THE NOBLE-PHOTO AUCTION

THE NOBLE-PHOTO AUCTION

Leading auctioneers, Stephan Welz & Co are sponsoring their Constantia, Cape Town venue, for the viewing exhibition, the auction evening and their well known and established auctioneers to participate in the South African Centre for Photography’s fundraiser over the period of 18 – 20th June. On view are 37 commanding photographs donated by respected members of the South African and international photography community to raise funds for the South African Centre for Photography, founded in 1998.

 The next Month of Photography, MOP6, is set to showcase during Cape Town’s reign as Design Capital of the World, 2014. Link to www.photocentre.org.za/mop6-celebrating-design-in-photography/  for the theme and details for submission to the festival.  Submissions will close in November 2013 in order to have more set-up time and publish the Festival book way before the festival begins. The call for festival texts is open. Writers, historians, lecturers and speakers are encouraged to apply to set up the discourse around the theme. Panel discussions and a mini-conference as in 2012, is on the schedule. However, it is the generous support of photographic and other culture professionals, donating time, energy and expertise to projects, and works to the auction, that allows our initiatives to materialize. 

1.  ♣ David Goldblatt ♣    ←View 

  

Title:       Near Brak Pannen on the Beaufort West – Fraserburg road, Nuweveld, Karoo. 30 May 2004

Size:              23.4 x 16.5 cm

 Medium:       Archival ink pigment 

Edition:         1 / 10  .

Valued at:      R70,000

Reserve:         R50,000

 

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2. ♣Gary Schneider ♣  ←View

 

                                                          

 Title             Handprint of photographer, David Goldblatt, 2011   

Size:            25.5 X 20.3 cm

Medium:    Archival Pigmented ink on paper

Edition:      2 / 7

Box Framed.

Valued at:  R35,000

Titled, dated, numbered and signed on the recto

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   3. ♣Roger Ballen ♣       ←View

    Title:         Front Veranda, Hopetown 1983

    Series:     Dorps

    Size:          40 X 40cm

    Medium:  Silver gelatine print.

    Edition:     7 / 35

    Mounted with Archival board

    Valued at: R35,000 

 

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 4. ♣ Dale Yudelman♣       ←View

 

   Title:             Nosicelo Fodi – Hout Bay

  Series:        Life under Democracy

  Size:            38 x 36 cm

  Medium:    Chromogenic Print – Archival mount.

  Edition:      1/ 9

 Valued at:   R6,000

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5. ♠ David Lurie ♠    ←View

  

Title:               Forest Fire, Higgovale

Series:           From Images of Table Mountain 

Size:               48 x 39 cm

Medium:        Fibre based inkjet print – Archival mount.

Edition:          2/10

Valued at:      R12 – R14,000

 

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6.  ♠ Zanele Muholi ♠ ←View

     Title:                   Abongile Matyila, Scenery Park, Amalinda, East London, 2012

     Series:               Beulahs and Transfigures

     Size:                   Image size: 76.5 x 50.5cm
     Paper size:         86.5 x 60.5cm

     Medium:            Silver gelatin print – Archival mount

     Edition:             1/8

     Valued at:          R30,000

 

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7.   ♠ Cedric Nunn ♠ ←View

 

Title:            Herbert Nunn in his shop veranda. Mangete. 1993.

Size:           43 x 60cm (paper size)
Medium:    Digital pigment print on Hahnemuehle archival paper

Edition:     1/15

Mounted and framed

Valued at:   R15 000.00

 

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8.  ♠ Jurgen Schadeberg ♠ 

     Title:         Show on the piano, 1951

    Size:           30 x 40cm

    Medium:   Gelatin Fibre Archive photographic silver selenium toned print. 

    dated and signed by Jurgen Schadeberg

    Edition:     non- editioned

    Valued :    at R35,000

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9. ♠ David Graham ♠ ←View

  Title:            “EMMA – Corsetiere”

  From the Erotica Series:

  Size:            140 cm  x 100cm

  Medium:     DIGITAL PRINTING ON SEMI-RIGID PLASTIC

  Edition:       Limited, once-off (due to size)

 Valued at:    R9000-00

 

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10. ♠ George Hallett ♠←View 

 Title:        Tutu, Media Room, TRC Headquarters, Cape Town. 1995

Size:         40 X 50cm  unframed.

