Joseph Kosuth

Quoted Use #1-8
2019
This project appropriates usable personal objects and furniture from a selection of influential cultural figures including Jane Austen, Samuel Beckett, Simone de Beauvoir, Charles Darwin, Marcel Duchamp, Albert Einstein, Søren Kierkegaard and Virginia Woolf. Various sizes, edition of 3 + 2 A.P., each work is accompanied by an engraved metal plaque.


Quoted Use #1, 2019
Jane Austen’s Writing Table (Early 18th century)
Stained & waxed maple. 66 x 50 x 50 cm.

Quoted Use #2, 2019
Samuel Beckett’s Telephone (1964)
Painted bakelite telephone with silkscreen dial.
13 x 24 x 19 cm.

Quoted Use #3, 2019
Simone de Beauvoir’s Lamp / Base designed by Alberto Giacometti (ca.1935)
Painted bronze base, electrical fittings and aluminium shade. 69 x 26 x 24.5 cm.

Quoted Use #4, 2019
Marcel Duchamp’s Coat Rack (1917)
Painted wood and cast aluminium with silkscreen.
17 x 117 x 28 cm.

Quoted Use #5, 2019
Albert Einstein’s Music Stand (ca.1915)
Stained & waxed maple. 125-150 x 50 x 50 cm.

Quoted Use #6, 2019
Søren Kierkegaard’s Writing Desk (ca.1850)
Stained & waxed maple, painted metal fixtures.
126 x 117 x 91 cm.

Quoted Use #7, 2019
Virginia Woolf’s Armchair (ca.1932)
Upholstered armchair with printed fabric and framed photograph. 78 x 80 x 78 cm.

Quoted Use #8, 2019
Charles Darwin’s Dog Basket (ca.1860)
Painted wicker basket & plaid wool blanket.
20 x 75 x 60 cm.



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Joseph Kosuth

Thonet in Triplicate
2019
From THONET 200 Project
Three framed photographs, 72 × 321 cm (28½ x 126½ in.) overall installation. Unique.


Kosuth analyzes Thonet´s groundbreaking marketing concept of shipping unassembled chairs worldwide to be mounted at their destination with a few screws. In this work, he presents the strategy on three conceptual levels: the final product, its individual components and its design idea in the form of a U.S. patent certificate.



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Joseph Kosuth

L´essence de la rhétorique...
1998
From the portfolio Sequences
[L´essence de la rhétorique est dans l´allégorie IV ]
Three-part aquatint and heliogravure on Rives BFK
rag paper. Each print 40 x 50 cm (15¾ x 19¾"),
signed and numbered on second print. Edition of 60.


These three heliogravures quote a René Magritte painting, "L´apparition" 1928, in which amorphous elements are a repeated motif. These "clouds of language" contain the major concepts of Michel Foucault´s essay Ceci n´est pas une pipe of 1973, in which the French philosopher investigated the semiotic character of Magritte´s word pictures. Kosuth has described his projects as investigations which examine the conceptual and representational shifts between the identity of words and the reality of things.

set EUR 1.750



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Joseph Kosuth

Sigla, Finnegans Wake
1998
From Wall Works
Warm white neon on a black painted wall;
configuration of the neon signs variable.
Signs approximately 12 x 12 x 4 cm (5 x 5 x 1½ ");
installation size according to the wall.
Limited to 12 installations, with a signed and
numbered certificate.


The wall work Sigla, Finnegans Wake is one of several Joyce-based Kosuth works - others include an immense installation at the Irish Museum of Modern Art in Dublin and permanent installations in Tokyo and Lyon. For Sigla, Kosuth has made white neon "text" after the sigla (signs) Joyce used in his seminal 1923 work Finnegans Wake to designate characters and their identities. These luminous signals are to be configured freely on a black wall, suggesting a starry night sky.



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Joseph Kosuth

The Criterion Of The Real
2009
From the portfolio Forty Are Better Than One
Double sided 10-part leporello, embossing/debossing on Gmund Colors 21 paper, 32 x 250 cm (12½ x 98½ in). Edition: 75, signed and numbered on label on archival sleeve.


The embossing reads:
THE CONTRADICTIONS THE MIND COMES UP AGAINST -- THESE ARE THE ONLY REALITIES: THEY ARE THE CRITERION OF THE REAL
THERE IS NO CONTRADICTION IN WHAT IS IMAGINARY. CONTRADICTION IS THE TEST OF NECESSITY. SIMONE WEIL

EUR 1.000



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