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Hotel Sacher 1ster Bezirk WEien #1 - 2018 - Untitled Bed-In - Limited Edition of 6 Photograph

Sofia and Sappone

Germany

Photography, Color on Paper

Size: 27.6 W x 19.7 H x 0.1 D in

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ABOUT THE ARTWORK

After their first Bed-In in Amsterdam, John and Yoko flew to Vienna and organized a bagism in the Hotel Sacher. "eating chocolate cake in a bag" Bed In´s for Love and Peace. We share and celebrate the ideas of John Lennon and Yoko Ono All our photos are self shots with a compact Leica camera. The artwork is a color pigment print on Hahnemühle Fine Art Premium Paper. Your print comes with a corresponding qoute and a certificate of authenticity which can be affixed to the back of the piece when framed. Signed & numbered by the artists. Fine Art Print 50 cm x 70 cm / Edition of 6 Fine Art Print 80 cm x 120 cm / Edition of 1 see more at

DETAILS AND DIMENSIONS
Photography:

Color on Paper

Artist Produced Limited Edition of:

6

Size:

27.6 W x 19.7 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Sofia and Sappone take photos of themselves in hotel rooms at locations all over the world. Each image and location is unique, but the pictures are always taken with a compact Leica camera using the self-timer feature. 10 seconds to photograph love. Untitled Bed-Ins are self-portraits by Sofia & Sappone. The photographs are inspired by the Bed-Ins of Yoko Ono and John Lennon, and are also an homage to Cindy Shermann's Untitled Film Stills. Since 2006 Sofia and Sappone have been endeavoring to express the idea of love and peace within a contemporary context. The project that emerged is at the same time personal, evocative and intimate. In the tradition of Yoko Ono and John Lennon, Sofia and Sappone succeed in invoking and enriching the legendary Bed-Ins. Stories that emerge from their work are deeply autobiographical, and deal with culture, politics, music, sex, film, art, literature, architecture and religion. The artists are not concerned with clearly recognizable information, rather their photographs inspire free associations. The majority of the pictures were planned in advance. Time and again, however, the artists had to react spontaneously to the characteristics of the locations and unanticipated events. The deliberate use of various “stolen” motifs of other artists is cleverly employed as a stylistic device that transitions the viewer into an accomplice and investigator.

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