Sebastian Bieniek (1975) - Doublefaced No. 39 (3/9)

lotto/sebastian bieniek 1975 doublefaced no 39 3 9 8HHZ7aV 632939377 / In vendita

lotto/sebastian bieniek 1975 doublefaced no 39 3 9 8HHZ7aV 632939377

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lotto/sebastian bieniek 1975 doublefaced no 39 3 9 8HHZ7aV 632939377

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Sebastian Bieniek (1975) - Doublefaced No. 39 (3/9)

Sebastian Bieniek (born 1975 in Poland) is famous for works in the context of duality and ambivalence which have gone viral several times since 2013 and have been published by the largest magazines around the world. According to Spanish VOGUE Magazine, even Madonna asked him in 2016 to make her new album cover, but the eccentric artist, as so often, refused and preferred to stay by himself. ____ For sale: Original photograph (high-quality Fine Art print) from the Doublefaced series (2013) by Sebastian Bieniek. There are only 9 individually numbered and autographed originals of this work (Doublefaced No. 39). Here is 3/9. Most originals are in important collections worldwide. Among them in the USA, Switzerland, Italy, Netherlands, Austria, Germany, Spain, Kingdom of Bahrain, United Kingdom, Japan, and Hong Kong. This work is sold as the penultimate remaining piece directly from the artist. The auction winner will also receive a certificate of authenticity issued in the artist’s name. _____ Details about the artwork: - Title: Doublefaced No. 39 (3/9) - Year: 2013 - Size: 58 x 42 cm. (There is a 5 cm white border around the photo. The measurements include the white border) - Condition: the artwork is a photograph (not mounted and not framed) - Paper: Baryta Canson - Technique: C-Print - Signed: multiple times. Once at the top left (quick signature), then bottom right (and stamped, titled and numbered). On the back also signed, stamped, titled and numbered. _____ Condition of the photograph: In the bottom right there is a small (soft) crease (photo no. 7) which would disappear when framed or mounted (it is hardly visible from the front but mainly from the back). Additionally, the bottom left edge (see photo no. 7) has two small nicks, very slight (a small - half-millimeter wide - spot that would be cut away when mounting). But this is not relevant, because when mounting everything would be re-flattened and trimmed and thus completely disappear. The motif itself is in TOP condition and therefore the overall condition is "good". Please also view photo no. 7 so you know in advance. The above-mentioned non-relevant spots occur on the white border. The photo is 13 years old and is in superb condition for its age. _____ Shipping: The photo will be rolled for shipping. About the Doublefaced series: The Doublefaced photo series by Berlin-based artist Sebastian Bieniek is undoubtedly one of the most important and influential photo series of the Internet era. It is the perfect example of contemporary art that not only understands the modern zeitgeist but reflects it in its purest form. In an era dominated by digital self-presentation, constant reinvention of the ego, and the fragmentation of one’s identity on social media, Bieniek’s works touched a nervous core of society. His works captured the deep human need to be simultaneously masked and visible in the digital noise and made the duality of our modern existence visually tangible. The minimalist yet deeply disturbing concept – second faces drawn with eyeliner and lipstick on models’ cheeks – went viral in the 2010s and left a lasting mark on the global pop and fashion world. The extent to which this artistic impulse struck the pulse of the time is shown by its enormous resonance with world-famous icons. Madonna, the “Queen of Pop,” was so fascinated by the hypnotic visual language that she selected a photograph from the series for the cover of her album Madame X. The concept also left deep traces in music and pop culture: in Pharrell Williams’ official music video for Marilyn Monroe, the iconic idea of the two-faced illusion was copied and presented to millions of viewers. Perhaps the most spectacular bridge between avant-garde body art and the world of high fashion was forged on the runways of the French metropolis. The fashion designer Simon Porte Jacquemus recognized the zeitgeist potential of the works and brought the look to Paris Fashion Week in direct collaboration with Sebastian Bieniek. Bieniek-inspired, the collection took the fashion world by storm and helped Jacquemus win the prestigious LVMH Special Jury Prize, endowed with 150,000 euros. Through this symbiosis of Internet phenomenon, pop culture, and haute couture, the Doublefaced series demonstrated impressively how traditional art can break the boundaries of the analog and become a universal visual language for an entire generation. _____ About the artist: The German conceptual artist, painter, and photographer Sebastian Bieniek (born 1975) is considered one of the most radical border-crossers on the contemporary art scene. His entire work has been a permanent, provocative dance along the razor-thin line between reality and illusion. Born in Upper Silesia, Bieniek moved to Germany in 1989 as a late resettler and began his artistic path at the Braunschweig University of Art. There he studied Fine Arts under the extreme contrast of influences: the world-renowned performance pioneer Marina Abramović and the Swiss conceptual artist John M. Armleder. Later he transferred to the University of the Arts Berlin, where he completed his studies as a Meisterschüler, while simultaneously pursuing a directing degree at the German Film and Television Academy Berlin. His career began in the late 1990s at the legendary Berlin art house Tacheles, from where he quickly became a fixture. In 2013, the viral Doublefaced photo series gave him an international breakthrough, after which renowned magazines named him one of the most influential artists in Berlin. From early in his career Bieniek stood out for actions that deeply unsettled the public and the traditional art world. Inspired by the bodily boundary-pushing of his mentor Abramović, he used his own body as material and, in an early work, cut a new wound into his arm daily for days to document physical impermanence. Beyond these painful processes, he staged provocative social experiments in public spaces by placing long stretches of barrier tape without permission to block subway entrances or squares in Berlin. This demonstrated how blindly people obey visual and state authority. With his 2011 book Realfake, he extended these experiments to the digital realm: by creating dozens of fake profiles, he deliberately manipulated algorithms, media, and public perception – long before the phenomenon of “Alternative Facts” entered world politics. The absolute and most radical apex of this interdisciplinary work was the staging of his own death as a final art performance. Bieniek, who for years dissected the mechanisms of media impact, digital identity, and deception, extended this principle to the ultimate boundary of human existence. He forged and orchestrated reports of his own death and accompanied this with conceptual video messages such as his Apology for being dead, thereby plunging the art world and the public into a state of shock. With this act, he went interdisciplinary much further than any other artist before him. He no longer used only canvas, camera, or living body, but elevated total disappearance, play with the beyond, and the ensuing media hysteria to the actual artwork. Bieniek thus finally proved that in the age of digital networks the boundary between life and death is manipulable, shapeable, and ultimately part of a hyperreal staging.

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