Tetsumi Kudo

Collection particulière, France
Vente: Binoche-Godeau, Paris, 14 mai 1992, lot 59 
Collection particulière, Paris

The colours are fairly accurate in the catalogue illustration. The inside of the cage (original by the artist) is slightly dusty despite the plexiglas covering the top of the cage itself. There are no loose or missing pieces. A few tiny paint losses on the bars of the cage are visible, likely contemporary to the execution of the work. The tip of one of the angles of the plexiglass is missing. This work is in good original 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."

The English translation of this note follows the French

Lot 101 à 105
Ensemble inédit d'oeuvres de Tetsumi Kudo

"A travers tous les relais de contrôle, de la boîte à la cage, des bons de caisse au jardin transistorisé, l'artiste a cherché à rendre compte de la métamorphose de l'homme moderne. Tel un narrateur ironique, Kudo, aux différentes étapes de sa démarche, traite de la survie bio-chimique du phénomène humain et envisage sa métamorphose organique. Si des têtes sont enfermées dans des cages, si des membres humains sont reliés à des plantes par des circuits électroniques, si des mains sont captives à perpétuité d'un aquarium, c'est que Kudo avec un raffinement pervers cultiva l'humour et la cruauté. Dans son monde, l'homme et la technologie ne sont pas en relation d'opposition. Élevés ensemble, ils donnent naissance à une nouvelle culture, désignée par ses soins comme "La nouvelle écologie". L'homme ancien a disparu du territoire imaginé par Kudo, en dépit des fleurs, des cigarettes ou des crucifix, derniers souvenirs d'une existence lointaine. Un nouveau monde s'instaure, un monde qui se souvient probablement de l'insupportable violence d'Hiroshima et qui, résolument, se pare de couleurs fluorescentes." 
Anne tronche, en marge de l'exposition à la Maison Rouge, Tetsumi Kudo La montagne que nous cherchons est dans la serre en 2007.

Lot 101 to 105
An unprecedented group of works by Tetsumi Kudo

“Through all control stations, from the box to the cage, from cash receipts to transistorised garden, the artist sought to render the metamorphosis of modern man. Like an ironic narrator, Kudo, at the different stages of his approach deals with the bio-chemical survival of the human phenomenon and envisages its organic metamorphosis. If heads are enclosed in cages, if human members are linked to plants by electronic circuits, if hands are forever captured in aquariums it is because Kudo, with perverse refinement, cultivates humour and cruelty. Raised together, they give birth to a new culture, designated by him as “The New Ecology”. Bygone man has disappeared from the territory imagined by Kudo, despite the flowers, the cigarettes or crucifixes, the last souvenirs of a far-off existence. A new world is established, a world which probably remembers the unbearable violence of Hiroshima and which, resolutely, attires itself in fluorescent colours.”

Anne Tronche, on the borders of the exhibition at the Maison Rouge, Tetsumi Kudo La montagne que nous cherchons est dans la serre in 2007.