and Galerie EIGEN + ART Leipzig/Berlin

Olaf Nicolai’s work stands in the tradition of conceptual art that examines the relationship of idea to image or object. In various media Nicolai recurrently questions our habitual ways of seeing things. He transfers theories from the natural sciences and humanities into the area of the aesthetic and artistic, where they are experienced in new contexts. Olaf Nicolai´s work has always been focused on the mechanisms of the artistic and aesthetic process, bringing together art, memory and research with the analysis and review of scenes from everyday life and the transformation of consumer goods. Developing a vast series of interdisciplinary projects, it is difficult to classify his production into a precise category, nevertheless an interest in what art wishes to express and the media used to do so are at the base of his research. 

Minimal bid 1.300 Euro / Hammer 4.000 Euro

Lot No. 10

Alicja Kwade (* 1979, Kattowitz, PL)
hemmungslos, 2009-2013
Glas, Becks Bierflasche mit Etikett, 45 x 80 x 20 cm

Courtesy of the artist and Johann König, Berlin

„hemmungslos“ von Alicja Kawade impliziert die Reste eines geselligen Ereignisses, wie einem Fest oder einer Party. Gleichzeitig ist sie rabiater Ausdruck einer gewaltsamen Protestszene; wenn unter anderem Flaschen gegen Fensterscheiben geschmissen werden. Sie fällt hier jedoch ins Leere. Die Scheibe bietet der Flasche keinen Widerstand, sie ist wirkungslos. Die Arbeit ist Standbild einer unmöglichen Bewegung. Unter normalen Umständen ist es einer Bierflasche nicht möglich, eine Scheibe zu passieren ohne diese zu zerstören. „hemmungslos“ steht im Zusammenhang mit anderen Arbeiten von Alicja Kwade, in denen sie sich mit der Magie und den Eigenschaften der physischen Realität beschäftigt und sie hinterfragt.

Minimal bid 4.000 Euro / Hammer 6.500 Euro

Lot No. 11

Mathew Hale (* 1962, Swindon, UK)
Page 70 of DIE DUNKLERE MIRIAM, 2012
Mischtechnik, Collage, 43,4 x 48 cm

Courtesy the artist and Wentrup, Berlin

In his collages, projections, sculptures and installations, Hale conjures vital new images and constructions from fragments of material inherited from the past. Informed by the world and working through a process of associative improvisation, his work is both provocative and ruminative. The process always starts without a concrete idea of what the end result will be like, very much in the spirit of the surrealist écriture automatique. His collages are the result of associations of ideas, shuffling of book pages, posters, magazines, newspapers, and photographs, the addition of drawn elements, or the spontaneous use of words and writing. He draws on materials with different dates, origins, and meanings. In an open play of form and content, fragments from the past and present, reality and fiction are combined into dream-like, alogical pictures, which are nonetheless informed by a structure of ideas. Documents, found pieces, and invented elements refer to different levels of reality: the private and public perspective on phenomena and events. By combining these opposites, Hale creates a kind of constructed memory.

Minimal bid 2.000  Euro / Hammer 2.000 Euro

Lot No. 12

Christian Jankowski (* 1968, Göttingen)
Die Jagd / The Hunt, 1992/1997
Video (1 x VHS (signiert), 1 x DVD) video, 1:11 min., PAL, 4:3, Farbe, Ton, Schuber mit Siebdruck,
Edition 45 / 200

Courtesy the artist

For a week, Jankowski lives off goods he hunts down in the supermarket. Archaically armed with bow and arrow, and yet nobly pushing his trolley, he shoots down deep-frozen chickens, margarine, bathroom tissue, and all the other things he needs. Unimpressed, the checkout woman scans the trophies of the “bargain hunt”, which still have the arrows sticking out of them.

