ALYS, FRANCIS 1959 Antwerpen Title: Lada Kopeika Project. Date: 2014. Technique: C-print on Kodak Ultra Endure N. Matt 200g. Depiction Size: 30 x 40cm. Notation: . Signed and numbered. Frame: Framed. Not examined out of the frame. One of 2 A.P. copies outside the edition of 100 numbered copies. This work is accompanied by a certificate from the Manifesta International Foundation, 2015, signed by the artist. Provenance: - Kasper König Collection, Berlin (directly from the artist) Exhibitions: - Galerie Thomas Fischer, Berlin 2018 - Edition for "Manifesta" 2015 in St. Petersburg curated by Kasper König - A Lada Kopeika crashes against a tree in front of the Winter Palace - Inspired by the Lada Riva (1981), with which Francis Alys and his brother Frederic drove to Leningrad, where the car broke down and the brothers parted ways Estimated shipping costs for this lot: Germany: 36,97 Euro plus 7,03 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance Explanations to the Catalogue Francis Alys South America Contemporary Art Photographs 2010s Framed. Not examined out of the frame Car Photography C-print Installation
Property from an Eminent Private Collection Francis Alÿs b. 1959 The Liar and The Copy of The Liar i. signed and dated Ap. 1993 (on the reverse) ii. signed, dated Sept. 1994 and inscribed en colaboración con Emilio Rivera (on the reverse) encaustic on canvas with pen on masking tape and enamel on sheet metal, in 2 parts i. 11 by 7 ¾ in. 28 by 19.5 cm. ii. 34 by 25 ¾ in. 86.4 by 65.4 cm. Executed in 1993-94, the second panel executed in collaboration with Emilio Rivera.
FRANCIS ALYS (1959) Lot of three catalogues Le temps du sommeil 2010 Illustrated catalogue 15 x 20 cm Charta edition No defects The historic centre of Mexico City 2006 Illustrated catalogue 19 x 13,5 cm Turner edition No defects Diez cuadras alrededor del estudio - Walking distance from the studio 2006 Illustrated catalogue 21 x 10,5 cm Antiguo Colegio de San Ildefonso edition No defects
"Reel-Unreel" by Francis Alys, 2013 Unsigned Offset Lithograph. Paper size is 36 x 24 inches, with an image size of 36 x 24 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B-: Good Condition, Signs of Handling and Age. Additional details:
'Le bon prophète', 2001. Collage (pencil, oil paint and tape on mylar). Titled, signed and dated in pencil. In original frame. Provenance: Peter Kilchmann Gallery, Zurich (label on reverse). Philips de Pury, New York. Description FR 'Le bon prophète', 2001. Collage (crayon, peinture à l'huile et ruban adhésif sur film mylar). Titré, signé et daté au crayon. Dans son cadre d'origine. Provenance : Galerie Peter Kilchmann, Zürich (étiquette au verso). Phillips de Pury, New York. Beschrijving NL 'Le bon prophète', 2001. Collage (potlood, olieverf en plakband op mylar-folie). Getiteld, getekend en gedateerd in potlood. In originele kader. Herkomst: Peter Kilchmann Gallery, Zürich (etiket op verso). Phillips de Pury, New York.
