November 20, 2016

Robert Rauschenberg at Tate Modern, London

Robert Rauschenberg
Tate Modern, London

1 December 2016 - 2 April 2017

Tate Modern’s major exhibition of the work of ROBERT RAUSCHENBERG (1925-2008), organised in collaboration with The Museum of Modern Art in New York, will be the first posthumous retrospective and the most comprehensive survey of the artist’s work for 20 years, opening on 1 December 2016.

Controversially winning the prize for painting at the Venice Biennale in 1963, Robert Rauschenberg blazed a new trail for art in the second half of the twentieth century. Moving between painting, sculpture, photography, print-making, technology, stage design and performance, he refused to accept conventional boundaries in art and in life, his quest for innovation fired by his openness to the world, his enthusiasm for collaboration and his passion for travel.

Each chapter of Robert Rauschenberg’s six-decade career will be represented by major international loans that rarely travel. Among these is a selection of his iconic Combines, hybrids between painting and sculpture, which include Monogram 1955-59, travelling to the UK for the first time in over half a century, and Bed 1955. Tate Modern will also show the signature silkscreen paintings which signalled Robert Rauschenberg’s early commitment to political activism, including Retroactive II 1964, which portrays John F. Kennedy, who had recently been assassinated.

The exhibition begins by considering Robert Rauschenberg’s early experiments at Black Mountain College, a hotbed for innovation in the late 1940s and early 1950s where he embarked on his first collaborations with fellow artists and friends John Cage, Merce Cunningham, Jasper Johns, David Tudor, Cy Twombly and Susan Weil. This time lead to his seminal Erased de Kooning Drawing in 1953, which paid tribute to the achievements of abstract expressionism as much as it tested the limits of what art could be. The artist’s work with Experiments in Art and Technology (E.A.T), an organisation of which he was a founder and which developed collaborations between artists and engineers in the 1960s, will be explored, showing how he helped to blur the boundaries between the visual arts, performance and science.

In the early 1970s Robert Rauschenberg moved his studio and primary residence to Captiva, Florida and began to travel extensively across Europe, the Americas and Asia. His Cardboards 1971-2 – a wry comment on the forces of globalisation – and his sumptuous fabric works such as The Jammers 1975-6 – inspired by his visit to the Indian textile centre of Ahmedabad – demonstrate his skilful play with unconventional materials. The epic project Rauschenberg Overseas Culture Interchange (ROCI), a travelling exhibition which took place between 1984 and 1991 taking in Chile, China, Cuba and Tibet, will also feature.

Performance and dance remained key interests for Robert Rauschenberg and will form a central strand of the exhibition, as will his interest in pushing the limits of image-making with new materials such as printing on translucent textiles, polished steel or oxydised copper. A striking group of late inkjet paintings, combining dozens of images taken at home and abroad through the use of digital technology, will reveal how he continued to innovate right into the twenty-first century.

Robert Rauschenberg is organised by Tate Modern and The Museum of Modern Art, New York. It is curated by Achim Borchardt-Hume, Director of Exhibitions, Tate Modern; and Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art, New York; with Catherine Wood, Senior Curator, International Art (Performance), Tate Modern; and Fiontán Moran and Juliette Rizzi, Assistant Curators, Tate Modern. 

The exhibition will travel to The Museum of Modern Art in New York and the San Francisco Museum of Modern Art in 2017.

Bankside, London SE1 9TG

Léon Herschtritt, Galerie Esther Woerdehoff, Paris

Léon Herschtritt, Photographe à vie !
Galerie Esther Woerdehoff, Paris
6 - 23 décembre 2016

Léon Herschtritt
Serge Gainsbourg, 1960
50 x 60 cm
Gelatin silver print
© Léon Herschtritt, LA COLLECTION, Service Presse

Pour fêter les 80 ans du photographe Léon Herschtritt, la galerie Esther Woerdehoff lui consacre une rétrospective.

Passionné dès son jeune âge par la photographie, Léon Herschtritt se forme au métier à l’Ecole nationale de la Photographie. Parti en Algérie en tant que détaché de l’éducation nationale, pour enseigner la photographie, Léon Herschtritt s’ennuie, rencontre Nicole, qui deviendra sa femme, et photographie les enfants des rues d’Alger. Avec Les Gosses d’Algérie, son premier reportage publié dans le magazine Réalités, il reçoit en 1960 - à 24 ans ! - le prestigieux Prix Niépce de l’association Gens d’images. De retour à Paris, il travaille comme reporter photographe indépendant et correspondant parisien de l’agence Camera Press. Il publie ses reportages et ses portraits de célébrités dans les magazines de l’époque et fait partie du fameux club de photographie 30x40.

Au hasard des amitiés, des rencontres ou des commandes, le jeune Léon prend son petit déjeuner chez Jacques Prévert tous les dimanches, photographie Gainsbourg, Sartre ou Jane Fonda, témoigne de Mai 68 ou documente la prostitution. Avec un regard profondément humaniste, un sens inné de la composition et une vraie éthique du reportage, Léon Herschtritt photographie la France des années 60, un monde en transition, entre le Marché des Halles et les manifestations contre la guerre au Vietnam, entre les mini-jupes et le Café de Flore, entre les bidonvilles de La Courneuve et le Jardin du Luxembourg. En 1961, il part photographier le premier Noël du Mur de Berlin, tragédie en devenir entre sapins illuminés et bonhomme de neige. En Afrique, il documente la fin des colonies pour la photothèque du Ministère de la coopération. A Paris, il photographie les rues, les cafés, les enfants et les célébrités ...

Au début des années 70, Léon et Nicole se détachent du reportage et ouvrent un café-restaurant qui devient vite un lieu de rencontre pour le milieu de la photographie, entre discussions, projections de diapos, expositions ... Ce bistrot, heureusement situé à côté de la salle des ventes de Drouot, les mène vers la collection d’appareils et de photographies anciennes. En 1993, pionniers du marché de l’antiquité photographique, ils ouvrent une galerie au marché aux puces, puis au marché Paul Bert et enfin à Saint-Germain des Près, avec leur fils Laurent.

A la retraite, Léon Herschtritt s’est replongé dans ses négatifs et ses planches contacts. Depuis quelques années, grâce à des expositions aux Rencontres d’Arles, à la BnF ou au Musée Nicéphore Niépce de Chalon-sur-Saône, on redécouvre son travail photographique d’une grande sensibilité, un regard en noir et blanc à la fois tendre et direct sur les années 60.

Florence PILLET

Galerie Esther Woerdehoff
36 rue Falguière - 75015 Paris

November 16, 2016

Mathieu Kleyebe Abonnenc @ MKK Frankfurt : Mefloquine Dreams

Mathieu Kleyebe Abonnenc:
Mefloquine Dreams

MKK 1 - Museum für Moderne Kunst, Frankfurt
19 November 2016 - 8. January 2017

Mathieu Kleyebe Abonnenc
Mathieu Kleyebe Abonnenc, Sector IX B, 2015
Filmstill, Courtesy of the Artist
© Mathieu Kleyebe Abonnenc

The French artist Mathieu Kleyebe Abonnenc (b. in 1977, lives and works in Rome) is the recipient of the 17th Baloise Art Prize, which has been awarded to emerging artists every year since 1999. In conjunction with the award presentation, Abonnenc’s work Sector IX B (2015) will be on view in an exhibition at the MMK Museum für Moderne Kunst Frankfurt am Main, and will enter the museum’s collection as a gift from the Baloise Group.
With the Baloise Art Prize, the Baloise Group enables the young recipients to continue their work with the aid of the prize purse, while also – by means of the associated purchases and donations – offering them a platform for the presentation of their art.

