Roman Opalka, ‘OPALKA 1965/1 - Infinity (Détails photographiques)’, 1965/1-∞, Axel Vervoordt Gallery

7x (31 x 24,5) cm

Détail 2374003
Détail 2784003
Détail 4418115
Détail 5019003
Détail 5421667
Détail 5435036
Détail without number, only inscribed no. 3

Signature: Signed

2008: 'Academia: Qui es-tu?', Chapelle de l'Ecole Nationale Supérieure des Beaux-Arts, Paris (10.09-23.11.2008)

2011: 'Roman Opalka', Axel Vervoordt Gallery, Antwerp (08.09 - 22.10.2011)

  • Christine Savinel, Bernard Noėl and Jacques Roubaud, 'Roman Opalka', exh. cat., Venice Biennial 1995, Polish Pavilion, Paris: Editions Dis voir, 1996.

  • Gladys Fabre, ‘Les monochromes-lumière comme espace-temps ou la couleur comme devenir: du suprématisme à l’unisme polonais, du groupe Zero à Opalka’, in Valeria Vara and Raul Rispa (eds.), 'Monochrome, de Malevitch à aujourd’hui', exh. cat., Madrid, Museo Nacional Centro de Arte Reina Sofia, 15 June – 6 September 2004, Paris: Editions du Regard, 2004, p. 89-118.

  • Lóránd Hegyi, 'Roman Opalka: Octogone', exh. cat., Musée d'Art Moderne Saint-Etienne Métropole, 18 May – 23 June 2006, Clermont-Ferrand: Un, Deux… Quatre Editions, 2006.

About Roman Opalka

Painter and photographer Roman Opalka is best known for his lifelong project, 1965/1 to Infinity (1965-2011), in which he painted white numbers in long rows across a gray background. “The fundamental basis of my work, to which I have dedicated my life, manifests itself in a process of recording a progression that both documents time and also defines it,” he says. As Opalka ran out of space on each canvas he would continue on to the next one. Over the course of his series, he began taking self-portraits and reciting the numbers into a tape recorder upon the completion of each canvas. He also slowly started adding more white to the background with each successive painting, intending to tie the unfolding of the artist’s life and aging process to the transcription of time on his canvases.

French-b. Polish, 1931-2011, Abbeville-Saint-Lucien, France