VEZA C ATA L O G U E
THE DYMAXION MAP a con ce ptua l too l for conf ront ing histo rica l car tographic disto r t ions
The SOUTH SOUTH platform is a resource, an aggregator and a knowledge-sharing space for people interested in art and arts practitioners related to the Global South. This includes confronting historical cartographic distortions that continue to represent the world in a way that eclipses alternative and diverse global art centres. The Dymaxion Map became an important visual element in shifting thinking about the interconnection of regions and undermining assumptions about geographical hierarchies. This map has also inspired designers, geographers, artists and other practitioners in their creative process and practice. The Dymaxion Map was created by designer, architect and systems theorist Buckminster Fuller in the mid 20th century. Earlier this year SOUTH SOUTH had a conversation with Kurt Przybilla, a long time Buckminster Fuller Institute (BFI) member and advisor, who shared the history of the map and its significance in thinking about the relationship between perceptions of the Earth’s geography and its sociopolitical consequences. The Dymaxion Map is usually orientated so what is usually considered North and South is reversed. This changes the geographic view of the world. The map speaks to the idea of shifting perspective and becomes representative of a focus on seeing relationships between regions and cultures of the world, rather than emphasising artificial boundaries.
A B OU T SO UTH SO UTH
SOUTH SOUTH is an online community, an anthology, an archive and a resource for artists, galleries, curators, collectors and students invested in the Global South. The platform offers a repository and a space for new, shared value systems centred on community, collaboration and exchange. It is a central portal to experience the programmes and artist profiles of galleries within and dedicated to the Global South. SOUTH SOUTH aims to provide avenues of visibility for unseen spaces and practices. The participation of a wide variety of galleries encourages the support of smaller spaces by larger galleries with the structure providing the opportunity for development, particularly where institutional support is lacking. SOUTH SOUTH will host year-round events and seeks, during these tumultuous times, to address an imbalance in the global cultural framework by providing a means to explore a de-centred art world, within a broader geopolitical context. As part of this mission, the SOUTH SOUTH platform will share ongoing interviewbased editorial, including conversations, essays and other texts on current events and significant shows in and about the Global South. It also facilitates a communitybuilt archive, highlighting selected seminal exhibitions, texts and moments about modern and contemporary art in the Global South at galleries, non-profits and museums, as well as archived interview-based editorial and artist profiles. The content on the platform is established through contributions from artists, writers, curators, non-profit organisations, academic institutions and gallerists. SOUTH SOUTH’s launch is just the starting point: content will grow democratically, creating a dynamic forum devoted to the artistic discourses of the Global South and a portal to its current developments. With SOUTH SOUTH we are imagining a new, dynamic forum where artists, galleries, collectors and curators come together to highlight the multiplicity of art centres, curatorial approaches and artistic practices that inform an expanding imaginary of the Global South.
Lot 2 | Sungi Mlengeya | Ascend, 2020
CO L L A B O R ATO R S
The SOUTH SOUTH platform was conceived by Liza Essers, owner of Goodman Gallery as a response to the global pandemic and as an extension to an ongoing curatorial initiative established by Goodman Gallery in 2015. The project has been informed and guided by a circle of gallery-led collaborators:
M Á RCIO B OT N E R
DIR EC TO R - A GE NT IL CAR IOCA Márcio Botner co-founded A Gentil Carioca with fellow artists Ernesto Neto and Laura Lima in 2003. It is a unique initiative in Brazil. Its main objective is to make the gallery a place to think, produce, experiment, celebrate and commercialise art. It is located in the Historic Center of Rio de Janeiro, more specifically in the region called Saara, a place known as the largest open market in Latin America and founded in the last century by Arab and Jewish immigrants. A Gentil Carioca was born out of the belief that each work of art is a cultural melting pot with the power to spread culture and education.
LIZA E SSE R S
DIR EC TO R - GOODMA N GAL L E RY In the decade since Liza Essers took over as owner and director of Goodman Gallery, she has built on the tradition of shaping contemporary South African art by extending beyond local borders and establishing its status as a leading international gallery. Under Essers, Goodman Gallery’s programme has grown to include artists from the Northern and Southern hemispheres in an effort to enrich international dialogue around colonial legacies and contemporary geopolitics. In addition to maintaining gallery locations in Johannesburg and Cape Town, Essers established Goodman Gallery UK in London in 2019. In keeping with an activist position fostered by the gallery during South Africa’s apartheid years, Essers has remained committed to a socially progressive agenda, dedicating a portion of the gallery’s programme to non-commercial projects that broaden audiences for contemporary art.
