Benefit Auction Supporting Pinakothek der Moderne and Museum Brandhorst

Lévy Gorvy is delighted to partake in the 15th annual auction supporting the Friends of the Pinakotheken Museums, which will take place in Munich, Germany on Saturday, November 18. The auction coincides with the PIN. Party, hosted annually by Pinakothek der Moderne since it opened in 2002, and known as the social and cultural highlight of the Munich autumn art season.

The charity auction is the highlight of the event, and this year, Lévy Gorvy has contributed works by Vincenzo Agnetti and Antek Walzcak. We encourage you to lean more about Pinakothek der Moderne and Museum Brandhorst, explore the auction catalogue, and join us in supporting the arts in Munich.

VINCENZO AGNETTI

From 1968–1974, Vincenzo Agnetti made a series of square Bakelite panels called “Assioma” or “Axioms.” These works are engraved with concise and often perplexing text and diagrams (some include other objects attached to their surfaces). The engraved text is filled with white nitro dye, lending a crisp, manufactured gleam to the “axiomatic” observations, postulates, and formulas. The statements are cloaked in the self-assurance of fact but are often cryptic, paradoxical, or tautological: “Dimension is the shifting of the mind”; “Territories within territory exalted the system power”—these proclamations play on both the performative capacity of language and its imbrication in hegemonic formations of power. The works’ formal references emphasize this duality of creative possibility and power; white text on a black ground is evocative of a blackboard or ”blank slate,” but the slick finish of smooth surfaces and engraved words lends a permanent and fixed quality.

ANTEK WALCZAK

Antek Walczak uses random pattern generation algorithms to create these dye sublimation metal prints. Computer graphics and image processing are utilized to model an image instead of reproducing or representing it. The distinction lies in the conception of a system that constructs pictures of random visual patterns using what is known as a cellular or mosaic approach. With the mosaic model, a potential image is treated as an arrangement of regions defined geometrically, such as with the tessellation of a planar surface. The resulting mosaic or cellular structure is populated by figures (symbols and glyphs) evenly distributed across each cell. The figures are then randomized according to parameters relative to their position in each cell, and those of their neighbors. This process of recursion, whereby steps of the procedure invoke the procedure itself, results in patterns with subpatterns and figures possessing topological relationships of a hierarchical character, which can be similar to the nature of many real images.