Čís. položky 638


Dadamaino (Eduarda Maino) *


(Milan 1930–2004)
Cromorilievo azzurro, 1972, inscribed Dadamaino - 20159 Milano, via Bitonto 24, Cromorilievo - 1972, on the reverse, varnished wood, 100 x 100 x 7 cm, (AR)

Provenance:
Carlo Grossetti, Salone Annunciata, Milan (stamp on the reverse)
VAF Stiftung, Frankfurt am Main (no. 607)
MART, Museo di Arte Contemporanea di Trento e Rovereto
European Private Collection

Exhibited:
Rovereto, MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Un secolo di arte italiana. Lo sguardo del collezionista - Opere della Fondazione VAF, 2 July – 20 November 2005, exh. cat. p. 268 with ill.;
Dijon, Le Consortium, Centre d’art contemporain, Dadamaino, curated by N. Carron, 3 May – 29 September 2013, exh. cat., Les presses du réel,p. 118 with ill.;
Rovereto, MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Le Collezioni. L’Irruzione del contemporaneo, curated by D. Isaia, G. Maraniello, 4 December 2015 – 13 March 2016

Literature:
Daniela Ferrari (ed.), VAF Stiftung. La Collezione. Catalogo generale, Silvana Editoriale, Cinisello Balsamo, 2012, p. 470 with ill.;
Daniela Ferrari (ed.), Oltre il confine della tela. Fontana, Burri, Manzoni, Dadamaino, Bonalumi, Scheggi, La Grafica, Mori, Trento, 2015, p. 77, no. 31 with ill.

My work in the 1960s entailed geometric rigour; the greater the technical perfection, the better the outcome of the investigation. But I had always had a double nature: as soon as I had conceived a rule to express my research, I would abandon it in order to see what would happen “beyond that point“. Having thus laid out a plan, I searched for a certain unpredictability as an essential foundation, a quality which, defying all rules, gave a dimension to my work that superseded any predetermined aim.
I came to relief work around 1972 and until 1975. Colour and shape had a precise value. Underneath, on the board which supported the relief, I would trace out the lines where the wooden blocks would be applied. I never removed these marks, even when I realised that this grid revealed the crafting of the work, precisely because I wanted this to be evident.
(Dadamaino)

01.06.2016 - 19:00

Dosažená cena: **
EUR 125.000,-
Odhadní cena:
EUR 65.000,- do EUR 85.000,-

Dadamaino (Eduarda Maino) *


(Milan 1930–2004)
Cromorilievo azzurro, 1972, inscribed Dadamaino - 20159 Milano, via Bitonto 24, Cromorilievo - 1972, on the reverse, varnished wood, 100 x 100 x 7 cm, (AR)

Provenance:
Carlo Grossetti, Salone Annunciata, Milan (stamp on the reverse)
VAF Stiftung, Frankfurt am Main (no. 607)
MART, Museo di Arte Contemporanea di Trento e Rovereto
European Private Collection

Exhibited:
Rovereto, MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Un secolo di arte italiana. Lo sguardo del collezionista - Opere della Fondazione VAF, 2 July – 20 November 2005, exh. cat. p. 268 with ill.;
Dijon, Le Consortium, Centre d’art contemporain, Dadamaino, curated by N. Carron, 3 May – 29 September 2013, exh. cat., Les presses du réel,p. 118 with ill.;
Rovereto, MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Le Collezioni. L’Irruzione del contemporaneo, curated by D. Isaia, G. Maraniello, 4 December 2015 – 13 March 2016

Literature:
Daniela Ferrari (ed.), VAF Stiftung. La Collezione. Catalogo generale, Silvana Editoriale, Cinisello Balsamo, 2012, p. 470 with ill.;
Daniela Ferrari (ed.), Oltre il confine della tela. Fontana, Burri, Manzoni, Dadamaino, Bonalumi, Scheggi, La Grafica, Mori, Trento, 2015, p. 77, no. 31 with ill.

My work in the 1960s entailed geometric rigour; the greater the technical perfection, the better the outcome of the investigation. But I had always had a double nature: as soon as I had conceived a rule to express my research, I would abandon it in order to see what would happen “beyond that point“. Having thus laid out a plan, I searched for a certain unpredictability as an essential foundation, a quality which, defying all rules, gave a dimension to my work that superseded any predetermined aim.
I came to relief work around 1972 and until 1975. Colour and shape had a precise value. Underneath, on the board which supported the relief, I would trace out the lines where the wooden blocks would be applied. I never removed these marks, even when I realised that this grid revealed the crafting of the work, precisely because I wanted this to be evident.
(Dadamaino)


Horká linka kupujících Po-Pá: 10.00 - 17.00
kundendienst@dorotheum.at

+43 1 515 60 200
Aukce: Současné umění
Typ aukce: Salónní aukce
Datum: 01.06.2016 - 19:00
Místo konání aukce: Wien | Palais Dorotheum
Prohlídka: 21.05. - 01.06.2016


** Kupní cena vč. poplatku kupujícího a DPH

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