SHIR E E N GA N D H Y
DIR EC TO R - CH E MOUL D PR E SCOT T ROA D Shireen Gandhy is a second generation gallerist; the first generation being her parents Kekoo and Khorshed Gandhy who started Gallery Chemould in 1963 in Bombay, India. After completing her studies in London, she returned to join her parents in the year the gallery turned 25. A seamless transition, Shireen’s interests began to veer toward a younger generation of artists making art that transcended painting and the strong tradition handed down from British colonisation. The early ‘90s marked a major political shift in India; with artists creating a new language and Shireen’s proclivities in politics and activism drew her to a new kind of gallery programming. In 2007, Gallery Chemould was rechristened Chemould Prescott Road, she moved her gallery from the original space to a large loft-like space in the centre of Bombay where she continues to run a robust programme that includes a large number of artists who have worked with her for the last 25 years or more.
DAU D I K A R U N G I
DIR EC TO R - A FR IART GAL L E RY Daudi Karungi is at the forefront of a movement that promotes contemporary art from East Africa. He is a founding member of the Kampala Arts Trust (KART), a coalition of artists and art appreciators who are working toward the dream of making art an integral part of Ugandan society. Among KART’s projects is establishing a modern art museum in the country that will facilitate research, exchange programs and training as well as offering a state-of-the-art exhibition space for local works. KART also produces the Kampala Art Biennale and Daudi has worked as its Director since 2014. He founded Afriart Gallery (AAG) in 2002 with a focus on advancing careers of African contemporary artists, as well as forging collaborations among artists, professionals and institutions globally.
J OS É K U RI
DIR EC TO R - KU R IMA NZUT TO GAL LE RY José Kuri is founder and owner, with his wife Mónica Manzutto, of kurimanzutto gallery established in Mexico City in 1999 and in New York in 2018. Born from an idea originally proposed by Gabriel Orozco and carried out by a group of artists, the aim of this coming together was to enable collaborations and support the work of a new generation of Mexican artists both locally and internationally. José and Mónica imagined a gallery that could exist nomadically, adapting its form to the spaces needed by specific projects. Arising from the lack of galleries dedicated to contemporary art in Mexico, as well as the lack of institutional support for the up-and-coming generation of young Mexican artists, kurimanzutto filled a muchneeded role. Nine years after the first opening, in 2008, kurimanzutto inaugurated its current gallery space in the San Miguel Chapultepec neighbourhood of Mexico City. In May 2018 kurimanzutto opened a project space in New York that represents an extension of kurimanzutto in Mexico City while affirming the mission to create new situations that will internationally transmit the gallery’s spirit.
AT S U KO N I NAGAWA
DIR EC TO R - TAKE NINAGAWA Atsuko Ninagawa established Take Ninagawa in Tokyo in 2008 as a gallery dedicated to promoting emerging and historically significant Japanese artists in a cross-generational, international framework. Represented artists build upon precedents in Japanese postwar experimental art while developing unique approaches for addressing contemporary concerns. International artists in the gallery program are invited to respond to the context for contemporary art and culture in Japan while giving expression to the broader perspectives they bring with them. Each exhibition at the gallery is conceived on a project basis, with artists encouraged to develop ideas across series of exhibitions. Driven by a mission to produce new values that can challenge entrenched power structures in art and society, Take Ninagawa frequently collaborates on initiatives with other galleries in Japan, the Asia Pacific region, and beyond.
MARY SAB B AT I N O
VIC E PR ES IDE NT A ND PART NE R GA L E R I E L E LO N G & CO . Mary Sabbatino is Vice President and Partner of Galerie Lelong & Co., New York. She was appointed director of the New York location of Galerie Lelong & Co. in 1991 and became a gallery partner in 2007. She introduced now-canonical artists to the gallery, concentrating on women and artists from then-underrecognised regions such as Latin America, Asia, and Australia including Alfredo Jaar, Ficre Ghebreyesus, Lin Tianmiao, the Estate of Ana Mendieta, Yoko Ono, Zilia Sánchez, the Estate of Nancy Spero, amongst others. In addition to fostering the careers and legacies of the gallery’s artists, Sabbatino co-curated Art from Brazil in New York: which presented the first solo exhibitions of the region’s most vital figures - Waltercio Caldas, Cildo Meireles, Hélio Oiticica, Mira Schendel, and Tunga and curated Juan Downey: Video Installations and Drawings, at the Museo Bellas Artes, Santiago, Chile.
