The Bianca Jagger Human Rights Foundation Charity Auction

ARTS FOR HUMAN RIGHTS

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GALA DINNER, CHARITY AUCTION & AWARD CEREMONY FRIDAY 14 O CTO B ER 2 0 11 at Phillips de Pury & Company Howick Place London SW1P 1BB

AUCTION HIGHLIGHTS Viewing 6–14 October 2011 10am–6pm GALA DINNER, CHARITY AUCTION & AWARD CEREMONY Friday 14 October 2011 7.30pm Drinks 8.30pm Gala dinner followed by the auction by Simon de Pury and the Award ceremony

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arts for human rights

by Bianca Jagger

There is a strong connection between the desire for survival and the art of a people and a time Antony Gormley

I am deeply grateful to the artists who have made ‘Arts for Human Rights’ possible, by donating the wonderful works that you will find in this catalogue.

Their generous donations will make a significant difference to the Foundation, enabling us to continue campaigning in defence of human rights, social justice and environmental protection.

‘Arts for Human Rights’ is the first Bianca Jagger Human Rights Foundation (BJHRF) Benefit Gala. It brings together my two great passions: human rights and the arts. The aim is to highlight the invaluable role that artists play in standing up for democratic principles, in defence of human rights, civil liberties and freedom of expression.

Throughout history, artists have recorded and denounced the abuses and horrors of their time, from the graphic depiction of war atrocities in Francisco Goya’s Disasters of War, to Picasso’s forceful reminder of the unprovoked attack on an undefended town ‘Guernica’ to Andy Warhol’s haunting image of the empty Electric Chair. Today artists around the world continue to defend these values.

The idea for the ‘Arts for Human Rights’ Gala came to me while I was campaigning, in my role as Chair of the BJHRF, on behalf of the courageous Chinese artist Ai Weiwei, who was unjustly detained by the Chinese authorities earlier this year.

I was inspired by his valiant stand in defence of free speech and human rights.

Ai Weiwei’s life and work are emblematic of the values we are honouring at ‘Arts for Human Rights.’

Today, most young people have lost faith in politicians and big business. The creative community: artists, writers, film makers, musicians; have the opportunity to usher in a new era, to become role models, to lead the way in raising awareness and to stand up for human rights. I am a great believer in their power to make a difference.

For the past three decades, I have campaigned for peace and in defence of human rights and civil liberties, social and economic justice, and environmental protection.

In 2007, I founded the Bianca Jagger Human Rights Foundation to be a force for change and a voice for the most vulnerable members of society. The BJHRF is dedicated to: defending human rights, achieving social justice, eradicating poverty, protecting the rights of indigenous peoples, speaking up for future generations and addressing the threat of catastrophic climate change. These issues may seem unrelated, but their causes, and their solutions, are interconnected. I have always addressed them with a holistic approach. I am a firm believer in Aristotle’s observation, “The whole is more than the sum of its parts.”

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The Bianca Jagger Human Rights Foundation owes a great deal to its Trustees for their support over the years: Baroness Helena Kennedy QC, Mark Stephens CBE, Professor Julia Häusermann MBE, Barrie Collins, Dr. Maritta Koch-Weser and former Trustee Geoffrey Robertson QC. The legal team at Finers Stephens Innocent have my thanks for their tireless help with the Foundation’s legal affairs. The support of Thaddaeus Ropac, Eleanora Kennedy and Jay Jopling has also been invaluable.

Through ‘Arts for Human Rights’ the BJHRF is seeking to raise £2,000,000. With this funding we would be able to significantly broaden the range of our work. In the following pages I will briefly describe some of our activities, and how we could expand. The Foundation can only continue with the support of friends like you, who share our vision of a fair and just world.

You can support the work of the Bianca Jagger Human Rights Foundation by making donations via the handheld devices on the tables, or to the following bank account: For domestic transfers: The Bianca Jagger Human Rights Foundation Coutts & Co. Sort Code: 180002 Account Number: 07906404 For international transfers: The Bianca Jagger Human Rights Foundation Coutts & Co 440 Strand London WC2R 0QS Sort Code: 180002 Account Number: 07906404 IBAN Number: GB97COUT18000207906404

Bianca Jagger Founder and Chair, Bianca Jagger Human Rights Foundation Council of Europe Goodwill Ambassador Member of the Executive Director’s Leadership Council, Amnesty International, USA Twitter: @BiancaJagger Facebook: The Bianca Jagger Human Rights Foundation

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THE BIANCA JAGGER HUMAN RIGHTS FOUNDATION The BJHRF is dedicated to research, education and advocacy. The Foundation has already made a significant impact in several vital areas.

Death penalty: in my role as Founder and Chair of the Foundation I have appealed for clemency on behalf of numerous prisoners on death row. Since its inception, the BJHRF has been calling for the worldwide abolition of capital punishment.

Climate change: the BJHRF addresses this issue through research, advocacy, media campaigns, and participation at global climate conferences. The BJHRF is calling for a comprehensive, just, legally binding treaty, the investment and transfer of technology to developing countries, adequate adaptation and mitigation mechanisms and implementation measures, and a REDD agreement with safeguards for tribal and indigenous peoples’ rights. The BJHRF will be at COP17 in South Africa.

Protection of the environment and the rights of indigenous and tribal peoples is critical to the survival of the remaining forests, biodiversity, and the planet.

Indigenous peoples are the natural custodians of the lands and forests where they live, eat, and work. To involve them in conservation is not only a historic responsibility; it is an act of self-preservation. Defence of the environment and the rights of indigenous people are at the heart of the mandate of the Bianca Jagger Human Rights Foundation.

Defending the rights of women and children: The BJHRF campaigns against the abhorrent practice of human trafficking. I have collaborated with Christian Aid, and consulted with grassroots organisations to raise awareness of the trafficking of women and children in India. I have worked with Sanlaap and the Sneha Affection Shelter which houses children rescued from trafficking, who are living with HIV and AIDS. Crimes Against Present and Future Generations: The BJHRF has been working with Professor Otto Triffterer Former Dean of the Law Faculty of the University of Salzburg and Editor of the Commentary of the Rome Statute of the International Criminal Court, to draft a definition of Crimes Against Present and Future Generations.

The BJHRF is a small organisation, with a dedicated team. Since its inception we have had the invaluable pro bono support of human rights lawyers, the generosity of academics who donate their expertise, and volunteers who give their time. It has been a pleasure and a privilege to work with Amnesty International, Human Rights Watch, ActionAid and Reprieve. I cannot express my gratitude strongly enough to all those who have helped the Foundation on its way.

I would like to take this opportunity to describe how, with your support, the Foundation can significantly expand its work in four major areas.

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THE DEATH PENALTY As Council of Europe Goodwill Ambassador and Chair of the BJHRF I have campaigned on behalf of numerous prisoners on death row over the past twenty years. In 2000 I witnessed the execution of Gary Graham, an innocent man, in Texas, who was under 18 years of age when he was sentenced to death. I have petitioned Governors and testified before and petitioned State Boards of Pardon and Paroles, led media campaigns, given lectures and speeches, and written articles appealing for clemency for individual prisoners. With more resources, The BJHRF could widen the scope of its campaigns for prisoners on death row, and the worldwide abolition of the death penalty.

Recently I advocated on behalf of Troy Davis, an innocent man who was executed in the state of Georgia, USA, on the 21st of September 2011. I appealed to the Board of Pardons and Paroles, and published two articles in the Huffington Post.¹ I raised awareness through social media, and led the “Too Much Doubt” Twitter campaign with Amnesty International.

Troy Davis should never have been executed. The US judicial system failed to establish his guilt beyond reasonable doubt. His execution, under those circumstances, was an appalling miscarriage of justice. The similarities between Gary Graham’s and Troy Davis’s cases are shocking. I am sickened by the thought that another innocent man was executed.

Over the years I have witnessed the state machinery of death at work, selectively killing people because they are poor, members of a minority and cannot afford adequate legal counsel. Capital punishment is nothing less than state-sanctioned murder.

With increased funding, our campaign on behalf of prisoners on death row could be more effective. We could continue to raise awareness about their individual cases, carry out more ground level advocacy to mobilise more public support for those facing execution. We could visit them on death row and speak out on behalf of more prisoners than we currently are able to do. We could use media and social networking more effectively, and campaign more vigorously for the worldwide abolition of the death penalty.

