Each marking is figurative in the sense that they are mostly stick figures, words, phrases and initials. In Untitled, messages of love and peace appear throughout–from images of hearts and peace signs, to messages in a variety of languages. At the lower edge, in beautiful handwriting is the phrase “love is forever”. Once these distinct legible markers of kairos accumulate and the panel is cast as a unified composition, the panel becomes an overall abstract composition with all of these moments compressed into a single framework. While on the wall, the celotex panels could always be added to, but as a cast copper object, these moments are now frozen. However, Stingel complicates this by gold plating the copper, creating a reflective surface that constantly shifts as it captures whatever or whoever surrounds it, including the reflections of those who photograph these works and circulate the images on their social media, effectively continuing to amplify and reproduce the accumulated kairos.
Through its physical reflectivity and genesis through the copying of the images created by others, the present lot speaks to the global circulation of images and information that is at the heart of our culture. By transferring images that were created in Chicago and New York onto panels that were then shown at Gagosian Gallery, Hong Kong, Stingel enacts the very global circulation that we all participate in. We each photograph the people and things around us in an instant and send them into an ever expanding cloud of information, an abstract amalgamation of legible moments.
 Francesco Bonami, 'Paintings of Paintings for Paintings: The Kairology and Kronology of Rudolf Stingel' in: Francesco Bonami, ed., Rudolf Stingel, New Haven and London 2007, p. 13
Rudolf Stingel (b. 1956, Italy) gained recognition in the 1980s with highly conceptual paintings and installations that encouraged viewer interaction and pushed the boundaries of traditional ideas of painting. Stingel challenges traditional ideas of context, legitimacy, and significance by regularly integrating and repurposing familiar objects and imagery. Stingel’s work has been exhibited in several solo and group exhibitions, including shows at Kunsthalle, Zurich (1995), Museo di Arte Moderna e Contemporanea, Palazzo delle Arbere, Italy (2001), Museum für Moderne Kunst, Frankfurt (2004), Walker Art Center, Minneapolis (2004), EURAC Tower, Italy (2005), Inverleith House, Edinburgh (2006), Museum of Contemporary Art, Chicago (2007), and Neue National Galerie, Berlin (2010). Stingel’s work is held in the collections of institutions such as the De La Cruz Collection, Miami, Museum of Modern Art, New York, among others.
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