Minimal bid 2.000 Euro / Hammer 3.000 Euro

Lot No. 13

Michael Kunze (* 1961, München)
Was ist Metaphysik?, 2007
Öl auf Leinwand , 60 x 50 cm

Courtesy the artist and Contemporary Fine Arts

Kunze quotes the deconstruction of society since the elevated ideal of antiquity thoroughly and ostensively. For twenty years now, he has been working in his remote, timelessly idiosyncratic painting style, with the meticulousness of the irregular, the mixture of overly exact precision and generously ignored contours, on his allegorical arrangement of figures and images. (Gregor Jansen)

Minimal bid 3.500 Euro / Hammer 4.000 Euro

Lot No. 14

Thomas Kiesewetter (* 1963, Kassel)
Saturn, 2012
Stahl, Metallblech, Farbe , 110 x 108 x 37 cm

Courtesy the artist and Contemporary Fine Arts

Thomas Kiesewetter searches for what has not existed in quite that way before, it is the phenomenon of his works that within this ascertainable tradition of sculpture, they represent a new, independent expressive form. There is a continuously changing sensation of the variation of the spatial. Expansion of forms, then again compression, simplicity and complexity, richness of forms, and a manual directness that makes the way a work is constructed always visible. We see this confusing element in the sculptures: that reciprocal processes of perception take place simultaneously. Building and seeing, seeing in order to build an idea. (Friedrich Meschede)

Minimal bid 16.000 Euro / Hammer 22.000 Euro

Lot No. 15

Volker Hueller (* 1976, Forchheim)
Lost in the stars II, 2013
Radierung, Aquarell, Schellack auf Papier, Unikat, 191 x 135 cm

Courtesy the artist

Volker Hueller’s hand-coloured etchings score out the forms of harlequined physiognomies set into dark and ambivalent landscapes. Taking the form of portraits or narratives, the muted palette and dense atmosphere hint at a suppressed violence that is rich with historical references from Art Nouveau to early Surrealism. In addition to his figurative work, Hueller’s large-scale collaged canvases are seemingly abstract, the monochrome surface emphasising the patchwork textures: fake fur, leather, metallic sheeting, PVC and reptileskin- patterned materials. Yet, from his trademark interlocking fragments and planes emerge hints of figurative forms creating an oscillation between abstraction and figuration: the narratives dissolve into ornamentation while the forms of the broken planes evoke the human form. (culturenova.com)

Minimal bid 3.500 Euro / Hammer 5.800 Euro

Lot No. 16

Peter Böhnisch (* 1977, Waiblingen)
Ohne Titel / Untitled, 2011
Acryl, Tusche und Pigment auf Leinwand , 140 x 80 cm

Courtesy the artist and Contemporary Fine Arts

When the meaning of Peter Böhnisch’s scenes is not completely to decipher, the work invites a short pause, to contemplate them in a moment of silence. The works can be understood in a completely different way, not through the mind but through the emotions. The works are based upon the existential element of existence- humanity, the interplay of the elements.

Minimal bid 7.000 Euro / Hammer 7.000 Euro

Lot No. 17

Birgit Brenner (* 1964, Ulm)
Sie musste eine Entscheidung treffen, 2009
Papier, Kugelschreiber, Filzstift, Klebestreifen , 24 x 33 cm

Courtesy the artist and Galerie EIGEN + ART Leipzig/Berlin

Birgit Brenner’s large-scale installations and drawings deal with the impacts of social decline, loneliness and the fear of aging from a socio-critical point of view. Taken from everyday-situations, the artist illustrates the societal fears that are quite familiar to everyone by setting up scenarios between couples or inner monologues of the protagonists. Still, the men and women in her installations and collages are not charged with psychological depth – they rather serve as projection spaces for social problems. The filmically told stories are scattered over her works like fragmented directions of a movie script and thereby build an image-lacking construction, which the viewer has to fill with his own associations.

