Doug Aitken - Contemporary Art Evening Sale New York Thursday, March 4, 2010 | Phillips

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  • Provenance

    Galerie Eva Presenhuber, Zurich

  • Exhibited

    Zurich, Galerie Hauser & Wirth & Presenhuber, i am in you, June 17 - July 29, 2000 (another example exhibited); Berlin, Kunst-Werke Institute for Contemporary Art, Doug Aitken, February 18 - April 8, 2001 (another example exhibited); Barcelona, La Caixa Foundation, July 7 - September 26, 2004; and Bilbao, Sala Rekalde, October 14 - December 5, 2004, Doug Aitken: We’re safe as long as everything’s moving (another example exhibited); Humlebæk, Louisiana Museum of Modern Art, Doug AItken: RISE, June 4 - September 22, 2002 (another example exhibited); Kanazawa, 21st Century Museum of Contemporary Art, Encounters in the Twenty-First Century: Polyphony—Emerging Resonances, October 9, 2004 - March 21, 2005 (another example exhibited); Munich, Summlung Goetz, Doug Aitken, November 22, 2004 - May 21, 2005 (another example exhibited)

  • Literature

    D. Birnbaum, “Top Ten,” Artforum, New York, December 2000, p. 127 (illustrated); U. Verkoeper, “I Am In You,” Ausstellungen, Spring 2000; D. Birnbaum, A. Sharp and J. Heiser, Doug Aitken, New York/London, 2001, p. 15, 108-117 (illustrated); Louisiana Museum of Modern Art, ed., Doug Aitken: RISE, Humlebæk, 2003, p. 4-14 (illustrated on the back cover); 21st Century Museum of Contemporary Art, ed., Encounters in the Twenty-First Century: Polyphony—Emerging Resonances, Kyoto/Tokyo, 2005, pl. 23 (illustrated)

  • Catalogue Essay


    “You got to run as fast as you can all of the time” and “You got to be sharp!,” whispers the girl in the opening scene of i am in you, 2000. She is maybe ten or eleven (though the age seems unimportant), but sitting there cross-legged in the red gloom, with her eyes moving fast, at first in sharp focus, then half-closed while she comfortably undulates her shoulders, she seems so deep in relined concentration that it sounds like wishes to be granted by no one but herself. “You got to run as fast as you can all of the time.” The “you” is suddenly you, the beholder, as you move through the piece, trying to keep up with the quick changing orchestration continually unfolding all around. It emits light, it hums, images bleed through one another, ghost images of what seems other moments in time, other places. This is not chaos, there’s a rhythm to it that you haven’t quite locked into yet, but you know you will in an instant. It’s not the legs that run but your perceptive processes, you navigate a ground plan somewhat similar to an LED-display ‘S’: a set of five screens, three parallel from front to back, the second of them free-standing in the center of the space, the remaining two staggered to the left and right. The whispered “run” suddenly sounds a lot like “learn,” as the girl’s multiplied image alternates quickly with what looks like roof trusses fanned out against a black background and lit up in a precise staccato. She herself seems to be a flash camera capturing the geometrical forms that rule their statics. “Pattern recognition” is what sociologists zealously call this, often imagining themselves as the parents defining the conditions of the experiment. In i am in you, it’s like an early learning high chair game is set free from parental guidance, and has developed dramatically into a complex set of sequences smoothly collapsing into one another.
    J. Heiser, “Beginning to Understand: Doug Aitken’s i am in you,” Doug Aitken, New York/London, 2001, p. 108

7

i am in you

2000

Video installation of five projections of three dvds.

11 minute, 3 second cycle. Installation dimensions variable.
This work is from an edition of four plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate
$150,000 - 200,000 

Sold for $176,500

Contemporary Art Evening Sale

4 Mar 2010
New York