Sigmar Polke (1941-2010)
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Sigmar Polke (1941-2010)

Kartoffelmaschine - Apparat, mit dem eine Kartoffel eine andere umkreisen kann

细节
Sigmar Polke (1941-2010)
Kartoffelmaschine - Apparat, mit dem eine Kartoffel eine andere umkreisen kann
wooden stand, battery operated motor, elastic fan belt, wire, two (exchangeable) potatoes
31 3/8 x 11 5/8 x 15 7/8in. (79.5 x 29.5 x 40.5cm.)
Executed in 1969
来源
Acquired directly from the artist.
出版
Sigmar Polke: Join the Dots, exh. cat., Liverpool, Tate Liverpool, 1995 (another work from the edition illustrated, p. 49).
Art in Our Time: 1950 to the Present, exh. cat., Minneapolis, Walker Art Center, 1999-2001 (another work from the edition illustrated, unpaged).
Sigmar Polke: Alchemist, exh. cat., Humlebaek, Louisiana Museum of Modern Art, 2001 (another work from the edition illustrated, p. 38).
Sigmar Polke Editionen, exh. cat., Köln, Museum Ludwig, 2009 (another work from the edition illustrated, unpaged).
注意事项
VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium.
更多详情
This work comes from the original group of less than ten works made circa 1969 as part of the edition of 30 Kartoffelmaschine - Apparat, mit dem eine Kartoffel eine andere umkreisen kann.
The rest of the edition was made in the 1980s to a slightly different specification.

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拍品专文

"On the verge of giving up my planned [scientific] investigation [of inspiration] in the apparent absence of a suitable object of study, I happened to go into my cellar one day, where I finally found what I was looking for - the very incarnation of everything art critic and teachers imagine when they think of a spontaneously creative subject with a love of innovation: the potato! Of course - if there is anything at all that embodies every aspect of the artist that has ever come under discussion - love of innovation, creativity, spontaneity, productivity, creation completely from within oneself, etc. - it is the potato. One need only watch it as it as it lies in a dark cellar and begins to sprout spontaneously, innovating sprout by sprout in a virtual torrent of creativity; and then as it disappears beneath its teeming sprouts retreating totally behind its work - and brings forth the most amazing forms. And what colours! The practically shivering frozen lilac in the tips of its sprouts, the spaceless pale white of the sprouts themselves, with an occasional hint of morose, earthless green-and finally the timeless, maternal wrinkled brown of the self-consuming fruit that sacrifices itself entirely in the perfection of its work. Yes, what we see at work here is true creativity; it is genuine perfection"

(S. Polke, Sigmar Polke: The Three Lies of Painting, Ostfildern 1997, p. 286).