EDUARDO CHILLIDA (1924 Donostia–San Sebastián 2002) Untitled. 1989. Ink on paper and thread. Signed and with the artists signet lower left: Chillida. 120 × 79.5 cm. The authenticity of this work has been confirmed by the Estate of Eduardo Chillida and Hauser & Wirth, March 2022. It is recorded in the archive under the number: CH89GT58. We thank the Estate of Eduardo Chillida and Hauser & Wirth for the kind assistance. Provenance: - Galerie Elivra Gonzales, Madrid. - Purchased from the above in 1999 at Art Basel by the present owner, since then private collection Austria. “To look is one thing, to see is another thing to see is very difficult, normally to look is to try to see. I have looked and I hope I have seen.” Eduardo Chillida. Eduardo Chillida developed an entirely individual visual language that made him unmistakable and one of Spains most important sculptors, painters, and graphic artists. He experimented with a wide variety of materials, such as granite, marble, paper, felt, steel, and iron. "I am one of those who think that people come from one place. Ideally, we come from one place, we have our roots in one place, but we stretch our arms out to the whole world, taking inspiration from the ideas of different cultures." These words are reflected metaphorically in many of his works: a deep connectedness with his native earth through the influence of the world, or, rather, through the influence of space. In his sculptural work, as well as in his prints and paintings, his architectural conception of space is at the forefront. It is the boundaries of space that become the central theme of his works — it is not the form that is determined by the space, but the spatiality that is determined by the form. This artistic value inhabits his paintings with the contrast between white and black surfaces, and the correspondence is found in his steel volumes, in which he contrasts the monumental materiality with the surrounding spaces. Influenced by his love of music and the German poets and thinkers, the titles of his works often refer to Goethe, composers such as Johann Sebastian Bach, or the harpist Nicanor Zabaleta, such as "Euzkadi", "Aundi", "Beltza", "Hutsune", or "Gravitation". The work presented here is part of his late, mature work. In the 1980s, Chillida experimented increasingly with quadrilateral forms in his paintings and prints. His clear affinity for smooth surfaces, clear edges and lines comes into focus and leads to a particular emphasis on pure forms. His particular conception of space also comes especially to the fore here: the work consists of two sheets of handmade paper laid one on top of the other. These are loosely mounted and secured at the upper edge with threads on a 5-millimetre narrow wooden strip. This thin space between the sheets creates the entire volume of the work: the five cut-outs in the first layer of paper are given a shifting depth and create a three-dimensional effect. From the classic two-dimensional painting to a substantial, yet filigree, flexible work made of paper, which takes on aspects of a solid form. Also, by not setting clearly defined boundaries, the artist addresses the infinite space around the black surface, inviting it to join in the movement and energy. Out of the black square, the free-flowing black lines seem to find their own orientation and interact organically with the white empty space. Very much in keeping with Chillidas thinking, this work, despite the subdivision of forms, radiates a homogeneous materiality — a calm and powerful self-assurance, as well as an openness to the surrounding space, the world, or that which has not yet been experienced. EDUARDO CHILLIDA (1924 Donostia–San Sebastián 2002) Ohne Titel. 1989. Tinte auf Papier und Faden. Unten links signiert und mit Künstlersignet: Chillida. 120 × 79,5 cm. **Authentizit?t dieses Werkes wurde vom Nachlass von Eduardo Chillida und Hauser & Wirth, M?rz 2022, best?tigt. Es ist im Archiv unter der Nummer: CH89GT58, registriert. Wir danken dem Nachlass von Eduardo Chillida und Hauser & Wirth für**freundliche Unterstützung. Provenienz: - Galerie Elivra Gonzales, Madrid. - Vom heutigen Besitzer 1999 bei obiger Galerie auf der Art Basel erworben, seitdem Privatsammlung ?sterreich. “To look is one thing, to see is another thing to see is very difficult, normally to look is to try to see. I have looked and I hope I have seen.” Eduardo Chillida. Eduardo Chillida entwickelt seine v?llig eigene Formensprache,**ihn unverwechselbar macht und zu einem der bedeutendsten Bildhauer, Maler und Grafiker Spaniens werden l?sst. Er experimentiert mit unterschiedlichsten Materialien, wie Granit, Marmor, Papier, Filz, Stahl und Eisen. ?Ich bin einer von denen,**denken, dass Menschen von einem Ort stammen. Idealerweise stammen wir von einem Ort, haben unsere Wurzeln in einem Ort, aber unsere Arme strecken wir aus in**ganze Welt, lassen uns inspirieren von den Ideen der verschiedenen Kulturen.“ Diese Worte lassen sich in vielen seiner Werke bildlich wiederfinden: eine tiefe Verbundenheit mit der heimatlichen Erde unter dem Einfluss der Welt, beziehungsweise, unter den Einfluss des Raumes. Sowohl in seinem plastischen Werk, wie aber auch in seiner Druckgrafik und den Gem?lden steht seine architekturale Auffassung des Raumes im Vordergrund. Es sind**Grenzen des Raumes,**zum zentralen Thema seiner Werke werden – und zwar wird nicht**Form durch den Raum bestimmt, sondern**R?umlichkeit über**Objektform festgelegt. Dieser künstlerische Wert lebt in seinen Gem?lden vom Kontrast zwischen weissen und schwarzen Fl?chen, und**Entsprechung findet sich bei seinen Stahlvolumen wieder, in denen er**monumentale Materialit?t mit den umgebenen R?umen kontrastiert. Beeinflusst durch seine Vorliebe zur Musik, referieren**Titel seiner Werke oftmals den Komponisten wie Johann Sebastian Bach oder den Harfenspieler Nicanor Zabaleta, wie beispielsweise ?Euzkadi“, ?Aundi“, ?Beltza“, ?Hutsune“, oder ?Gravitation“. Das vorliegende Werk ist Teil seines reifen Sp?twerkes. In den 1980er Jahren experimentiert Chillida vermehrt mit Viereckformen in seinen Gem?lden und der Druckgrafik. Seine deutliche Affinit?t zu glatten Fl?chen, klaren Kanten und Linien tritt in den Fokus und führt zu einer Hervorhebung der reinen Formen. Seine besondere Auffassung vom Raum kommt auch hier besonders zur Geltung: das Werk besteht aus zwei übereinander gelegten, handgesch?pften Papierbl?ttern. Diese sind minimalistisch am Oberrand mit F?den an einer 5 Millimeter schmalen Holzleiste lose montiert und stabilisiert. Durch diesen dünnen Abstand zwischen den Bl?ttern wird das ganze Volum des Werkes erzeugt:**fünf Ausschnitte in der ersten Papierschicht erhalten eine bewegliche Tiefe und erzeugen einen dreidimensionalen Effekt. Vom klassischen zweidimensionalen Gem?lde zu einer massiven, dennoch filigranen, beweglichen Papierarbeit, welche Aspekte eines Volumens annimmt. Auch dadurch, dass keine klar definierten Grenzen gezogen sind, wendet sich der Künstler dem unendlichen Raum um**schwarze Fl?che herum zu, und l?dt ihn in**Bewegung und Energie mit ein. Aus dem schwarzen Viereck heraus scheinen**freilaufenden schwarzen Linien, in ihren Verlauf, eine Orientierung zu finden und interagieren organisch mit der r?umlichen weissen Leere. Entsprechend dem Denken Chillidas, strahlt diese Arbeit, trotz der Unterteilung der Formen, eine homogene Materialit?t aus – eine Selbstgewissheit an Ruhe und Kraft sowie eine Offenheit für den umgebenen Raum,**Welt, oder das noch nicht erfahrene. notes:*
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