Mathieu Kleyebe Abonnenc
Mathieu Kleyebe Abonnenc, Sector IX B, 2015
Filmstill, Courtesy of the Artist
© Mathieu Kleyebe Abonnenc

Mathieu Kleyebe Abonnenc
Mathieu Kleyebe Abonnenc, Sector IX B, 2015
Filmstill, Courtesy of the Artist
© Mathieu Kleyebe Abonnenc

Mathieu Kleyebe Abonnenc received the prize for a workgroup bearing a relation to a broadly-based research endeavour on a collection of ethnographic objects. The gift – the film Sector IX B (2015) – is one element of that workgroup, which has not yet been carried to completion. To develop his multifaceted œuvre of film, photography, drawings and sculpture, the artist takes as his point of departure extensive research on artefacts of colonial and post-colonial history. They serve him as representatives of complex global interrelationships and the impact of the latter on the construction of cultural identity.
The film forming the core of his presentation at the MMK 1 was first presented at the 56th Venice Biennale in 2015. It tells the fictive story of an ethnologist who, in the course of her research, begins to question the fundamental conditions of her discipline.

Mathieu Kleyebe Abonnenc
Mathieu Kleyebe Abonnenc, Sector IX B, 2015
Filmstill, Courtesy of the Artist
© Mathieu Kleyebe Abonnenc

Mathieu Kleyebe Abonnenc’s interest in the subject goes back to biographical research on a collection of ethnological objects belonging to his grandfather Émile Abonnenc, who served in Gabon and French Guiana in 1931 as a health commissioner and collected ethnological objects there. In order to expand their ethnographic collections back home in Europe, the administrations of the colonial powers urged their citizens who lived and worked abroad to collect artefacts. The latter, which were obtained in very different ways often impossible to reconstruct, are today found in many European museums. The routes by which they entered the colonial powers’ museum holdings thus inevitably provoke questions as to the extent to which modern scientific findings were linked with – and sponsored by – the respective colonial rule and its interests. With the aid of visual analyses of various colonial and post-colonial artefacts, Abonnenc’s work sheds light on the widely diverse relationships between past and present, and between personal and collective history.

The exhibition is being sponsored by Baloise Group

Museum für Moderne Kunst, Frankfurt

November 11, 2016

Farzad Kohan @ Ayyam Gallery, Dubai, DIFC

Farzad Kohan
Migration Stories
Ayyam Gallery, Dubai DIFC

15 November 2016 - 23 February 2017

Migration Stories #19, 2016
Mixed media on canvas, 147 x 115 cm

Ayyam Gallery Dubai DIFC presents Migration Stories, the solo show of Los Angeles-based artist Farzad Kohan. In his latest body of work, Kohan records the experiences of migrants who have resettled in the United States or Europe, mostly from the Middle East. Detailing their stories with text-based paintings that are written in American typewriter font, the artist adopts the role of a documentarian. This is also suggested with the vertical folded canvases of the series, which recall letters or messages that are shared in secret or tucked away for safekeeping.

Farzad Kohan sourced the transcribed stories from social media, asking friends, colleagues, and acquaintances to share the crucial moments that defined the process of migration for them. Filmmakers, artists, and scholars are among the over two-dozen people that replied to Kohan’s request. Some responded with partial memories of leaving home as children, while others offered harrowing accounts of fleeing due to political persecution or the outbreak of war. The formal characteristics of each work are tailored to the represent these individual narratives, as thin layers of different media are applied over the surface of the canvas, creating a tactile background that is saturated with colour. Text is then stenciled onto the painting, evoking the fleeting yet assertive nature of anonymous graffiti as Kohan’s respondents disclose their experiences without having to reveal their identities. Multigenerational and from diverse communities, his invisible figures represent a cross-section of today’s ever-increasing migrant population.

The complexities of resettling in a foreign country are further chronicled in form as Farzad Kohan uses oil and water based media that separate upon contact. As the artist attempts to bring together these materials, he provides an apt metaphor of the difficulties that are faced by millions who must resettle and reestablish the concept of home in a new place. In many ways, this notion of home shapes a significant portion of the self, and is instrumental to the formation of one’s identity. By mapping their experiences, Kohan paints biographical portraits of uprooted lives.

Farzad Kohan’s exhibition coincides with a special programme that is part of Dubai Watch Week, a non-commercial, international event dedicated to the craft and industry of watchmaking. From November 15 until 19, Ayyam Gallery Dubai (DIFC) will host a display that is part of a larger effort to educate the public on the artistry and history of watches. A second opening for Migration Stories will be held on 23 November in conjunction with DIFC’s Art Nights, a biannual event that presents new exhibitions, performances, and art installations.


Farzad Kohan’s sculptures and paintings explore themes like love, migration, and identity, and often incorporate appropriated media and found objects. Partially inspired by his personal history and surroundings, Kohan places an emphasis on form, allowing the successive stages of art making to become analogous to diasporic experience, as diverse, sometimes opposing, elements are sampled, brought together, and accumulated. These apparent stages are integral parts of each finalised work. Farzad Kohan’s formalistic process is revealed, for example, as he layers then strips abstract works through painting, collage, décollage, and sanding, creating built-up yet weathered surfaces that are at once chaotic and methodical. Allusions to the passage of time, gradual transformations, and hidden stories are found in the tactile details of his treated panels.

Text has also been central to Farzad Kohan’s compositions, as he uses Farsi or Arabic script to add narrative elements. In Love Letters, a series of works on paper, he describes moments of longing and desire with poetic confessions that are written across the lower portion of his compositions. The artist’s verses correspond with the colour schemes and textured surfaces of specific works, as abstraction is used to detail the different sensations of romantic love. With his most recent series of paintings, Kohan records the migration stories of others through excerpted texts or quotes that are written across the canvas in American typewriter font, as though creating an archival document. The forms of these untitled works are inspired by the very process of migration, and reflect the difficulties of assimilation with techniques that attempt to unify repellent materials like oil and water based media.

Alongside his sculptures and paintings, Farzad Kohan has experimented with installation, and also maintains a large body of works on paper that he expands on a daily basis. Although Kohan’s ink drawings reflect similar themes, their figures signal a representational departure for the artist, as the thin, black outline of a recurring man is delicately rendered and accentuated with Persian letters and numbers in addition to other enigmatic symbols.  

Born in Tehran, Iran in 1967, Farzad Kohan lives and works in Los Angeles, California, where he first trained as a sculptor in the late 1990s. Kohan has held solo exhibitions at Ayyam Gallery Dubai, DIFC (2016, 2013) and Seyhoun Gallery, Los Angeles (2006). Selected group exhibitions for the artist include Arena 1 Gallery (Advocartsy), Los Angeles (2016, 2015); Mim Gallery, Los Angeles (2015); Ayyam Gallery, Beirut (2015); Francis Boeske Projects, Amsterdam (2015); ABRA Gallery, Los Angeles (2011); Human Rights Awareness Tour, USA (2008); J Ferrari Gallery, Los Angeles (2008); Eagle Rock Center for the Arts (2008); and Phantom Galleries, Los Angeles (2007).