FRANCIS ALŸS (Antwerp 1959–lives and works in Mexico City) Ghetto Collector. 2003. Multiple. Tin, magnets, plastic string, rubber wheels. 26/99. Signed and dated on the inside of the door: F. Alys 03. Measurements 16 × 23 × 12.5 cm. Published by Parkett Verlag, Zurich (edition no. 69/2003). Website: www.parkettart.com/editions/p/alys-francis. --------------- FRANCIS ALŸS (Antwerpen 1959–lebt und arbeitet in Mexiko-Stadt) Ghetto Collector. 2003. Multiple. Dose, Magnete, Gummireifen und Plastikkordel. 26/99. Auf der Innenseite der Tür signiert und datiert: F. Alys 03. Masse 16 × 23,4 × 12,5 cm. Erschienen im Parkett Verlag, Zürich (Ausgabe Nr. 69/2003). Webseite: www.parkettart.com/editions/p/alys-francis. ---------------
ALYS, FRANCIS 1959 ANTWERPEN Title: Ghetto Collector (for Parkett 69). Date: 2003. Technique: Tin, magnets, plastic cord and rubber wheels. Measurement: 15 x 24 x 14cm. Notation: Signed, dated and numbered on the inside of the door. Publisher: Parkett-Verlag, Zurich (publisher). Number: II/L. Condition: The work is in very good condition. Outside of the edition of 99 arabic numbered copies. With Parkett magazine. "Fragments of refuse, abandoned and divorced from their original purpose are galvanised into action. Like a small artillery of children's pull-toys, or dispirited trash puppies, you can imagine these 'ghetto collectors', as the artist calls them, trailing through urban backlots, gathering debris beneath their already tired wheels. Alys looks at growth and change in society, particularly in urban environments. Here he tracks our insatiable consumption while on a continual path of waste and refuse. This is ironically packaged in the form of a harmless plaything." Robert Storr, Parkett no. 69, 2003. Article on the work and artist from Parkett edition no. 69. Explanations to the Catalogue
FRANCIS ALYS (1959) Closed Circuit 2001 The work is represented by the certificate of authenticity signed by the artist that gives the right to recreate the closed circuit installation 'Closed Circuit', ed. 3/4, comprised of videocamera, 45 gallons tank, fishes, monitor and cables Environmental dimension PROVENANCE: Private collection, Milan EXHIBITED: November 18th, 2006 - January 28th, 2007, My Private escape from Italy, Centre international d'Art et du Paysage, Ile de Vassiviere
FRANCIS ALYS (1959) Untitled 1997 Painted wax figure, glass, mineral water and wooden table Overall dimensions: 93 x 164 x 104 cm Work accompanied by a certificate of authenticity with drawing realized by the artist PROVENANCE: Noire Gallery, Turin Private collection, Milan (acquired from the gallery) EXHIBITED: April 14th - June 17th, 2001, 'Francis Alÿs', Musée Picasso, Antibes LITERATURE: T. Davila, M. Fréchuret, 'Francis Alÿs',catalogue of the exhibition held at Musée Picasso, Antibes, Réunion des Musées Nationaux, 2001, p. 70 (ill.)
Collage, mixed media with acrylic, pencil, coloured pencil and tape on tracing paper. 2001. Ca. 50 x 71 cm. Signed lower right and dated “NYC, Oct 2001” lower left.
FRANCIS ALŸS (Antwerp 1959–lives and works in Mexico City) Untitled. 2000. Digital photograph and oil. Signed, dated and dedicated on the reverse: hola René, ta maison fut un petit havre de paix "comfyness" pendant la course de ce voyage. Merci, j'espère que l'on se rencontre très prochainement, baci oltini, Francis 21 junio 2000. 21 × 29.8 cm. Provenance: Directly from the artist to the present owner, since then private collection Switzerland. --------------- FRANCIS ALŸS (Antwerpen 1959–lebt und arbeitet in Mexiko-Stadt) Ohne Titel. 2000. Digitalfoto mit Öl überarbeitet. Verso signiert, datiert und gewidmet: hola René, ta maison fut un petit havre de paix "comfyness" pendant la course de ce voyage. Merci, j'espère que l'on se rencontre très prochainement, baci oltini, Francis 21 junio 2000. 21 × 29,8 cm. Provenienz: Vom heutigen Besitzer direkt vom Künstler erhalten, seitdem Privatsammlung Schweiz. ---------------
AR FRANCIS ALŸS (Né en 1959) (en collaboration avec Angel Toxqui) Camgun (Gun Number 43) et dessin préparatoire (deux œuvres) Circa 2005-2006 Dessin préparatoire Numéroté et signé ‘#43 F. Alÿs’ en haut à droite Crayon, crayon de couleur et huile sur papier vélin Genummerd en getekend ‘#43 F. Alÿs’ bovenaan rechts Potlood, kleurpotlood en olieverf op vellum papier Numbered and signed ‘#43 F. Alÿs’ upper right Pencil, coloured pencil and oil on vellum 67.5 x 112.5cm (96 x 139cm avec cadre) Camgun Signé et numéroté ‘F. Alÿs #43’ Bois, métal, pastique, bobine de film et film Getekend en genummerd ‘F. Alÿs #43’ Hout, metaal, pastiek, filmrol en film Signed and numbered ‘F. Alÿs #43’ Wood, metal, plastic, film reels and film 91.4 x 44.5 x 41.3 cm
"Reel-Unreel" by Francis Alys, 2013 Unsigned Offset Lithograph. Paper size is 36 x 24 inches, with an image size of 36 x 24 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B-: Good Condition, Signs of Handling and Age. Additional details:
A set of two 2012 exhibition posters, one signed. Description FR Lot de deux affiches d'exposition de 2012, dont une signée. Beschrijving NL Een lot van twee tentoonstellingsaffiches 2012, één getekend.
