Lot 283
  • 283

Rudi Mantofani

Estimate
140,000 - 200,000 HKD
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Description

  • Rudi Mantofani
  • Langit Yang Hilang (The Sky that Disappeared)
  • Signed and dated 2005; signed, titled and dated 2005 and 2007 on the reverse
  • Acrylic on canvas
  • 145 by 145 cm.; 57 by 57 in.

Condition

The work is in good condition overall, as is the canvas, which is clear and sound. There is light wear and handling around the edges of the edges, particularly on the right margin (with evidence of finger-print marks). Upon close observation, there is a slight brown stain. Examination under ultraviolet light shows no evidence of restoration. Unframed, on a Stretcher.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

“The rationale of painting contains the concept of a rectangular area, the characteristics and values of which are defined by having a surface that clings to a wall. Rudi, who never ceases to be intrigued by the notion, challenges this ‘ideology’ by taking the painting forward a few centimeters away from the wall. He presents three-dimensional objects that hang in the middle of, or goes through, the surface of a canvas, creating a painting that can be seen from two sides as a real space. Thus it no longer leans its existence against the wall…[P]ainting is no more than four-sided object that responds to a wall, the background that thus far has given it its life and existence. If a painting changes neither its form nor purpose nor function, but moves either towards or away from the wall, could we insist that the ‘painting’ is still a painting?”

Hendro Wiyanto cited in Cakrawaka Ganda, Nadi Gallery, 18 March -  29 March 2002, Exhibition Catalogue, P. 3 - 4. (Translated)