CRIMES AGAINST PRESENT AND FUTURE GENERATIONS The BJHRF advocates for the extension of the International Criminal Court’s jurisdiction, to cover Crimes Against Present and Future Generations that are not already proscribed by the ICC’s Rome Statute as Crimes Against Humanity, War Crimes, or Crimes of Genocide. With more resources, the Foundation could continue to work with legal experts and scholars to develop a legal definition and framework of Crimes Against Present and Future Generations; and continue to strive for the establishment and reinforcement of new and existing binding treaties and mechanisms in national and international law.

Some of the worst environmental disasters and human rights abuses happening in the world today are caused by the irresponsible actions of multinational corporations.

In their irrational pursuit of our planet’s natural resources, they have destroyed 1. http://www.huffingtonpost.com/bianca-jagger/bianca-jagger-troy-davis_b_969299.html and http://www.huffingtonpost.com/ bianca-jagger/troy-davis-clemency-_b_972227.html

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ecosystems, wiped out precious biodiversity, fauna and flora, and endangered the livelihood of communities worldwide. Some companies are putting at risk the survival of present and future generations, and contributing to catastrophic climate change.

The BJHRF aims to bring the rights of present and future generations to the centre of policy-making, and to develop a legal framework that will enable us to hold accountable CEOs and management of companies committing human rights abuses and environmental destruction.

PROTECTION OF THE ENVIRONMENT, AND THE RIGHTS OF INDIGENOUS AND TRIBAL PEOPLES The BJHRF will broaden its campaign for sustainability and for critical reforms to our model of development, encompassing principles of justice, respect for human rights, good governance, accountability, and environmental protection. The funds raised during the ‘Arts for Human Rights’ Gala Auction will enhance our capacity to campaign for the protection of the environment, on behalf of present and future generations, and the rights of indigenous and tribal peoples.

The Brazilian government has plans to build over 60 dams in the Amazon region.

There are grave concerns that there has been no proper assessment of sustainability, and the long term impacts of such a colossal project. Philip M. Fearnside states that ‘The … dams planned upstream (including the Altamira/Babaquara Dam) indicate the need for Brazil to reform its environmental assessment and licensing system to include the impacts of multiple interdependent projects.’ The dams will contribute to climate change by facilitating the destruction of vast areas of Amazonian rainforest and increasing the release of dangerous greenhouse gases. The downstream impact on reliable water resources is likely to be severe and there are concerns that megadams will increase the risk of drought in the Amazon, drying out the forest and reducing its long term ability to safely store millions of tonnes of carbon. The area where the dams are planned is currently home to 400,000 indigenous peoples, whose livelihoods will be directly threatened. The human and environmental consequences of the dams will be devastating.

This project must not go ahead. It is unthinkable that the way of life of tens of thousands of peoples and a vast, irreplaceable natural resource should both be destroyed in the name of progress. I hope that ‘Arts for Human Rights’ can generate enough revenue to support the indigenous communities whose livelihoods are at stake, with an effective advocacy and media campaign. This would demand field visits and research in the Amazon, close liaison with local communities, grassroots organisations, and with government officials.

The BJHRF has been campaigning on behalf of the Kondh tribe, to save the mountain of Niyamgiri, in Orissa, India, which is threatened by a proposed bauxite mine by British mining giant, Vedanta. The lush forests of Niyamgiri are a pristine ecosystem, identified by the Wildlife Institute of India as being of ‘great conservation significance.’ The mine would threaten the social, economic and cultural survival of the Kondh people, and irreparably damage the environment in the region.

In 2010 I visited Niyamgiri, the site of the proposed mine, where Vedanta’s existing refineries have already had terrible human and environmental consequences. I was shocked, and saddened by what I saw. I have written numerous articles about the

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plight of the Kondh, including ‘The Battle for Niyamgiri,’ for the Observer.² After concerted campaigning by the BJHRF in co-operation with Amnesty International and ActionAid, major investors were persuaded to withdraw from Vedanta.³ But the struggle is not over yet. The Kondh, and countless other indigenous and tribal peoples, and other unique irreplaceable ecosystems and environments are at risk. The Kondh’s battle to save their livelihoods illustrates the struggle for survival that tribal and indigenous peoples are facing throughout the world.

CLIMATE CHANGE The BJHRF considers combating climate change to be the overriding moral imperative of our time; not just an environmental threat, but a critical human rights issue which impacts every aspect of our lives. Raising awareness about climate change is a priority. With your help, the BJHRF can broaden the range of its research and advocacy on this urgent issue.

The warnings from our most respected scientists are loud and clear: we have less than a decade left to address the issue of climate change before we reach the “tipping point”, or point of no return. Temperatures are rising, and will continue to rise. Weather patterns across the world are becoming more erratic. Glaciers are melting, and will continue to melt, causing sea levels to rise even higher.

Climate change, if allowed to continue, will affect everyone, everywhere, in every nation and from every socio-economic group, in hundreds of ways: from flash floods to unprecedented droughts; from desertification of productive farmland to the mass migration to already overcrowded cities; from the effects of sea level rises to the acidification of the oceans. It will ultimately threaten the security of nations.

With increased funding the BJHRF can continue to diversify its work, to raise awareness of the impending crisis, to educate and mobilise young people, institutions, business and the public at large; to hold governments accountable, and urge them to fulfil their pledges to reduce carbon emissions. In fact, the climate crisis is also a major opportunity to make a rapid shift away from fossil fuels and towards a world powered by the renewable energy of the sun, the wind, the waves and other renewable sources.

I hope that with your help, we can work towards protecting our future, the fate of present and future generations and the future of all other species on this planet. The wonderful logo that Marc Quinn has designed for the BJHRF expresses it perfectly: we must all together, keep an eye on the world.

2. http://www.guardian.co.uk/environment/2010/jun/13/mining-aluminium-tribes-india-jagger 3. http://www.guardian.co.uk/commentisfree/2010/feb/18/vedanta-mining-battle-plans

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These are some selected areas in which the Bianca Jagger Human Rights Foundation works. For a more detailed description of the BJHRF’s objectives and activity, please contact the Foundation.

Support the work of the Bianca Jagger Human Rights Foundation You can make donations and gifts to the foundation via the handheld devices on the tables, and to the following bank account: For domestic transfers: The Bianca Jagger Human Rights Foundation Coutts & Co Sort Code: 180002 Account Number: 07906404 For international transfers: The Bianca Jagger Human Rights Foundation Coutts & Co 440 Strand London WC2R 0QS Sort Code: 180002 Account Number: 07906404 IBAN Number: GB97COUT18000207906404

CONTACT BJHRF Unit 246 272 Kensington High Street London W8 6ND Fax +44 20 7361 0077 Email Biancajagger1@gmail.com @BiancaJagger The Bianca Jagger Human Rights Foundation The Bianca Jagger Human Rights Foundation (registered charity no. 1117142) is a registered charity in England and Wales.

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The first time I heard about Bianca Jagger was at the time of her marriage to Mick Jagger and of her friendship with Andy Warhol. I was struck by her stunning feline beauty and by how incredibly photogenic she is. Her strong penetrating gaze, not unlike Pablo Picasso’s, are the dominant feature of any photograph she is in. She rapidly became one of the iconic women of our time. When I had the privilege to get to know her a little later I was struck by her loyalty, her sense of friendship coupled with great dignity and reserve. The main revelation was her passionate and deep commitment to the causes of the protection of the environment and to human rights. This, at a time long before it became fashionable. She did this with determination and mostly away from the glare of the spotlight. She never asked a favour from any of her friends.

I was thrilled when Bianca approached me a few months ago to lend our support to ‘Arts for Human Rights’, the first fundraising event for the Bianca Jagger Human Rights Foundation. We are proud to stage the launch event in our premises. It was a pleasure to work with her on the preparations.

It was an equal pleasure to work with Thaddaeus Ropac, Elena Foster and Nadja Swarovski. Thaddaeus, one of Bianca’s closest friends for many years, is not only a highly successful and gifted art dealer and gallerist but he is the ultimate gentleman in the art market. Elena and Nadja are two gorgeous ladies whose charm is matched by their immense brilliance. This demonstrates Bianca’s great talent for knowing how to surround herself with the best and most inspiring friendships and loyalty.

