Composition Red / Pink, 2003
Olivier Mosset   Emerging artists

Print : Screen Print · 77.5 x 77.5 x 0.3 cm 30.5 x 30.5 x 0.1 inch · Ready to hang

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About the artwork

Type

Print : numbered and limited to 44 copies

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

77.5 x 77.5 x 0.3 cm 30.5 x 30.5 x 0.1 inch Height x Width x Depth

Artwork dimensions including frame

78 x 78 x 2 cm 30.7 x 30.7 x 0.8 inch

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Description
Limited edition 40ex, H.C on IV
Artist Olivier Mosset, along with Daniel Buren, Michel Parmentier, and Niele Toroni, was a member of the BMPT art collective in the 1960s, a Parisian group dedicated to interrogating ideas about creative authorship. BMPT believed that the art object itself was more relevant than its creator. Mosset is best known for his series of monochrome paintings, each featuring a black circle, of which he produced hundreds. Most recently, Mosset created a series of ice sculptures that reference the Swiss anti-tank roadblocks, called Toblerones, built during World War II. Although never formally belonging to the Neo-Geo movement, Mosset’s work has been linked with artists associated with the style such as Ashley Bickerton and Peter Halley.

Abstract

Geometric

Geometric abstraction

Pink

Red

Olivier Mosset, Composition Red / Pink
France  • 1944

Presentation

Olivier Mosset (born 1944 in Bern) is a Swiss visual artist who lives and works in Tucson (Arizona) and in Switzerland.

Olivier Mosset is mainly known to the public for having been part in 1967 - 1968 of this movement initiated by four artists in revolt against the artistic institution: Buren, Mosset, Parmentier, Toroni. Even though for the young generation of contemporary European and American painters, he is today a major symbolic figure, the rest of his career is still poorly understood. His work is not limited to the famous “Circles” of the BMPT era. Through geometric abstraction, monochrome then post-abstraction, she deploys a meditation, uninterrupted for forty years, on the future of painting in the era of globalized capitalism.

Its impact, strong enough for Olivier Mosset to be appointed to represent Switzerland at the Venice Biennale in 1990, is due to its very particular inscription: Olivier Mosset is indeed the only European painter to have immediately placed himself in the posterity of the great abstract painting (Frank Stella, Robert Ryman, Jasper Johns), and to have thus been able to effectively participate in the artistic debates which took place in the USA at the turn of the 80s and 90s. Living since 1977 between the two continents, mediator between the two cultures, thanks to this dialogue, he has built a work that matches both American formats and Western critical reflection.

(Catherine Perret).

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