Gate Village 3, DIFC, Dubai

James Ensor, Un chef d'oeuvre inédit mis en vente par Sotheby's

James Ensor, Squelette arrêtant masques, 1891
Chef-d’oeuvre inédit de James Ensor mis en vente par Sotheby's à Paris

Sotheby’s a l’honneur de dévoiler un chef-d’oeuvre de l’artiste James Ensor qui sera mis en vente le 7 décembre à Paris. Peint à Ostende en 1891, ce tableau magistral et inédit est demeuré dans la même famille depuis près d’un siècle, caché de tous les regards.

James Ensor
Squelette arrêtant masques, 1891
Estimation : 1 – 1.5 million €

Considérée comme l’une des plus importantes redécouvertes de l’oeuvre de l’artiste, Squelette arrêtant masques est l’un des tableaux les plus aboutis du peintre. Il fait écho à certains chefs-d’oeuvre conservés dans les plus prestigieux musées du monde.

Datée de 1891, la période la plus accomplie de l’artiste, Squelette arrêtant masques est magistrale à plusieurs titres : l’extraordinaire fraîcheur de ses couleurs, miraculeusement préservée, le sujet iconique mettant en scène les figures emblématiques de l’art d’Ensor et la composition modernité inouïe.

Squelette arrêtant masques est ainsi un des plus beaux exemples du génie du Maître d’Ostende. C’est un privilège pour Sotheby’s de pouvoir maintenant révéler ce chef-d’oeuvre inconnu du public.

Avant sa mise en vente à Paris, ce tableau magistral sera présnté au public à Bruxelles lors d'une exposition du 22 au 25 novembre chez Sotheby's.


November 10, 2016

Art Suisse, Sotheby's Zurich

Art Suisse / Swiss Made
Sotheby's Zurich
29 novembre 2016

Ce mois de novembre lève le voile sur une nouvelle vente d’Art Suisse / Swiss Made. A cette occasion, Sotheby’s est ravi de proposer la sensationnelle peinture de Félix Vallotton, Au Marché, ainsi qu’un groupe d’oeuvres remarquables issues du Mouvement nabi, période dont les oeuvres sont aujourd’hui parmi les plus recherchées. Aux côtés de ce chef-d’oeuvre se tiendront également deux peintures d’exception : une superbe toile du même artiste, La cuisinière, qui dépeint une scène d’intérieur, ainsi qu’un magnifique portrait réalisé par Cuno Amiet : Schlafende Bretonin.

Le centenaire du Dadaïsme et le surréalisme suisse sont aussi honorés par l’équipe d’Art Suisse de Sotheby’s, qui propose une sélection de travaux qui explorent le développement de ces mouvements majeurs de l’histoire de l’art suisse ; notamment à travers des oeuvres réalisées par Le Corbusier. La période contemporaine est quant à elle mise en valeur grâce à des fascinantes réalisations constructivistes d’artistes suisses parmi lesquels Max Bill, Fritz Glarner et Camille Graeser. Cette grande variété d’oeuvres proposées aux enchères par Sotheby’s illustre donc l’incroyable diversité de l’influence et de la production artistique suisse.

En prévision de cette vente qui se tiendra le 29 novembre prochain, Stephanie Schleining, co-directrice du département d’Art suisse chez Sotheby’s, déclare : « Le mouvement nabi est un exemple parfait des connections qui lient la production artistique suisse à la scène internationale. Vallotton et Amiet ont tous deux joué un rôle clé dans l’évolution du modernisme en Europe, notamment grâce à leurs interactions avec Paul Sérusier et Edouard Vuillard ainsi que par l’influence de Paul Gauguin. En termes d’histoire de l’art, l’influence suisse s’étend bien au-delà des frontières et nous sommes fiers que les oeuvres présentées dans notre vente reflètent cet aspect.»

A cela, Urs Lanter, co-directeur du département d’Art suisse chez Sotheby’s, ajoute : « La vente automnale d’Art Suisse / Swiss Made inclut une merveilleuse sélection de travaux provenant d’une importante collection privée suisse. Ces oeuvres témoignent de la passion du collectionneur pour l’art de son temps, en particulier pour des artistes constructivistes tels que Max Bill et Camille Graeser, qui étaient étroitement liés à l’avant-garde allemand ».


Au Marché est un exemple fascinant des peintures réalisées par Félix Vallotton dans sa période nabie, qui a été déterminante pour la suite de sa carrière et dont les oeuvres sont aujourd’hui les plus recherchées. Cette superbe composition dépeint le marché animé d’un quartier populaire, au coeur du Paris de la fin du XIXe siècle. Grâce à des couleurs vives posées en à plat et des contours simplifiés, aux côtés de surfaces texturées typiques du mouvement nabi, Félix Vallotton illustre de manière originale une scène ordinaire de la vie parisienne. Le recours à ces procédés rappelle les estampes japonaises, et évoque la gravure sur bois que Vallotton a remise à l’honneur, notamment dans les illustrations publiées dans La Revue blanche à cette époque.

Félix Vallotton
Au Marché
Lot 17, Est. CHF 1,5 – 2 millions

Au Marché est une oeuvre majeure de ce mouvement marquant de la fin du XIXè siècle, préfigurant l’avant-garde du XXe siècle, et est porteuse de très grand intérêt pour les collectionneurs d’art post-impressionniste européen (Lot 17, Est. CHF 1,5 – 2 millions).

Les Nabis cherchaient à exprimer en toute liberté leur réalité intérieure et la dimension décorative, symbolique, voire spirituelle de la peinture. Ainsi, ils rejetaient les conventions académiques de l’art, notamment la perspective réaliste.

Félix Vallotton
La Cuisinière
Lot 26, Est. CHF 350’000 – 450’000

Issue de la même période dans la carrière de Vallotton, La Cuisinière est un complément parfait à l’oeuvre Au Marché. Le tableau montre l’exploration de cet aspect décoratif de la philosophie nabie réalisée par l’artiste suisse. Ici, Félix Vallotton a porté une attention particulière aux détails. Sa représentation de l’intérieur est ancrée dans la réalité, influencée par des maîtres anciens hollandais et français. A nouveau, on constate le choix d‘une scène du quotidien, où on y aperçoit Hélène Chatenay, sa compagne de l’époque. Ainsi, Vallotton offre un aperçu intime et exquis de ce moment (Lot 26, Est. CHF 350’000 – 450’000).

Cuno Amiet
Schlafende Bretonin, 1893
Lot 13, Est. CHF 300’000 – 500’000

Les années 1890 représentent également une période clé dans les travaux de Cuno Amiet. Après avoir étudié les Beaux-Arts à Munich et Paris, il ne se satisfait plus des approches conventionnelles de la peinture qui prévalaient à l’époque. Entre mai 1892 et juin 1893, Cuno Amiet a passé du temps dans le village de pêcheurs de Pont-Aven qui, depuis le séjour de Paul Gauguin en 1886, attirait de nombreux jeunes artistes.

