Sale: 514 / Evening Sale, Dec. 11. 2020 in Munich Lot 260

Heinz Mack
Lichtfächer, 1964.
Aluminum net on aluminum panel on wood, mounted...
€ 120,000 - 150,000

$ 140,400 - 175,500

Lot description
Lichtfächer. 1964.
Aluminum net on aluminum panel on wood, mounted in object frame.
With scratched signature and date in lower right. Verso once more signed and dated. 102 x 122 cm (40.1 x 48 in).

• One of the first light wings from the significant "ZERO" era.
• Large-size work in a very good state of preservation.
• The work was made the same year that "ZERO" exhibited at Documenta 3 celebrating their international breakthrough.
• The aluminum grid as a stabilizing material, especially used in space flight, creates a particularly subtle and variegated play of light

Accompanied by a certificate issued by Heinz Mack, Mönchengladbach, presumably from 1990.

PROVENANCE: Private collection Rhineland (directly from the artist).

"I believ in angels; in spiritual energy that can't be fathomed in thinking. That's why Leonardo is the most outstanding artist, an engineer who painted angels."
Quote after Anette Kuhn, Heinz Mack, in: Kritisches Lexikon der Gegenwartskunst, p. 3.

Called up: December 11, 2020 - ca. 18.45 h +/- 20 min.

Heinz Mack, founding member of the artist group "ZERO" and master of reduction, has his very own position in modern art. The image solutions he had developed during the "ZERO" period coined his entire work. For him, the dynamization of the image surface becomes a law immanent to the image. Mack uses a variety of innovative materials previously not been common in visual arts, in order to experiment with light as a form of artistic expression. For example, he integrated aluminum and aluminum grids used in the aircraft industry, or the then new material plexiglass into his visual language. These technoid materials enable him to visualize aesthetic motion more intensely than color can. The surface absorbs the light from the surrounding space, it is reflected, refracted and intensified until the materiality of the object dissolves. The motion is not tied to the image surface, but moves towards the observer who can and must interact with the work. Through the artistic treatment of light and shadow, Mack's creations are separated from their material basis and become documents of constantly changing sensation. Mack's poetic creations elude any form of representationalism in terms of the choice of subject, but also allow the observer to participate in a metaphysical experience of art. Mack begins "to develop objects [.] on which the light was able to directly ‘settle’. He does not paint the light, but forces it to represent itself, to participate in the production of a certain optical quality. In these light reliefs the light shines bundled, concentrated, amplified, exaggerated, intensified, in short: with an otherwise imperceptible power of fascination. Incidentally, this applies to both artificial and natural light alike. (Dieter Honisch, Mack. Skulpturen 1953-1986, Düsseldorf / Vienna 1986, p. 12). The same year the light wing was created, Mack, Piene and Uecker designed an entire light space for documenta III. A constantly changing installation of seven light-producing works arranged on a time-controlled platform and circling the room. The light wing from 1964 also corresponds to the principle of making light and motion the most important means of expression in her art. Mack stretches the honeycomb-like aluminum grid in form of a wing on a structured aluminum plate, the filigree net is fanned out, at times more, at times less, it is here and there compacted and here and there slightly flexed. This creates a shimmering structure in which the light is reflected depending on the actual incidence and the viewer's position. The surging, flowing vibration of this early work is supported by the wings in right and left of the aluminum grid, which offers the light a wide variety of surfaces. Due to the subtlety and lightness of the large-scale grid offered here, Mack succeeded in creating a work of particular optical intensity and charisma the year he participated in the documenta exhibition. [SM].

Buyer's premium, taxation and resale right apportionment for Heinz Mack "Lichtfächer"
This lot can be purchased subject to differential or regular taxation.

Differential taxation:
Hammer prices up to € 500,000: 32 % buyer's premium
Hammer prices above € 500,000: for the share up to € 500,000: 32%, for the share above € 500,000: 27% buyer's premium
The buyer's premium contains VAT, however, it is not shown.

Regular taxation:
Hammer prices up to € 500,000: 25 % buyer's premium plus statutory sales tax Hammer prices above € 500,000: for the share up to € 500,000: 25%, for the share above € 500.000: 20% buyer's premium, each plus statutory sales tax

We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.

Resale right apportionment:
Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 2.4% including statutory sales tax.