Lot 103
  • 103

Los Carpinteros

Estimate
25,000 - 35,000 USD
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Description

  • Los Carpinteros
  • Escalera (Oven Step)
  • powder coated steel
  • 36 3/4 by 30 by 54 in.
  • 92 by 76.2 by 137 cm
  • Executed in 2001.

Provenance

Anthony Grant Inc, New York

Exhibited

Los Angeles, Grant Selwyn Fine Art, Los Carpinteros, June 28-August 4, 2001
New York, Deutsche Bank, Dreamspaces / Entresueños, February 20-April 20, 2003
Los Carpinteros: Inventing the World, Tampa, Contemporary Art Museum Institute for Research in Art, April 8-July 15, 2005; Chicago, Chicago Cultural Center, January 21-April 2, 2006; Cincinnati, Contemporary Arts Center, May 6-July 30, 2006; London, Ontario, Museum London, January-April 2007

Condition

The work presents some slight soiling and minor scuffs around the burners. Otherwise in very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

In a recent telephone conversation with Axel Stein, Head of Latin American Art, Alexandre Arrechea, a member of Los Carpinteros, gave this brief comment on Escalera (Oven Step):

"Back in 2001, when I was still part of Los Carpinteros, we had a solo exhibition at the Grant Selwyn gallery in Los Angeles. The idea was to explore ideas about access and prohibition by altering the primary use of ordinary objects. We turned the gallery into a home of a possible or an impossible living. Our idea was to connect the coils to an outlet and be able to turn them on and off, able to regulate the heat and the red color in the coils; unfortunately, the gallery’s insurance company strongly opposed our idea. No wonder. In part, the exhibition was about common objects and familiar lives turned paradoxically into something not accessible, impossible. Being born in revolutionary Cuba, the metaphor was quite obvious."