L’oeuvre pionnière d’Amiet, Schlafende Bretonin, révèle son interprétation de la philosophie nabie : des traits et des contours de pinceau audacieux qui encadrent des plans de couleur plats. De la même manière, ces techniques illustrent l’analyse des pratiques de Gauguin entreprise par Cuno Amiet, tout en rappelant les estampes japonaises très présentes dans les travaux de Vallotton. Un tableau tel que Schlafende Bretonin illustre parfaitement cette période de la vie d’Amiet qui s’est avérée cruciale pour le reste de sa carrière. Ce sont des oeuvres d’avant-garde comme celle-ci qui qui ont poussé Erich Hekel à inviter le peintre suisse à rejoindre « Die Brücke », un groupe d’artistes expressionnistes allemands (Lot 13, Est. CHF 300’000 – 500’000).


Le Corbusier
Nature morte au portrait de famille, 1940
Lot 62, Est. CHF 300’000 – 400’000

Les premières années du XXe siècle ont vu naître à Zurich un mouvement qui a incontestablement gagné une importance internationale : le dadaïsme. Ce dernier s’est positionné comme « anti-art », avant d’évoluer dans les explorations puissantes et rêveuses du surréalisme. La vente d’Art Suisse / Swiss Made rend hommage à ce mouvement, notamment grâce à une série d’oeuvres réalisées par Le Corbusier, dont Nature morte au portrait de famille, 1940. Ce tableau montre l’utilisation magistrale de la couleur et de la composition par l’artiste (Lot 62, Est. CHF 300’000 – 400’000).

Jean Arp
Lot 66, Est. CHF 150’000 – 200’000

Figure dominante de l’art abstrait, Jean Arp fait également partie de cette section, avec son étonnante sculpture en bronze nommée L’agressif (Lot 66, Est. CHF 150’000 – 200’000). Aux côtés d’oeuvres élaborées par Le Corbusier et par Arp figure une merveilleuse nature morte de Gino Severini. Cette dernière met parfaitement en valeur les liens qui ont unis des artistes aussi bien helvétiques qu’européens, durant la première moitié du XXe siècle. A noter qu’elle comprend une dédicace à l’architecte suisse Fernand Dumas, qui était un ami proche de Severini. Celui-ci a d’ailleurs travaillé avec de nombreuses figures notables du modernisme, telles que Le Corbusier ou encore Arp (Lot 64, Est. CHF 80’000 – 120’000, pas d’illustration).


La seconde partie de notre vente de novembre propose des oeuvres issues d’une importante collection privée suisse. L’ensemble de ces travaux témoigne de l’admiration de leur propriétaire envers des artistes constructivistes comme Max Bill, Fritz Glarner ou encore Camille Graeser.

Max Bill
Gelbes Quadrat mit roten Verfärbungen, 1984
Lot 93, Est. CHF 50’000 – 70’000

Connu pour ses peintures à la fois géométriques et épurées, Max Bill est représenté avec trois tableaux proposés aux enchères, dont Gelbes Quadrat mit roten Verfärbungen, 1984 (Lot 93, Est. CHF 50’000 – 70’000). Par ailleurs, sa passion pour le design moderne se retrouve dans trois sculptures géométriques en métal (Lots 97-99, Est. CHF 20’000 – 25’000 chacun).

Fritz Glarner
Tondo, 1966
Lot 67, Est. CHF 25’000 – 35’000

La géométrie est évidemment au coeur du constructivisme et de l’art concret, tout comme elle est centrale au travail de Fritz Glarner. Ce dernier a d’ailleurs été hautement influencé par Piet Mondrian ainsi que par les peintres du mouvement De Stijl. Deux oeuvres sur papier de notre vente donnent un aperçu fascinant de l’oeuvre de cet artiste : Tondo, 1966 et Abstrakte Komposition, 1967 (Lot 67 et 68, Est. CHF 25’000 – 35’000 et CHF 20’000 – 30’000).

Camille Graeser
Relation mit schwarzem Quadrat
Lot 91, Est. CHF 70’000 – 90’000

Le genevois d’origine Camille Graeser est mis en lumière à travers sa fabuleuse toile Relation mit schwarzem Quadrat (Lot 91, Est. CHF 70’000 – 90’000). On ne peut parler de maîtres de l’abstraction sans citer Olivier Mosset et John Armleder, deux artistes également genevois qui ont connu un succès bien au-delà des frontières suisses. Deux oeuvres de Mosset datant de 1986 seront mises aux enchères : Ohne Titel (2 schwarze Bänder auf grünlichem Hintergrund) (Lot 86, Est. CHF 20’000 – 25’000) and Ohne Titel (Grünes Farbfeld mit Kreis) (Lot 87, Est. CHF 20’000 – 25’000). Quant à Armleder, il s’agit de Ohne Titel, 1987 (Lot 88, Est. CHF 20’000 – 30’000).


Robert Zünd
Luzern im Abendlicht von Tribschenhorn
Lot 3, Est. CHF 80’000 – 120’000

Le XIXe siècle ne sera bien évidemment pas oublié par la vente d’Art Suisse / Swiss Made. Ainsi, Sotheby’s propose plusieurs oeuvres d’artistes hors pair de cette période. Parmi eux se trouve Robert Zünd, véritable maître dans l’art de capturer la sérénité et le calme des paysages suisses. Il sera représenté à travers une peinture illustrant Lucerne au crépuscule, Luzern im Abendlicht von Tribschenhorn (Lot 3, Est. CHF 80’000 – 120’000).

Albert Anker
Kücheninterior mit Grossmutter und Kind
Lot 6, Est. CHF 80’000 – 120’000

Le talent du maître portraitiste Albert Anker brillera quant à lui grâce à Kücheninterior mit Grossmutter und Kind (Lot 6, Est. CHF 80’000 – 120’000), une oeuvre sur papier illustrant de manière remarquable un paisible intérieur paysan.


Sotheby’s Geneva, Hôtel Beau-Rivage
13 quai du Mont-Blanc
12-14 novembre 2016, de 10h à 18h

Sotheby’s Zurich, Talstrasse 83
25-27 novembre 2016, de 10h à 18h


November 8, 2016

Design @ Sotheby's London

Sotheby's London
15 November 2016

The market for important works of design has gone from strength to strength in recent months, with outstanding results at Sotheby’s design sales in New York and Paris in 2016. The May sale at Sotheby’s Paris, led by 18 works by Alberto and Diego Giacometti, achieved €7.8 million (est. £4.1-5.7m), the highest-ever total for a Design auction in France. The second-edition of a dedicated Design sale for London is underpinned by pioneering works of Post-war Scandinavian, Italian, French, American and Contemporary Design, including superb examples by Studio Job, Nacho Carbonell, Gio Ponti, Arne Jacobsen and Gerrit Rietveld. The sale takes place just days ahead of the landmark opening of a major new home for London’s Design Museum, further evidence of the city’s evergrowing status as an influential hub for the international design scene.


