Los

620

Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original-

In Contemporary Art

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1/5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 1 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 2 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 3 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 4 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 5 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 1 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 2 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 3 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 4 aus 5
Paul ThekBrummkreiselKreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original- - Bild 5 aus 5
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Paul Thek
Brummkreisel

Kreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original-Karton (mit Gebrauchsspuren). - Mit geringfügigen Altersspuren.

Provenienz
Direkt vom Künstler; Galerie Jöllenbeck, Köln; Privatsammlung, Nordrhein-Westfalen

Das Werk von Paul Thek ist extrem komplex, jede Einzelheit voller Geschichten, aufgeladen mit privaten Erlebnissen, verbleibenden Relikten einer raumgreifenden Künstlichkeit. Für Ausstellungen zur Verfügung stehende Galerien verwandelt Thek in temporäre Ateliers, in Museumsräumen etabliert der Künstler Labyrinthe und Lebensräume, in dem Fluxus und Dada im surrealen Environment zusammenfinden. Die Jahre 1969 bis 1974 sind für Paul Thek außerordentlich erfolgreich, Persönlichkeiten der Ausstellungswelt wie Harald Szeemann, Christoph Ammann oder Pontus Hultén fördern den New Yorker, dessen ungewöhnliche Inszenierungen den kunst- und kulturpolitischen Begriff ‚Installation' prägen. So installiert Thek 1972 zunächst in der Essener Galerie M. E. Thelen „A Station of the Cross“, eine begehbare ‚Kapelle', die der Künstler nach der Ausstellung in der Dachkammer eines Essener Wohnhauses erneut einrichtet. Sie ist konstruiert aus extrem fragilen Materialien mit Wänden aus Dachlatten, Maschendraht, bepinseltem Zeitungspapier und mit blau bemalter Plastikfolie am Boden. Birkenstämme, bemalte Steine, wie Geschenke eingepackte Kartons, Blumen, etwa Tulpen und Lilien, Spielsachen, eine Südseemuschel mit integriertem Leuchtmittel sowie ein Kassettenrekorder mit klassischer Musik von Beethoven, dekorieren die Kreuzwegstation des Leidens Christi. Auch ein Musikkreisel wie dieser spielt in der Installation eine zentrale Rolle. Einem Ondit zufolge entdeckt Paul Thek wohl 1969 einen Spielzeugladen in Amsterdam, dessen Ausverkauf wegen Geschäftsaufgabe den Künstler animiert, unter anderem mehrere Musikkreisel der Marke Choral (Fuchs) zu erwerben und mit weißen Punkten aus Öllack zu verzieren. Nicht alle Musikkreisel finden in den Installationen sogleich einen bleibenden Ort, sondern warten wie dieser, im originalen Karton verpackt, vergeblich auf seinen musikalischen Einsatz in dem verspielten, in jeder Hinsicht phantastischen Bilderkanon Paul Theks.

MvL

Paul Thek
Brummkreisel

Spinning top, sheet metal and plastic, painted with lacquer. Height approx. 25 cm. In original box (traces of usage). - Minor traces of age.

Provenance
Acquired directly from the artist; Galerie Jöllenbeck, Cologne; private collection, North Rhine-Westphalia

The work of Paul Thek is extremely complex, every part full of stories, loaded with private experiences, residual relics of an expansive artificiality. Thek transforms galleries available for exhibition into temporary studios, sets up labyrinths and living spaces in museum spaces, in which Fluxus and Dada meet in a surreal environment. The years 1969 to 1974 are unusually successful for Paul Thek. Personalities of the exhibition world such as Harald Szeeman, Christoph Ammann or Pontus Hultén support the artist, whose unusual stagings coin the art and cultural-political term 'installation'. Thek initially installed "A Station of the Cross" in the M. E. Thelen Gallery in Essen in 1972. It took the form of a walk-in chapel which the artist set up again after the exhibition in the attic of a residential house in Essen. It is constructed of extremely fragile materials with walls of battens, wire mesh, brushed newsprint and with blue-painted plastic sheet on the floor. Birch trunks, painted stones, wrapped-up boxes, flowers such as tulips and lilies, toys, a South Sea shell with integrated lighting as well as a cassette recorder with classical music from Beethoven, decorate the Station of the Cross of Christ's suffering. A musical spinning top such as this also plays a central role in the installation. According to rumour, Paul Thek probably discovered a toy shop in Amsterdam in 1969 which was being closed down and selling off its stock, and which inspired him to purchase, among other things, several musical spinning tops from the firm Choral (Fuchs), and to decorate them with white dots of oil lacquer. Not all musical spinning tops find a permanent place in the installations, but like this one, packed in its original box, waits in vain for its musical deployment in Paul Thek's playful, in every respect fantastic image canon.

