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Les Marie Antoinettes Installation

Marlies Pekarek

Installation, Found Objects on Paper

Size: 59.1 W x 79.1 H x 3.1 D in

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About The Artwork

The series "Les Marie Antoinette's" alludes to court portrait galleries or to so-called galleries of beauties, like the most famous one in Nymphenburg Palace where Louis I gathered his era’s beauties around him. There are likewise allusions to the commercialization of such celebrities in museum shops as well as in private collections. The series is part of the installation “Nobility Cabinet”. “Nobility Cabinet” brings together the many aspects of the tortuous ways that leads someone to esteem, project and ensemble of famous celebrities or precious objects. These are a hodgepodge of unearthed, reworked, mechanically copied and self-painted mini portraits, of bric-a-brac, busts, of this and that. Louis XIV, Napoleon and Marie Antoinette hang in diverse variations alongside tiny busts of Sissy, Mme de Recamier or Molière. In this work series I’m looking for parallels in bearing, attire and depiction formulas, between religious and profane portrayals. Thus the “nobility cabinet” alludes to court portrait galleries or to so-called galleries of beauties, like the most famous one in Nymphenburg Palace where Louis I gathered his era’s beauties around him. There are likewise allusions to the commercialization of such celebrities in museum shops as well as in private collections. The multiples range from serially produced to individually crafted.

Details & Dimensions

Installation:Found Objects on Paper

Original:One-of-a-kind Artwork

Size:59.1 W x 79.1 H x 3.1 D in

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Marlies Pekarek born 1957 in Berne, Switzerland. Lives and works as an artist and designer in St. Gallen, Switzerland. Studied for 3 years in Zurich for a Bachelor degree and a further 3 years in Lismore, Australia for a MA. The work of Marlies Pekarek is founded on the two principals of reflection and intuition. At every crossing her works are packed with seemingly contrary statements, articulating contradictions that we humans create every day. In her drawings and objects, her photography, collage and installations, Pekarek draws upon the dialogue between inner and outer, individual and mass, right and wrong. All her work, including the Dripping-wet collection products possess content and strength of statement, revolving around the question of being Human, cut loose by a cultural and timely displacement. Marlies Pekarek is offering a series of unusual objects for everyday use. She presents us with a set of soap figures, tentative in appearance, arranged into sequences and groups.The multiple production of these items and the material used, qualifies them as consumer product, and yet these soap figures also act as Communicators, conveying meaning and evoking contemplation: soap is needed for washing; soap is an everyday material; soap has odour. Marlies Pekarek turns the mundane of the everyday object into pieces of sensitive art which put the mechanisms of valuation into question, behind uniformity lies individuality. The polarity of value and trash, art and mass production, meet and cross over. Here, art is consumer product, and consumer product is art.Ursula Badrutt Schoch (artcritic) translated by Rachel Lumsden

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