Minimal bid 700 Euro / Hammer 2.600 Euro

Lot No. 18

Ralf Ziervogel (* 1975, Clausthal-Zellerfeld )
Aktion 3000, 2013
Aquarell, Tinte auf Papier, 61 x 46 cm

Courtesy the artist and Contemporary Fine Arts

Ralf Ziervogel draws his figures in his hand’s sphere of action and develops the spacious sceneries in classical ink technique step-by-step during the operating procedure without any tracing. Thus, in delicately drawn chains, one body is tied to another, limbs are bound together and destroyed so that the twisted figures and settings are gradually growing. From a distance however, the detailed and amorphous abysses become ornamental patterns in which there seems to be no beginning and no ending.

Minimal bid 2.900 Euro / Hammer 3.000 Euro

Lot No. 19

Christa Dichgans (* 1940, Berlin)
Paper Plane, 2012
Öl auf Leinwand , 60 x 50 cm

Courtesy the artist and Contemporary Fine Arts

Und doch bleibt auch in den Arbeiten jüngeren Datums die Agglomeration von bunten Bruchstücken der Wirklichkeit, welche die Künstlerin aus dem turbulenten Strom des Lebens herauslöst, ein kompositorisches Grundprinzip. In ihrem ganz eigenen realitätsgeladenen Popsurrealismus ist das „Anhalten von Zeit“ mit dem Drama des Alltäglichen vereint. Damit eröffnet sie immer wieder überraschende Perspektiven auf die uns umgebende Welt und macht diese in ihrer Absurdität und Abgründigkeit, aber auch in ihrer Schönheit und unerschöpflichen Wandelbarkeit sichtbar. (Belinda Grace Gardner)

Minimal bid 3.000 Euro / Hammer 3.000 Euro

Lot No. 20

Olaf Holzapfel (* 1969, Görlitz)
Babel languages real basic space U3S, 2009
C-Print auf Archiv-Papier, Unikat, 70 x 52.5 cm

Courtesy the artist and Galerie Gebr. Lehmann Berlin/ Dresden

Das Bild „Babel languages real basic space U3S“ ist Teil eines Konvoluts von Digitalbildern, die Olaf Holzapfel unter den Titeln „Verhandelte Zeichen“ und „Unbestechliche Archive“ in den Jahren 2005 bis 2009 entwickelte. Die Bilder beschäftigen sich mit dem urbanen Raum und der gleichzeitigen Präsenz einer unbegrenzten virtuellen Welt. Das Resultat dieser Gleichzeitigkeit unserer Raumwahrnehmung ist für jeden Einzelnen höchst subjektiv und doch bestimmt von wiederkehrenden Mustern, Handlungsabläufen und Gegenständen. Private Imagination und Vereinbartes bestimmen unseren Gang durch Raumcluster und lassen eine naturalistische Wirklichkeit in den Hintergrund treten. So erscheint jedes Bild als Zeichnung einer Navigation, eine Formulierung von Erinnerungen. In ihrer Idee einer visuellen Aufzeichnung setzten die Bilder filmische Arbeiten und Notationen von Performancekünstlern aus den 1970er, 1980er Jahren in einer zeitgenössischen Bildsprache fort.

Minimal bid 2.500 Euro / Hammer 4.000 Euro

Lot No. 21

Max Frisinger (* 1980, Bremen)
Eisenhauer, 2013
Gusseisen, poliert, 58 x 29.5 x 16 cm

Courtesy the artist and Contemporary Fine Arts

Roboterhaft wirken die veränderten Heizkörper, manche sehen aus wie sich zum Flug erhebende Vögel oder haben die Schnauze eines Krokodils, gleichen Türmen oder hochgereckten Stelen, besonders imposant, wenn sie einer Wirbelsäule ähneln. Frisinger widmet seine ganze Werkgruppe „Buderus“ der seit 1731 bestehenden, gleichnamigen deutschen Eisenguss- und Heizungsfirma. Witzig, komisch, bedrohlich, aggressiv und poetisch gelang ihm die Verwandlung der industriell gefertigten Hohlgusskörper zu Kunst. Er hat sich an ihnen abgearbeitet, kratzte und schliff die Lackierung ab und polierte das Metall mit Schleifer, Bürste und Sandpapier. „Die Form“, sagt er, „ergab sich durchs Wegschlagen“. So arbeitet ein Bildhauer, der Plastiker arbeitet anders, er baut durch Hinzufügen auf. (Ingeborg Ruthe, Berliner Zeitung, 15. Januar 2013)

