Piotr Uklanski

Galleria Massimo de Carlo, Milan
Acquired directly from the above by the present owner

Milan, Galleria Massimo de Carlo, Zimna Wojna, 2004

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is much brighter and more vibrant in the original. The colour beneath the pink strip tends more towards a florescent green, the colour beneath the red strip tends more towards a rich forest green, and the lowest strip tends more towards khaki green in the original. Condition: This work is in very good condition. Upon close inspection, there are a few light handling marks scattered in places. The edges of the work are uneven.
"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."

Polish-born artist Piotr Uklański emerged on the New York art scene in the mid-90s and has since constructed a diverse and innovative body of work. He explores sculpture, photography, collage, performance and film as it infiltrates cultural society. Uklański's work often draws strong public reaction due to his choice of often controversial subjects such as Untitled (The Nazis), 1998 and Untitled (John Pope II), 2005. He often challenges the audience's expectations and encourages individual thought in his more conceptual pieces, such as in the present example.

Taking inspiration for the subject of his works from popular culture, art and cinema, Uklański seeks to address issues of cultural identity and authenticity. In Untitled (Jessica Lynch's P.O.V.) as with other works from this series, the title guides the audience's perception and reaction to the kaleidoscopic montage with which they are presented. What the viewer sees is not a literal presentation of the title's subject, but rather a work devoid of any narrative. The collage is however given a new identity due to its title, referring here to Private Jessica Lynch, the first female US Prisoner of War to ever have been successfully rescued since World War II. Her ambush and capture by the Iraqis in 2003 led her to become an icon of the Iraq war, and elevated her status to an all-American heroine. Her capture and subsequent highly orchestrated and documented rescue became one of the great patriotic moments of the conflict but would later spark outrage with claims of manipulation and propaganda from the Bush campaign when the unedited series of events came to light.

Uklański looks to the technology of modern warfare, and in Untitled (Jessica Lynch's P.O.V.) the audience is reminded through the jagged lines of colour, of recording devices and radio activity. Although an intended sense of ambiguity remains throughout, the colours from bright and uplifting to dark and subdued perhaps mirror the contrast between the enforced confidence and bravado of the US army with the bleak rawness and realities of war. P.O.V standing for Jessica Lynch's Point Of View is also to be considered here, with media coverage having documented her plight during the ordeal, she later speaks of her humane treatment by hospital staff at the time and of not understanding the government's hype and misinformation.

Uklański's Untitled (Jessica Lynch's P.O.V.) questions the politics of different visual worlds. His political stance is not made manifest here, however by dedicating the artworks's title to a figure so heavily politicised, the audience is encouraged to reflect back on this series events and indeed the hidden communications of war, with deep contemplation whilst in front of mesmerising folds of colour. Uklański once commented, "If we presume that art or other creative activity is capable of reflecting the truth about human existence, [...] it should not mimic that existence but create an artificial reality/form." (Spike, #11, 2007)