Idris Khan Bach. . . . Six Suites for the Solo Cello 2006 Chromogenic print, flush-mounted. 95 x 69 1/2 in. (241.3 x 176.5 cm) Signed, dated in ink, printed title and edition 6/6 on a label accompanying the work.
Provenance Yvon Lambert Gallery, New York, 2007 Literature Kerber, Idris Khan every. . . p. 32 Lambert, Idris Khan, n.p. Catalogue Essay Idris Khan’s diverse body of work includes photography, sculpture, and film and is informed by an array of influences, from art and philosophy to literature and music. Through appropriation, Khan unites disparate media to create a wholly new original. To make this monumental work, Khan photographed each sheet of Bach's Six Suites for the Solo Cello and digitally layered the images together, transforming the musical notation into an abstract representation of the intangible. By visually reinterpreting a complex aural experience within a single frame, Khan collapses the divide between senses, as well as the divide between time and space. All of Bach’s Suites, with their repetitions and variations, are visible at once. Through the process of layering, the details of the original sheet music are lost, and the individual notes become doubled and redoubled abstract characters against a white background. It is no longer a score that can be played, but is instead a document of Khan's own visual interpretation of these canonic compositions. Read More
Idris Khan Bach. . . . Six Suites for the Solo Cello 2006 Chromogenic print, flush-mounted. 95 x 69 1/2 in. (241.3 x 176.5 cm) Signed, dated in ink, printed title and edition 6/6 on a label accompanying the work.
Provenance Yvon Lambert Gallery, New York, 2007 Literature Kerber, Idris Khan every. . . p. 32 Lambert, Idris Khan, n.p. Catalogue Essay Idris Khan’s diverse body of work includes photography, sculpture, and film and is informed by an array of influences, from art and philosophy to literature and music. Through appropriation, Khan unites disparate media to create a wholly new original. To make this monumental work, Khan photographed each sheet of Bach's Six Suites for the Solo Cello and digitally layered the images together, transforming the musical notation into an abstract representation of the intangible. By visually reinterpreting a complex aural experience within a single frame, Khan collapses the divide between senses, as well as the divide between time and space. All of Bach’s Suites, with their repetitions and variations, are visible at once. Through the process of layering, the details of the original sheet music are lost, and the individual notes become doubled and redoubled abstract characters against a white background. It is no longer a score that can be played, but is instead a document of Khan's own visual interpretation of these canonic compositions. Read More
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