Untitled

John Armleder
Untitled
2019
Home is Where You Leave Your Belt

Monica Bonvicini
Home is Where You Leave Your Belt
2019
Wrapped Chair (Project)

Christo and Jeanne-Claude
Wrapped Chair (Project)
1963/2019
Thonet Chair

Michael Craig-Martin
Thonet Chair
2019
Heightened Division

Liam Gillick
Heightened Division
2019
Untitled Action Sculptures

Wade Guyton
Untitled Action Sculptures
2019
Thonet in Triplicate

Joseph Kosuth
Thonet in Triplicate
2019
The Chair of the Architect

Gerhard Merz
The Chair of the Architect
2019
Spy

Tobias Rehberger
Spy
2019
Thonet (set)

Thomas Ruff
Thonet (set)
2019
Thonet

Thomas Ruff
Thonet
2019
Untitled (Thonet chair, Jackson guitar)

Haim Steinbach
Untitled (Thonet chair, Jackson guitar)
2019
Untitled Chair_ AL -1

Nicole Wermers
Untitled Chair_ AL -1
2019
Untitled

Heimo Zobernig
Untitled
2004/2019
 
 
 
 
John Armleder - Untitled
John Armleder

Untitled
2019

From THONET 200 Project
Painting on canvas, 200 × 90 cm (79 x 35½ in.);
5 painted in acrylic in white on gold and 5 painted
in gold on white, all signed and numbered.


John M. Armleder plays skilfully with high and low, with high art and assumed lower trivial culture. With his installations and designed spaces, he questions current art hierarchies. There is no good or bad taste for
Armleder. His Furniture Sculptures, with which he became famous, deal with the trivialization of the work of art; with how paintings, sculptures and other art media are increasingly becoming decorative elements in
collection spaces and living rooms today.The works are loaded with allusions to art history, from Minimalism to Pop Art and many other styles and artists. It is a par force ride through the art history of the 20th and 21st centuries.




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Monica Bonvicini - Home is Where You Leave Your Belt
Monica Bonvicini

Home is Where You Leave Your Belt
2019

From THONET 200 Project
Sideboard Thonet B 108, bronze, 90 × 134 × 39 cm (35½ x 53 x 15½ in). Edition of 4 + 1 A.P., signed and numbered.


Beloved pieces of furniture experience everyday life up close and often become an extension of one‘s own person. In this work, Bonvicini takes up this idea and reflects on the appropriation of objects in a domestic environment. In an ironic way, the men‘s belt on the table leg refers to its owner, who in the truest sense of the word has lowered his pants. From a distance, however, what at first seems like a forgotten or discarded leather belt turns out to be a permanently installed bronze sculpture. The play with realities, the effect of objects in their surroundings, as well as the preoccupation with domesticity and male dominance are well-known themes in Bonvicini‘s work.




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Monica Bonvicini - Home is Where You Leave Your Belt
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Christo and Jeanne-Claude - Wrapped Chair (Project)
Christo and Jeanne-Claude

Wrapped Chair (Project)
1963/2019

From THONET 200 Project
Digital pigment print and silkscreen on Hahnemühle 300g Photo Rag Ultra Smooth Paper, 26.5 × 18 cm (10 x 7 in.). Edition of 33, signed and numbered.


Having temporarily lived in Vienna in 1957, Christo had become familiar with Thonet furniture that was ubiquitous in the city at the time. In the 1960s and in accordance with the spirit of Nouveau Réalisme in Paris he was intrigued by everyday objects and has wrapped numerous types of furniture.




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Michael Craig-Martin - Thonet Chair
Michael Craig-Martin

Thonet Chair
2019

From THONET 200 Project
Spray-painted steel, 70 × 30 cm (27½ x 12 in.). Edition of 15, signed and numbered.


Michael Craig-Martin, who pictographically quotes and arranges icons of consumption and lifestyle in his works of recent years, has had the famous Chair 14 lasered as a contemporary signet in steel and spray painted in popular pink.




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Liam Gillick - Heightened Division
Liam Gillick

Heightened Division
2019

From THONET 200 Project
Nine polished stainless steel wall pieces, sizes from 79 × 12.5 cm to 81.5 × 52 cm (31 x 5 to 32 x 20½ in.). Edition of 12 sets, signed and numbered.


“I am interested in taking apart the structural logic of social and political systems. This process is reflected in my relationship to forms as carriers of meaning and potential. For this project I looked at various curves and forms that are the fundamental basis of Thonet’s iconic furniture over the last century and more. I wanted to bring forward the beauty and significance of these isolated elements that are both structural and relational.”




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Wade Guyton - Untitled Action Sculptures
Wade Guyton

Untitled Action Sculptures
2019

(Red, Black and White Thonet Chair), 2019
From THONET 200 Project
Altered powder-coated chair, 114.3 × 99.1 × 63.5 cm
(45 x 39 x 25 in.). Edition of 12 in red, 9 in black, and 6 in white, all signed and numbered.