Minimal bid 8.000 Euro / Hammer 10.000 Euro

Lot No. 22

Douglas Gordon (* 1966, Glasgow, UK)
Ohne Titel / Untitled (Kids drawing 07), 2010
Bleistift, Schreibstift, Tinte auf Papier , 15 x 23 cm

Courtesy the artist

While he is best known for his films and complex large-scale video installations, often presented on multiple screens, Gordon‘s oeuvre also encompasses photographs, texts and objects. Gordon draws inspiration from cinema, literature, art, popular culture and his own life experience, wavering between personal and collective memory. He explores the existential themes of life and death, good and evil, innocence and guilt, and temptation and fear. (Tel Aviv Museum of Art, 2013)

Minimal bid 3.800 Euro / Hammer 5.500 Euro

Lot No. 23

Gert & Uwe Tobias (* 1973, Kronstadt (Brasov), RO)
Ohne Titel / Untitled, 2013
farbiger Holzschnitt auf Leinwand , 200 x 168 cm

Courtesy the artist and Contemporary Fine Arts

Gert and Uwe Tobias’s work is an all-night travel agent of the real in the business of promoting phantasms. Is it appropriate then to speak of idylls in relation to it? The word idyll designates a condition free from commotion and restlessness: nature stands for itself, it is tranquil and pure. As such, it represents the counter-image to the apocalypse which seems menacing and indomitable. Between these extremes there is also the pastoral, a place where nature and human agency coexist in harmony. (Florian Waldvogel)

Minimal bid 20.000 Euro / Hammer 36.000 Euro

Lot No. 24

Michael Sailstorfer (* 1979, Velden / Vils)
Lenkrad (2), 2012
Aluminium, Sprühfarbe , t = 13, Ø 38 cm

Courtesy of the artist and Johann König, Berlin

Es handelt sich bei der Arbeit um ein dreidimensionales Wandbild aus der Werkgruppe „Lenkrad“ (2012): ein an die Wand montiertes PKW-Lenkrad, aus Styropor geschnitzt und anschließend in Aluminium gegossen, das in seiner Form Bewegung und Wegstrecke impliziert. Rechts, links, geradeaus, egal - die Fahrt scheint ins Ungewisse zu führen, in die Weite und zugleich gegen die Wand. Die Arbeit lässt den Ausgang der Reise offen, beschränkt sich auf den Prozess der Bewegung, des Fahrens.

Minimal bid 3.000 Euro / Hammer 4.500 Euro

Lot No. 25

Oliver Flössel (* 1977, Bad Kreuznach)
Ohne Titel / Untitled, 2012
Öl, Acryl, Lack auf Leinwand , 117 x 108 cm

Courtesy the artist and SCHWARZ CONTEMPORARY

Flössel’s large paintings are the logbook of his daily experience and his impressions. Like a diary, they include traces of thoughts, of experienced fragments, combined to create a new ensemble. Hereby Flössel gives the functional role of communication a new figurative form: What is brought onto canvas is the content of a conversation between the artist and the painting, where the colours and forms act as textual modules. To express inner thoughts into coherent language requires an understanding of the inner confusion. Flössel’s compositions derive from interaction between reason and chaos, a multi-layered thought – a process which addresses, assesses and compares a variety of every day Perceptions.