Medium:   Archival handprint on Silver Fibre Based Paper

Edition:     Artist’s proof

Valued at : R15,000

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♠ Jillian Edelstein ♠        ♠ Truth & Lies: Stories from the Truth and Reconcilliation Commission in South Africa ♠
11.                                                                

12.

11. Title:    Fikile Mlotshwa, Comforter for the hearings in the Truth and Reconciliation Commission   

12.Title:     Archbishop Desmond Tutu, Chairperson of the Truth and Reconciliation Commission.

                 Johannesburg. 1997.                                                                 Cape Town, 1997.

Series:        Truth & Lies                                                          Series:      Truth & Lies

Size:         image 49 x 39.5 cm                                                  Size:         Image 49 x 38.5 cm

                 with mount 68 x 57,5 cm                                                            with mount 68 x 57,5 cm

Medium:   photorag/ pigment ink                                             Medium:    photorag/ pigment ink 

Edition:    1 / 5                                                                         Edition:     1 / 5

Valued at:  R9,000                                                                  Valued at:  R14,000

Fresh Design

Fresh Design – the First Design Fair in Israel

Reblogged from http://www.freshpaint.co.il/en/design-fair/designers

We are proud to have been the curators of Fresh Design, visited by 30 000 art and design lovers, and showcased in parallel with the art far Fresh Paint. Although the event recently closed its doors, the buzz is still in the air. For those who missed the occasion we want to share some memories from our point of view.

During three months of work, five days and nights of production, and six days of fair, we had the pleasure to work with more then 100 Israeli designers. We built a completely new platform for Israeli designers, putting up a 1000 square meters tent next to the art fair, and in the Greenhouse, we showcased around 35 young promising designers. It was our first time working on such a huge project.

Here are some images of our late night’s of work, people who worked with us, product design, the location and our special public who came to visit us.

It has been an absolute privilege to work with Fresh Design’s and Fresh Paint’s small team, Art Director and Head Curator Yifat Gurion, and CEO and co-founder Sharon Tillinger.





Wooden lamp by Nir Appelbaum

Sculptural rings by Dania Chelminsky

by Galia Tammuz Baladi

Lightning by Hen Bikovski

3D ceremic lab with Studio Under

Jacquared 2.0 from the Design Museum Holon and FabLab Israel

Magenta Studio by Periscope

At the entrance of the tent – Boris Oicherman installation

A day at the Fair – showing ceramic vases by Ayala Sol Friedman

Terra – a collection of stools made from a special composite of compressed dirt and natural fibers by Adital Ela

Noa Gur

Noa Gur - The Efficient Frontier

Galerie Campagne Première Berlin
Chausseestrasse 116
D-10115 Berlin
Germany

Burning Bush, 2012
HD video, sound, 1'13'', loop
Exhibition view Galerie Campagne Première Berlin, 2012

Noa Gur's work reflects on artistic practice as a site of production and labour. She often uses variations on self-portraiture to point towards contemporary aporias of the artists as an economic unit, asked to simultaneously show and hide her labour, her body, her face. Gur's practice is mindful of the possible hierarchies and exploitative powers that may act within this process. She also makes reference to the inner conflicts that the self-employed artist experiences as a one-person enterprise. Her installation Splitting the Atom draws inspiration from structuralist anthropological research and classic economic theories. In particular it explores the presumption made by the early economist Adam Smith that the division of labour will lead the 'savage' inhabitants of recently colonized countries step by step into the realm of civilization.