“This is an edition based on other sculptures I’ve made with old Breuer chairs. The first was a chair I found on the street in the East Village near my Second Street studio in 2001.  For the Thonet project I used new Thonet chairs in red, white and black.”




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Wade Guyton - Untitled Action Sculptures
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Wade Guyton - Untitled Action Sculptures
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Wade Guyton - Untitled Action Sculptures
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Joseph Kosuth - Thonet in Triplicate
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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Gerhard Merz - The Chair of the Architect
Gerhard Merz

The Chair of the Architect
2019

From THONET 200 Project
A  Rug (blue, New Zealand sheep wool), 200 × 200 cm
or 200 × 300 cm (78½ x 78½ or 78½ x 118 in.), with Thonet Chair 209 in natural wood. Edition of 5, signed and numbered.

B  Rug (gray, New Zealand sheep wool), 200 × 200 cm or 200 x 300 cm (78½ x 78½ or 78½ x 118 in.), with Thonet Chair 209 painted gray. Edition of 5, signed and numbered.


Merz celebrates rational beauty in art and design with the T-square emblem and refers to the aesthetic settings of Le Corbusier, who included chair 209 as his own in his art and architecture.

"Art provides the chance to think about what life should be and not about what life actually is."




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Tobias Rehberger - Spy
Tobias Rehberger

Spy
2019

From THONET 200 Project
Wood, glue, stain, electrical fixture, bulb and cord, 53 × 59 × 53 cm (21 x 23 x 21 in.). Unique.


With his design for Thonet Re-Imagined, Tobias Rehberger takes up the characteristic features of the Coffee House Chair no. 14 in order to transfer them in exaggerated form to the design of a lamp. In this way, he transforms the elegant curves of the backrest into a freely formed loop of bentwood, which in reality was not bent but assembled from many CNC-milled individual parts. Behind the supposedly playful manual work lies a highly technological production method that has nothing to do anymore with traditional bentwood processing.




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Tobias Rehberger - Spy
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Thomas Ruff - Thonet (set)
Thomas Ruff

Thonet (set)
2019

From THONET 200 Project
Five digital pigment prints on 500 g Hahnemühle Photo Rag paper, each 56 × 50 cm (22 x 19¾ in.). Edition of 25, each signed and numbered.


Thomas Ruff quotes images from Thonet catalogs of the 1920s and by using double exposures, transforms them in the design style of the time.




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Thomas Ruff - Thonet (set)
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Thomas Ruff - Thonet (set)
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Thomas Ruff - Thonet (set)
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Thomas Ruff - Thonet (set)
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Thomas Ruff - Thonet (set)
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Thomas Ruff - Thonet
Thomas Ruff

Thonet
2019

From THONET 200 Project
One digital pigment print (four images) on 500 g Hahnemühle Photo Rag paper, 78 × 75 cm (30¾ x 29½ in.). Edition of 35, signed and numbered.


Thomas Ruff quotes images from Thonet catalogs of the 1920s and by using double exposures, transforms them in the design style of the time.




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Haim Steinbach - Untitled (Thonet chair, Jackson guitar)
Haim Steinbach

Untitled (Thonet chair, Jackson guitar)
2019

From THONET 200 Project
115 × 41 × 77 cm (45 x 16 x 30 in.). Edition of 5.


Haim Steinbach placed an odd handcrafted musical instrument on a Thonet design classic. He alludes to a painting by Picasso with a guitar on a chair.




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Nicole Wermers - Untitled Chair_ AL -1
Nicole Wermers

Untitled Chair_ AL -1
2019

From THONET 200 Project
Vintage fur, steel tubing, upholstery, silk, velvet, 85 × 65 × 66 cm (33½ x 25¾ x 26 in.).Unique.


The Untitled Chairs explore ritualized, social relationships and their physical manifestations. The backrest and seats of Marcel Breuer‘s chair are replaced, the vintage jackets equipped with new lining matching the seat covers are sewn around the chairs, thus uniting them as one object. The essentially temporary ritual of placing one‘s jacket over a chair backrest becomes a permanent component of the sculpture. The coded appropriation and occupation of a part of public space becomes an intrinsic feature of the object.




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Heimo Zobernig - Untitled
Heimo Zobernig

Untitled
2004/2019

Plywood, gold paint, tube steel, 81 × 52 × 46 cm. Unique.


Heimo Zobernig is interested in the 3D forming technique of plywood, which was invented by Charles Eames and later used in prototype form for sculptures by Jean Arp or Henry Moore. The color gold is going against the dogma of the material adequacy of the modern age and is at the same time a statement on the monochrome.




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Heimo Zobernig - Untitled
Heimo Zobernig

Untitled
2004/2019

Plywood, gold paint, tube steel, 82 × 57 × 52 cm. Unique.


Heimo Zobernig is interested in the 3D forming technique of plywood, which was invented by Charles Eames and later used in prototype form for sculptures by Jean Arp or Henry Moore. The color gold is going against the dogma of the material adequacy of the modern age and is at the same time a statement on the monochrome.




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