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526749

Dawid (Björn Dawidsson)

(Sweden, Born 1949)
Estimate
20 000 - 25 000 SEK
1 930 - 2 410 EUR
2 220 - 2 770 USD
Hammer price
12 000 SEK
Bidding requires special pre approval.
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

For condition report contact specialist
Karin Aringer
Stockholm
Karin Aringer
Head Specialist Contemporary Art and Photographs
+46 (0)702 63 70 57
Dawid (Björn Dawidsson)
(Sweden, Born 1949)

"9210", 1988

Signed Dawid and dated 1988 on verso. Edition 1/4. Vintage. Ektachrome print, image 55.5 x 44.5 cm. Frame executed by the photographer, 87 x 75.5 cm including original frame.

Provenance

Galleri Riis, Oslo.
Private collection, Oslo.

Exhibitions

Malmö Konsthall, "Dagram", 25 February - 9 April 1989.
Galerie Le Lieu, Lorient, France, 1989.

Literature

Stig Larsson and Björn Springfeldt, "Dagram", 1989, exhibition catalogue, illustrated on fullpage.

More information

From the series DAGRAM, 55 photograms done in a technique that Dawid partly invented himself. Using the old kind of Printing Out Papers that was the standard a hundred years ago but in a new way. Each are 44 x 55 cm and a limited edition to some two or three of each image. He had a major show at Malmö Konsthall with these in 1989 and an award winning catalogue was produced with a text by the famous swedish author Stig Larsson.

Designer

Dawid is one of Sweden’s most notorious photographers, and was a pioneer in conceptual photography. He had his breakthrough in 1983 with the exhibition “Rost” at the Fotografiska Museum. Dawid pushes the boundaries to what is considered photography, At first glance, his images possess strong aesthetic values, but upon closer inspection, the depicted objects, which appear in all their everyday ordinariness, seem to open up anew. The images undergo a kind of metamorphosis and acquire meanings beyond the merely denoted.

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