The Robert Devereux Collection of Post-War British Art in aid of the African Arts Trust, Sale 1

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Lot 26
  • 26

Goshka Macuga

Estimate
4,000 - 6,000 GBP
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Description

  • Goshka Macuga
  • Drawing No 4. 'Path of Movement of a Point' after K. Malevich (1922)
  • sandblasted mirror
  • 121 by 183cm.; 47¾ by 72in.
  • Conceived in 2003, the present work was executed in 2007 and is number 2 from an edition of 3.

Provenance

Kate MacGarry, London, where acquired by the present owner in July 2008

Exhibited

Coventry, Mead Gallery, Expo 21: Strategies of Display, 2004 (another from the same edition).

Condition

The mirror is sound and the surface is in excellent condition. There is some light surface matter which will clean easily. Please telephone the department on 020 7293 6424 if you have any questions regarding the present work.
"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

Nominated for the 2008 Turner Prize, Macuga is well known for her distinctive process of incorporating narratives, concepts and materials from the art historical past into her own present day compositions and installations. She thus engages the viewer in an intriguing dialogue between the aesthetics and politics of today and those from the time of her source material. In the present work, a Malevich-shaped form has been sand-blasted onto the mirror. The initial 'reading' of Malevich's influence on the work is then contradicted by Macuga's entirely individual exploration of the relationship between the viewer and the artwork, which she achieves in her disorientating choice of mirror as medium. Looking at the work head-on, it is impossible for the viewer to see the work without also seeing a reflection of themselves and their own contemporary environment.