Simon de Pury, Chairman of Phillips de Pury & Company

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I would like to congratulate Bianca Jagger and her Human Rights Foundation for this wonderful initiative, ‘Art for Human Rights,’ of which I am honoured to be Co-Chair with Lady Elena Foster.

Throughout the years of our long friendship, I have been a witness to Bianca’s unwavering commitment and hard work. I have seen her campaigning against the death penalty in the United States, denouncing genocide in Bosnia and child labour in India, speaking out against violence against women and advocating for the rights of indigenous and tribal peoples in far corners of the world: to name just a few of her battles in defence of human rights, civil liberties and environmental protection.

I also know Bianca’s great passion for the arts. It’s inspiring that she has rallied so many important artists to the causes of her Human Rights Foundation.

My hope is that the ‘Art for Human Rights’ Benefit Gala will raise the needed funds to allow the Bianca Jagger Human Rights Foundation to continue its vital work.

Thaddaeus Ropac Paris/Salzburg

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I met Bianca Jagger nearly two decades ago when she came to Madrid to be interviewed about her experience as a human rights campaigner in Bosnia, where she was struggling to stop the atrocities the civilian population were being subjected to. I am impressed by her unwavering commitment to children and women’s rights throughout the world.

Over the years our friendship has became closer and closer, not only because of our common commitment to human rights, but also because of our concern for the environment and our mutual passion for the arts.

The Bianca Jagger Human Rights Foundation stands for human rights, civil liberties, democratic principles and social justice in any country, in any culture, at anytime. Over the last 30 years Bianca has campaigned to raise public awareness in all these areas, denouncing crimes against the most vulnerable members of society.

I admire and respect Bianca Jagger’s work and commitment to justice. Her work has been recognized by multiple prizes, from the Right Livelihood Award in 2004 to the Amnesty International USA Media Spotlight Award for Leadership in 1997, from the World Achievement Award in 2004 to the Green Globe Award by Rainforest Alliance or The American Civil Liberties Union Award, amongst many others.

I am delighted to be the Co-Chair of ‘Arts for Human Rights’ with Thaddaeus Ropac, and to support the first fundraising event organized by the Bianca Jagger Human Rights Foundation. I am certain that this joint venture between Bianca Jagger’s just ideals and the works of major contemporary artists will make a difference and be a memorable success.

Lady Elena Foster

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I was both honoured and excited when Bianca approached Swarovski to support her foundation in this very special first benefit gala and auction at Phillips de Pury. The synergies between the Bianca Jagger Human Rights Foundation and Swarovski’s charitable agenda as well as our involvement with art and design make this a compelling collaboration for us.

We appreciate the mission of the ‘Arts for Human Rights’ fundraising initiative, which harnesses the creativity of some of our most important contemporary artists and designers to help make the world a fairer, safer place.

Artists play an important role in exposing injustice and defending the vulnerable, and it is a privilege to be a Vice Chair of a project that will raise crucial funds to enable The Bianca Jagger Human Rights Foundation to continue in its work defending human dignity, liberty and freedom of expression.

Swarovski is also thrilled to have worked with Marc Quinn to create the Bianca Jagger Human Rights Foundation Award, which will be given for the first time at this inspiring gala evening to individuals who have made an outstanding contribution to human rights, social justice and environmental issues.

We commend Bianca for her vision and passion, and wish her the greatest success and impact with her mission.

Nadja Swarovski

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THE BIANCA JAGGER HUMAN RIGHTS FOUNDATION AWARDS The Bianca Jagger Human Rights Foundation will be presenting awards to two inspiring figures at the Arts for Human Rights Gala, in honour of their outstanding contribution to human rights, social justice, and protection of the environment.

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AI WEIWEI

The renowned artist Ai Weiwei, who was unjustly incarcerated by the Chinese authorities, will receive the ‘Bianca Jagger Human Rights Foundation Award for Courage’ in recognition of his heroic dedication to free speech and democratic principles.

Ai Weiwei has been fearless in speaking up for civil liberties. As he said in an interview on April 1st, 2011, in China “people with different minds and voices are being thrown into prison…

Writers, artists, and commentators on websites are detained or thrown into jail when they reflect on democracy, opening up, reform and reason.”¹ Two days later, on the 3rd of April, Ai Weiwei was detained by Chinese authorities. His unjust imprisonment lasted 81 days. Although no longer in jail, the artist has been placed under bail conditions. The BJHRF continues to campaign for his unconditional freedom. Please sign the petition at http://www.thepetitionsite.com/1/bianca-jagger-human-rights-foundation-appealsfor-the-immediate-release-of-ai-weiwei.

Ai Weiwei is on the 2011 TIME 100 poll of the most influential people in the world.² TIME cites the “compassion” he has shown for his fellow citizens, and how he has “spoken out for victims of government abuses, calling for political reforms to better serve the people. It is very sad,” TIME says, “that the Chinese government has seen a need to silence one of its most innovative and illustrious citizens.”

Ai Weiwei is a hero for free speech. It is his courage that is the inspiration behind ‘Arts for Human Rights.’

1. www.guardian.co.uk/artanddesign/2011/apr/11/ai-weiwei-china-last-interview 2. http://www.time.com/time/specials/packages/article/0,28804,2066367_2066369_2066464,00.html #ixzz1Zk47XA3b

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CHIEF ALMIR NARAYAMOGA SURUI

Chief Almir Narayamoga Surui, Chief of the Gamebey Clan of the Suruí People of Rondônia in Brazil, will be presented with the ‘Bianca Jagger Human Rights Foundation Award for Leadership’ in recognition of his visionary leadership of the Surui people, and his courageous struggle in defence of their ancestral land, in the Amazon.

The BJHRF recognises and honours Chief Almir’s commitment to the protection of the environment, and to the survival of his people.

Chief Almir is a pioneer, who has led the Surui with great wisdom and courage. In 2009 Chief Almir forged a relationship with Google, who provided the Surui with smartphones, from which photos and videos are geo-tagged, and immediately uploaded to Google Earth. The tribe used the phones not only to create a cultural history, with stories from the tribe’s elders on youtube, but to record environmental abuses and illegal logging on their land, to show the world what was happening to its most precious resource.

Chief Almir is a hero: faced with death threats from illegal loggers who want to plunder the Surui forests, from proponents of the mega-dam project that threatens huge tracts of the Amazon across Brazil, he refuses to back down. “There’s a price on my head,” says Chief Almir, “somewhere in the forest, someone is planning an ambush.”¹ Undeterred by the threats, Chief Almir maintains that the Surui are the best custodians of their land.

“Illegal deforestation – carried out by loggers, ranchers, miners and intruders on indigenous territories,” says Chief Almir, “destroys the forest trees, kills birds by destroying their nests, kills animals that live off the fruits that grow there, and threatens indigenous peoples that live in forests and depend upon them. My people, the Surui Paiter, are living proof of what I say.

We have long suffered the wrongful acts of loggers that steal our forests and threaten to kill our leaders.”²

1. http://www.socioambiental.org/nsa/detalhe?id=3373 2. http://lougold.blogspot.com/2011/09/flooding-and-stealing-our-future.html

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Thanks First, I would like to thank all the artists, for their generous donations of the spectacular art works you will find in the catalogue: Their contribution is invaluable to the Bianca Jagger Human Rights Foundation and means a great deal to me.

I would like to express my deep gratitude to Marc Quinn for his generous support and for creating the beautiful and meaningful logo for the BJHRF. The Foundation and I are forever indebted to you.

My heartfelt gratitude goes to my dearest friend Thaddaeus Ropac for his unwavering support of the BJHRF. His guidance has been instrumental in making ‘Arts for Human Rights’ a reality. It is a pleasure and a privilege to have him as Co-Chair.

I would also like to thank my dear friend, Elena Foster, for her support of the BJHRF. It is a pleasure and a privilege to have her as Co-Chair of ‘Arts for Human Rights’. Her involvement is invaluable to the BJHRF and means a lot to me.

I’m deeply grateful to my friend Simon de Pury, ‘Arts for Human Rights’ could not have taken place without his invaluable support and generosity. The BJHRF is very fortunate to count on his expertise and legendary talent.

