Vassilakis Takis

Acquis directement auprès de l'artiste et transmis par descendance au propriétaire actuel

Paris, Centre National d'Art Contemporain, Takis, 1972; catalogue, p.59, illustré

Héléna et Nicolas Calas, Takis, Monographies, Paris, 1984, p.165, illustré

The colours are fairly accurate in the catalogue illustration although the overall tonality is lighter in the original. There are some superficial scuffs overall the panel, only visible under very close inspection. There are around 10 pinhead sized paint losses in the lower half and one along the left edge. There are three tears (approx. 2mm) along the lower edge only visible under very close inspection. On the non visible side of the panel, in the upper right corner there is a 1.5 cm lack of wood, there is a superficial lack of paint (approx. 5mm). Under U.V. light there is no evidence of any retouching. 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."

signed twice; dated and titled on the back; painted wood, gears, metal thread, white painted needles, spinning top, magnet and electrical installation. Executed in 1963-1972.

«Ah, si je pouvais avec un instrument comme le radar capter la musique de l'au-delà ! Cette pensée me faisait oublier toutes les lois de l'art».   (Takis, RMN, 1993, p. 112).
En oubliant les lois de l'art, au début des années 1960, Takis invente une œuvre planétaire. Alain Jouffroy en invente le nom : «Télésculpture vibrative». Elle est née de l'imagination sans frein de l'artiste et de l'observation des radars dont la tête tourne à la recherche d'objets métalliques dans l'espace. En associant des particules métalliques (turbines, pistons, cônes, clous, aiguilles...) à un aimant en fer à cheval, Takis – eurékâ !- parvient à restituer, sur terre,  le principe de l'attractivité cosmique. L'équation s'impose : œuvre d'art = énergie. En rendant visible le champ magnétique, chacune des rares télésculptures vibratives de Takis s'empare de l'invisible. Et se pare d'un indéfini et indéfinissable fluide poétique.