Arne Jacobsen
Arne Jacobsen, Desk, 1952
Stainless steel, lacquered Cuban mahogany, leather, ebony
Estimate: £40,000-60,000

Designed the same year as his iconic ‘Ant’ chair, the present model, along with a low table and armchair, were made for the offices of the American-Scandinavian Foundation in New York. Although intended for American export, the present lot has remained in Denmark from the time of its execution. Only the third time that this model has ever come to auction, this piece belonged to a collector who was close friends with Jacobsen. At the time of acquiring the desk circa 1953, the original owner resided in a home designed by Jacobsen himself, located in the Danish town of Hellerup, close to the architect's home.

Gerrit Thomas Rietveld, ‘Zig Zag’ Chair, 1939
Oak, brass
Estimate: £15,000-20,000

This is a rare and early example of Rietveld’s iconic ‘Zig Zag’ chair was produced by Gerard van de Groenekan in 1939, four years after the first model was made. Rietveld, renowned for his ‘Red and Blue Chair’ and the ‘Schröder’ house, was a leading figure in the artistic movement known as De Stijl. This particular chair has remained with the same family since its production and comes with a signed certificate from Gerard van de Groenekan.

Ico Parisi, Monumental Bookcase, circa 1955
Rosewood, glass, enamelled copper
Estimate: £20,000-30,000

This monumental bookcase by the Italian architect and designer Ico Parisi was created in collaboration with the renowned enameller Paolo de Poli, who produced the handles. Over the course of his 50-year career, Parisi - who considered himself a ‘Renaissance’ artist - mastered a wide variety of discipline, including architecture, design, painting, and photography.

Peder Moos, Daybed, circa 1944
Pine with Alpaca skin upholstery
Estimate: £8,000-12,000

This bed is one of five pieces on offer designed by Danish master cabinet maker Peder Moos for the Østrupgaard manor, Denmark, between 1944 and 1945.

During World War II, Østrupgaard manor was used as a hideout from the Gestapo; in this period, Moos produced around 20 pieces for the estate. Using the humble materials available on-site including pine, teak and beech, the results are deceptively simple and beautifully understated. Displaying a high degree of craftsmanship and fine attention to detail, each unique example bears testament to one of the greatest Danish cabinet makers of the 20th Century.

Hans Coper, Monumental ‘Spade Form’ Vase, circa 1970
Glazed stoneware
Estimate: £50,000-70,000

Hans Coper, Large ‘Disc Form’ Vase, circa 1965
Glazed stoneware
Estimate £35,000-45,000

Hans Coper (1920–1981), the German-born studio potter, who fled from Nazi Germany for Britain in 1939, revolutionised British ceramics.

These two large scale vases, ‘Spade Form’, created circa 1977, and ‘Disc Form’ made circa 1965, are hugely rare and important examples of Coper’s work, and very rarely seen on the market.

Gabriella Crespi, ‘Gothic’ Mirrored Cabinet, circa 1977
Brass, mirrored glass
Estimate: £6,000-8,000

This rare mirrored cabinet by Gabriella Crespi has a functioning storage compartment and drawer below. Considered by many to be one of the greatest Italian designers of the 1960’s and 70’s, Crespi was influenced early on in her career by Le Corbusier and Frank Lloyd Wright.

Fontana Arte, Low Table, Model No. 1774, 1959
Lacquered metal, brass, mirrored convex glass, glass
Estimate: £40,000-60,000

This table, with a striking mirrored glass top, is one of the most iconic works produced by the Milanese firm Fontana Arte. It was created in the late 50’s under the direction of Max Ingrand – a French master glazier and decorator, renowned for his stained-glass church windows.

Angelo Lelii, 9 Arm Wall/Ceiling Light, circa 1950
Brass, frosted glass
Estimate: £12,000-18,000

These rare nine arm lights by Angelo Lelii can be mounted on the ceiling or wall, and come with confirmation of authenticity from Arredoluce. Founded by Lelii in 1947, Arredoluce boasts collaborations with renowned designers such as Gio Ponti, Ettore Sottsass and the Castiglioni brothers.

T.H. Robsjohn-Gibbings, Five ‘Klismos’ Chairs, circa 1965
Greek walnut, leather cord
Estimate: £7,000-10,000

Offered from a private collection acquired directly from the producer in the 1960s, the Klismos chairs by the British designer T.H. Robsjohn-Gibbings take their inspiration directly from ancient Greek examples. Works by this maker are among the most soughtafter by interior designers; a set of six ‘Klismos’ chairs by Robsjohn-Gibbings, estimated at €8,000-12,000, sold for €73,499 at Sotheby’s Paris in 2014.

Andrea Branzi,
‘Piccolo Albero’ Bookcase, 2013
Polished stainless steel, beech
Estimate: £20,000-30,000

This intriguing work is the last of only six examples ever produced. A world record for a piece by Branzi was set in May 2015, when the same model sold for €81,000 at Sotheby’s in Paris.

Ron Arad, ‘Loop Loop’ Chair, designed 1992
Polished woven bronze
Estimate: £50,000-70,000

This fun and playful work - one of the Ron Arad’s most iconic designs – was produced by the Gallery Mourmans in a rare bronze edition. It is one of a number of collaborations between Israel-born industrial designer Arad and the Dutch gallerist Ernest Mourmans, with other examples including the ‘Thumbprint Chair’.

Nacho Carbonell

Nacho Carbonell
Nacho Carbonell, ‘Evolution’ Bench, 2008
Recycled paper, iron, metal wire
Estimate: £12,000-18,000

The first example from an edition of five, this bench by the Spanish contemporary designer Nacho Carbonell allows one to seek solitude from the outside world. “Living in a time where we are saturated by information at a frenetic rhythm, I wanted to create a refuge were you can escape...” says Carbonell.

Terence Woodgate and John Barnard, Prototype
‘Surface Table’, 2008
Lacquered unidirectional carbon fibre, steel
Estimate: £40,000-60,000

Only two examples (both prototypes) of this monumental, six metre-long table were ever produced. This is the sole remaining example, as the first prototype was discarded by Established & Sons. Despite its slight frame, this table is in fact strong enough to support a car’s weight.

Gio Ponti, Wall-Mounted Chest, circa 1959
Elm, brass
Estimate: £15,000-20,000

This wall-mounted chest embodies Italian designer Gio Ponti’s flair for quirky, asymmetrical patterning. One of the most influential designers of the 20th century, Ponti’s remarkable output spanned architecture, industrial design, art, and even publishing; his creations put Italy in the spotlight as a global design centre. This chest is one of 10 works by Ponti in the sale.

Amanda Levete and Future Systems, ‘West’
Bench, from the ‘Around the Corner’
Collection, 2008
Estimate: £70,000-100,000

This elegant bench was designed by British designer Amanda Levete and Future Systems, and produced by London-based Established & Sons. With its fluid and interwoven form, reminiscent of the infinity symbol, this piece appears to defy gravity. Works from the ‘Around the Corner’ series were designed to create a spatial relationship between the corners of a room and the pieces, as Levete was interested in filling the “lost spaces” created by corners.

Marc Newson, ‘Big Lathed Table’, 2006
Carrara marble
Estimate: £70,000-90,000

This simple yet powerful table was carved from a single block of prized Carrara marble and produced by the Gagosian Gallery. Australianborn Newson’s pieces are characterised by smooth geometric lines, strength, and rounded edges.