I am very grateful to Nadja Swarovski for her generous sponsorship of the event, and to Swarovski for the exquisite crafting of the Bianca Jagger Human Rights Foundation Award.

Her support is invaluable to the BJHRF and to me.

I am deeply grateful to Jon Snow for agreeing to be the patron of ‘Arts for Human Rights’ his support is invaluable to the BJHRF and means a great deal to me.

I am very grateful to Vice Chairs of ‘Arts and Human Rights’ Nadja Swarovski, Jane Holzer and Mario Testino. They have my love and gratitude for all their help.

I would also like to express my deep gratitude to the trustees of the BJHRF, Baroness

I would also like to thank the following companies for their generous support of ‘arts for human rights’:

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Helena Kennedy QC, Mark Stephens CBE, Prof. Maritta Koch-Weser, Prof. Julia Häusermann MBE and Barrie Collins, whose help and advice have been inestimable to the BJHRF throughout the years.

I would also like to thank the staff at Phillips de Pury, in particular Giulia Costantini and Fiona McGovern for their tireless work and commitment to making ‘Arts for Human Rights’ a success.

I owe my gratitude to the Staff at Galerie Thaddaeus Ropac in Paris and in Salzburg, in particular, Victoire de Pourtales, Ulrike Neutatz, Markus Korman, Xaver von Mentzingen, and Alessandra Bellavita, whose assistance has been vital in the organisation of ‘Arts and Human Rights’.

I would like to thank Roger Aiken and the team at Stephen Morris Shipping, for their vital role in safely and efficiently transporting all the art.

I am very grateful to Stephane Baschiera at Veuve Clicquot and Moët Hennessy UK for their generous donation of champagne and wine.

I am very grateful to The Macallan for their generous donation.

Many thanks to Guerlain for their generous donation.

I am very grateful to Timothy and Asako d’Offay for their contribution to the success of the evening.

Thank you to Hada del Café and Patchi chocolates.

This list would not be complete without extending my deepest gratitude to the BJHRF staff and interns for their dedication and hard work in organising ‘Arts for Human Rights’.

Postcard Teas

ACKNOWLEDGEMENTS ‘Arts for Human Rights’ could not have been possible without the support of my esteemed friends:

Patron

Jon Snow EVENT Chairs

Lady Elena Foster and Thaddaeus Ropac Vice Chairs

Nadja Swarovski, Jane Holzer and Mario Testino

Honorary Benefit Committee Kate Allen Director, Amnesty International UK Cherif Bassiouni Emeritus Distinguished Research Professor of Law Peter Bennett Founder and Executive Director, Rainforest Concern Antoine Bernard Chief Executive Officer, FIDH Frances Cairncross CBE Rector of Exeter College, University of Oxford Simon Counsell Director, Rainforest Foundation Larry Cox Executive Director of Amnesty International USA Richard Dieter Executive Director, Death Penalty Information Center Bo Ekman Founder and Executive Chair, Tallberg Foundation Eric M. Freedman Professor of Constitutional Law Herbert Girardet Author, Film maker, Environmentalist Prof. Julia Häusermann MBE Founder and President, Rights and Humanity John Hemming World Leading Expert on Brazilian Indians and the Amazon Kate Hudson General Secretary, CND Benjamin Todd Jealous President, NAACP Jude Kelly Artistic Director, Southbank Centre Baroness Helena Kennedy QC Principal of Mansfield College, Oxford Prof. Dr. Margrit Kennedy Environment and Financial Expert Eleanora Kennedy Director, Shana Alexander Foundation Ashok Khosla President of IUCN, Co-President of The Club of Rome Dr. Maritta Koch-Weser Founder and President, Earth 3000 David Krieger President, Nuclear Age Peace Foundation Lord Lester of Herne Hill QC Jeff G. Madrick Author and Senior Fellow, Roosevelt Institute Noel Malcolm Historian Patrick McGhee Vice Chancellor, University of East London Bill McKibben Co-Founder, 350.org Edward Mortimer CMG Senior Vice President, Salzburg Global Seminar Sir Ghillean Prance Scientific Director, Eden Project Barbara Pyle Founder, Barbara Pyle and the Captain Planet Foundation Michael Ratner President, Center for Constitutional Rights Geoffrey Robertson QC Founder and Head, Doughty Street Chambers Ken Roth Executive Director, Human Rights Watch Nawal El Saadawi Author, Physician and Psychiatrist Philippe Sands QC Professor of Law, UCL

William Schabas Professor of International Law and Human Rights Law Dr. Vandana Shiva Environmentalist, Founder of Navdanya International Avi Shlaim Professor of International Relations, St. Antony’s College, Oxford Clive Stafford Smith Founder and Legal Director of Reprieve Mark Stephens CBE Chairman of Governors at the University of East London Chief Almir Narayamoga Surui Amazonian Tribal Leader Yifat Susskind Executive Director, Madre Kaarin Taipale Arts Council of Finland Fellow, Architect and Urban Researcher Pauline Tangiora Maori leader Virgilio Viana Director General, Amazonas Sustainability Foundation David Wasdell Director, Apollo-Gaia Project Beate Weber Former Mayor of Heidelberg Dr. Marc Weiss Chairman and CEO, Global Urban Development

Honorary Arts Committee Gioconda Belli Award winning Author Jaka Bizilj Founder, Cinema for Peace Sir David Chipperfield Harun Farocki Artist and Filmmaker Sir John Eliot Gardiner Founder and Music Director, Monteverdi Choir and Orchestra Jade Jagger Designer Jay Jopling Founder, White Cube Gallery Jessye Norman Opera Singer Lord Norman Foster Hans Ulrich Obrist Co-Director, Serpentine Gallery Antonio Pappano Musical Director, Royal Opera House Julia Peyton-Jones Co-Director, Serpentine Gallery Sir Simon Rattle Chief Conductor, Berliner Philharmonic Will Roberts “A Modern Day Will Rogers” Taco Ruighaver Director, Movies That Matter Foundation Sting Trudie Styler

Film makers Udi Aloni Joe Berlinger Arnaud Gaillard Bryan Single Marcus Vetter Marc Wiese Leslie Woodhead OBE

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With special thanks to

Alex Katz Anselm Kiefer Antony Gormley Francesco Clemente GHAZEL Jason Martin Jules De Balincourt Lisa Ruyter Marc Brandenburg Marc Quinn Martin Creed Mustafa HUlusi Not Vital Raqib Shaw Ross Bleckner Sir David Chipperfield Sylvie Fleury Terence Koh Tracey Emin Yoko Ono

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LIVE AUCTION Lot 1 Work No. 1270, 2011, by Martin Creed Lot 2 Shield, 2001–02, by Sylvie Fleury Lot 3 Matrix with Light, 2009, by Antony Gormley Lot 4 Human Rights, 2011, by Ross Bleckner Lot 5 An Ode to the Dissolving Silk of Dusk, 2011, by Raqib Shaw Lot 6 Exiting the Caves, 2009, by Jules de Balincourt Lot 7 Silence and Song, 2010, by Francesco Clemente Lot 8 Leonardo Pisano, Liber Quadratorum, Liber Abacia, Pratria Geometria, 2008,

by Anselm Kiefer Lot 9 Abstract Rose 5, 2011, by Mustafa Hulusi Lot 10 Frontière, 2011, by Jason Martin Lot 11 GOD (Dirty in the Blind, Number 3), 2007, by Terence Koh Lot 12 Planet (Atlantic perspective (AJ200R6785)), 2011, by Marc Quinn

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1

Martin Creed b. 1968

Work No. 1270, painted in 2011, belongs to a series of paintings by the

Work No. 1270, 2011 Acrylic on canvas 30.5 × 25.4 cm (12 × 10 in)

British conceptual artist Martin Creed, all of whose works are titled simply

Estimate £15,000–20,000

by consecutive numbers. In the present work, he uses blocks of colour to create the outlined geometric forms. Each rectangle is painted with horizontal brushstrokes, laying one bold colour over the other creating a simple composition. The lines are not masked off, imperfections are not corrected; they reflect the simplicity of the decisions that structure them.