Splitting the Atom refers to the division of the smallest productive unit, the self-employed, in this case the artist, who appears as a living assembly line. The project itself consists of fragments taken from the video documentation of the production process of a simple sculpture, a double cast of the artist's own face. Each of these video clips depicts a stage of production through one representative gesture; pouring the powder, mixing it to a pulp, imprinting the artist's face and the final cast. Each of the video segments is one channel in the six-channel video installation. These are screened alongside one another as a constant loop, thereby creating an impression of continuous and repetitive movement. The installation in its entirety appears to be cyclical and rhythmic, winking at the possibility of reviving Fordist production modes in cognitive and creative work.

Body Bills is a slideshow and a text work based on a live act of exchange. Noa Gur worked as an artist model posing for drawing classes. Instead of a fee, she asked for some of the charcoal drawings and paintings made of her. After each posing session she bargained individually with the participating drawers  to determine which and how many drawings she would receive. The recorded dialogs from the bargain appear as subtitles on a television screen that presents no image. The title Body Bills implies the use of the drawings as 'banknotes,' which can evaluate a fixed rate of hourly wage. It may also regard the model's body as a vigorous agent, billing its debt from centuries of misuse by art-related studies. Here, the body / model is reversing its traditional role of a passive, merely physical wage worker and arranges an efficient set of conditions for her own self portrait at work.

The title of the show is drawn from a contemporary economic term according to which a combination of assets is referred to as 'efficient' if it has the best possible expected level of return for its level of risk.

Reblogged from Art Agenda

Cutlure Collective - Some stuff out there

Musée cantonal des Beaux-Arts, Lausanne

Alex Katz, "Homage to Monet 1," 2009. Oil on canvas, 183 x 366 cm. Courtesy of the artist © 2013, ProLitteris, Zurich

On Painting. Alex Katz & Félix Vallotton at Musée cantonal des Beaux-Arts

Palais de Rumine, Place de la Riponne 6, Lausanne

"When I showed Alex Katz reproductions of the paintings of Félix Vallotton compared to his own, he kept on exclaiming, 'But what a wonderful painter!' And, with regard to the evident similarities between them, 'It's incredible!' Something passed through the heads of these two artists—who came from utterly different eras, cultures and environments—in which painting became something of a cosa mentale, that is to say when an idea or pictorial concept takes precedence over the execution or visual result. It goes without saying that neither Katz nor Vallotton are conceptual artists but both subject nature and the human figure to a very particular vision and a manifestly anti-naturalist treatment through the practice of a sort of painting for painting's sake. Both accept that a painting is foremost an assemblage of lines and blocks of colour on a flat surface."
Bernard Fibicher, Director and Curator

Kunsthalle Mainz

David Claerbout, "Oil workers (of the Shell company of Nigeria) returning home from work, caught in torrential rain," 2013. Video still. HD colour animation, silent, duration endless. © VG-Bild-Kunst, Bonn 2013. Courtesy the artist and galleries Micheline Szwajcer, Yvon Lambert, Hauser & Wirth.

David Claerbout
March 22–June 16, 2013

Kunsthalle Mainz
Am Zollhafen 3-5
55118 Mainz, Germany
www.kunsthalle-mainz.de

Time and its perception are central to David Claerbout's oeuvre. The Belgian artist has been exploring the boundaries between the stationary and the moving picture since 1996. Claerbout's films stretch narrative and action to create a more intensive sense of duration. The typical scarcity of motion in his images and the merging of past, present and future together result in a pictorial experience of great density and reflexivity as well as the utmost sustainability. The concentration on a phenomenology of the image becomes manifest with the aid of these two methods both resulting in deceleration. At times, Claerbout's films are slowed down to such a degree that episodes of everyday life become frozen in aesthetical still lifes. In other cases, photos are serialized by means of digital multiple exposures in such a way that—through the choice of almost identical subjects—the recording of a single instant is melting away to a moving condition. Both methods are borne by a search for silence and concentration of mood. The atmospheric intensity and the pictorial subsequence of the visual experience are characteristic of Claerbout.

Henry Moore Institute

Robert Filliou, ‘Eins. Un. One…,’ 1984. 16,000 wooden cubes, paint, dimensions variable.
Musée d’art moderne et contemporain Genève. © Mamco, Genève. Photo: I. Kalkkinen, Genève.