Mohammad Bozorgi @ Ayyam Gallery Beirut

Mohammad Bozorgi
Against the Darkness
Ayyam Gallery Beirut

10 November 2016 – 7 January 2017

The Velvet of Your Eyes, 2015
Acrylic on canvas, 150 x 150 cm

Ayyam Gallery Beirut presents Against the Darkness, the solo exhibition of leading Iranian calligrapher and painter Mohammad Bozorgi.

Selected from the artist’s recent series, Coloured Tears, Grey World, the feature works were produced in response to regional conflicts, and describe the impact that such widespread destruction has on the global community. Mohammad Bozorgi’s latest body of work also serves as an exploration of colour and the high level of abstraction that canbe realised when calligraphic forms are freed in complex compositions.

In an accompanying statement, Mohammad Bozorgi describes the artist’s role of depicting the world as he or she observes it. According to the painter, references to everyday life in art are a form of translation that materialises even in certain uses of colour. In Coloured Tears, Grey World, the concept of darkness, or the decline of living conditions into a constant state of despair, is countered with colour in protest of ‘lost dreams’ and ‘lost lives.’ At the same time, Bozorgi seeks to inspire a sense of hope in viewers by alluding to a world shaped by beauty, peace, and tranquility.

The radiant palette of The Velvet of Your Eyes (2015), for example, creates a shimmering effect, as abstracted text rendered in red appears to dance against a blue background. The fluid shapes of stylised letters gravitate towards the centre of the composition, orbiting around a circular mass that is composed of mirrored words, forming a sunburst. Mohammad Bozorgi’s rotating calligraphic text coalesces with his vivid colour scheme in order to suggest a source of energy and brilliance. The Velvet of Your Eyes (2015) shows the artist using the elegant gestures of calligraphy to suggest movement, as words become anthropomorphic forms.

Other works such as The Route of Creation (2015) engage the spiritual nature of the written word in Islamic art while incorporating the illusionistic techniques of contemporary forms abstraction. By manipulating positive and negative space with a mosaic like composition where text is broken then reconfigured in blue and red clusters (perhaps in reference to the water and blood of the human body), Mohammad Bozorgi creates the optical illusion of regenerating forms, a space where creation has no beginning or end.


In keeping with the aesthetic principles of Islamic art, Mohammad Bozorgi maps his compositions according to precise mathematical structures and symmetry, and never deviates from the meaning of words despite the innovation of his script.

Born in Tehran in 1978, Mohammad Bozorgi was originally educated as a biomedical engineer before entering the visual arts with a decade of training at the Society of Iranian Calligraphers, where he mastered a number of calligraphic forms, and earned ‘Momtaz’ degrees. This robust background has inspired Bozorgi to use the directives of geometry to create abstract illusions of depth and space while developing stylised characters based on Arabic and Persian examples.

Recognised as a leading figure among a ‘New Generation’ of contemporary calligraphers, Mohammad Bozorgi builds on the breakthroughs of modern predecessors, as he seeks to advance the art of calligraphy through experimental formalism. Within his meticulously designed compositions, text multiplies as it is infused with energy and appears to move across the canvas or paper in unison, originating from and returning to the center like the cyclical rhythms of nature.

Mohammad Bozorgi has participated in recent solo and group exhibitions at Ayyam Gallery Al Quoz, Dubai (2015); Ayyam Gallery, Jeddah (2014); Homa Gallery, Tehran (2014); Galerie Nicolas Flamel, Paris (2013); Kashya Hildebrand Gallery, Zurich (2012); Shirin Art Gallery, Tehran (2012); and Endjavi-Barbé Art Projects, Geneva (2012). His works are housed in private and public collections, including the Islamic Arts Museum Malaysia.

Beirut Tower, Ground Floor, Zeitoune Street, Across from Beirut Marina

November 7, 2016

Khaled Jarrar @ Ayyam Gallery Dubai

Khaled Jarrar
Castles Built from Sand will Fall
Ayyam Gallery Dubai

13 November 2016 – 7 January 2017

Khaled Jarrar
Journey 110, 2008
Video, 12.16 minutes

Ayyam Gallery Dubai (12, Alserkal Avenue) is pleased to present Castles Built from Sand will Fall, the solo exhibition of multidisciplinary artist Khaled Jarrar.

Over the last ten years, Khaled Jarrar has frequently addressed the subject of borders, particularly the elaborate system of checkpoints, fences, and walls that have split communities in his native Palestine. The title of the exhibition refers to the impermanent nature of politically imposed boundaries, which can always be redrawn or demolished.

Castles Built from Sand will Fall provides a condensed overview of Khaled Jarrar’s focus on this issue with a range of work in different media. Featuring installation, photography, video, sculpture, and art objects, the exhibition offers a look into the various strands of his creative practice. This curated selection also emphasises Khaled Jarrar’s use of diverse forms as artistic interventions that encourage viewers to rethink the intersections of life, politics, and visual culture.

The exhibition is organised as an immersive experience with new installations and objects alongside the artist’s older works such as Journey 110 (2008), a video that documents a hidden 110-metre passageway beneath the massive wall that snakes through the West Bank. Khaled Jarrar filmed Journey 110 while travelling with Palestinians who pass through a sewage-filled tunnel in order to reach the other half of Beit Hanina, a village divided in two by the Israeli-built barrier. In the darkened footage, the light of an opening on the other side guides people down the murky path. An elderly woman struggles to wade through the mud with the help of travel companions while a baby is passed to a waiting set of hands. Jarrar films the scene as though giving a first-person account rather than capturing it at a distance as a documentarian, providing an unconventional view of the Israeli occupation of Palestine.

The artist’s re-creation of this sense of immediacy is reiterated in an installation that cuts through the gallery space in the form of a concrete wall. When seeking to view the exhibition in its entirety, gallery visitors must find a hole that the artist has carved out in order to access remaining works. Throughout the exhibition, objects, images, and videos show the tragic absurdity of the occupation, describing a surreal yet devastating reality.

On 14 November at 7.30 pm, Alserkal Avenue will screen Khaled Jarrar’s film, Infiltrators (2012), which portrays the struggle of Palestinians in the face of Israeli checkpoints.


With photographs, videos, installations, films, and performances that are focused on his native Palestine, multidisciplinary artist Khaled Jarrar explores the impact of modern-day power struggles on ordinary citizens while seeking to maximise the social potential of artistic interventions. Over the last decade, Jarrar has used the subject of Palestine, particularly the Israeli occupation of the West Bank, as a starting point for larger investigations of militarised societies, including the gendered spaces of violence and the links between economic and state powers that fuel and profit from war or political conflict.

Khaled Jarrar’s bold, and sometimes controversial, projects often include various media and have earned him international recognition, most recently as the recipient of the 2016 Anni and Heinrich Sussmann Award. In 2007, for example, he displayed photographs of the Howarra and Qalandiya checkpoint in plain sight of Israeli soldiers at the border. Other projects such as his Live and Work in Palestine passport stamps and his award-winning documentary film The Infiltrators (2012), subvert the dominant narrative of an equally fought, two-sided conflict by highlighting the limited mobility of ordinary Palestinians who struggle to have access to basic things such as healthcare, education, or travel documents.