Minimal bid 1.500 Euro / Hammer 3.000 Euro

Lot No. 26

Norbert Schwontkowski (* 1949, Bremen)
LEUCHTEN, 2011
Öl auf Leinwand, 80 x 110 cm

Courtesy the artist and Contemporary Fine Arts

Schwontkowski breaks through the dualism of subject and object by allowing his motifs and protagonists to drift along without restraint. His works evoke emptiness, absurdity, as well as instances of points being missed, and also allude to psychological contexts. In “The Order of Things”, manifest emptiness remains for Foucault the last possibility of a refusal in the face of superficial compliance and represents an investment in nothingness: “It is no longer pos sible to think in our day other than in the void left by man’s disappearance. For this void does not create a deficiency; it does not constitute a lacuna that must be filled. It is nothing more, and nothing less, than the unfolding of a space in which it is once more possible to think.” (Florian Waldvogel)

Minimal bid 8.000 Euro / Hammer 26.000 Euro

Lot No. 27

Thomas Zipp (* 1966, Heppenheim)
D.I.R.T.S.A., 2011
Mixed Media auf Papier, 32.5 x 42.5 cm

Courtesy the artist and Galerie Guido W. Baudach

Thomas Zipp has devised his narrative conceptualism in various media over more than a decade. His multipart installations, often containing combinations of drawing, painting and sculpture, illustrate surreal or dreamlike figments of something defying exact definition, as in a vision. At the same time, they are strangely suggestive and have an aura of aestheticization. Zipp uncovers hidden connections between art history, science, politics and psychology and deploys them in his work. Through consistent interweaving and superimposition, conventional or canonical readings of various systems of signs and meaning are called into question and replaced by new chains of interlinked statements that have their own unique logic.

Minimal bid 2.500 Euro / Hammer 3.700 Euro

Lot No. 28

Julian Rosefeldt (* 1965, München)
The Shift, 2008
6 C-Prints, je 29 x 36 cm
Edition 39/50

Courtesy the artist

In the photo series “The Shift” (2008, produced in conjunction with the same-titled four-channel film installation), we see a night-watchman figure – one actor depicts four different versions of the character – wandering alone through a series of industrial worlds, unanchored in space and time. Julian Rosefeldt has chosen an aesthetic for these worlds that mixes elements of science-fiction with outdated technology. His protagonist is caught up in a system that has become entirely independent. In this, Rosefeldt draws a parallel to the present day, where technology has become so complex that it can no longer be understood by one person alone, but requires a whole legion of communicating specialists to master it. 

Minimal bid 1.800 Euro / Hammer 4.500 Euro

Lot No. 29

Marcel Eichner (* 1977, Siegburg)
Blumen, 2012
Gouache, Acryl und Tusche auf Leinwand, 39.5 x 39.5 cm

Courtesy the artist and Contemporary Fine Arts

I ask the artist how he begins. He tells me that he first pours paint and ink on the canvas – sometimes consciously, sometimes accidentally. And then he lets the painting do its thing. Depending on whatever the painting has done, Eichner then intervenes in the process. The figures are given contours in ink, or scratched into the acrylic paint, i.e., they are more drawn than painted, and thus they seem like ciphers for things human or animal. They are not modeled, but remain rather flat, without volume and without the reassurance of anatomical correctness – which he actually frowns upon. Looking at photographs or images of other artists is anyway forbidden while he paints. It has to be done quickly, hence ink or acrylic paint and not oils. Sometimes the painting overtakes the artist, the figures practically invent or paint themselves, star t to interact, and force spontaneous reactions. (Nicole Hackert)

Minimal bid 3.000 Euro / Hammer 5.500 Euro

Lot No. 30

Katja Strunz (* 1970, Ottweiler)
Ohne Titel / Untitled, 2011
Collage, 30.5 x 21.5 cm

Courtesy the artist and Contemporary Fine Arts

In the end, Katja Strunz raises the question how far modernism still exerts control over us, and how hard it is for art to emancipate itself from an aesthetics that is prized but now obsolete, as well as from disagreeable fallacies. In Strunz’s work, there are associative echoes of the modernist credo of formal reduction, from futurism to suprematism all the way to land art. (Birgit Sonna)

Minimal bid 1.800 Euro / Hammer 4.200 Euro

Lot No. 31

Laurence Egloff (* 1972, Paris, FR)
Zeus II, 2012
Öl auf Leinwand , 30 x 40 cm

Courtesy the artist and SCHWARZ CONTEMPORARY

Frequently, Egloff’s points of departure are figurative paintings familiar from art history, as well as private photographs. What all her sources have in common is that at the moment the artist beholds them, they evoke a special emotion or memory in her. In her further engagement with these pictures, she uses reproductions where the details are no longer clearly recognizable.

