ULAY (1943–2020) Lot n° 101

ULAY (1943-2020) | 'Water for the dead', 1992 Image Size: 64 x 53 cm English: Unique Polaroid Polacolor 20x24 inch, 82 x 56 cm, in excellent condition. Signed and annotated "A.P." in black felt-tip pen in the lower margin, former Polaroid Coll. no. "90:1404:04" on the reverse. LITERATURE Achim Heine, Ulrike Willingmann et al. (eds.), From Polaroid to Impossible, Masterpieces of Instant Photography - WestLicht Collection, Ostfildern 2011, p. 58. Ulay, whose civil name is Frank Uwe Laysiepen, became best known for his body art and performances together with Marina Abramovic. Since the 1970s, one focus of his photographic work has been the examination of marginalized social groups and gender attributions, whereby he used Polaroid material in various film formats early on. In the 1990s, he created a series of large-format studio photographs with the 20x24-inch-camera, in which he thematized psychological states and questions of transcendence. He used glass vases as symbols of emptiness and fullness as well as of the ephemeral and transient. The blurring of forms shows his reflections on boundaries (of the body as well as the definition of identity) and the changeable flow of life. subject to resale right German: Unique Polaroid Polacolor 20x24 inch, 82 x 56 cm, in excellent condition. Signed in black felt-tip pen in lower margin and handwritten edition note "A.P.", on the reverse former Polaroid Coll. No. "90:1404:04" on the reverse. LITERATURE Achim Heine, Ulrike Willingmann, et al. (eds.), From Polaroid to Impossible, Masterpieces of Instant Photography - WestLicht Collection, Ostfildern 2011, p. 58. Ulay, whose real name is Frank Uwe Laysiepen, achieved international recognition primarily for his body art and performances together with Marina Abramovic. Since the 1970s, one focus of his photographic work has been the examination of marginalized social groups and gender attributions, whereby he used Polaroid material in various film formats early on. In the 1990s, he created a series of large-format studio photographs with a 20x24-inch camera, in which he addressed psychological states and questions of transcendence. He used glass vases as symbols of emptiness and fullness as well as transience. The blurring of forms reflects his reflections on boundaries (of the body and the definition of identity) and the changeable flow of life. liable to follow