January 30, 2006

Résultats enchère Sayed-Haider Raza à Drouot

Marché de l'art > Enchères > Résultat des ventes > Sayed-Haider RAZA (né en 1922)


Drouot Richelieu, 25 janvier 2006

Massol SA

Le 25 janvier 2006 à Drouot Richelieu, la société de ventes Massol organisait une vente d’art contemporain dans laquelle on a pu noter deux belles enchères pour l’artiste indien Sayed-Haider RAZA (né en 1922).

Sans titre, 1977,  une acrylique sur toile, signée en bas à droite, est ainsi partie à 157.986 € (130.000 € sans frais) tandis que La terre, 1971,  une autre acrylique sur toile, signée en bas à droite, a été adjugée 78 993 € (65 000 € sans frais).

January 28, 2006

Roger Ballen Shadow Chamber Exposition Photo

« Shadow Chamber », la seconde exposition personnelle de Roger Ballen à la galerie Kamel Mennour, s’ajoute à la débordante actualité de ce photographe reconnu à l’échelle internationale. Les photographies présentées font partie de la série « Shadow Chamber ». Roger Ballen nous entraîne dans le secret de ces personnages issus du "petit peuple". Ces espaces donnent accès à leur monde intérieur sans pour autant provoquer l'apitoiement ou frôler l'exhibitionnisme. Chaque « chambre » est une sorte de prison dont les occupants auraient peut-être eux-mêmes bâti les cloisons.
Du 17 février au 30 mars 2006 - Roger Ballen « Shadow Chamber » est présenté à la galerie Kamel Mennour, 60 rueMazarine - Paris 6e, du lundi au samedi, de 11h à 19h30.

January 25, 2006

Video Art Exhibition – Istanbul Modern

Nothing Lasts Forever
Video Art Exhibition
Feburary 1 - May 12, 2006

Nothing Lasts Forever, the 3rd Video Programme at Istanbul Modern presents a selectiorı of significant works by Hussein Chalayan (Turkey), Fischli & Weiss (Switzerland) and Sam Taylor-Wood (Great Britain). These art works are relevant examples of how photography, cinema and video are inexcusable seed-beds for shaping our contemporary iconosphere. Such media have forged their artistic identity reworking representational techniques derived from previous creative traditions. Pictorial composition, theatrical stage sets and the fabling function of the novel are thus updated and transformed to shape our new visual and narrative models. Placing the accent on time and duration, the selected video works heighten out awareness of the fleetingness of time and the lack of eternal truths. They also evince the disappearance of boundaries between artistic disciplines such as painting, sculpture and fashion, and prove how art is able to embody the interactions between different fields of knowledge. 

Hussein Chalayan (Cyprus, b. 1970) links fashion and performance to explore the politics of beauty in relation to the conflicts of his time. 

"Aeroplane Dress" (1999) is a video in which a fashion model directs her gaze at the spectator while different elements of her white metallic dress open up as if she is about to depart creating a powerful image of travelling bodies. "Afterwords" (2000) refers to the painful situation of having to flee your home at a time of war and having to conceal your most treasured possessions; as the artist says, "I wanted to somehow turn a horrific situation into something more poetic." 

The Swiss duo, Peter Fischli (Zurich, b. 1952) and David Weiss, (Zurich, b. 1945), has been working together since 1979 in the field s of sculpture, installation, film and photography. Their work, which is humorous, emotional and deeply metaphysical, explores the relationships between order and chaos, the everyday and the sublime, arousing a feeling of fascination in the spectator, who is invited to discover "the small miracles in everyday life". 

"The Way Things Go" (1987) is a film on a 100-foot long kinetic structure with everyday objects such as old tires, bottles, ladders and even soapsuds that were joined together. When the sculpture was set in motion, a controlled and surprising chain of reactions started creating an amusing happening, The work plays with the laws of physics and chemistry, deals with inevitability and chance and discovers the cosmic magic of a universe in precarious circumstances. 

"Büsy (Kitty)" (2001) presents a cat drinking milk in a dish. The work is a proposal for us to slow down and see how nice it is to just contemplate everyday life. There is a moment of marvel and peace in the fact that nothing or almost nothing is happening and no one is explaining anything. 

Born in London in 1967 and trained as a sculptor at Goldsmiths College, Sam Taylor-Wood asserts that photo and video were a natural development in her research. Her work relates to human vulnerability and contemporary ennui. Many of her pieces are like tableaux vivants where the camel a has a fixed viewpoint and things take place within a unique frame. 