In this work, Creed is faithful to his idea of art being “just things in the world, usually an arrangement of colour and shapes”, while it is the people’s reaction that takes it to a different level. about the artist

Martin Creed currently lives and works in London and in Alicudi, Italy.

He is well known for his submission for the 2001 Turner Prize show at Tate Modern, Work No. 227, the lights going on and off, which won that year’s prize.

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2

Sylvie Fleury

b. 1961

Shield, 2001–02 Neon 80 × 325 cm (31 1/2 × 128 in) This work is from an edition of 2 Estimate £15,000–20,000

Shield, executed in 2001–02, is a work by the Swiss post-Pop artist Sylvie Fleury in which a neon installation displays the word ‘shield’. The artist regularly uses slogans in her work, often borrowed, with the view of renewed and enriched interpretation through the act of transposition.

Critics have labelled Fleury’s work ‘post-appropriationist’, as it would appear she has borrowed the visual vernacular of every major artist of the modern age. The various influences on her work reveal an interest in installations, multiples (from Beuys to Warhol) and sculpture. Fleury references artists from Joseph Kosuth to Jenny Holzer, Marcel Duchamp to Donald Judd. about the artist

Sylvie Fleury works in mixed media and sculpture. Her work addresses the issues of consumption, glamour, and more recently, the cosmos. Fleury became the key figure of the underground art scene in Geneva in the late 1980s. Her work can be read as an ongoing commentary, in various media, on 20th-century art and a post-modern society comprised of consumers of fads, be they intellectual or superficial.

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3

Antony Gormley

b. 1950

Matrix with Light, 2009 Carbon and casein on paper 77 × 111 cm (30 1/3 × 43 2/3 in) Estimate £8,000–12,000

In Matrix with Light, Gormley continues his career-long conceptual deconstruction of space. The artist, who has been inspired by the theories of quantum physics, depicts a matrix that is reminiscent of a star constellation, where points are connected with lines creating geometric forms. The use of light grey gives the work an airy quality and helps create the perception of three-dimensional space within the flat surface. about the artist

Antony Gormley, the Turner Prize winner in 1994, is well-known for his exploration of the relationship between the human body and space, and his treatment of the body as a focus of memory and transformation. Gormley studied Buddhist meditation in India and Sri Lanka in the early 1970s, and he brings into his own work the influence of the Indian sculpture in which is to be found a profound expression of the ideals of man in relation to the world. Often casting his own body, the artist uses his own existence as a test ground in his attempt to convey to the viewer his belief of the inseparability of the spiritual and physical selves.

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4

Ross Bleckner

b. 1949

Human Rights, 2011 Oil on linen 81.3 × 40.6 cm (32 × 16 in) Estimate £10,000–15,000

Ross Bleckner investigates the themes of change, loss and memory in his art. Human Rights, painted in 2011, depicts flowers using a loose, painterly technique. Flowers became a very popular subject in the artist’s work as he explores the recurrent themes – transience of beauty and the fragility of life. The title of this work gives it a political charge and shows the artist’s concern with the world’s affairs. about the artist

Ross Bleckner, born in New York City, where he lives and works today, received a Master of Fine Arts from CalArts in 1973. A major retrospective of his work was held at The Solomon R. Guggenheim of Art, New York in 1995. Bleckner has been extensively involved in philanthropy and has been working with United Nations who awarded him with the title of the Goodwill Ambassador in 2009.

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5

Raqib Shaw b. 1974

An Ode to the Dissolving Silk of Dusk is a characteristically exuberant work

An Ode to the Dissolving Silk of Dusk, 2011 Watercolour, acrylic, enamel, glitter and rhinestone on paper mounted on wood 83.3 × 110.6 cm (32 4/5 × 43 1/2 in)

of the Indian artist Raqib Shaw. In this piece, Shaw uses an opulently

Estimate £120,000–180,000

coloured composition to portray a fantastical world abundant with flowers, plants, panthers, snakes and hybrid creatures. The work is full of elaborate details that are thinly painted in the style reminiscent of Hieronymus Bosch (c. 1450 –1516). The artist plays on the contrast between an extremely decorative presentation extrapolated with the use of glitter and rhinestone and the gruesome scenes of animals in the process of hunting and feasting on their victims. about the artist

Raqib Shaw, born in Kashmir, gained his MA in Fine Art from Saint Martins College of Art and Design, London. His work takes inspiration from various sources, including Japanese screens, kimono textiles, Hokusai prints, Kashmiri shawls, Persian carpets and jewellery, as well as European Baroque paintings. Shaw has exhibited internationally with solo shows at Tate Britain (2006) and the Metropolitan Museum of Art, New York (2009).

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6

Jules De Balincourt Exiting the Caves, 2009 Oil and acrylic on panel 68.6 × 83.8 cm (27 × 33 in) Estimate £30,000–40,000

b. 1972

Exiting the Caves, painted in 2009 by the French-born, New York-based artist Jules de Balincourt, seamlessly combines abstraction and figuration in the artist’s typical style. He paints directly from life, without the use of sketches or photographs, here with the addition of the bright magenta paint his work becomes highly expressive. The artist shares with the spectator his direct experience of the world. about the artist

De Balincourt lives and works in Brooklyn, New York. His work has been exhibited internationally in galleries and museums, including the Musée d’Art Moderne and the Palais de Tokyo in Paris, the Mori Museum in Tokyo, MoMA in New York, and The Royal Academy in London. His work is also featured in prominent collections, including the Saatchi Gallery in London, the Brooklyn Museum, New York, and MoCA in Los Angeles.

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7

Francesco Clemente b. 1952

Born in 1952, the Italian painter Francesco Clemente has had a long and

Silence and Song, 2010 Watercolour 114.3 × 114.3 cm (45 × 45 in)

successful career inspired by his international travels and artistic

Estimate £40,000–60,000

collaborations. A key figure in the Italian avant-garde of the 1970s, Clemente forged an individual path influenced by folklore and mysticism and by his simultaneous rejection of Conceptual art. Silence and Song is a tranquil watercolour featuring the artist’s characteristic layering of colours and shapes, gently applied and emerging quietly from the paper. The symbolism of the metal fence merging with the outline of a jumping fish and flying dove, hints at captivity and freedom, silence and song, and is emblematic of the artist’s inspiration from poetry. about the artist

Clemente’s work has been featured in leading international galleries including the Metropolitan Museum of Art in New York, the Royal Academy of Arts in London, and the Centre Georges Pompidou in Paris. He was the subject of a major retrospective in 1999/2000 at the Solomon R Guggenheim Museum in New York and Bilbão. He has collaborated with leading artists including Jean-Michel Basquiat and Andy Warhol as well as writers including Allen Ginsberg and Salman Rushdie. Today, Clemente divides his time between India and New York.

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8

Anselm Kiefer b. 1945

The art of Anselm Kiefer is a highly symbolic one that gives shape, on an

Leonardo Pisano, Liber Quadratorum, Liber Abacia, Pratria Geometria, 2008 Oil and pencil on photo collage 149 × 89 cm (58 3/5 × 35 in)

epic scale at times, to the burden of the past. In the words of Simon

Estimate £80,000–120,000

Schama, Kiefer’s work makes “history obstinately material, laid down in dense, sedimentary deposits that demand patient, rugged excavation”.

Kiefer’s works can sometimes appear abstruse, but, as with this work, the use of text declares its intent. The title of this work is clearly inscribed towards the top, and refers to the important Medieval Italian mathematician Leonardo Pisano (c. 1170 – c. 1250) – better known as Fibonacci and for introducing the Fibonacci sequence of numbers to Europe – and three of his books, Liber quadratorum (1225), Liber abbaci (1202) and Practica geometriae (1220). Here, as in many of his monumental paintings and sculptures based on myth or poetry, Kiefer uses a range of media to achieve a rough, textured and expressive meditation on European cultural history. Ostensibly less about Germany’s Nazi past, which much of his work was about until more recent years, this important work builds on his arcane interests in philosophy, the Kabbalah and heritage of Pythagoras. about the artist

Anselm Kiefer was born and raised in post-war Germany. He now lives and works in France, in his studio in Barjac in the south since 1993 and in Paris from 2008. He has exhibited worldwide, with shows at, among many other galleries and museums, MoMA and The Metropolitan Museum in New York, the Neue Nationalgalerie in Berlin, twice at the Royal Academy of Arts in London, the Guggenheim Museum in Bilbao, and the Louisiana Museum of Modern Art in Denmark.

