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Isa Genzken

Spiegelbild, 2001

Mirror facets on glass on beaverboard
19 7/10 × 15 7/10 × 3/10 in
50 × 40 × 0.7 cm
Edition 69/100
Bidding closed
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About the work
Provenance
VH
Van Ham

50 x 40 x 0.7cm

Signed verso on label: Isa Genzken. Here also typographically titled, dated, and …

Read more

50 x 40 x 0.7cm

Signed verso on label: Isa Genzken. Here also typographically titled, dated, and numbered. Number 69/100. Verso hanging devices.The multiple can be hung in portrait or landscape format.

Medium
Sculpture
Isa Genzken
German, b. 1948
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Using insubstantial commercial materials to depict what seems indestructible, Isa Genzken’s sculptures explore the tension between permanence and transience. Drawing on the legacies of Constructivism and Minimalism and often involving a critical dialogue with Modernist architecture, Genzken’s works comment on the way we build and destroy our environments, which are an expression of hope as well as a monument to our consumption and destructiveness. Following 9/11, Genzken created a series entitled “Empire/Vampire, Who Kills Death” (2002–03), using her characteristic assortment of disposable materials such as plastic vessels, toy figures, and other detritus to depict scenes of post-apocalyptic devastation and confusion. For her installation Oil, the artist transformed the German Pavilion at the 2007 Venice Biennale into a saturnine and futuristic Gesamtkunstwerk (the German word for “total art-work”).

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View in room
share
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Save
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view
View in room
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About the work
Provenance
VH
Van Ham

50 x 40 x 0.7cm

Signed verso on label: Isa Genzken. Here also typographically titled, dated, and …

Read more

50 x 40 x 0.7cm

Signed verso on label: Isa Genzken. Here also typographically titled, dated, and numbered. Number 69/100. Verso hanging devices.The multiple can be hung in portrait or landscape format.

Medium
Sculpture
Isa Genzken
German, b. 1948
Follow

Using insubstantial commercial materials to depict what seems indestructible, Isa Genzken’s sculptures explore the tension between permanence and transience. Drawing on the legacies of Constructivism and Minimalism and often involving a critical dialogue with Modernist architecture, Genzken’s works comment on the way we build and destroy our environments, which are an expression of hope as well as a monument to our consumption and destructiveness. Following 9/11, Genzken created a series entitled “Empire/Vampire, Who Kills Death” (2002–03), using her characteristic assortment of disposable materials such as plastic vessels, toy figures, and other detritus to depict scenes of post-apocalyptic devastation and confusion. For her installation Oil, the artist transformed the German Pavilion at the 2007 Venice Biennale into a saturnine and futuristic Gesamtkunstwerk (the German word for “total art-work”).

Isa Genzken

Spiegelbild, 2001

Mirror facets on glass on beaverboard
19 7/10 × 15 7/10 × 3/10 in
50 × 40 × 0.7 cm
Edition 69/100
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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