'Still Life" (2001) presents a classic and iconic arrangement of fruit that recalls a painting by Caravaggio or Zurbaran. The pieces of fruit, filmed in time-lapse at very high speed. blossom with mould before putrefying completely and turning into dust in front of viewers' very eyes. This accelerated process reveals the beauty of decay and its surprising and astonishing vitality. 

A Little Death" (2002) is a living composition arranged to appear as a seventeenth-century painting. The body of a dead hare hangs from its leg nailed to the wall, its head resting on a table beside a rosy peach. As the body of the hare begins to rat the animal seems to come alive again thanks to the unremitting movement of the maggots suggesting that life steams out of death. This piece was shot over nine weeks and one of its most intriguing aspects -the resolutely unaffected peach- was in fact an unforeseen accident: an out-of-season fruit that remained whole amidst its surrounding putrefaction.

This video art exhibition was curated by Rosa Martínez

With the Contribution of Caylon - Credit Agricole Group

January 22, 2006

Jeroen de Rijke and Willem de Rooij at Friedrich Petzel Gallery, New York

Jeroen de Rijke / Willem de Rooij 
Friedrich Petzel Gallery, New York 
January 19 - February 18, 2006 

Friedrich Petzel Gallery in NYC presents the first solo exhibition in New York by Dutch artists, JEROEN de RIJKE and WILLEM de ROOIJ. This show features a slide projection titled Orange, a bouquet of flowers and its black-and-white photographic representation, Bouquet IV, as well as two large-scale photos, titled Light Studies V and VI.

The slide projection, Orange, consists of a series of 81 monochrome slides, projected in succession on a white wall. Because the color orange, when used in a photographic realm, tends to altar skin tones towards an unrealistic pink hue, film is frequently developed to avoid the color orange in its spectrum. Through the use of an orange filter, this piece captures a range of orange shades through layering papers, sheets and gels.
"Our initial aim was to approach the color of overalls worn by prisoners at Guantanamo Bay... At the same time, we are confronted with nationalist sympathies gaining importance in post-populist neo-conservative Holland on a daily basis. While Dutch immigration policies reached an unprecedented ideological extreme as the Balkenende administration came to an agreement in February 2004 to expel 26,000 illegal immigrants from the country, popularity polls indicated 84% approval among Dutch citizens of monarchy as the ideal form of state. Not since World War II has there been such interest in Queen Beatrix and her family, the House of Orange." 
Bouquet IV, which consists of a specific flower arrangement, as well as a black and white photograph of the arrangement in a matte aluminum frame, "was organized so that its colors in black and white reproduction translate into a relatively small range of grey-shades, resulting in an even spread of tones from which high contrasts and extremes on either side of the spectrum are excluded." This conceptual play on the black and white image, which is typical of traditional photography, also characterizes the works Light Study V and Light Study VI.

De Rijke / de Rooij make work that revolves around questions of representation relating to imagery taken from cultural and historical artifacts, socio-political forms, as well as images from both media and artistic sources. Through the use of photographic images, and the play of reality and virtuality, the artists blur the lines between what is seen and what is perceived.

The artists have been working together since 1994. Their collaborative work has been the focus of gallery, museum, and institutional shows in the United States and throughout Europe. Recently, their film, Mandarin Ducks, was featured in the Dutch pavilion at the 2005 Venice Biennale and they were nominated for the 2005 Hugo Boss prize. In late 2005, they had exhibitions at the Stedelijk Museum Amsterdam and Vienna Secession, Austria.

Jeroen de Rijke was born in 1970 in Brouwershaven, Holland, and Willem de Rooij was born in 1969 in Beverwijk, Holland. Jeroen de Rijke and Willem de Rooij both studied at the Rietveld Akademie and then the Rijksakademie in Amsterdam. The artists currently live and work in Amsterdam.

The exhibition opens in FRIEDRICH PETZEL' NEW GALLERY SPACE, 537 W 22 S, NYC 10011


High Museum of Art Atlanta


The High Museum of Art was founded in 1905 as the Atlanta Art Association.

With over 11,000 works of art in its permanent collection, the High Museum of Art has an extensive anthology of 19th- and 20th-century American art; significant holdings of European paintings and decorative art; a growing collection of African American art; and burgeoning collections of modern and contemporary art, photography and African art.