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9

Mustafa HUlusi

b. 1971

Abstract Rose 5, 2011 Diptych: oil and acrylic on canvas Each canvas: 50.8 × 35.6 cm (20 × 14 in) Estimate £10,000–15,000

Abstract Rose 5 is a poignant and characteristic work by British artist Mustafa Hulusi from his series of paintings on the theme of abstraction and realism. The two canvases, presented as a diptych, present two distinct scenes: on the left an Op-Art style abstraction, on the right a hyperrealist floral still life. Inspired by the natural beauty of his native Cyprus and fired by his interest in traditional Islamic art, Hulusi sees his artworks as open to interpretation with his highest aim being to arrest the viewer with the hypnotic beauty of the piece. about the artist

Mustafa Hulusi lives and works in London, and is represented by Max Wigram Gallery. His work has been included in major shows at Whitechapel Art Gallery, London and in the acclaimed Newspeak: British Art Now at Saatchi Gallery, London. He represented Cyprus at the Venice Biennale in 2007, and his work is featured in important international collections including the Zabludowicz Collection, the Saatchi Collection and the British Council Collection.

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10

Jason Martin

b. 1970

Frontière, 2011 Oil on aluminium 176 × 156 cm (69 1/3 × 61 2/5 in) Estimate £20,000-30,000

In Frontière, Jason Martin has used layers of oil that he has dragged, using the movement of his own body, across a hard aluminium surface in a repeated and continuous action to achieve a dynamism and an illusion of depth. The use of waves and swirls, and the vibrant monochrome colour that enhances the depth of the painting, all make the work seem threedimensional and put it somewhere between the medium of painting and sculpture. Frontière carries hints of silver and grey in the centre in order to create the light-catching effect and make the work the landscape of light.

The piece resembles a beautiful silk fabric that draws in the viewer and evokes a contemplative mood, in much the same way as Abstract Expressionist paintings do. about the artist

Jason Martin is a British artist who lives and works in London. As well as Abstract Expressionism, his work draws upon Minimalism. He is represented by Lisson Gallery in London and his work is held in numerous public art collections including the Government Art Collection in the United Kingdom, the Hirshhorn Museum, Washington, DC, and Denver Art Museum in the USA, and many collections across Europe.

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11

Terence Koh b. 1980

GOD (Dirty in the Blind, Number 3) belongs to a series of paintings from

GOD (Dirty in the Blind, Number 3), 2007 Mixed media painting done in a trance induced by hallucinations and visions of “God”, acrylic, artist’s sweat, tears and fears on plastic canvas.

215 × 240 cm (84.6 × 94.5 in)

2007 by Canadian artist Terence Koh. This series was created over the period of one week, when the artist spent every night in a dark sequestered room painting directly onto the walls using a wide spectrum of media ranging from traditional acrylic paint to the artist’s sweat and tears. As a result, the present expressive work embodies the freedom of body and mind that the artist reached in the process of creation.

Estimate £25,000–35,000 about the artist

Terence Koh was born in Beijing and now lives and works in New York City.

He is best known for his monochromatic multimedia installations. His work has been exhibited in solo shows in major museums, including Schirn Kunsthalle, Frankfurt and Whitney Museum of American Art, New York.

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12

Marc Quinn

b. 1964

Planet (Atlantic perspective (AJ200R6785)), 2011 Oil on canvas Diameter: 198.5 cm (78 1/8 in) Estimate £80,000–120,000

Planet (Atlantic perspective (AJ200R6785)), painted in 2011, is a work by the renowned British artist Marc Quinn that depicts the iris of a human eye in gigantic scale, streaked and spotted, full of bright colour. It belongs to a series of circular paintings that the artist started in 2009, each depicting the enlarged human eyeball. In Planet, the iris becomes the oceans of our world – the blurring of the micro and the macro, like the artist’s DNA portraits, show the interconnectedness of all nature and our place in it.

In the context of human rights, the eye on the world becomes a metaphor for the vigilance such concerns necessitate. Eyes interest Quinn for being on both the internal and external of a person’s body. The radically enlarged iris exists on the borders of abstraction and figuration, and of embodiment and disembodiment. Essentially, Planet is a celebration of the beauty and mystery of existence and our place in nature. about the artist

Marc Quinn lives and works in London. He has exhibited in major museums around the world including solo shows at Tate in London, MACRO in Rome (2006), and Fondation Beyeler in Basel (2009). Quinn was awarded the Golden Lion at the 50th Venice Biennale (2003).

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silent AUCTION Lot 13 Laying down, 2011, by Tracey Emin Lot 14 Promise Piece II, 2010, by Yoko Ono Lot 15 Heart, 2007, by Not Vital Lot 16 Flower Drum Song, 2008, by Lisa Ruyter Lot 17 Untitled, 2011, by Marc Brandenburg Lot 18 Yarrow, 2003, by Alex Katz Lot 19 Model of the Seoul International Finance Centre, South Korea, 2004,

by Sir David Chipperfield Lot 20 The Lifespan of a Ballpoint Pen, 2011, by Ghazel Lot 21 Blossom chandelier, 2002, by Tord Boontje, for Swarovski

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13

Tracey Emin b. 1963

Laying Down is a monoprint work by British artist Tracey Emin, in which

Laying down, 2011 Monoprint on paper 15.2 × 19.5 cm (6 × 7 2/3 in)

she depicts a naked woman lying down on her bed in a sexual pose. The

Estimate £3,000–5,000

female has an ambiguous presence: she could be either relaxed or in the state of fear. This work is a great example of the sexually provocative work that the artist is known for. Emin frequently reveals the intimate details from her own life in order to engage the viewer with the expression of universal emotions and create an intimate relationship with the public.

Through her works, from painting and drawing, to videos, installations and photography, to needlework and appliquéd blankets, the artist reveals her hopes, humiliations, failures and successes. She produces candid and, at times, excoriated work that is frequently both tragic and humorous. about the artist

Tracey Emin lives and works in London. In 2007, she represented Britain at the 52nd Venice Biennale, was made a Royal Academician and awarded an Honorary Doctorate from the Royal College of Art, London. Her major solo exhibition recently took place at The Hayward Gallery, London where every period of her career was presented.

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14

Yoko Ono

b. 1933

Promise Piece II, 2010 Vinyl on acrylic 17.8 × 11.4 × 2.5 cm (7 × 4 1/2 × 1 in) The work is from an edition of 67 Estimate £2,000–3,000

Promise Piece II is a work by American Japanese artist and peace activist Yoko Ono that is one of the sixty-seven puzzle pieces of a massive sevenfoot-tall original mural. Depicting fluffy white clouds against a clear blue sky, it represents one of the million people worldwide who suffer autism.

This work conveys a message of unification in representing a small piece of something bigger. It asks people to work together to raise awareness, funds for research, and advocates support for the families affected by the disorder. Calling it her “mural of determination,” Ono’s intention is that once a cure for autism is found, all sixty-seven pieces will be rejoined for a day so that the sky will be “shimmering in its original beauty with no holes”. about the artist

Yoko Ono lives and works in New York. In 2009 she was awarded the Golden Lion Award for her Lifetime Achievement at the Venice Biennale and the Hiroshima Art Prize.

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15

Not Vital

b. 1948

Heart, 2007 Bronze 6 × 11 × 9 cm (2 1/3 × 4 1/3 × 3 1/2 in) This work is from an edition of 25 Estimate £7,000–9,000

Not Vital is a leading Swiss sculptor and installation artist who lives and works globally, currently dividing his time between New York, Beijing, Lucca, Switzerland and Niger. As such, his artworks are enriched by his nomadic lifestyle and often relate to nature, the environment, life and death. Heart is a distinctive work by the artist: simple in its creation, the cast bronze of a life-size heart, appears heavy and alluring, yet its shape is pseudo-surrealist and abstract. about the artist

Vital was born in 1948 in Sent in the Engadin valley, Switzerland. His artwork has been displayed at leading galleries worldwide including MoMA, New York, and a solo show at the Venice Biennale in 2001.

