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ErróMandela2008
2008
$4,140.94
£3,145.94
€3,500
CA$5,818.66
A$6,390.04
CHF 3,289.35
MX$76,458.68
NOK 41,880.64
SEK 39,248.40
DKK 26,662.21
About the Item
Publisher GKM.
Enamel on steel.
Unframed.
Edition: 8 ex + 4 EA
Signed by the artist.
Free shipment worldwide.
“I paint because painting is a private Utopia,” Erró writes of his art. The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life – and titillating, too! There is room in his pictures for both paradise and visions of fear. Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in north-western Iceland. Since Gudmundur first became enthralled by pictures of works of art in a catalogue from the Museum of Modern Art in New York at the tender age of ten, painting has been his passion and his mission in life. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo. Erró travelled extensively in Spain, Italy, France and Germany in the 1950s, studying at the Florence Academy of Art in 1954 and at the School of Byzantine Mosaic Art in Ravenna in 1955. It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958. During the 1960s he established contact with the Swedish museum director Pontus Hultén, who encouraged him and took him under his wing. Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris. Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. Donald Duck with his Daisy, Chip & Dale, and other Walt Disney creations are unselfconsciously juxtaposed with Greek gods and madonnas. Elsewhere the German dictator Adolf Hitler stands shoulder to shoulder with his Iraqi counterpart Saddam Hussein, while the Chinese leader Mao Zedong is portrayed in truly monumental proportions. Erró adopts the same provocative spirit to expose leaders whose propaganda machines advocate dictatorship, conformity and uniformity as he does, in others of his series of pictures, to allow his veiled Oriental women to expose their own breasts. Weapons, violence and sexuality are mainstays among his motifs. Pastiches of Picasso, Léger, Disney and Dalí have also become something of a hallmark for Erró, as he deploys a potpourri of styles and pictorial languages with wilful abandon. Some of the works from his earlier years bear traces of Roberto Matta’s evocatively cosmic creatures, while others resemble the comic strip-inspired paintings and popular culture pastiches produced by his friend, Öyvind Fahlström. But Erró also shares a close kinship with artists like Roy Lichtenstein, Andy Warhol and James Rosenquist. In the summer of 2001 a museum was inaugurated in Reykjavik dedicated to Erró. Here visitors can see the full breadth of the artist’s work, from his very earliest paintings to those of more recent years. Observing his art is like fitting together the pieces of a jigsaw puzzle. The images blend, fuse and coalesce. The visual synthesis they create personifies a lusty joie de vivre and a playful vitality that stand in stark contrast to the opposing brutality of dark destructiveness.
Erró
UDMUNDUR GUDMUNDSSON, known as ERRÓ, is an Icelandic postmodern painter known as the co-founder of the Figuration Narrative movement in France in the early 1960s. Erró discovered art in a catalog from the Museum of Modern Art in New York, and became passionate about painting at the age of 10. After studying art in Reykjavík from 1952 to 1954, and then in Oslo, Florence and Ravenna, he settled in Paris in 1958, before moving to Thailand and the island of Formentera.
The artist's career was rich in encounters with Brauner, Masson, Miro, Man Ray , Giacometti and Max Ernst, Duchamp and Breton, whom Erró met in Paris, and then Jean-Jacques Lebel, a friend with whom he collaborated on Happening from 1963 to 1965. He also befriended the curator Pontus Hultén, who placed him under his protection.
Voluntarily provocative, Erró portrayed despots, comic-book heroes and gods of Greco-Roman mythology in a plastic universe full of enigmas. Hitler, Mao and Disney characters rub shoulders in a climate of violence and sexuality. Heir to Lichtenstein, Warhol, Fahlström, Roberto Matta and Rosenquist, the artist interweaves styles and graphics, multiplying contemporary allegories.
The artist's numerous creations include "Mecanismo, mécamanifeste, 100 poèmes mécaniques" and a mechanics manual; sets and masks for Éric Duviv's film in 1962-1963; a giant fresco in Angoulême in 1982; the portfolio print created by Cristel Éditeur d'Art for the 9th Prix Jacques-Godet and 2nd Prix Denis-Lalanne in 2012; exhibition with Jean-Jacques Deleval and Speedy Graphito at the Arsenal de Soissons.
A resolute pasticheur, Erró also uses Picasso, Léger, Disney and Dalí to stigmatize the society of spectacle and consumerism. He took part in exhibitions such as those at the Venice Biennale in 1975, the Galerie Nationale du Jeu de Paume in Paris in 1999 and FIAC in 2001.
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