As the leading museum in the Southeast of the United States, the High Museum of Art is dedicated to supporting and collecting works by Southern artists and is distinguished as the only major general museum in North America to have a curatorial department specifically devoted to the field of folk and self-taught art.

The High's Media Arts department produces annual film series and festivals of foreign, independent and classic cinema.

For more information about the High, visit www.High.org

The High Museum of Art is a Division of the Woodruff Arts Center in Atlanta, Georgia. The Woodruff Arts Center is a not-for-profit center for performing and visual arts.  It also includes the Alliance Theatre, Atlanta College of Art, Atlanta Symphony Orchestra, Young Audiences and the 14th Street Playhouse.

January 21, 2006

ArtRage 2.0 Painting Sofware Updated

Ambient Design adds new tools to ArtRage 2.0.
The new airbrush tool makes use of tablet tilt and pressure to allow realistic spray strokes. The paint tube and paint roller give you new ways to apply oils. The glitter tool works with the new Metallic Paint option to create sparkles on your canvas. Users can paint on multiple layers, and export or important layered Photoshop documents.

January 19, 2006

Canon produces 30-millionth EF lens

Canon announced the achievement of a new lens-production milestone as production of the company's EF lenses passed the 30-million mark
Production of interchangeable EF lenses for Canon EOS-series AF (autofocus) SLR cameras began in 1987 at the company's Utsunomiya Plant. Canon produced its 10-millionth EF lens in August 1995, its 20-millionth in February 2001 and, a mere five years later, has now reached the 30-million plateau. This achievement reflects users' high level of satisfaction with the performance and quality realized by EF lenses, as well as the service offered through Canon's marketing operations.
Canon's proprietary EF (electro-focus) lens, which combines a large-diameter fully electronic lens mount and an internal autofocus motor, was born in 1987.
In November of the same year, Canon introduced the industry's first [1] Ultrasonic Motor (USM)-powered lens: the EF 300mm f/2.8L USM.
In September 1989, the EF 50mm f/1.0L USM, featuring the world's largest aperture [1] of f/1.0, was launched and in September 1995 the EF 75-300mm f/4-5.6 IS USM, equipped with the world's first [1] Image Stabilizer to correct for the effect of camera shake, made its debut.
Further, in December 2001, Canon delivered the world's first super telephoto lens incorporating a diffractive optical element for camera lenses [1]: the EF 400mm F4 DO IS USM.
In conjunction with the launch in September 2003 of the highly acclaimed EOS Kiss Digital SLR camera, which has achieved outstanding success worldwide with sales to date surpassing 1.2 million units, Canon expanded its EF lens lineup with the introduction of the EF-S series of lenses, optimized for use with digital SLR cameras that incorporate APS-C size (22.2 x 14.8 mm) image sensors.
Canon's current EF lens lineup comprises 60 [2] models, the most comprehensive selection*3 in the industry. Canon EF lenses span the gamut from ultra-wide 14mm to super-telephoto 600mm lenses and include standard and super-telephoto zoom models, large-aperture lenses, and TS-E lenses, which are equipped with a special tilt-shift mechanism that permits the manipulation of image perspective and distortion. Canon EF lenses have garnered high praise from a wide user base, from professional and advanced amateur photographers to novice photo enthusiasts, and earned Canon top share of the interchangeable lens market.
Also, as EF lenses are ideally suited for use with Canon's EOS D-series of digital SLR cameras in addition to its 35mm film SLR cameras, the company aims to continue developing the lineup as the core of the EOS system.
[1] For 35mm AF SLR cameras
[2] Including EF-S lenses and two EF lens extenders
[3] As of January 17, 2006.

January 17, 2006

Florian Maier-Aichen, 303 Gallery, New York

Florian Maier-Aichen
303 Gallery, New York
January 14 - February 25, 2006

303 Gallery presents the New York debut of photographic work by Florian Maier-Aichen.

Florian Maier-Aichen works with varying degrees of "straight" photography and digital intervention to create work that challenges our visual understanding of the photographic image. For this exhibition, Florian Maier-Aichen has chosen primarily views of the sea and landscapes as subject matter. In the work "Untitled (Insel Vilm)", an ocean liner is on the way to its destination on very still waters. After closer examination, the scale of the ship appears much too small and the ocean appears much too still, establishing a structure of disbelief.