Zonder titel, 2004. Original black and white photograph, heightened. Signed, dated and numbered in pencil 10/50. Each copy coloured according to the spectrum of the rainbow. Published by Yvon Lambert, Paris. Frame. Description FR Zonder titel, 2004. Photographie originale en noir et blanc, rehaussée. Signée, datée et numérotée au crayon 10/50. Publiée par Yvon Lambert, Paris. Chaque exemplaire peint selon le spectre de l'arc-en-ciel. Cadre. Beschrijving NL Zonder titel, 2004. Originele zwart-witfoto, gehoogd. Getekend, gedateerd en genummerd in potlood 10/50. Uitgegeven door Yvon Lambert, Parijs. Elk exemplaar gehoogd volgens het spectrum van de regenboog. Kader.
Francis Alÿs (né en 1959) Artiste pluridisciplinaire belge Sans titre - Fragment d'huile sur toile et cadre en bois Provenance: collection privée luxembourgeoise, oeuvre acquise avec certificat auprés de la galerie Ramis Barquet NEW YORK - USA en 2005. Dimensions: H: 15,2; L: 39,4 cm
ALYS FRANCIS (n. 1959). Study for the prophet.. Title, signature and year lower right. Provenance; Private collection; Pierre Bergé & Associés, Paris; Private Collection, Rome.. Cm 30,20 x 39,00. 2001
FRANCIS ALYS (1959) Closed Circuit 2001 The work is represented by the certificate of authenticity signed by the artist who gives the right to recreate the closed circuit installation 'Closed Circuit', ed. 3/4, comprised of videocamera, 45 gallons tank, fishes, monitor and cables Environmental dimension PROVENANCE: Private collection, Milan EXHIBITED: November 18th, 2006 - January 28th, 2007, My Private escape from Italy, Centre international d'Art et du Paysage, Ile de Vassiviere
FRANCIS ALYS (1959) Untitled 1998 Postcard of the solo show 'Dog Rose' at the Or Gallery, Vancouver 10,5 x 14,5 x cm Autograph writings on the reverse PROVENANCE: Galerie Peter Kilchmann, Zurich Private collection, Milan
Francis Alÿs (Belgian, born 1959) Ghetto Collector (for Parkett no. 69) Tin, magnets, plastic string, and rubber wheels, 2003, signed, dated and numbered 89/99 inside the tin door in blue ink, one of 25 design variations, published by Parkett Publishers, Zürich and New York, 156 x 241 x 152mm (6 1/8 x 9 1/2 x 6in)(Multiple)
ALYS, FRANCIS 1959 Antwerpen Title: Re-enactments. Subtitle: In collaboration with the Mexican film producer Rafael Ortega. Date: 2000. Technique:2-channel video projection of two parallel running short films. Length: 5:23 min. Each on SUB-MASTER Digital Betacam (NTSC) and DVD-R. Number:Ex. 3/4 + 1 A.P. Enclosed with this work is a certificate signed by the artist, dated August 10th 2022, including installation instructions. Provenance: - Lisson Gallery, London - Collection Prof. Dr. Thomas Olbricht, Essen Exhibitions: - Deichtorhallen Hamburg, 2011. Explanations to the Catalogue Estimated shipping costs for this lot: Arrangement after the auction.
FRANCIS ALŸS (Antwerp 1959–lives and works in Mexico City) Untitled (MONTERREY 4 FEB 1994). 1994. Oil on panel. Signed twice and inscribed on the reverse: Francis Alÿs ALYS 16224, as well as inscribed recto lower right: MONTERREY 4 FEB 1994. 15 × 20 cm. Provenance: - Galerie Peter Kilchmann, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland. --------------- FRANCIS ALŸS (Antwerpen 1959–lebt und arbeitet in Mexiko-Stadt) Untitled (MONTERREY 4 FEB 1994). 1994. Öl auf Holz. Verso zweimal signiert und bezeichnet: Francis Alÿs ALYS 16224, sowie recto unten rechts betitelt: MONTERREY 4 FEB 1994. 15 × 20 cm. Provenienz: - Galerie Peter Kilchmann, Zürich (verso mit dem Etikett). - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz.
