Rather than trying to fight, people attempted to hide and adapt to these forced changes.Ĭonversely, Liu Bolin’s newest sculptures rejoice in the new hope he has for humanity. He portrayed the tragedy of the increasing insignificance of the individual in China as the government focused on presenting a modern commercial and industrial image. Highlighting the lack of recognition which was paid to the citizens that built them. He drew attention to great landmarks in China, both old and modern, while Liu Bolin’s earlier Hiding in the City photography series, in which he paints himself into the urban landscape, was inspired by the Chinese government’s demolition of the Suo Jiacun Artist Village in Beijing in 2006. His works have been communicated via emails, blogs, magazines and journals on a massive scale. His message of political protest is understood throughout the world and bridges gaps in language and culture. Since Liu Bolin was first exhibited at Eli Klein Fine Art in 2007, the artist’s popularity has exploded on the international arena. Private Reception with the artist: 6-9 PMĮli Klein Fine Art is proud to present Liu Bolin’s second solo exhibition at the gallery this showįeatures his new photography and sculpture. The auction house said the individual who bought the receipt was a “private European collector” and that it remains “too early to say” whether they will pay via cryptocurrencies.Liu Bolin returns to New York for his second solo exhibition, ON FIRE, at ELI KLEIN FINE ART NEW YORK According to Smithsonian, the sale surpassed the initial estimated range of $300,000 to $500,000 and instead was settled on $1.2m after fees. This was the humble, but brilliant, receipt.”įor the first time ever, Sotheby’s accepted cryptocurrency payments for the artwork. Eventually, he settled on a system which is the spiritual precursor for the model we are seeing used for the sale of digital art via NFT: he created a separate artifact for the financial aspect of the artwork. “Klein considered for a long time how exactly these Zones … should be sold. In other words, he was aiming to directly transmit the power of painting – its sensibility – without depending on the painting-artifact to act as a medium,” it added. “The Zones were the apotheosis of Klein’s lifelong quest to create an artwork which was ‘a direct and immediate perception – assimilation without any effect, any trick, or any deception’. “Some have likened the transfer of a zone of sensitivity and the invention of receipts as an ancestor of the NFT, which itself allows the exchange of immaterial works,” Sotheby’s wrote in its auction catalog. It features Klein’s signature on the bottom right and is dated 7 December 1959.Ī receipt to Jacques Kugel by Yves Klein for five grams of gold in exchange for Zones of Immaterial Pictorial Sensibility Serie n☁, Zone n☀2. The receipt measures less than 8in wide and is designed to mimic a bank check. Loïc Malle, a former gallery owner, eventually bought the receipt and auctioned it off along with other items from his private collection. It has become a valued piece of art in its own right, displayed at various cultural institutions such as the Centre Pompidou in Paris and the Hayward Gallery in London. One of the collectors, Jacques Kugel, refused to burn his receipt. Klein would then dump half the gold payment into the Seine River and burn the receipts among witnesses. Each purchase of one of Klein’s Zones of Immaterial Pictorial Sensibility came with a receipt, which he urged buyers to burn.Īccording to Smithsonian Magazine, the burning was part of a ritual in which Klein wanted collectors to assert themselves as “definitive owners” of their “zones”. Soon after, Klein decided to offer collectors the opportunity to buy invisible “zones” in exchange for gold bullion. It was a success, with thousands of visitors showing up to the mostly vacant Parisian gallery. In 1958, he launched The Void, an exhibition in which he placed a cabinet in an empty room. Klein, a key figure in the French new realism movement founded in the 1960s, was a pioneer in performance art.
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