15 Edward Krasinski (1925 - 2004) "Intervention AB" (diptych), 1981 mixed media/canvas, canvas light sensitive, blue scotch tape, 108 x 82 x 2.2 cm left part signed, dated and described on the stretcher: 'EDWARD KRASIŃSKI - INTERVENTION - 1981 - A [circled]& right part signed, dated and determined on the stretcher: & #x27);EDWARD KrasińskY - INTERVENTION - 1981-B [cIRCLED]&' ID: 182044 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. Provenance Starmach Gallery, Krakow private collection, Germany institutional collection, Poland DESA Unicum, 2022 private collection, Poland Literature Tadeusz Rolle Archive Photographic documentation of the exhibition: Échange entre artistes 1931-1982. Pologne-USA, Musée d'Art Moderne de la Ville de Paris, Paris 1982; no. ill. 11672-11675, 11677-11681, online access: https://artmuseum.pl/en/archivum/archiwum-eustachego-kossakowskiego/147 Meditations on Fibonacci + corduroy bunny. Facing Katarzyna Kobro, State Art Gallery in Sopot, Sopot 2018, pp. 82-83 (ill.) Exhibited "Échange entre artistes 1931-1982. Pologne-USA", Musée d'Art Moderne de la Ville de Paris, Paris 1982 "Meditations on Fibonacci + corduroy bunny. Facing Katarzyna Kobro", State Art Gallery, Sopot, 26.04-15.08.2018 More information Edward Krasiński is undoubtedly one of the most famous native conceptual artists. His works are in prestigious collections such as Tate Modern in London, Museum of Modern Art in New York, Centre Pompidou in Paris and all the most important national museums in Poland. Krasiński started his career as an illustrator and stage designer. By the end of the 1960s, he began to create the first installations that gave him international recognition in the coming years. Today Krasiński is clearly associated with the blue tape, which in the course of his activity he placed on various foundations: it filled the interiors of the rooms, regardless of the elements of their equipment. The title of the series reflects the functions to perform Krasiński's work: to intervene in space, to shape it. The blue line of the artist marked his spiritual circle: his interference in space did not give it any new meanings, organized it and emphasized it and at the same time made it real and put it into question. It was interpreted as visualization of linear time, and the artist himself saw action similar to dadaist jokes. Spatial interventions involved earlier series of sculptures drawn from wires, rods, plastic cables and discs hung in the air. Krasiński was interested in the dynamics of the dead object. The lines in space appeared at exhibitions of the artist in the Foksal and Krzysztofory galleries and built out of them unexpected structures, turned into spirals, allowed to live an autonomous life and surprised the viewer with the appearance in an unexpected place. In 1968 he changed the hard scrolls to a soft plastic cable in blue. It came out of bottles and taps, came out from a meat grinder, was a bookmark. The objects were thus deprived of their original function and meaning, thus becoming an area of poetic reflection, unspoiled irony and self-irony. The blue belt, suspended at an altitude of 130 centimeters, appeared for the first time at a party at the artist's house in Zalesie Górny near Warsaw. The Krasiński tape presented at the time marked a group of trees located opposite the building. Over time, the artist marked more and more areas, pasting walls, objects, and people. He said, "The tape is random, but I expected such randomness." The astonished audience of his works Krasiński explained years later that the idea was born during a long stay in the hospital. Looking at the depressive white ceiling, he decided to diversify it, adding a blue line to the hospital reality. His famous blue tape appeared for the first time abroad in 1970 at the International de Galeries Pilotes show in the courtyard of Musée d. Art Moderne de la Ville de Paris. In the same year Krasiński participated in the Biennale in Tokyo. When the transport with the works of the artist was delayed and it was already known that he would not arrive in time to Japan, Krasiński sent a telegram in Morse's alphabet 80 meters long with a repeated 5,000 times the word "blue." This tape was exhibited at the Biennale in the place of Krasiński's works, which did not reach the exhibition. A month after the opening, Krasiński's works were delivered to the exhibition, and then, according to the artist's instructions, the telegram tape was closed in the case of bulletproof glass and handed over as a gift to the museum in Tokyo. The 1970s are the period during which Krasiński lived with Henryk Stażewski on the last floor of the Aleja Solidarność 64 in Warsaw. The studio in the apartment was a place of exchange of thoughts and intensive creative work of two of the most important Polish post-war artists. The surroundings did not just serve as a place of work and rest, but became a kind of background and material for artistic activities (especially Krasiński) and an important centre where the whole environment met. At the same time Krasiński created a whole series of works that developed his idea of intervention in space. Maciej Gutowski described them in 1972 with these words: "Lastly Krasiński chose another way. He's editing the paintings. Strictly assamblages. They are in thought parts of the room, bathroom, hallway. They consist of the easiest objects, such as can always be found here. These Assamblages, because their elements have been selected, arranged and organized, and in addition subordinate consciously or intuitively to a certain color organization, because they are created on the basis of selfless activities, are almost classic works of art and as each work of art has its own independent existence, eluded even the creator himself. That is why Krasiński again appoints them by sticking the blue stripe (Maciej Gutowski, Art Edward Krasiñski, Poetry, No. 8, August 1972, p. 103-105, [for:] Dorota Monkiewicz, "Las of Things." The chronicle of Edward Krasiński's life and art, [in:] Edward Krasiński, Warsaw 1998, p. 117). The objects in the series were always in the format of 100 × 70 cm and represented the imaginary geometric forms shown in space. Savings in the form of shapes resembled fragments of partition walls, the inherent element of which was a pattern created from the famous blue tape, stretching through the entire exhibition space, as if automatically clicking for a presentation on the canvas. Next to the ascetic canvases in the gallery were also presented reproductions known from the history of art works, including the Battle of Grunwald, where the artist cut out the door-size passage. Edward Krasiński in his studio at Świerczewski, photo. Maciej Musial / PAP