“It is a work that asks you to activate the power of the imagination, a power that anyone has, even those who don’t believe they have it,” Garau said per ArtNet.Ī post shared by Salvatore Garau This week, Garau installed “ Afrodite Piange” outside the New York Stock Exchange, marked by an empty white circle, says ArtNet and The New York Post.The piece is marked by a square of tape on a cobblestone street. In February, he installed an invisible sculpture titled “ Buddha in contemplations” in Milan, said ArtNet. This piece is Garau’s third invisible masterpiece this year. “The vacuum is nothing more than a space full of energy, and even if we empty it and there is nothing left, according to the Heisenberg uncertainty principle, that nothing has a weight,” Garau said per ArtNet.However, to the artist, the sculpture is far from nothing, reported The New York Post. The sculpture is literally nothing, said ArtNet. “You don’t see it but it exists it is made of air and spirit,” according to Garau via The New York Post, Is it really an invisible sculpture?Īrguably, yes. The artwork titled “ lo Sono” - “I Am” in Italian - is a 5-by-5 foot square free of obstructions, according to ArtNet.The sculpture is nothing more than empty space. The auction house said the individual who bought the receipt was a “private European collector” and that it remains “too early to say” whether they will pay via cryptocurrencies.Italian artist Salvatore Garau just sold his invisible sculpture for over $18,000, reports ArtNet. According to Smithsonian, the sale surpassed the initial estimated range of $300,000 to $500,000 and instead was settled on $1.2m after fees. This was the humble, but brilliant, receipt.”įor the first time ever, Sotheby’s accepted cryptocurrency payments for the artwork. Eventually, he settled on a system which is the spiritual precursor for the model we are seeing used for the sale of digital art via NFT: he created a separate artifact for the financial aspect of the artwork. “Klein considered for a long time how exactly these Zones … should be sold. In other words, he was aiming to directly transmit the power of painting – its sensibility – without depending on the painting-artifact to act as a medium,” it added. “The Zones were the apotheosis of Klein’s lifelong quest to create an artwork which was ‘a direct and immediate perception – assimilation without any effect, any trick, or any deception’. “Some have likened the transfer of a zone of sensitivity and the invention of receipts as an ancestor of the NFT, which itself allows the exchange of immaterial works,” Sotheby’s wrote in its auction catalog. It features Klein’s signature on the bottom right and is dated 7 December 1959.Ī receipt to Jacques Kugel by Yves Klein for five grams of gold in exchange for Zones of Immaterial Pictorial Sensibility Serie n☁, Zone n☀2. The receipt measures less than 8in wide and is designed to mimic a bank check. Loïc Malle, a former gallery owner, eventually bought the receipt and auctioned it off along with other items from his private collection. It has become a valued piece of art in its own right, displayed at various cultural institutions such as the Centre Pompidou in Paris and the Hayward Gallery in London. One of the collectors, Jacques Kugel, refused to burn his receipt. ![]() Klein would then dump half the gold payment into the Seine River and burn the receipts among witnesses. Each purchase of one of Klein’s Zones of Immaterial Pictorial Sensibility came with a receipt, which he urged buyers to burn.Īccording to Smithsonian Magazine, the burning was part of a ritual in which Klein wanted collectors to assert themselves as “definitive owners” of their “zones”. Soon after, Klein decided to offer collectors the opportunity to buy invisible “zones” in exchange for gold bullion. ![]() It was a success, with thousands of visitors showing up to the mostly vacant Parisian gallery. In 1958, he launched The Void, an exhibition in which he placed a cabinet in an empty room. Klein, a key figure in the French new realism movement founded in the 1960s, was a pioneer in performance art.
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