FRANCIS ALŸS (Antwerp 1959–lives and works in Mexico City) Balderas. 1989. Oil on board covered with canvas. Signed lower left: ALYS. 13 × 18 cm. Provenance: - Galerie Yvon Lambert, Paris. - Private collection. - Phillips New York, Auction 29 May 2014, lot 61 (verso with the label). - Christie's Paris, Auction 8 June 2018, lot 227 (verso with the label). - Collection Switzerland. “What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.” Francis Alÿs. Francis Alÿs was born in Antwerp in 1959. He studied architecture and urban planning. In 1986 he moved to Mexico City. During his numerous walks through the capital, he observed and documented daily life in and around this metropolis. It was his encounters with the problems of urbanisation and social unrest that inspired him from 1990 onwards to become a visual artist. He uses the urban space, which he reproduces through performative actions. His media for this include painting, drawing, photography, and video. Public space becomes his material, and his own body, or that of other people, his instrument, which he captures in public spaces. Step by step, he appropriates the social and anthropological dimensions of his environment, almost in a documentary and analytical manner, often in the form of series of works. Over the years, Alÿs has extended his excursions to other urban spaces, documenting London, Jerusalem, Venice, or Havana. Precise, relevant social and political allusions run through his entire oeuvre. At the same time, these themes are expressed in a poetic ambiguity through his artistic language, so that his oeuvre permanently questions the link between artistic, creative, and political intervention. Here we have two examples that illustrate this link very well. One is a small-format painting from 1989 from his early work "Balderas" (Lot 3463). Today, the Avenida Balderas is a multi- lane, that is one of the most important traffic arteries in Mexico City. This north-south axis runs west of the old city centre. It was named after Lucas Balderas, a Mexican officer who died in the war against the North American invasion in 1847. This street is full of history, as it has been repeatedly destroyed and partially rebuilt, which means that it is now peppered with a wide variety of architectural phases. The empty street in the hazy, Hitchcockian red dusk radiates an eerie, ominous yet poetic calm. The other work presented here, from 1994, is named after the city of Monterrey (Lot 3464), located in the north-east of Mexico and is the capital of the Mexican state of Nuevo León. It is one of the most important industrial centres in Latin America, processing raw material products such as steel, building materials and glass, among other things. This megacity is also known for its very high crime rate. Drug trafficking, illegal emigration to the USA, but above all corruption, violent crime and other problems are always on the agenda. The artist characteristically depicts the daily challenges of the region in this postcard format. A burning car in an isolated industrial or suburban area. At the forefront of the viewer's mind is the question of what triggered this scene — was it vandalism, theft, escape, or drug dealing that led to this outcome? But the eye is quickly led away from such a sensation. The glowing car adds warmth to the cold surroundings. The painting begins to tell its own poetic fable. The artist himself describes his practice as "a kind of discursive exploration made up of episodes, metaphors or parables". --------------- FRANCIS ALŸS (Antwerpen 1959–lebt und arbeitet in Mexiko-Stadt) Balderas. 1989. Öl auf mit Leinwand bespanntem Holz. Unten links signiert: ALYS. 13 × 18 cm. Provenienz: - Galerie Yvon Lambert, Paris. - Privatsammlung. - Phillips New York, Auktion 29. Mai 2014, Los 61 (verso mit dem Etikett). - Christie's Paris, Auktion 8. Juni 2018, Los 227 (verso mit dem Etikett). - Sammlung Schweiz. “What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.” Francis Alÿs. Francis Alÿs wird 1959 in Antwerpen geboren. Er studiert Architektur und Stadtplanung. 