The Henry Moore Institute is a centre for the study of sculpture. Our 2013–2014 exhibition programme features a series of exhibitions addressing relationships between sculpture and display, the original and the copy, and how an action, encounter or object becomes a sculpture.

Robert Filliou: The Institute of Endless Possibilities
Filliou declared 'art is what makes life more interesting than art.' This first UK institutional solo exhibition devoted to the French artist asks the question: When does an everyday object become a sculpture? Using tools ranging from mobile museums to absent cleaners, masterpieces to chance operations, telepathic sculptures to musical economies, this spring, the Henry Moore Institute turns into an institute of endless possibilities, conducting its research through forty artworks made between 1962 and 1984.

Helen Benigson Interview

Helen Benigson Interview Reblogged from Kolekto Magazine

Helen Carmel Benigson is a star of the screen. From the Internet to the mobile technology we carry in our pockets, she explores the way in which our minds and bodies are intertwined with cyberspace. Working with an array of media including video, printmaking and performance, Helen's colour-drenched imagery and stuttering sound play out to become hard-hitting yet dreamlike spectacles.
In her video piece Why U Shouldn't Date A Soldier (2011) we see the artist create an avatar and play in online poker room PKR, while a group of soldiers straight from Call of Duty attempt to rescue her. One of her most recent pieces Chanel Pink Beach (2013) sees model Tallulah Harlech showcase Chanel's Spring 2013 collection— layered with footage of a women's beach in Tel Aviv. Another of Helen's videos ,The Future Queen of the Screen (2011), is showing at Sheffield Fringe Festival this month, and we're in no doubt that the title of the piece describes the Londoner to a T (with a little help from her alter-ego, rapper Princess Belsize Dollar).

We talk cyberspace, social media and sushi.


With social media and Second Life, we now all have online digital personas. Does your alter-ego Princess Belsize Dollar stem from this concept?
Yes- I am obsessed with the idea of an online profile and how this is the new way of describing identity. A profile is a much smarter way to begin to think about revealing and concealing, expanding and collapsing. Princess Belsize Dollar is a complete construction through the digital.

You performed as Princess Belsize Dollar at Frieze Art Fair alongside artist group LuckyPDF, and designed chairs for Adidas Headquarters in London. Is it important for you to collaborate?
I think of collaboration as an everyday gesture, a performance, when occupying any space (whether political, digital or a 'real' space). Collaboration for me is the performance between two spaces or two people and the gaps between these where exchange occurs.

Do you find your own self a constant source of inspiration?
No- however I am interested in my body within different types of spaces and situations.


Courtesy and Copyright Helen Carmel Benigson 2013
How would you describe the portrayal of women in your work?
My work is constructed around the idea of a multi-woman- one woman in multiple spaces, states and presentations: a cyber woman, a rapper, a dancer, a tweeter, a girl cheating on her boyfriend, mothers, grandmothers, daughters, sisters, collectors, activists, archivists, sushi addicts— all versions of myself, but not quite.

As a rapper, who inspires you the most, musically?
Eminem, the Fugees, M.I.A.

Media and the distribution of it are now free from physical limitations. How much has this had an effect on your work and the way you conduct yourself as an artist?
I think the distribution of images has become a much more interesting way of thinking about social and political structures and hierarchies. At the moment I am interested in online pinboards such as Pinterest and thinking about them as archives.

Is all technology good technology?
No, I think there is always the potential for corruption and addiction.

You're currently leading a six week course exploring current exhibitions showing in London. How important is it to go and see artwork in the flesh as opposed to online?
I think it is really important to see work made to be seen in 'real life' how it was intended to be shown, and therefore to make the effort to visit galleries. I also really enjoy going to see exhibitions. The exhibitions on the course I'm leading have been fascinating— the course explores performance within the archive.

Multiple layers of visual material feature a lot in your work; can you tell us more about the significance of this?
I am interested in layering and the patterning and conceptual effects of this like the build-up of pixels in a video, or cells in the body— how putting multiple things together begins to build a bigger narrative, and this is really exciting.