Minimal bid 500 Euro / Hammer 1.700 Euro

Lot No. 32

Gregor Hildebrandt (* 1974, Bad Homburg)
Das Werk ist die Spiegelung der Arbeit im Bild (Auch wir sind in Arcadien geboren (Madge Evans)), 2012
digitaler Pigmentdruck, Unikat, 84 x 63 cm

Courtesy the artist and Wentrup, Berlin

Although Hildebrandt’s work makes formal reference to Minimalism, the addition of a great number of subjective and autobiographical citations actually deliberately repudiates this strategy. For Hildebrandt, the cassette tape as artistic medium, especially in its original function of storage medium, fulfills an important function: it enables the artist to add a further “invisible” dimension to his pictures. Playing with perception in this way is a major characteristic of his work; the picture is completed in the head of the viewer. If the contemplation of his art incorporates the heterogeneous cosmos of Gregor Hildebrandt’s references to music, film, literature and, last but not least, art history, his works turn out to be complex montages, in which pictorial associations from different spheres combine and interpenetrate. Hildebrandt employs the material of his every-day environment without aesthetic or theoretical inhibition and playfully links aspects of conceptual art and minimal art with his personal life and experience of pop culture.

Minimal bid 3.000 Euro / Hammer 7.000 Euro

Lot No. 33

Daniel Richter (* 1962, Eutin)
Ohne Titel / Untitled, 2012
Öl auf Leinwand, 60 x 50 cm

Courtesy the artist and Contemporary Fine Arts

Einige Gemälde widmen sich dem Motiv des Heldenbildes, „Hey Joe“ (2011, 240 x 180 cm) etwa, wo ein Taliban einem Cowboy Feuer gibt – und die strukturelle Nähe der Antagonisten vorführt. Beide werden als Heroen des einsamen Kampfes verklärt, und nicht nur vor diesem Motiv fällt einem wieder ein, dass es auch der Westen war, der die Taliban einst gegen die Sowjets unterstützte und dass Saddams Paläste von innen aussahen wie amerikanische Wohnzimmer. (Niklas Maak, FAZ, 14.10.2011)

Minimal bid 15.000 Euro / Hammer 34.000 Euro

Lot No. 34

Tal R (* 1967, Tel Aviv, IL)
Fog over Malia bay, 2012
Öl und Dispersion auf Pappe, Künstlerrahmen, 122 x 94 cm

Courtesy the artist and Contemporary Fine Arts

In his work, Tal R relates both to art history and also to popular and underground culture, to music, film or comics, but also to everyday observations, his own experiences and memories. Here he always concentrates on questions about new pathways that contemporary art can take between illusionism, figuration, and abstraction. Swinging between enjoyable anarchy, humorous, ironic references, overkill in terms of information, and strict order, he draws the contemporary world with all its questions and problems into his elaborate, sometimes seemingly lyrical cosmos and involves it in a comprehensive discourse about art. (Beate Ermacora)

Minimal bid 6.000 Euro / Hammer 17.000 Euro

Lot No. 35

Zhivago Duncan (* 1980, Terre Haute, USA)
The beauty of the World F.M, 2012
Modell, Epoxydharz, Farbe, Stecknadeln, Holz, 71 x 66 x 23 cm

Courtesy the artist and Contemporary Fine Arts

Compelled to create absurd relics that pay homage to the forgotten mechanisms and obsolete technological achievements of mankind, Dick Flash wanders the charred and barren ground of his inherited planet, a mercenary drifter. Alone, save the beasts that he adopts as divine companions, Dick Flash assumes an Übermensch persona, re-writing the history and religion of humanity through mechanical constructions that allude to mankind’s previous, albeit temporary, domination over nature and the wild. (Zhivago Duncan)