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16

Lisa Ruyter

b. 1968

Flower Drum Song, 2008 Acrylic on canvas 120 × 120 cm (47 × 47 in) Estimate £6,000–8,000

Lisa Ruyter’s Flower Drum Song is a painting based on a photograph taken by the artist. Taking photographs during her travels, Ruyter maps her movements around the world and documents her personal development.

The selected images are transcribed onto canvas by first applying the drawing onto it, then mapping out the colours by applying the paint in a structured way and finishing the work with the use of paint pen to sharpen the focus of the image. In this work, by using the abbreviation IAEA (International Atomic Energy Agency) along with the organisation’s logo, the artist conveys her strong feeling towards global issues. Through the use of this subject matter, combined with the vibrant colours and the abstracted drawing, Ruyter produces a powerful work that has its own voice. about the artist

Ruyter lives and works in Vienna. Her work has been exhibited in galleries and museums around the world, including the Museum of Modern Art (2007) and the Whitney Museum of American Art (2000) in New York, and the San Francisco Museum of Modern Art (1999).

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17

Marc Brandenburg b. 1965

Untitled, executed in 2011, is a black-and-white drawing by the German

Untitled, 2011 Graphite on paper 53.5 × 34 cm (21 × 15 1/3 in)

artist Marc Brandenburg that explores the relationship between form and

Estimate £12,000–18,000

formless or control and loss of control. The work depicts a building in the process of collapse into black ash. The attention to detail and the precision used in this work gives it a realistic effect despite the bizarre subject matter that could as well be a scene from a parallel world. about the artist

Brandenburg, who was born in Berlin and grew up in Texas and Germany, shot to fame on the German art scene in the early 1990s with his forceful graphite drawings. His work is included in the collections of MoMA in New York, the Hamburg Kunsthalle and the Frankfurt Museum of Modern Art, among others, and has been exhibited in museums internationally.

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18

Alex Katz

b 1927

Yarrow, 2003 Linoleum cut 100.3 × 72.4 cm (39 1/2 × 28 1/2 in) This work is from an edition of 25 Estimate £1,800–2,200

Yarrow, executed in 2003, belongs to a series of flower works by the American artist Alex Katz. The flowers are usually depicted either in profusion, small clusters, or singly, and in their simplicity of delineation they resemble a child’s drawing. This work is a wonderful example of the artist’s vision of the universe, which he believes to be a “simplified world where life is pleasant and simple”. about the artist

Alex Katz, whose work is highly figurative, has placed himself outside the mainstream of conventional avant-garde practice in which abstraction and chance played key roles. Throughout his career, Katz has been the recipient of numerous awards, including The John Simon Guggenheim Memorial Fellowship for Painting in 1972, and The Queens Museum of Art Award for Lifetime Achievement in 1987. In 2007, he was honoured with a Lifetime Achievement Award from the National Academy Museum, New York.

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19

Sir David Chipperfield b. 1953

Created in 2004, the model represents a competition proposal for the Seoul

Model of the Seoul International Finance Centre, South Korea, 2004 Model: brass and Perspex; case: timber and Perspex 33.5 × 22 × 24.5 cm (13 1/5 × 8 3/4 × 9 1/2 in)

International Finance Centre in South Korea. The plan includes several

Estimate £1,500–2,500

towers to provide commercial office and hotel space on a city block on Youido Island in Seoul. Striking in its simplicity, the multi-level towers are Mondrian-like in their appearance, a classic example of form and function meeting in harmony. about the artist

Sir David Chipperfield is a British architect with offices in London, Berlin, Milan and Shanghai. His modernist creations are driven by a consistent philosophical approach, spanning creative, retail, private and office spaces worldwide. His practice, David Chipperfield Architects, has received numerous international accolades including RIBA, RFAC and AIA awards.

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20

GHAZEL b 1966

The Lifespan of a Ballpoint Pen is a work by Iranian artist Ghazel that

The Lifespan of a Ballpoint Pen, 2011 Ballpoint pen on printed map 70 × 100 cm (27 3/5 × 39 2/5 in)

belongs to a series of drawings on world maps begun in 2010. The work has

Estimate £3,000–5,000

a performance nature to it, as Ghazel draws on a printed map in front of the camera until the ballpoint pen runs out of ink. Symbols of trees and suitcases have been recurrent in the artist’s work, as they help her transmit her poetic message. The artist uses those symbols together with cartography to draw upon the concept of displacement that she and many of her countrymen have experienced. about the artist

Ghazel was born in Tehran, Iran, and now lives and works in Paris having been in France for more than 20 years. Her work has been exhibited in galleries and museums internationally and is featured in, among others, the collections of Centre Pompidou, Paris and MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienna. In 2006, Ghazel was nominated for the Prix Ricard, Paris.

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21

donated by swarovski Tord Boontje b 1968 Blossom chandelier, 2002 Crystal with Aurora Borealis and Roseline 165 × 90 × 145 cm (65 × 35 2/5 × 57 in)

Tord Boontje is renowned for taking inspiration from handicrafts and folk traditions and combining them with technology. Blossom, designed by Boontje for the Swarovski Crystal Palace Collection, is a delicate chandelier of twisted bejewelled blossom branches inspired by interpretations of nature and the emotional qualities of crystal. Working with his distinctive signature of fluid forms derived from nature, Boontje’s

Estimate £10,000–15,000

first chandelier for Swarovski Crystal Palace, Blossom is a sparkling branch inspired by frozen cherry blossom that fizzes exquisite luminescent flowers, petals, buds and starbursts. The artist himself says of Blossom: “Looking at crystal I recognise the floral shapes in the crystal. I like the idea of bringing more emotional qualities to the crystal. I thought of blossom branches for my chandelier design, and the crystal resembles these very well” about the artist

Tord Boontje was born in Enschede, Netherlands in 1968. He first studied industrial design at the Design Academy in Eindhoven (1986–91), and followed this with a Masters from the Royal College of Art in London (1992–94). Boontje lived and worked in London from 1995 to 2005, founding Studio Tord Boontje in 1996, and then moved his home and studio to Bourg-Argental in France. In 2009 he became Professor and Head of Design Products at the Royal College of Art, and continues work at his London-based design studio.

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About Phillips de Pury & Company Phillips de Pury & Company was founded in London in 1796 and is now widely acknowledged to be one of the three leading international auction houses. While shaped by its history and heritage (as the former auction house of Marie Antoinette, Beau Brummel and Napoleon, for example), Phillips de Pury has today chosen to pursue a dynamic and focused path to concentrate on contemporary art and culture.

Headquartered in New York and London, with offices throughout the world, Phillips de Pury hold sales in a selected small number of categories: contemporary art, design, photographs, editions and jewellery. This focus better enables the company to target clients in each collecting category and to offer the highest and most personalised level of customer service. In addition to this core strategy, a new type of sale has been introduced to include Theme Sales for which all departments work together across the categories, the resulting exhibition and sale allowing contemporary culture enthusiasts to broaden their fields of interest.

The company is universally acclaimed for the quality of its visual presentation in catalogues and pre-sale exhibitions, its creative marketing activities and the pioneering vision of Simon de Pury and his team in identifying new collecting trends and in setting numerous auction records. The Phillips de Pury catalogues have set a new standard, with their daring covers, stunning graphics and content, and have been imitated by many other auction houses. The auctions themselves have been noted for their vibrancy, emanating not only from star auctioneer Simon de Pury but also from the visually exciting installations, dynamic locations and theatrical staging of the events.

Through all these efforts, Phillips de Pury has been instrumental in nurturing a new generation of art lovers and buyers, while continuing to thrill established collectors.

The company has carefully extended its reach by adding global representatives in key cities and forging an exclusive partnership with the Saatchi Gallery, where Phillips de Pury has a dedicated exhibition space as well as a presence on its website.

Phillips de Pury has enjoyed immense success in the global marketplace as a result of its chosen direction and is now recognised in today’s often complex and fast-changing cultural world as a force that identifies and determines the significant trends and movements in visual art and design.

THE BIANCA JAGGER HUMAN RIGHTS FOUNDATION

AUCTION TERMS & CONDITIONS OF SALE At the charity dinner on Friday 14th October 2011, entitled ‘Arts for Human Rights’ Phillips de Pury & Company and The Bianca Jagger Human Rights Foundation are offering items for sale via the ‘Live Auction’ and the ‘Silent Auction’ on behalf of certain donors (“Donors”).