What are the benefits of being an interdisciplinary artist?

I think it is a stimulating way to produce material, in that there is never just 'one' way to tell a story, but multiple, colliding ways!


Courtesy and Copyright Helen Carmel Benigson 2013

Do you have any favourite films, and has a film ever inspired your own video work?
My favourite film is Father of the Bride. I think TV inspires me more than film— I love the programs One Born Every Minute and Made in Chelsea.

You collaborated with Adidas, but are more forays into the realm of fashion something you've thought about? Does the thought of designing clothes ever tempt you?
I would love to design clothes, it literally would be amazing to get up in the morning and not have to worry about not having something to wear.


Courtesy and Copyright Helen Carmel Benigson 2013
You can check out Helen's work at http://www.helenbenigson.com

Written By Emily Mulenga
Photos are Courtesy and Copyright Helen Carmel Benigson 2013.
June 17, 2013.

Copyright © 2013. | All rights reserved.
Kolekto Magazine.
Website design by Paul Yardley Jnr. ©

Venice Biennale 1

Venice Biennale Reblogged from Arts Review The first reports on the art inside the national pavilions at the Venice Biennale are streaming in – Jeremy Deller’s giant mural showing an oversize William Morris hurling Roman Abramovich’s yacht into the Venice Lagoon; Ai Weiwei’s scaled-down sculptural dioramas depicting his humiliating treatment during his 81-day detention in 2011; Lara Almarcegui’s filling of the Spanish pavilion with piles of Venetian rubble. Look out for ArtReview’s news and reviews of all the best exhibitions and events in the days ahead, and in the meantime here’s some selected highlights from our ongoing online artist interview series ‘The Venice Questionnaire’, in which (always one step ahead!) we got the lowdown weeks ago, on who’s showing what, where. Jesper Just, Intercourses. Film still from 1 of 5 parts. Each film approximately 10 minutes. 2013. Courtesy of the artist. The Venice Questionnaire #1: Jesper Just, representing Denmark What can you tell us about your plans for Venice? ‘Intercourses is an installation that deals with architecture, cultural dislocation and memory – real and imagined. I was thinking about connection and disconnection, ways to communicate with and through a location or space. I have made a new film work, which will unfold in five channels, where the location is kind of the protagonist. The sound will unite the work.’ You’ll no doubt be very busy, but what else are you looking forward to seeing? ‘Gondolas.’ Shary Boyle, Burden I, 2009. Porcelain, china paint, luster, 30 x 36 x 36 cm. Courtesy the artist and Jessica Bradley Inc. The Venice Questionnaire #8: Shary Boyle, representing Canada What can you tell us about your plans for Venice? ‘For Venice I have challenged myself to transform a very bright daytime building into night, without blocking or veiling any of its essential character. I have done this with textiles, bronze, plaster and porcelain, and with the assistance of various antiquated technologies. The Canada pavilion will become a sanctuary where inner and outer space co-exist.’ Are you approaching the show in a different way to how you would with a ‘normal’ exhibition? ‘It’s impossible not to respond to site and circumstance when planning for Venice… such a large number of culturally diverse people coming through the grounds, in one of the most mythologically, architecturally, geographically fantastical cities in Europe. My work is often sourced from within – for this project especially self is in service of place and the public.’ Berlinde De Bruyckere, Kreupelhout – Cripplewood, 2013 © Berlinde De Bruyckere. Courtesy the artist, Hauser & Wirth and Galleria Continua. Photo: Mirjam Devriendt The Venice Questionnaire #13: Berlinde De Bruyckere, representing Belgium Are you approaching the show in a different way to how you would with a 'normal' exhibition? ‘To me it feels like I've been “commissioned” to create a work for the pavilion; therefore the space has become a very important aspect of the work. The link to the city is equally important; the city of Venice and its history are very much present. And then of course there is the text [commissioned for the exhibition] by J.M. Coetzee, which inspired me greatly and that I have tried to translate into my work.’ What are your earliest or best memories of the Biennale? ‘It's impossible to make a list. To me, visiting the Biennale is not just about the separate works. Above all, it is an experience – an opportunity to be immersed in an intoxicating and constant flow of beauty and other experiences.’ Bedwyr Williams, Starry Messenger, courtesy the artist and Abake The Venice Questionnaire #15: Bedwyr Williams, representing Wales What can you tell us about your plans for Venice? I can tell you that it has something to do with astronomy and terrazzo floors. It's about looking at bits – big and small. How telescope makers use tiny little bits to grind glass to look at other giant bits that are far away. What does it mean to ‘represent’ your country? Do you find it an honour or problematic? ‘I always felt like Wales was the 'Eddie the Eagle' of the art world so that probably means it is an honour and it's problematic. There should be a word that means problematic honour.’ What audience are you addressing with the work? The masses of artist peers, gallerists, curators and critics concentrated around the opening or the general public who come through over the following months? ‘I try to imagine myself as a young art student, a beautiful gallerina, a gouty journalist, a grumpy sceptic, a clever bald curator or a wealthy collector with nice shoes and then I address them one by one.’ Stefanos Tsivopoulos, History Zero, video still, 2013. Courtesy: the artist, Kalfayan Galleries, Prometeogallery di Ida Pisani The Venice Questionnaire #23: Stefanos Tsivopoulos, representing Greece What can you tell us about your plans for Venice? ‘I'm showing a new work specially conceived and materialised for the Greek pavilion. It's called History Zero and it's a film in three parts, and an archive of texts and images. The film questions the value of money, and the archive is a collection of examples of alternative currencies where the value of money is contested. The challenge for me was to make a new work not about the Greek crisis per se but to question what crisis is, where it is generated, and to ask whether there is a way to resist it by adopting a different view.’ What audience are you addressing with the work? The masses of artist peers, gallerists, curators and critics concentrated around the opening or the general public who come through over the following months? In History Zero I’m mostly interested in this aspect of interconnectivity and that all our actions do have meaning and affect each other’s lives. The piece asks – what is at work, that makes the world move? Many would say it's money. I think in essence it is something else and my work allows the viewer to judge for himself/herself. All my works and especially this one address people (viewers) and not audiences.