Minimal bid 3.500 Euro / Hammer 7.200 Euro

Lot No. 36

Aldo Cristofaro (* 1970, Scordia, IT)
Der Mond die Affen und das Ganze Drumherum, 2011
Acryl auf Leinwand , 110 x 90 cm

Courtesy the artist

Seine Werke sind ein Feuerwerk von kraftvollen, hellen und lebendigen Farben. Sie vermitteln Kraft, Eifer und setzten die Phantasie frei. Der in Berlin lebende Künstler hat seine eigene rätselhafte Sprache mit einem spielerischen Alphabet von Symbolen erschaffen - die Beherrschung der poetischen Kraft der Farben. (Virginie Puertolas-Syn)

Minimal bid 3.500 Euro / Hammer 5.000 Euro


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Bidding

Terms and Conditions

Bidding Form

The Auction

This exhibition and auction came about when we approached Nicole Hackert and Bruno Brunnet of the gallery Contemporary Fine Arts in Berlin a few months ago and asked them if they thought they might be able to help us. We told them about our project ONE FINE DAY e.V. and could see right away that the interest and enthusiasm we were sparking in these two (already very active) gallerists was beginning to take the form of a concrete idea.

An exhibition of work by international artists in solidarity, all of whom present their work for free that it may be sold afterwards in an auction with all proceeds going to the organization: with this concept, we believe we can ensure that our work in East Africa, which has been painstakingly conceived as a long-term project, will carry on and expand.

In the weeks and months that followed, we met many who have been inspired by the commitment of Bruno, Nicole, and ourselves: gallerists, journalists, a wide range of people active in various branches of culture, and of course, artists. We are especially grateful to them, as we know that they are practically deluged with similar requests, for the generosity they have shown to the project to which we have so willfully and personally dedicated ourselves, both at home and in Africa. With this selection of works, some of them quite unusual, we will now not only be able to introduce our project to a wider public but also make sure that the initiative will carry on and grow over a considerable period of time. This extraordinary constellation of works will be on view, many of them for the first time, at Contemporary Fine Arts for only five days, from February 6 through 10, 2013. Many of these works have been especially made for this exhibition.

At the same time, in a separate space, visitors will be able to familiarize themselves with the work we have been doing with our young Kenyan art students. A selection of 25 images will offer just a sampling of the talent being roused from its deep sleep.

This sort of fundraising is quite common outside of Germany, but here at home, it is still a relatively rare means of securing funding — though it has slowly begun to gain traction. The independence of our initiative is one of our key interests in the work we do with ONE FINE DAY e.V. — no bureaucracy, no dependency on institutionalized means of aid delivery should inhibit the spirit of our project, whose goal is nothing less than to spark a liberating stimulus in a living culture looking to revitalize its creative identity.

Your support can be a decisive contribution. Thank you for your interest.

Marie Steinmann & Tom Tykwer

One Fine Day e.V.

ONE FINE DAY e.V., founded in 2008 by Marie Steinmann and Tom Tykwer, is a non-profit organization that, in cooperation with the British NGO ”Anno‘s Africa“, is primarily active in East Africa. The goal of the organization is to open avenues for imagination and discovery for children and young adults in underdeveloped regions of the world through the teaching of artistic practice and the principles of aesthetics.

The organization has been able to work most consistently in several of the largest slums in the Kenyan capital, Nairobi: Kibera, Mathare, and Majengo. Each year, concepts in the education of visual arts, theater, dance, ballet, music, creative writing, and acrobatics are developed in two-month-long workshops in these (sparsely equipped) schools in order to lay the pedagogical foundation for the following year. European artists work closely with Kenyan teachers with the aim of enriching the otherwise quite rudimentary curriculum (reading, writing, arithmetic) with creative programs.