Price”), whereupon he shall have entered into and concluded a contract with The Bianca Jagger Human Rights Foundation for the purchase of that auctioned item at the Hammer Price. Phillip de Pury will not collect any buyer’s premium. The purchase price will be the Hammer Price.

All profits from the auctions will be allocated to The Bianca Jagger Human Rights Foundation.

3. All Buyers will be requested to sign for their order while at the event as proof of purchase (“Bidders Proof of Purchase”).

The signed Bidders Proof of Purchase will be given to the Buyer, and one copy retained by The Bianca Jagger Human Rights Foundation. An invoice will then be provided to the Buyer. Unless otherwise agreed, the Buyer is required to pay for a purchased lot immediately following the auction.

Each item has a pre-sale estimate intended as a guide for prospective buyers. The guide prices and auction will be published and conducted in pounds sterling.

The Auctioneer reserves the right to sell any item for a price lower or higher than its stated guide price and may at his discretion, at any time refuse any bid, withdraw any item from the auction or re-offer it for sale if he believes there may be an error or dispute in relation to that item.

Live Auction Simon de Pury (“Auctioneer”), a leading international auctioneer from Phillips de Pury, will be conducting the ‘Live Auction’ for the main art items during the dinner on the evening of 14 October 2011.

You may bid for any item within the catalogue listed in the ‘Live Auction’ section by raising your hand during the auction process in response to the auctioneer’s calls for bids.

You may make a donation to the Bianca Jagger Human Rights Foundation using the hand-held devices available on the dinner tables during the evening.

Silent Auction A ‘Silent Auction’ consisting of further lots will be conducted during the course of the dinner.

You may bid for any item within the catalogue listed in the ‘Silent Auction’ section using the hand-held devices available on the dinner tables during the evening.

Auction Rules 1. The bidder having made the highest bid or offer which is accepted by the Auctioneer will be the buyer (the “Buyer”).

2. The Buyer shall become liable to pay the amount of the bid or offer made on the striking of the Auctioneer’s hammer or having been declared the winning bidder by the Auctioneer (the “Hammer

4. The Bianca Jagger Human Rights Foundation has sole responsibility for billing and collecting payment.

5. Personal cheques and Banker’s Drafts are acceptable if drawn on a UK clearing bank. Cheques and Banker’s Drafts should be made payable to ‘The Bianca Jagger Human Rights Foundation.’

Payment by bank transfer may be sent directly to the The Bianca Jagger Human Rights Foundation. Bank transfer details will be provided on the invoice for purchased items.

6. The Bianca Jagger Human Rights Foundation will accept payment by Visa, American Express or Mastercard credit card to pay for invoices up to £50,000. A handling charge of 2% of the purchase price, or 7% in the case of American Express, will be applied if payment is accepted by this method.

7. Payment by cheque will be accepted at the auction. Payment by credit card will be processed within 24 hours.

8. Without prejudice to any rights The Bianca Jagger Human Rights Foundation (or the Donor) may have, if the Buyer fails to make payment and The Bianca Jagger Human Rights Foundation is not in receipt of the invoiced amount in cleared funds in respect of an auctioned item within 5 days of the auction, The Bianca Jagger Human Rights Foundation may (at its discretion) either store the auctioned item at the Buyer’s cost and risk; or cancel the sale of the auctioned item and resell the auctioned item.

9. In respect of auctioned items where arrangements need to be made with the Donors of those items, the Buyer will be put in contact with the Donor via The Bianca Jagger Human Rights Foundation and the Buyer authorises The Bianca Jagger Human Rights Foundation to disclose their contact details to the Donor in such circumstances.

THE BIANCA JAGGER HUMAN RIGHTS FOUNDATION

10. Risk in any item purchased shall pass to the Buyer at the point of purchase and, for the avoidance of doubt, The Bianca Jagger Human Rights Foundation shall not be liable in respect of any items lost, stolen or damaged whilst they are held in storage. All items will be transferred to Stephen Morris Shipping at Unit 9, Ockham Drive, Greenford Park, Middlesex, UB6 0FD and will be available for collection between 0900 and 1600 Monday–Friday from Monday 17 October 2011.

11. Collection shall be the responsibility of the Buyer and any costs associated with or arising as a result of collection shall be borne by the Buyer.

12. The Buyer shall be responsible for all shipping, insurance cover and other costs relating to any item purchased by him.

An initial transfer administration fee of £20 plus VAT per lot will be applicable. Storage charges will be applicable from Monday 24 October 2011 for any items not collected before that date at the rate of £4.00 plus VAT per day per lot. Insurance is charged at 0.6% of the hammer price plus buyer’s premium.

13. If a purchased item is paid for but not collected within six months of the auction, the Buyer authorises The Bianca Jagger Human Rights Foundation, upon notice, to arrange a resale of the item by auction or private sale. The proceeds of such a sale will be applied to pay for any storage charges and other outstanding costs with the remainder being donated to The Bianca Jagger Human Rights Foundation. For the avoidance of doubt, The Bianca Jagger Human Rights Foundation shall not be obliged to reimburse the original Buyer.

14. The bidders acknowledge that The Bianca Jagger Human Rights Foundation’s knowledge in relation to the auctioned items is dependent upon the information provided to it by the Donor and no due diligence has been carried out on each lot. Bidders acknowledge and accept that it is their responsibility to carry out inspections and investigations to satisfy themselves as to the items in which they may be interested.

15. The Bianca Jagger Human Rights Foundation shall exercise such reasonable care when making express statements in the catalogue descriptions of the auctioned items to ensure that these accurately reflect the information provided to it by the Donor of that item.

16. All items are offered for sale in the condition they are in at the time of the auction. Any images of any item is for identification purposes only and is not intended to convey the actual condition of the item.

17. The bidders acknowledge that The Bianca Jagger Human

Rights Foundation is not a professional auctioneer and does not hold itself out as such. The Bianca Jagger Human Rights Foundation does not have, nor does it hold itself out as having any expert knowledge in relation to any of the items sold at the auction.

18. All information provided to bidders in respect of any item, including but not limited to the guide price, is a statement of opinion genuinely held by The Bianca Jagger Human Rights Foundation and/or Phillips de Pury or the Auctioneer and is not a matter of fact.

19. All items are sold according to catalogue descriptions which are subject to alteration without notice until the time of sale.

Subject to clause 14 above, neither The Bianca Jagger Human Rights Foundation nor Phillips de Pury & Company nor the Auctioneer can be held responsible for errors of description or for the genuineness or authenticity of any lot, or for any fault or defect in it.

20. Neither The Bianca Jagger Human Rights Foundation nor Phillips de Pury & Company is responsible for making any representations or warranties as to the auctioned items (including but not limited to whether any item is subject to copyright or whether the Buyer acquires copyright in any item).

21. Nothing in these terms and conditions shall exclude or limit The Bianca Jagger Human Rights Foundation or Phillips de Pury & Company’s liability for fraudulent misrepresentation.

22. In the event of bids for auction items in excess of the minimum guide price and where the Buyer is a UK tax-payer, The Bianca Jagger Human Rights Foundation may claim Gift Aid tax relief on the excess sum.

23. These terms and conditions set out the entire agreement and understanding between the Bidders (including any Buyers) and The Bianca Jagger Human Rights Foundation and Phillips de Pury & Company in relation to the auction and the items. It is agreed that, save in respect of liability for fraudulent misrepresentation, no party has entered into any contract pursuant to these terms and conditions in reliance on any representation, warranty or undertaking which is not expressly referred to herein.

24. These terms and conditions and all transactions to which they relate or apply, shall be governed by and subject to English law.

‘Arts for Human Rights’ is a fundraising event organised by The Bianca Jagger Human Rights Foundation. In the event of a complaint or matter of disagreement, these should be placed in writing to The Bianca Jagger Human Rights Foundation.

by Mary Katrantzou atelier SwarovSKi preSentS cutting-edge acceSSorieS celebrating innovative deSign froM the world of faShion, jewelry and architecture buy online at atelierSwarovSKi.coM +44 ( 0 ) 20 7255 8 40 0

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