Sebastian Bieniek - Doublefaced No. 29 (9/9)

Sebastian Bieniek (born 1975 in Poland) is famous for works in the context of duality and ambivalence which have gone viral several times since 2013 and have been published by the world’s largest magazines. According to Spanish VOGUE Magazine, even Madonna asked him in 2016 to make her new album cover, but the eccentric artist, as is often the case, refused and preferred to stay by himself. For sale: Original Fotography (high-quality Fine Art Print) from the Doublefaced series (2013) by Sebastian Bieniek. There are only 9 individually numbered and signed originals of this work (Doublefaced No. 29). Here is 9/9. Most originals are in important collections worldwide. Among them in the USA, Switzerland, Italy, Netherlands, Austria, Germany, Spain, the Kingdom of Bahrain, the United Kingdom, Japan, and Hong Kong. This work is being sold as one of the penultimate remaining pieces directly from the artist. The auction winner will also receive a Certificate of Authenticity issued in the artist’s name. Details of the artwork: LANDSCAPE ORIENTATION! DOUBLE THE SIZE OF PORTRAIT ORIENTATION - Title: Doublefaced No. 29 (9/9) - Year: 2013 - Size: 55 x 80.5 cm. (There is a 2.5 cm wide white border around the photo. The measurements include the white border) - Medium: the work is a photograph (not mounted and not framed) - Paper: Baryta Canson - Technique: C-Print - Signed: front bottom signed, titled, dated and stamped Condition of the photograph: Good condition. As documented on the back by the artist (Photo No. 6), he personally retouched three spots on the front (right side) with a black pen. See Photo No. 5 (three black points). The artist did this intentionally to add something unique to the work. The retouch is noted on the Certificate of Authenticity and declared an intentional feature (it is meant to be). Shipping: Photo will be sent rolled. About the Doublefaced Series: The Berlin-based artist Sebastian Bieniek’s Doublefaced photography series is undisputedly considered one of the most important and influential photo series of the Internet age. It is the perfect example of contemporary art that not only understands the modern zeitgeist but reflects it in its purest form. In an era defined by digital self-presentation, constant reinvention of the ego, and the fragmentation of one’s identity on social media, Bieniek’s works tapped into a nervous core of society. His works captured the deep human need to be simultaneously masked and visible in the digital noise, making the duality of our modern existence visually tangible. The minimalist, yet deeply disturbing concept – second faces drawn with eyeliner and lipstick on the cheeks of models – went viral in the 2010s and left a lasting mark on global pop and fashion. The extent to which this artistic impulse struck the pulse of the times is evident in its enormous impact on world-famous icons. Madonna, the “Queen of Pop,” was so fascinated by the hypnotic visual language that she selected a photograph from the series for the cover of her Madame X album. The concept also left deep traces in music and pop culture: in Pharrell Williams’ official music video for the hit Marilyn Monroe, the iconic idea of the two-faced illusion was copied and presented to millions. Perhaps the most spectacular bridge between avant-garde body art and the high-fashion world was forged on the runways of the French metropolis. The fashion designer Simon Porte Jacquemus recognized the zeitgeist potential of the works and brought the look in direct collaboration with Sebastian Bieniek to Paris Fashion Week. The Bieniek-inspired collection exploded in the fashion world and helped Jacquemus win the prestigious LVMH Special Jury Prize, endowed with 150,000 euros. Through this symbiosis of Internet phenomenon, pop culture, and haute couture, the Doublefaced series demonstrated impressively how traditional art can break the boundaries of the analogue and become the universal visual language of an entire generation. About the artist: The German conceptual artist, painter, and photographer Sebastian Bieniek (born 1975) is regarded as one of the most radical boundary-pushers in contemporary art. His entire oeuvre has been a constant, provocative dance on the razor-thin line between reality and illusion. Born in Silesia, Bieniek came to Germany in 1989 as a late resettler and began his artistic path at the Braunschweig University of Art. There he studied Free Art under extreme opposing influences: the world-famous performance pioneer Marina Abramović and the Swiss conceptual artist John M. Armleder. Later he switched to the Berlin University of the Arts, where he completed his studies as a Meisterschüler, while simultaneously pursuing directing studies at the German Film and Television Academy Berlin. His career began in the late 1990s at the legendary Berlin art space Tacheles, from where he quickly developed into a fixture. In 2013 he achieved international breakthrough with the viral Doublefaced photo series, after which renowned magazines named him one of the most influential artists in Berlin. Early in his career, Bieniek drew attention with actions that deeply unsettled audiences and the traditional art world. Inspired by the bodily boundary-testing of his mentor Abramović, he used his own body as material and in an early work cut a new wound into his arm daily for days to document physical impermanence. Alongside these painful processes, he staged disturbing social experiments in public spaces by placing long stretches of barrier tape without permission to block subway entrances or squares in Berlin. This demonstrated how blindly people obey visual and state authority. With his 2011 book Realfake, he extended these experiments to the digital space: by creating dozens of fake profiles, he deliberately manipulated algorithms, media, and public perception – long before the phenomenon of “Alternative Facts” reached world politics. The absolute and radical apex of this interdisciplinary work was the staging of his own death as a final art performance. Bieniek, who had always dissected the mechanisms of media impact, digital identity, and deception, extended this principle to the ultimate boundary of human existence. He forged and orchestrated reports about his own death and accompanied this with conceptual video messages like his Apology for being dead, thereby immobilizing the art world and the public in shock. With this act he went interdisciplinary much further than any artist before him. He no longer used only canvas, camera, or living body, but elevated total disappearance, the play with the afterlife, and the ensuing media hysteria to the actual artwork. Bieniek thereby proved once again that in the age of digital networks even the boundary between life and death can be manipulated, shaped, and ultimately become part of a hyperreal staging.

Estimación:€1,800

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