Lot 27
  • 27

Latifa Echakhch

Estimate
100,000 - 150,000 EUR
bidding is closed

Description

  • Latifa Echakhch
  • Tambour 148'
  • signed, titled, inscribed and dated 2012 on the stretcher
  • black Indian ink on canvas
  • diam. 173 cm; 68 1/8 in.
  • Executed in 2012.

Provenance

Galerie Kamel Mennour, Paris
Collection Alain & Candice Fraiberger (aqcuired from the above in June 2012)

Exhibited

Lyon, Musée d'art contemporain, Laps, 15 February - 14 April 2013

Condition

The colours are fairly accurate in the catalogue illustration, although it does not portray the shiny nature of the black ink. This work is executed on its original canvas and is not relined. There are stabilized cracks visible in the lower center and upper right, inherent to the artist's technique. Under Ultra Violet light inspection there is no evidence of restoration. This work is in good condition overall.
"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

True to the minimalist procedures she is so fond of, Latifa Echakhch made her Tambours (Drums) with limited means. Suspending a drip full of black ink above a round canvas in the shape of a target, she allows chance to take over whilst still controlling it, skillfully choosing when to stop the flow. With their deep black centres, saturated with matter, the Tambours establish a dialectic between being and nothingness, turning  the spectator into a witness of the evanescence of matter.