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全球拍卖首页 > Stephan Welz & Co. > 精美古董艺术品拍卖会 > Lot 446
A.R. Penck ( -) STASI gallery labels adhered to the reverse bearing the artist's name, the title,
南非
2020年02月25日 开拍 / 2020年02月25日 截止委托
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A.R. Penck ( -) STASI gallery labels adhered to the reverse bearing the artist's name, the title, medium and the date (1991) acrylic on canvas 131 by 160cm SYMBOLS AND NEO-EXPRESSIONISM IN POST-WAR GERMANY Since A.R. Penck’s death in 2017 there has been considerable interest in his artwork. Posthumous solo exhibitions have showcased his bold, restless work, filled with his own self-created symbols. These include A.R. Penck: Paintings from the 1980s and Memorial to an Unknown East German Soldier, both held at the Michael Werner Gallery in New York in 2018, as well as the acclaimed I think in Pictures, a show of Penck’s featured works from the 1970s and 1980s held at the Ashmolean Museum of Art and Archaeology at Oxford University in 2019. Penck was born Ralf Winkler in Dresden in 1939. He adopted his chosen pseudonym after the paleogeologist Albrecht Penck out of necessity when the East German State Security began to confiscate his works in the 1960s. His art was deemed not to conform to the ideology of the state. In 1969 the Michel Werner Gallery hosted Penck's first solo show, signalling the beginning of a relationship that would be fortuitous and supportive throughout the artist’s career. Exhibiting in New York was only possible because the artist had changed his name, confusing border officials and allowing his work to pass through the Berlin wall. Michel Werner himself smuggled some of Penck’s artworks out of East Berlin, and arranged for friends in the city to deliver art materials to Penck in order for him to continue his practice.Penck’s Standart works are characterised by a myriad of pictographic marks that the artist viewed as the ‘building blocks’ he used to communicate his ideology, leaving clues and riddles for the viewers of his paintings in this lexicon of coded language. The artist began to explore how symbols, signs and numbers could be abstracted, creating a common language which could express the sadness and loss of post-World War II Germany in the Cold War era. An example is the letters ‘A’ and ‘B’ it is understood that he is referencing the capitalist West Germany and communist East Germany. Due to this aesthetic, Penck is often associated with artists Keith Haring and Jean-Michel Basquiat, although it is more likely that the artist’s style emerged spontaneously. He had little access to the work of his Western contemporaries whilst living in East Germany (German Democratic Republic) which heavily censored any influence that threatened the state. There has been a resurgence of interest in A.R. Penck’s work in recent years, at a time when contemporary artists are exploring the tenuous relationship of abstraction and figuration, and personal and recognisable iconographies and symbols. This has resulted in his work gaining momentum on the secondary market.Penck was expelled to West Germany by the GDR Communist regime in 1980, but it proved to be to the artist’s advantage. He was quickly accepted into a milieu of fellow Neo-Expressionist painters. Neo-Expressionism is characterised by a rough handling of paint and other materials with a return to a bold use of colour portraying recognisable articles, often with personal significance to the artist. Neo-Expressionism came about as a retaliation to the clean, often clinical production of Conceptual Art and Minimalism that was prevalent in the 1970s. It was only in the 1980s that Penck’s work began to find acclaim when it was first shown in New York at Sonnabend Gallery and Mary Boone Gallery. Stasi, which was the name of the former East German Secret Police, was produced in 1990, after the height of Neo-Expressionism, but the work displays a number of the art movement’s characteristics. The bright red that Penck has chosen to use for the amorphous shape on the left of the composition stands out against a dark brown background. There appears to be a figure on the right with a large beak rendered in dark brown and black holding an implement or weapon of sorts. The other hand of the dark figure rests on what we assume to be the shoulder of the red figure. Which could be a figure kneeling or with legs splayed seemingly in submission. A bird hovers above the red figure, perhaps an eagle symbolising the legacy of the Third Reich which still loomed over post-war Germany.In Stasi, Penck has used such large brushstrokes that they appear to be smeared over the canvas. Using acrylic paint, which dries far quicker than oil paint, the artist would have had to work quickly and it appears that some of the colours were mixed directly onto the canvas rather than on a palette.

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