Colina. 2013.
Oil on canvas.
200 x 150 cm (78.7 x 59 in). [AW].

• Colorful social critique à la Bisky.
• Part of the 2013 series "Paraisópolis", inspired by his travels to Brazil, he addresses the country's cultural mix, violence and the vibrant tropical colors.
• The title might allude to the garbage mountains of consumer society.
• Bisky is considered one of the most important contemporary artists in figurative painting.
• He stages his art-historical reflections and personal experiences in fascinating pictorial spaces of dematerialized presence.
The artist's works are in the collections of major international museums, including the Museum of Modern Art, New York, the National Museum of Modern and Contemporary Art Korea, Seoul, and the Museum Ludwig, Cologne.

The work is registered in the Norbert Bisky Studio in Berlin under the catalogue number NBC13.06. We are grateful for the kind support in cataloging this lot.

PROVENANCE: Galerie Crone, Vienna.
Private collection, Switzerland (acquired from the above).

EXHIBITION: Paraisópolis, Galerie Crone, Berlin, February 15 - April 13, 2013.
Nobert Bisky - Zentrifuge, Kunsthalle Rostock, November 16, 2014 - February 15, 2015, cat. no. (illustrated on p. 98).
Norbert Bisky - 30 Werke, Galerie Crone, Berlin, 2019.

LITERATURE: Zeit Magazin, no. 13, 3/21/2013, p. 27 (illu.).
“Brazil is a place of longing for Norbert Bisky. The Berlin painter regularly visited the country he would prefer to move to permanently for nine years. From the beginning, he was fascinated by the tropical culture to which he devoted much attention. [..] A few months ago, he overcame his reservations and began working on a series about Brazil. 'These are associations of things I have seen.' It is a kind of visual inventory. There is no narration, only insinuation. [..] Bisky's pictures are about the strong tropical colors, Brazilian cultural mix, and violence. [..] He named the series 'Paraisópolis' after the largest favela in São Paulo, which is not actually depicted anywhere.”
Sebastian Preuss, in: Zeit Magazin, no. 13, 3/21/2013, p. 18.