"Above June Lake" 2005, an aerial view of a mountain, recalls a detail of an abstract painting. The ski trails carved in the earth could be understood as a simple cryptic drawing. These and other works highlight Florian Maier-Aichen's unique preoccupation with the ambiguity of space in the viewer's perception. In addition, Florian Maier-Aichen utilizes photographic methods ranging from the Albumen print process, that dates back to the 19th century, up through contemporary computer based means. In this way, Florian Maier-Aichen begins to dismantle the heritage of German color photographers with his intimate use of digital technology and labored handmade attention.

Florian Maier-Aichen was included in "Set Up: Recent Acquisitions in Photography", at The Whitney Museum of American Art, New York, NY in March 2005. In 2002 his work was included in "Anti-Form: New Photographic Work from Los Angeles", curated by James Welling at the Society for Contemporary Photography, Kansas City, MO. In 2001, Florian Maier-Aichen was included in "Snapshot: New Art from Los Angeles' at the UCLA Hammer Museum in Los Angeles, CA. Florian Maier-Aichen lives and works in Cologne, Germany and Los Angeles, California. His work will be included in the upcoming Whitney Museum of American Art Biennial, 2006 and he will have a one-person exhibition at the Los Angeles Museum of Contemporary Art in 2007.

525 West 22nd Street, New York, NY 10011

January 2, 2006

Canadian Art Photography and the Canadian Imagination


Faking Death
Canadian Art Photography and the Canadian Imagination

Jack Shainman Gallery, NYC

January 6 - February 4, 2006

The Jack Shainman Gallery presents Faking Death: Canadian Art Photography and the Canadian Imagination, an exhibition which features contemporary and historical works by more than 50 established and emerging Canadian photographers. All are working in a variety of genres, exploring issues of representation, gender, cultural identity, and a deeply felt concern for the environment.

Among those included in the exhibit are such internationally-renowned art practitioners as Vancouver-based Rebecca Belmore, an Anishinabekwe artist who represented Canada at the 2005 Venice Biennale, and whose work addresses history, place, identity, and the elusive nature of memory; Jin-me Yoon, whose stills and video works grapple with the realities of Canadian immigrants, legal and illegal; Jeff Wall with his large scale lightbox creates a heroic tableaux making reference to the old masters paintings. The Holocaust Memorial in the Jewish Cemetery, 1987 is a seminal piece in Walls oeuvre; modern-day photographic explorer Edward Burtynsky, whose spectacular large-scale photographs, currently the focus of a solo exhibition at the Brooklyn Museum, confront nature transformed through industry; Geneviève Cadieux, whose haunting, fragmented images of the body explore relationships between the sexes and the registering of psychic pain on human flesh; Toronto-born painter, photographer, sculptor, musician, and filmmaker Michael Snow, creator of such celebrated works as the Walking Women series of paintings and the seminal underground art film Wavelength; and the Vancouver artist Rodney Graham, whose photographs of up-side-down trees reflect his long-term obsession with the world as seen through the camera obsura; and Raymonde April, winner of the prestigious Paul-Emile Borduas Prize, whose moving, open-ended narratives have been instrumental in forging a uniquely Québecois photographic aesthetic.

“Each of the gifted artists featured in the exhibition brings a singular, distinctive, and dynamic perspective to his or her work, and it is a thrill for us to showcase this exciting and significant exhibition”, says Jack Shainman, director of the Jack Shainman Gallery.
The exhibition was co-curated by critic and author Penny Cousineau-Levine, Professor of the History and Theory of Art, and Chair of the Department of Visual Arts at the University of Ottawa in Canada’s capital city. The title of the exhibition is borrowed from Cousineau-Levine’s groundbreaking examination of Canadian photography entitled Faking Death: Canadian Art Photography and the Canadian Imagination, in which she examined the work of Canadian photographers, revealing the specificities of the Canadian identity and world-view. By bringing together this many Canadian works, the exhibition Faking Death, like the book, provides a stunning visual introduction to one of Canada's most vibrant and internationally recognized artistic media.
“An exhibition of this scope permits the viewer to experience the astonishing diversity, richness, and energy that is Canadian photo-art,“ explains co-curator Claude Simard of the Shainman Gallery. “And what a wonderful opportunity it is to present these important and influential Canadian artists, many of whom enjoy international success and acclaim, together in New York”.

Jack Shainman Gallery
513 W. 20th St
New York, NY 10011