In seeking to engage a wide audience through public performances and interventions, Jarrar has also presented his multilayered projects abroad. On the streets of Helsinki, Finland he built a temporary Hunger Wall in 2014, a barrier composed of loaves of bread that symbolises the thin line between prosperity and poverty, particularly under military occupation. With Dis-/ Obey, he invited dozens of volunteers to participate in a military march that ultimately placed them in opposition to Jarrar’s voiced orders and an installation of camouflage uniforms. Commissioned by Checkpoint Helsinki as part of the Helsinki Festival, Dis-/Obey investigates military power, disobedience, and individual responsibility in conflict zones.

Khaled Jarrar’s Upcycle the Wall series, which has been shown internationally at such venues as the Aga Khan Museum, is perhaps his most well-known project to date and draws attention to the occupation of Palestine with sculptures made of reconstituted concrete from the apartheid wall that illegally annexes and cuts through parts of the West Bank. These works were highlighted in a critically acclaimed exhibition at Ayyam Gallery London in 2013 that included the installation of a massive concrete partition and related photographs.

Recently, Khaled Jarrar was highlighted by a number of international publications such as The Guardian, Los Angeles Times, and Creative Time Reports for his artistic intervention at the U.S-Mexico border. There, he removed and reappropriated a piece of the partition in order to create a ladder that now stands as a symbolic means of crossing for Mexicans who are separated from their American relatives.

Born in Jenin in 1976, Khaled Jarrar lives and works in Ramallah, Palestine. Jarrar completed his education in Interior Design at the Palestine Polytechnic University in 1996, and graduated from the International Academy of Art Palestine with a Bachelor in Visual Arts degree in 2011. The following year, his documentary The Infiltrators (2012) won several accolades at the 9th Annual Dubai International Film Festival, and confirmed his importance in global cinema.

Khaled Jarrar’s solo exhibitions include Ayyam Gallery Dubai (12, Alserkal Avenue) (2016); Bartsch & Cie, Geneva (2015); Galerie Polaris, Paris (2014, 2012); Gallery One, Ramallah (2014); Ayyam Gallery London (2013); Galerie Guy Bartschi, Geneva (2013); and the NEWTOPIA: The State of Human Rights Contemporary Arts in Mechelen and Brussels (2012). The artist’s recent collective exhibitions were held at venues such as Hinterland Gallery, Vienna (2016); Institut du Monde Arabe, Paris (2016); Aga Khan Museum, Toronto (2016); Palais De La Culture, Constantine (2015); Pirineos Sur Festival (2015); Maraya Art Centre, Sharjah (2015); New Museum, New York City (2014), Kashya Hildebrand Gallery, London (2014), University of Applied Arts, Vienna (2014), USF Contemporary Art Museum, Tampa (2013); The Madrid Palestine Film Festival (2013); 15th Jakarta Biennale (2013); and 7th Berlin Biennale (2012).


November 5, 2016

Peter Dressler @ Kunst Haus Wien

Peter Dressler. Vienna Gold
Kunst Haus Wien
16 November 2016 – 5 March 2017

With the first retrospective in Vienna, KUNST HAUS WIEN is paying tribute to the work of PETER DRESSLER, an oeuvre in which the city of Vienna itself plays a central role. As a photographer and film-maker, academy teacher, collector and critical participant in the art scene, Peter Dressler (1942 – 2013) influenced Austrian photography since the 1970s like few other figures. His artistic interest in the photography medium always went hand in hand with a fascination with the history of the medium.

Peter Dressler
Peter Dressler
Zwischenspiel, 1970er
© Fotohof Archiv

Peter Dressler
Peter Dressler
Mit großem Interesse, 1980er
© Fotohof Archiv

Peter Dressler found the material for his early documentary series and visual narratives in Vienna, where, as he observed, “substance, quality, quite simply the magic of everyday life still exists in large measure”. Later, his “seventies’ realism”, as he called it, was replaced by tableaux and image series and a poetic, filmic approach. The particular charm of Zwischenspiel, a major artist’s book he publishes in 1989, lies in the manifold references and allusions that connect the individual pictures.

Peter Dressler
Peter Dressler
Eher seltene Rezepte, 1987
© Fotohof Archiv

Peter Dressler
Peter Dressler
In unmittelbarer Nähe, 2003
© Fotohof Archiv

Toward the end of the 1980s, his photographic idiom changes again: The artist emerges as the actor and main character in his work, appearing in melancholic, even grotesque narratives that have him preparing „Rather Rare Recipies“ or playing solo tennis in the empty Semper Depot building.

With vibrant wit, he inserts himself into found and invented scenarios to bring them to life, teasing out art-historical as well as social implications and highlighting the peculiarities of human behavior. His work is often sublimely funny, but his humor is always energized by a sober awareness of the tragicomic sides of human existence and the subtle possibilities of the photographic medium.

Curators: Christine Frisinghelli, Rainer Iglar and Michael Mauracher

Peter Dressler was born in 1941 in the Romanian town of Brașov/Kronstadt. He studied painting at the Academy of Fine Arts Vienna, where he subsequently worked as assistant professor for painting (1972 –2008) in the master class of Friedensreich Hundertwasser. The exhibition at KUNST HAUS WIEN is the first retrospective on Peter Dressler since the artist’s death in September 2013.

In 2013 Peter Dressler was awarded the Austrian state prize for photography. Dressler died in September 2013, his estate is administered by Fotohof Salzburg.

Untere Weißgerberstraße 13, 1030 Wien

November 4, 2016

KODAK EKTRA Smartphone

KODAK EKTRA Smartphone

KODAK EKTRA Smartphone

Eastman Kodak Company and Bullitt Group unveiled the KODAK EKTRA Smartphone, a photography-led smartphone designed for those with a passion for photography, from enthusiasts to experts. The KODAK EKTRA Smartphone fuses the best of Kodak’s rich history in imaging with the latest innovations in smartphone photography. Launching soon across Europe, the KODAK EKTRA Smartphone lets keen photographers capture exceptional images, whatever the environment, with an incredibly fast smartphone, tuned for the best in image quality and media management.

Jeff Clarke, Kodak Chief Executive, said: “Kodak has a rich history in imaging technology and the launch of the KODAK Smartphone today demonstrates our ongoing commitment to bringing the latest advances in photography to consumers. The original KODAK EKTRA Camera was launched in 1941 and in its latest reincarnation, opens up a world of creative opportunities to all who care about photography.”

At the heart of the KODAK EKTRA Smartphone is a 21-megapixel fast focus camera sensor with f2.0 aperture, and an industry leading 13-megapixel front-facing camera with Phase Detection Auto Focus PDAF and f2.2 aperture. The custom built camera app is controlled by an intuitive haptic touch, SLR-style Scene Selection Dial, where adjustments are made in real time via a range of settings including HDR, Landscape, Portrait, Macro, Sport, Night-time, Panorama and Bokeh, alongside a Smart Auto mode which auto-selects the best conditions for your photographs. In Manual mode, more advanced users can adjust exposure, ISO, focus, white balance and shutter speed, with the results being visible on the screen as changes are made.

