Doug Aitken 2 disappearing points to 1 2004 Triptych: circular C-prints. Each: 122 cm (48 in) diameter. Signed 'Doung Aitken' and numbered of six on the reverse of each print. This work is from an edition of six and is accompanied by a certificate of authenticity.
Provenance Galerie Eva Presenhuber, Zurich Catalogue Essay “The self is never given in Aitken’s works. Rather, the subject emerges as a complex system of detours and technological mediations. This temporal syncopation cuts right through the very core of consciousness. It means that the present is never present. Or rather, that the consciousness of what is present is never self-present, but always delayed. The mind has no direct line to itself, but must pass through various complicated systems of mediation. Such seems to be the predicament described in Aitken’s automated cosmos, where the displacement of the subject in time is a natural consequence of the digitized topography it inhabits.” (Daniel Birnbaum, ‘That’s the Only Now I Get: Time, Space and Experience in the Work of Doug Aitken’, in Birnbaum, Sharp and Heiser, eds., Doug Aitken New York, 2002, p. 97) Read More
Doug Aitken 2 disappearing points to 1 2004 Triptych: circular C-prints. Each: 122 cm (48 in) diameter. Signed 'Doung Aitken' and numbered of six on the reverse of each print. This work is from an edition of six and is accompanied by a certificate of authenticity.
Provenance Galerie Eva Presenhuber, Zurich Catalogue Essay “The self is never given in Aitken’s works. Rather, the subject emerges as a complex system of detours and technological mediations. This temporal syncopation cuts right through the very core of consciousness. It means that the present is never present. Or rather, that the consciousness of what is present is never self-present, but always delayed. The mind has no direct line to itself, but must pass through various complicated systems of mediation. Such seems to be the predicament described in Aitken’s automated cosmos, where the displacement of the subject in time is a natural consequence of the digitized topography it inhabits.” (Daniel Birnbaum, ‘That’s the Only Now I Get: Time, Space and Experience in the Work of Doug Aitken’, in Birnbaum, Sharp and Heiser, eds., Doug Aitken New York, 2002, p. 97) Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
