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niv002
Product description
Joseph Klibansky
Title: Beyond the Clouds
Year: 2020
Edition: 40,000 pieces
Signed: Unique number on the back of each artwork.
Technique: Mixed media painting (acrylic paint canvas silkscreen ink)
Dimensions image: 3 cm x 3 cm
This lot consists of 4 unique pieces of the large artwork. Each individually wrapped in the original packaging received by the customers of the ABNAMRO and MeesPierson in 2020. The numbering is printed separately on the back of each piece. Sample (see photo) is a random example.
In 2020, ABN AMRO and Mees Pierson celebrated their 300th anniversary. On the occasion of this anniversary, Joseph Klibansky made his largest painting ever.
It was a canvas of more than 38 m² titled "Beyond the Clouds."
This huge canvas was cut into more than 40,000 pieces measuring 3 cm by 3 cm. Each small 3x3 cm piece reflects the entire artwork and is a piece of the big picture and thus is an original, unique, Klibansky.
The artwork gives an optimistic view of the future and reflects the ability to look forward. It depicts a dreamscape that is about creating positive change in tomorrow's world. The work reflects people's ambition to always want to take steps forward and continuously evolve.
Watch the special making-of film of the creation of this artwork on YouTube.
Joseph Klibansky (Cape Town, 1984)
His father Leon is South African, and his mother Immechien is Dutch. In 1985, the family moved to the Netherlands. Klibansky did not study art, but took an economics course. In 2016, he opened a gallery in Amsterdam's P.C. Hooftstraat. His first solo exhibition took place in 2017, at Museum de Fundatie in Zwolle.
His work
Joseph Klibansky's work explores the relationship between a thing and its essence, between what we see and what an image implies. The sense of shaky balance found in his recent paintings and sculptures reveals how sadly dystopian an image can be that at first glance appears cheerfully utopian. In other words, it reveals how utopia and dystopia can coexist in the same image. Klibansky ventures into the field of phenomenology and revises issues related to perception that have fascinated philosophers and art historians and have equally captured the attention of artists.
In his recent paintings, Klibansky juxtaposes architecture with pieces of urban and natural landscapes, most of which were photographed by the artist himself during his travels. Butterflies, birds, nymphs and impressionistic sparkles are mixed with images projected on giant screens, street signs and sparkling cars. While nothing can represent reality better than a photograph taken to recall a place you've been, Klibansky uses a lie to tell the truth. In an attempt to shed light on the formal and conceptual dynamics with which Klibansky approaches his phenomenological research, we will first look at the cycle "Dreams of Eden," begun in 2014, which symbolizes a turning point compared to the earlier "New Urban Wonderland" (2006-13), in which the artist echoes social condemnation. As we mentioned, Klibansky applies to the surface of his painting numerous photographs he took himself during his travels. As he composes them, he changes their proportions and does not follow the rules of perspective. After the formal construction of the landscape is determined with the help of a computer, Klibansky makes prints on cotton paper, on which he applies watercolor with hues typical of computer-edited images that also evoke the psychedelic colors of the 1960s and 1970s associated with the utopian vision of hippie culture.
The sense of accumulation along with the quality of the colors bring into play an illusory and ideological vision of the world shattered, as is the fate of all utopias. The finish of the painting is a perfectly transparent resin cover, with rounded sides, and a signature that is always printed the same way on each work, as if it were a logo, giving it the effect of a giant postcard. If we were actually dealing with reproduced images on postcards, Klibansky's "Dreams of Eden" would not depict a real place, but rather a kind of ideal urban landscape that collects the characteristic elements of different cities. Together they result in the manifestation of a metropolis in which distances are neutralized and cultural connotations are multiplied. By bringing Dubai, Paris, Venice and New York under the same sky, Klibansky presents a scene that could be the most desirable place in the world for some, and a nightmare for others. What could be more satisfying than the idea of finding yourself in a city that allows you to visually appreciate all the places you have wanted or want to visit? And how terrifying would be the idea of finding yourself in a place where reference points deny rather than give information about that place? Thus, if Klibansky's panoramas were reproduced on a postcard, the text on the front would not say "Greetings from Paris" or "Greetings from London," but rather "Greetings from Klibansky." Paradoxically, such postcards could be sent from any location; but what is equally paradoxical is that they would not identify a location. Klibansky's entire work suggests contradictory messages, making contradiction one of the basic elements of his phenomenological research. By stripping history of any element reproduced in an environment without identity, the "Dreams of Eden" paintings highlight the crisis of a humanistic point of view, as they illustrate the fractured relationship between an individual and his cultural context. The relationship an individual has with a place consists of visits and memories that become layered over time, resulting in a sense of belonging. Once a landscape surrenders its history to a context capable of receiving all things, an individual may lose awareness of his position in that environment. Because Klibansky's landscapes nullify the concept of a boundary by which one defines one's belonging to a place, they ultimately represent a world nation in which different identities nullify each other by overlapping. In the absence of a border, one could see a place that can finally welcome all people. When viewing the paintings of "Dreams of Eden," the viewer is forced to take a stand against the architectural transformations that have taken place in the world's major cities in recent decades.
Specifications
ConditionExcellentColorsPurple, Gold, BlackMaterialCanvasNumber of items4ArtistsJoseph KlibanskyOrientationSquareArt sizeMiniHeight3 cmWidth3 cm