MvL
Paul Thek
Brummkreisel

Kreisel, Blech und Kunststoff, mit Lack bemalt. Höhe ca. 25 cm. In Original-Karton (mit Gebrauchsspuren). - Mit geringfügigen Altersspuren.

Provenienz
Direkt vom Künstler; Galerie Jöllenbeck, Köln; Privatsammlung, Nordrhein-Westfalen

Das Werk von Paul Thek ist extrem komplex, jede Einzelheit voller Geschichten, aufgeladen mit privaten Erlebnissen, verbleibenden Relikten einer raumgreifenden Künstlichkeit. Für Ausstellungen zur Verfügung stehende Galerien verwandelt Thek in temporäre Ateliers, in Museumsräumen etabliert der Künstler Labyrinthe und Lebensräume, in dem Fluxus und Dada im surrealen Environment zusammenfinden. Die Jahre 1969 bis 1974 sind für Paul Thek außerordentlich erfolgreich, Persönlichkeiten der Ausstellungswelt wie Harald Szeemann, Christoph Ammann oder Pontus Hultén fördern den New Yorker, dessen ungewöhnliche Inszenierungen den kunst- und kulturpolitischen Begriff ‚Installation' prägen. So installiert Thek 1972 zunächst in der Essener Galerie M. E. Thelen „A Station of the Cross“, eine begehbare ‚Kapelle', die der Künstler nach der Ausstellung in der Dachkammer eines Essener Wohnhauses erneut einrichtet. Sie ist konstruiert aus extrem fragilen Materialien mit Wänden aus Dachlatten, Maschendraht, bepinseltem Zeitungspapier und mit blau bemalter Plastikfolie am Boden. Birkenstämme, bemalte Steine, wie Geschenke eingepackte Kartons, Blumen, etwa Tulpen und Lilien, Spielsachen, eine Südseemuschel mit integriertem Leuchtmittel sowie ein Kassettenrekorder mit klassischer Musik von Beethoven, dekorieren die Kreuzwegstation des Leidens Christi. Auch ein Musikkreisel wie dieser spielt in der Installation eine zentrale Rolle. Einem Ondit zufolge entdeckt Paul Thek wohl 1969 einen Spielzeugladen in Amsterdam, dessen Ausverkauf wegen Geschäftsaufgabe den Künstler animiert, unter anderem mehrere Musikkreisel der Marke Choral (Fuchs) zu erwerben und mit weißen Punkten aus Öllack zu verzieren. Nicht alle Musikkreisel finden in den Installationen sogleich einen bleibenden Ort, sondern warten wie dieser, im originalen Karton verpackt, vergeblich auf seinen musikalischen Einsatz in dem verspielten, in jeder Hinsicht phantastischen Bilderkanon Paul Theks.

MvL

Paul Thek
Brummkreisel

Spinning top, sheet metal and plastic, painted with lacquer. Height approx. 25 cm. In original box (traces of usage). - Minor traces of age.

Provenance
Acquired directly from the artist; Galerie Jöllenbeck, Cologne; private collection, North Rhine-Westphalia

The work of Paul Thek is extremely complex, every part full of stories, loaded with private experiences, residual relics of an expansive artificiality. Thek transforms galleries available for exhibition into temporary studios, sets up labyrinths and living spaces in museum spaces, in which Fluxus and Dada meet in a surreal environment. The years 1969 to 1974 are unusually successful for Paul Thek. Personalities of the exhibition world such as Harald Szeeman, Christoph Ammann or Pontus Hultén support the artist, whose unusual stagings coin the art and cultural-political term 'installation'. Thek initially installed "A Station of the Cross" in the M. E. Thelen Gallery in Essen in 1972. It took the form of a walk-in chapel which the artist set up again after the exhibition in the attic of a residential house in Essen. It is constructed of extremely fragile materials with walls of battens, wire mesh, brushed newsprint and with blue-painted plastic sheet on the floor. Birch trunks, painted stones, wrapped-up boxes, flowers such as tulips and lilies, toys, a South Sea shell with integrated lighting as well as a cassette recorder with classical music from Beethoven, decorate the Station of the Cross of Christ's suffering. A musical spinning top such as this also plays a central role in the installation. According to rumour, Paul Thek probably discovered a toy shop in Amsterdam in 1969 which was being closed down and selling off its stock, and which inspired him to purchase, among other things, several musical spinning tops from the firm Choral (Fuchs), and to decorate them with white dots of oil lacquer. Not all musical spinning tops find a permanent place in the installations, but like this one, packed in its original box, waits in vain for its musical deployment in Paul Thek's playful, in every respect fantastic image canon.

MvL

Contemporary Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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