1986 zieht er nach Mexiko-Stadt. Durch seine zahlreichen Spaziergänge durch diese Metropole beobachtet und dokumentiert er das tägliche Leben in und um die Stadt. Es sind seine Konfrontationen mit Problemen der Urbanisierung und sozialen Unruhen, die ihn ab 1990 dazu inspirieren, Bildender Künstler zu werden. Er nutzt den urbanen Raum, welchen er mittels performativer Aktionen wiedergibt. Seine Medien dafür umschliessen die Malerei, Zeichnung, Fotografie und Video. Der öffentliche Raum wird zu seinem Material und sein Körper, oder der anderer Personen, zu seinem Instrument, welchen er in öffentlichen Räumen festhält. Schritt für Schritt eignet er sich, fast dokumentarisch und analytisch, oftmals in Form von Werkserien, die sozialen und anthropologischen Dimensionen seiner Umgebung an. Im Lauf der Jahre dehnt Alÿs seine Ausflüge auf andere urbane Räume aus und dokumentiert London, Jerusalem, Venedig oder Havanna. Die präzisen, sozialen und politischen Anspielungen ziehen sich durch sein gesamtes Schaffen. Gleichzeitig werden diese Themen durch seine künstlerische Sprache in eine poetische Vieldeutigkeit geäussert, sodass sein Oeuvre die Verknüpfung zwischen künstlerischem, Schaffen und politischer Intervention permanent hinterfragt. Wir haben hier zwei Beispiele, welche diese Verknüpfung sehr gut darstellen. Zum einen das kleinformatige Gemälde von 1989 aus seinem Frühwerk „Balderas“ (Los 3463). Die Avenida Balderas ist heute eine vielspurige Strasse, die zu einer der wichtigsten Verkehrsadern der Stadt Mexiko zählt. Diese Nord-Süd-Achse verläuft westlich vom alten Stadtzentrum. Sie wurde nach Lucas Balderas benannt, einem mexikanischen Offizier, der 1847 im Krieg gegen die Nordamerikanische Invasion gefallen ist. Diese Strasse ist historisch aufgeladen, da sie vermehrt zerstört und teils wiederaufgebaut worden ist, wodurch sie heute mit unterschiedlichsten architektonischen Stilen bestückt ist. Die leere Strasse in trüber, Hitchcock roter Abenddämmerung strahlt eine unheimliche, bedrohliche und dennoch poetische Ruhe aus. Das zweite Werk von 1994 ist nach der Stadt Monterrey benannt (Los 3464), die im Nordosten von Mexiko liegt, und die Hauptstadt des mexikanischen Bundesstaates Nuevo León ist. Sie ist einer der bedeutendsten Industriestandorte Lateinamerikas, unter anderem durch die Herstellung von Produkten wie Stahl, Baustoffen und Glas. Die Millionenstadt ist gleichfalls für ihre hohe Kriminalitätsrate bekannt. Drogenhandel, illegale Auswanderung in die USA, aber vor allem Korruption, Gewaltdelikte und andere Probleme stehen immer wieder auf der Tagesordnung. Charakteristisch stellt der Künstler in diesem, Postkartenformat die täglichen Herausforderungen der Region dar. Ein brennendes Auto in einem isolierten Industrie- oder Vorstadtgebiet. Im Vordergrund der Überlegungen des Betrachters steht die Frage nach dem Auslöser dieser Szene – ob Vandalismus, Diebstahl, Flucht oder Drogenhandel zu diesem Ergebnis führte? Doch schnell wird das Auge von der Stimmung abgelenkt. Das glühende Auto wärmt die kalte Umgebung auf. Das Bild beginnt seine eigene poetische Fabel zu erzählen. Der Künstler selbst beschreibt seine Praxis als „eine Art diskursive Auseinandersetzung aus Episoden, Metaphern oder Parabeln“.
FRANCIS ALYS (1959) Untitled (study for 'Sometimes making something leads to nothing') 1998 Retouched photograph on Chromalin, with text and stamp, ed. 4/6 + 2 AP 32 x 28 cm Stamp of the artist in the center PROVENANCE: Galleria Maze, Turin Private collection, Milan
FRANCIS ALYS (né en 1959). Sans titre, 1995-99. Série de quatre mine de plomb, collage, photographie, tape et gouache sur papier calque. Signées et datées. Serie van vier loodmijnen, collage, fotografie, tape en gouache op calqueerpapier. Gesigneerd en gedateerd. 23 x 24 cm 23 x 30 cm 28 x 29 cm 28 x 35 cm Provenance / Herkomst: Gallerie Peter Kilchmann, Zurich CAP Collection, New-York. Collection privée, Belgique. Lot présenté par Cornette de Saint Cyr Bruxelles.
Francis ALYS (né en 1959) Study for the prophet, 2001 Collage, watercolor and ink on paper. Signed, dated and titled in pencil lower right. Collage, watercolor and ink on paper. Signed, dated and titled in pencil lower right. H_39 cm W_30,2 cm Provenance: private collection Study for the prophet, 2001 Collage, aquarelle et encre sur papier. Signé, daté et titré au crayon en bas à droite. Collage, watercolor and ink on paper. Signed, dated and titled in pencil lower right. H_39 cm L_30,2 cm Provenance: collection privée
Francis Alÿs (b. 1959, Belgian/Mexican) "Ghetto Collector," 2003 Tin, magnets, plastic string, and rubber wheels Signed, dated, and editioned: Francis Alÿs / 03 / 53-99 6" H x 9.5" W x 5.5" D Provenance: The Blake Byrne Collection