The KODAK EKTRA Smartphone has an ergonomically weighted and high quality industrial design, underlining its camera styling and featuring a dedicated dual press shutter button in the horizontal style of traditional cameras. The device also features a Super 8 app, providing professional effects reminiscent of Kodak’s iconic Super 8 film stocks.A lightning-fast HELIO X20 Decacore processor powers the ANDROID Marshmallow smartphone.

The KODAK EKTRA Smartphone includes editing software from SNAPSEED, providing exceptional tools to edit images on-the-go, without having to download any additional apps. This enables users to transform images with professional results similar to many popular desktop image editors. Sharing the results in real time is also easy with integrated social media apps and the Prints app is a simple way to select your best shots to be professionally printed.

“It has been a joy to work with Kodak, their clear brand direction and photography knowledge, combined with our customer and technology insight has culminated in the beautiful and powerful KODAK EKTRA Smartphone,” said Peter Stephens, CEO Bullitt Group, mobile device licensee for Kodak. “We are excited to reach out to this dynamic and engaged photography category and look forward to getting this camera phone into people’s hands.”

KODAK EKTRA Smartphone key features:

    - ANDROID 6.0 (Marshmallow)
    - Professional results from a 21MP fast focus camera sensor with F2.0, PDAF, OIS, Dual LED Flash
    - 13MP phase detection auto focus front-facing camera with F2.2 PDAF
    - Helio X20 2.3GHz Decacore processor with 3GB RAM
    - 32GB memory, expandable with MicroSD cards
    - Advanced Manual Mode – adjustable on Exposure, ISO, Focal Length (Manual/Auto), White Balance, Shutter Speed, Aperture (fixed f2.0 main camera)
    - Familiar scene selection dial experience – includes scene modes Smart Auto, Portrait, Manual, Sports, Bokeh, Night-time, HDR, Panorama, Macro, Landscape, Film / Video
    - Integrated high quality printing app
    - Super 8 Video Recorder
    - Integrated social media sharing
    - 3000mAh, with USB 3.0 Type C fast charger

The KODAK EKTRA Smartphone will be priced at £449 and available across Europe later this year.

To find out more visit:

November 3, 2016

Expo Richard Avedon, BnF, Paris : La France d’Avedon, Vieux monde, New Look

La France d’Avedon, Vieux monde, New Look
BnF, Paris

Jusqu'au 26 février 2017

Audrey Hepburn, Mel Ferrer et Buster Keaton dans
« Paris Pursuit » pour Harper’s Bazaar, Paris, 9 août 1959
Photographie Richard Avedon
© The Richard Avedon Foundation

La BnF explore pour la première fois les liens singuliers de l’artiste Richard Avedon avec la France. Célébré dès ses débuts pour ses photographies de mode, Avedon a développé au long de sa vie une oeuvre exceptionnelle, jalonnée de rencontres françaises qui ont fortement influencé son travail. L’exposition rassemble près de 200 pièces, choisies pour raconter une histoire : celle de l’attachement profond pour la France de l’un des plus grands photographes américains de la seconde moitié du XXe siècle.

L’image photographique chez Richard Avedon s’est constamment enrichie et renouvelée par et pour d’autres formes : le texte, le livre, le magazine, le cinéma, la danse… Cette réinvention permanente est particulièrement sensible dans son travail développé en lien avec la France. Des années 40, quand il vient photographier les collections de mode à Paris pour le magazine Harper’s Bazaar à son séjour en 1968 pour travailler à l’édition d’une monographie de Jacques Henri Lartigue, jusqu’à sa collaboration avec Nicole Wisniak pour Egoïste à partir de 1985, chaque rencontre française amène Avedon à se réinventer, à développer toujours plus une pratique hybride de la photographie. La « France d’Avedon » se découvre à la BnF en quatre temps, qui témoignent de la richesse de son oeuvre. Elle se raconte au travers de nombreux portraits de personnalités saisies par l’objectif de l’artiste mais également autour d’un film, d’un livre et d’un magazine.

Des portraits
Jean Cocteau, Coco Chanel, Catherine Deneuve, Jeanne Moreau, Yannick Noah, Isabelle Adjani, Yves Montand, Simone Signoret… Autant de personnalités et d’icônes photographiques qui témoignent de l’attachement de l’artiste à la culture française comme de son oeuvre exceptionnelle développée autour du portrait pendant près de cinquante ans.

Yves Montand et Simone Signoret, acteurs, New York,
23 octobre 1959
Photographie Richard Avedon
© The Richard Avedon Foundation

Catherine Deneuve, actrice, Los Angeles,
22 septembre 1968
Photographie Richard Avedon
© The Richard Avedon Foundation

François Truffaut et Jean-Pierre Léaud, réalisateur et acteur, Paris, 20 juin 1971
Photographie Richard Avedon
© The Richard Avedon Foundation

Un film : Funny Face
En 1956, Richard Avedon est « consultant visuel » dans Funny Face (Drôle de frimousse) réalisé par Stanley Donen. Le film, largement tourné en France, s’inspire de la carrière d’Avedon en tant que photographe de mode à Paris. Sont extraites et exposées pour la première fois les photographies réalisées par Richard Avedon pour le film lors de la fameuse séance de mode, immergeant ainsi le visiteur dans un Paris fantasmé des années 50. En parallèle, le public peut contempler un modèle de Vistavision ainsi qu’un photomaton, du même type que celui dans lequel Avedon a fait poser Hepburn, son époux Mel Ferrer et Truman Capote, affirmant ainsi que l’oeil importe plus en photographie que la maîtrise technique.

Audrey Hepburn, actrice sur le plateau
de Funny Face, Paris, 1956
Photographie Richard Avedon
© The Richard Avedon Foundation

Un livre : Diary of a Century
La relation intime entre Avedon et la France se lit également dans son travail sur l’oeuvre de Jacques Henri Lartigue. En 1968, Richard Avedon vient à Paris travailler à l’édition de Diary of a Century. Cette monographie de photographies de Lartigue est conçue par Avedon et contribuera à faire reconnaître l’artiste français dans le monde entier. En véritable « metteur en page » en plus de « découvreur » des images de Lartigue, Avedon réussit à inscrire l’oeuvre du photographe dans l’histoire du XXe siècle, bien au-delà de la seule Belle-Epoque à laquelle Lartigue était alors identifié.

Un magazine : Egoïste
Richard Avedon collabore de nombreuses années avec le magazine français Egoïste, dédié aux arts, la littérature, la performance, le théâtre et la danse, mêlant reportage, publicités, portraits et photographies de mode dans une mise en page d’une grande élégance… Avec Egoïste, il réalise pleinement une photographie nourrie des autres formes d’art.

L’exposition qui dessine « La France d’Avedon » suit ainsi les courbes du parcours exceptionnel du photographe à travers la culture française : d’un Paris fantasmé dans Funny Face, l’histoire bascule à la Belle-Epoque « relookée » dans Diary of a Century, pour s’achever en 1991 dans Egoïste, avec le Bal Volpi à Venise, une série photographique qui met en scène le déclin du « vieux monde » proustien.

Commissariat de l'exposition :
Robert M. Rubin
Marianne Le Galliard

Bibliothèque nationale de France