The concept has proven to be successful. More than 600 children and young adults take part in these intensive workshops each year (and that number is growing). They follow up once a week in ”Weekend Art Clubs“, where they can apply and improve their freshly acquired skills throughout the rest of the year.

A concept for a film workshop has evolved alongside the activities of One Fine Day e.V. called ”One Fine Day Films“. The principle here is very similar, but the idea is to work with young adult filmmakers from all over the continent on original African stories and material to be developed into screenplays for feature-length films. The actual films are made by a team that meets in an intensive training workshop once a year.

The goal of the initiative — alongside realizing the potential of each of those who take part — is to set a programmatic example. As has been widely discussed for several years now, developmental aid is currently in a complex stage of transition. The bureaucratic system of western aid has, over the years, created a mutually dependent relationship with at times fatal consequences. Many people in underdeveloped regions lose the drive to care for themselves and determine their own lives. As the mechanics of delivery become unpredictable, those in need have less and less say in the transaction and leave off working on their own initiatives in order to strive toward bringing stability back to their chain of supply.

This vicious circle must be broken, and in our eyes, one means of doing so is to approach the problem in its early stages: in the schools, in education — at the root. When young people engage with art, they develop a mature sense of their own potential (and limits), which, we believe, will then evolve into a greater self-confidence. In every aspect, and in many ways. Engagement with art and artistic expression sets thought processes in motion that stabilize and form a young person‘s relationship with his or her own personal abilities and ambitions. This is why we believe that a project like One Fine Day e.V. can be a model for others. We hope to see many imitations in the future.

For more, see: onefineday.org

One Fine Day e.V. is financed exclusively by donations and membership fees, and is therefore not associated with any of the usual NGO channels. And for good reason. We‘re striving to keep the cost of administration as minimal as possible so that a maximal percentage of funds made available to us will be applied directly to the projects.

Thanks to

Artists

Markus Bacher
Peter Böhnisch
Birgit Brenner
Anton Corbijn
Aldo Cristofaro
Tacita Dean
Christa Dichgans
Zhivago Duncan
Martin Eder
Laurence Egloff
Marcel Eichner
Oliver Flössel
Max Frisinger
Douglas Gordon
Mathew Hale
Gregor Hildebrandt
Olaf Holzapfel
Andy Hope
Volker Hueller
Christian Jankowski
Thomas Kiesewetter
Michael Kunze
Alicja Kwade
Jonathan Meese
Olaf Nicolai
Tal R
Anselm Reyle
Daniel Richter
Julian Rosefeldt
Michael Sailstorfer
Norbert Schwontkowski
Katja Strunz
Gert & Uwe Tobias
Marlon Wobst
Ralf Ziervogel
Thomas Zipp

Staff

Daniela Cwikla
Marcel Gerbrecht
Philipp Haverkampf
Rachel Keeler
Carolin Leistenschneider
Elisa Nitschke
Miriam Schwarz
Imke Wagener
Susanne Weber
Antje Wewer

Galleries

Galerie Guido W. Baudach
Contemporary Fine Arts
Galerie EIGEN + ART
Johann König, Berlin
Galerie Gebr. Lehmann
SCHWARZ CONTEMPORARY
Wentrup

Supporter

artbutler
Bilderrahmen Landwehr
Druckhaus Köthen
Farbanalyse
Jochen Littkemann
Manfred Herrmann / H/P/T/P/
Philipp Kroll / Kroll Art & Projects
Christian Schubert / fkmedia – audiovisuelle lösungen
RA Marcellus Puhlemann
Sarah Nöllenheidt / buero noc
Snoeck Verlag
Villa Grisebach Auktionen


Contact / Imprint

One Fine Day e.V.
Marie Steinmann
Kastanienallee 79,
D–10435 Berlin

mariesteinmann@onefineday.org
www.onefineday.org

*

Applications for the press talk on Wednesday, February 6, 2013 and
contact for queries/press material/interview requests:

Elisa Nitschke <presse@onefineday.org>

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