Basotho Blankets - Reblogged from Elle Decoration

In our latest Country Issue #90, we showcase a selection of our favourite Basotho Blanket patterns, and let you know how you can get your hands on your very own.

Photographer Neil Vosloo, Models Sibu Jili and Hendrik Coetzee (DECO Decor Stylist) Dress by Thabo Makhetha

Ideal at the end of your bed, on a couch, as a picnic blanket or even to wear, we are completely besotted with these tactile, functional heirlooms and are thrilled to see them being used in exciting new ways.

Basotho blankets, unique to the Kingdom of Lesotho, were first produced in the early 19th century to replace the traditionally worn animal skin kaross. At the time, they were described by King Moshoeshoe I as ‘a handsome railway wrapper made of light blue pilot cloth, heavy and hairy’.The various designs of the blankets have continuously adapted and evolved with time but have always remained rich in symbolism, colour, pattern and texture.

Photographer Neil Vosloo, Model Sibu Jili, Dress by Thabo Makheta

Photographer Neil Vosloo, Model Sibu Jili, Dress by Thabo Makhetha

We are very excited by the ways that Port Elizabeth based fashion designer, Thabo Makhetha is using the blankets to fashion the most extraordinary items.

Image: Thabo Makhetha Kobo Ea Bohali Range

On an international scale, the likes of Louis Vuitton are drawing inspiration from the blankets,evident in the Karakoram (a jersey come scarf blanket type thing).

Despite the fact that they are being snapped up all over the world and inspiring all sorts of new and wonderful creations,Basotho Blankets remain intimately linked with traditional milestones of family life, such as initiations, weddings and childbirth.They are simultaneously considered as the height of global visual cultural fashion-the perfect accessory for the stylish global citizen-and remain a vital part of the culture of the Kingdom of Lesotho.

Reblogged from Elle Decoration South Africa