- 119
Hiroshi Sugimoto
Estimate
120,000 - 180,000 EUR
bidding is closed
Description
- Hiroshi Sugimoto
- 'Barragan House', 2002De la série Architecture
- photographs
Tirage argentique monté sur Dibond. Signé au stylo argenté sur une étiquette du studio au dos du cadre. Edition 1/5. Encadré.
Provenance
White Cube, Londres
Collection particulière française
Collection particulière française
Literature
Constructing Worlds: Photography and Architecture in The Modern Age, cat. expo., Londres, Barbican Center/Munich, Prestel, 2014, ill. p. 184;
Hiroshi Sugimoto, cat. expo., Tokyo, Mori Art Museum/Washington D.C., Hirshhorn Museum and Sculpture Garden/Ostfildern, Hatje Cantz, 2005, ill. p. 195;
Hiroshi Sugimoto, Architecture, cat. expo., Chicago, Museum of Contemporary Art/New York, Distributed Art Publisher, 2003, ill. p. 93 et couverture.
Hiroshi Sugimoto, cat. expo., Tokyo, Mori Art Museum/Washington D.C., Hirshhorn Museum and Sculpture Garden/Ostfildern, Hatje Cantz, 2005, ill. p. 195;
Hiroshi Sugimoto, Architecture, cat. expo., Chicago, Museum of Contemporary Art/New York, Distributed Art Publisher, 2003, ill. p. 93 et couverture.
Condition
This work is in excellent 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. 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."
"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
From 1997 to 2002, Hiroshi Sugimoto has photographed famous buildings of classical modernist and contemporary architecture slightly out of focus. Among them and offered here is a photograph of the Barragan House (2002) by the Spanish architect, Luis Barragan. The building has been reduced to its essential core. Taken from a majestic low-angle shot, all technical and constructional aspects, all details have been restrained. What remains in shadowy concentration is the fixed recollection of what we think we know about this building, the idea of light and shade, its simple and geometrical structure of rectangles and converging straight lines.
De 1997 à 2002, Hiroshi Sugimoto a photographié de célèbres architectures de styles modernes et contemporains dont il a délibérément décalé la mise au point. Parmi celles-ci est proposée ici une photographie de l’œuvre de l’architecte espagnol Luis Barragan, Barragan House (2002), construite en 1947. Dans l’image de Sugimoto, cette maison est réduite à sa plus pure essence. Prise depuis un point de vue en contre-plongée majestueux, tous les aspects techniques et structurels ainsi que les tous les détails d’architecture ont été épurés. Ce qui reste dans cette vision insaisissable n’est autre que le souvenir impérissable de ce que nous gardons pour mémoire de cette villa, l’idée d’ombre et lumière, sa simplicité et sa structure géométrique composée de rectangles et de lignes convergentes.
“Early twenty-century modernism was a watershed moment in cultural history, a stripping away of superfluous decoration. The spread of democracy and the innovation of the Machine Age swept aside the ostentatious that heretofore had been a signifier of power and wealth. I set out to trace the beginnings of modernism via architecture. Pushing out my old large-format camera’s focal length to twice-infinity – with no stops on the bellows rail, the view through the lens was an utter blur – I discovered that superlative architecture survives the onslaught of blurred photography. Thus I began eroding-testing architecture for durability, melting away of the buildings in the process.” (Hiroshi Sugimoto, cat. expo., Tokyo, Mori Art Museum/Washington D.C., Hirshhorn Museum and Sculpture Garden/Ostfildern, Hatje Cantz, 2005, p. 181).
“It seemed like an interesting idea to photograph 20th Century architecture out of focus. The concept of time applies – I’m trying to recreate the imaginative visions of the architecture before the architect built the building, so I can trace back the original vision from the finished product. All the details and all the mistakes disappear: there’s a lot of shadows, melting. If the building is successfully done, thenit will remain strong even out of focus. Again, it’s a minimalist approach, taking away all the details but being left with a very strong vision.” (Hiroshi Sugimoto, The Sleepless Photographer, interview avec Martin Herbert, 2000, www.eyestorm.com)
De 1997 à 2002, Hiroshi Sugimoto a photographié de célèbres architectures de styles modernes et contemporains dont il a délibérément décalé la mise au point. Parmi celles-ci est proposée ici une photographie de l’œuvre de l’architecte espagnol Luis Barragan, Barragan House (2002), construite en 1947. Dans l’image de Sugimoto, cette maison est réduite à sa plus pure essence. Prise depuis un point de vue en contre-plongée majestueux, tous les aspects techniques et structurels ainsi que les tous les détails d’architecture ont été épurés. Ce qui reste dans cette vision insaisissable n’est autre que le souvenir impérissable de ce que nous gardons pour mémoire de cette villa, l’idée d’ombre et lumière, sa simplicité et sa structure géométrique composée de rectangles et de lignes convergentes.
“Early twenty-century modernism was a watershed moment in cultural history, a stripping away of superfluous decoration. The spread of democracy and the innovation of the Machine Age swept aside the ostentatious that heretofore had been a signifier of power and wealth. I set out to trace the beginnings of modernism via architecture. Pushing out my old large-format camera’s focal length to twice-infinity – with no stops on the bellows rail, the view through the lens was an utter blur – I discovered that superlative architecture survives the onslaught of blurred photography. Thus I began eroding-testing architecture for durability, melting away of the buildings in the process.” (Hiroshi Sugimoto, cat. expo., Tokyo, Mori Art Museum/Washington D.C., Hirshhorn Museum and Sculpture Garden/Ostfildern, Hatje Cantz, 2005, p. 181).
“It seemed like an interesting idea to photograph 20th Century architecture out of focus. The concept of time applies – I’m trying to recreate the imaginative visions of the architecture before the architect built the building, so I can trace back the original vision from the finished product. All the details and all the mistakes disappear: there’s a lot of shadows, melting. If the building is successfully done, thenit will remain strong even out of focus. Again, it’s a minimalist approach, taking away all the details but being left with a very strong vision.” (Hiroshi Sugimoto, The Sleepless Photographer, interview avec Martin Herbert, 2000, www.eyestorm.com)