Le silence sonore
Meeting New Art Halfway: The Collection of Anita Reiner
1955 - 2000
Le silence sonore
installation of wood and metal pots and wooden chair, with sound element
80 by 50 by 25 in. (203.2 by 127 by 63.5 cm.)
Executed in 2000.
This work is in very good condition overall. All elements are present and stable. There are tonal and textural variations throughout, including general wear, irregularities and minor indentations to the wood surfaces and minor oxidation to the metal on the buckets, inherent to the artist's chosen media. There is a fine layer of dust throughout, in particular to the crevices. The sound element is in working order.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
“ ‘Transexperiences’ also represents a concept of art. This is not a pure conceptual concept; rather, it is an impure experiential concept, a mode of thinking and method of artistic creation that is capable of connecting the preceding with the following, adapting itself to changing circumstances, accumulating year-in-year-out experiences, and being triggered at any instant. Furthermore, this type of experiential concept relates to an extremely important matter, that is, to immerse oneself in life, to blend and identify oneself with others. This still bears some influence from the ‘life-experiencing’ movement during the Mao era in China.4 Therefore, for many years, I have exerted a great deal of my time and energy trying to communicate with the outside world by employing diligently my English and French language skills. I think, on the threshold of the twenty-first century, art will be able to manifest its most powerful vitality amidst the contacts, exchanges, misunderstandings, and conflicts between people and people, people and society, people and Mother Nature, people and science and technology, continents and continents, and ethnic groups and ethnic groups. What I am most interested in are these ‘networks of relationships.’ ‘Transexperiences,’ therefore, is not only following the ways of my own making, but also a concept that shares countless ties with all these networks.”
Chen Zhen in Chen Zhen: The Interviews, Les Presses du Réel, Palais de Tokyo, Paris 2003, p. 85-124