S OUTH SO UTH V EZA
SOUTH SOUTH maintains an ongoing programme and its inaugural event, SOUTH SOUTH VEZA, brings together 50+ galleries from more than 40 cities spread across 30 countries and 5 continents, presenting a more holistic world-view of contemporary art. Meaning “to show, produce or reveal” in isiZulu — one of South Africa’s 11 national languages — VEZA is a hybrid of a timed, online selling event (1 to 23 February 2021) and a live vernissage selling event on 23 February, 2021, both powered by auction technology. This is followed by a peer-led Online Viewing Room (OVR) open to the public from 24 February to 7 March 2021. The gallery presentations will be accompanied by a Think Tank curated by Elvira Dyangani Ose (The Showroom); a Film Programme curated by Rodrigo Moura (Museo del Barrio); and Kiximbi, an OVR co-curated by Paula Nascimento (Independent Curator and Architect) and Suzana Sousa (Independent Curator, Writer and Researcher). The live vernissage selling event innovatively disrupts the conventional market model by giving full control of the sale to galleries and re-introducing their interaction with the client. Here, we present an alternative to traditional proceedings in the secondary sales market, with profits going directly to artists and galleries. Proceeds are split between the artist and gallery. In addition all participants have agreed to contribute up to 20% of proceeds to selected not-for-profit partners in recognition of the fundamental contribution these spaces make to the art ecosystem of the Global South.
ALL ONLINE BIDDING OPENS 3 FEBRUARY AT 10AM GMT THE LIVE VERNISSAGE SELLING EVENT BEGINS ON 23 FEBRUARY AT 1PM GMT BIDDING FOR THE ONLINE, TIMED SELLING EVENT BEGINS 3 FEBRUARY AT 10AM GMT AND CLOSES ON 23 FEBRUARY FROM 5PM GMT
S OUTH SO UTH V EZA TI M E S
PART 1 | LIVE VERNISSAGE SELLING EVENT Open for online bidding
3 February 2021
Closing and live event
23 Feburary 2021
1pm UTC (Universal) 5am PST (US West) 8am EST (US East) 10am BST (Brazil) 1pm GMT (UK) 2pm CET (Europe) 3pm CAT (Africa) 6.30pm IST (India) 9pm CST (China) 10pm JST (Japan) 12pm AEDT (Australia)
PART 2 | ONLINE, TIMED SELLING EVENT Open for bidding
3 February 2021
Closing in 1-minute intervals
23 Feburary 2021
5pm UTC (Universal) 9am PST (US West) 10am EST (US East) 2am BST (Brazil) 5pm GMT (UK) 6pm CET (Europe) 7pm CAT (Africa) 11.30pm IST (India) 1am (24 feb) CST (China) 2am (24 feb) JST (Japan) 4am (24 feb)AEDT (Australia) xi
NON- P R OFIT PARTN E RS
SOUTH SOUTH recognises the crucial role played by independent and non-profit spaces, with proceeds from the live vernissage selling event going to not-for-profit partners — RAW Material Company (Dakar), Green Papaya Art Projects (Manila) and Casa do Povo (São Paulo), selected for their operations supporting artistic production in the Global South.
R AW Mater i a l Com pan y
www. rawmate ria lcom pany.org
RAW Material Company is a centre for art, knowledge and society. It is an initiative involved with curatorial practice, artistic education, residencies, knowledge production, and archiving of theory and criticism on art. It works to foster appreciation and growth of artistic and intellectual creativity in Africa. The programme is trans-disciplinary and is equally informed by literature, film, architecture, politics, fashion, cuisine and diaspora. RAW Material Company is made of: RAW Base, a resource centre specialized in contemporary art; RAW Académie, an experimental study programme for artistic thinking and production; and Ker Issa, residencies and studios for artists, curators, authors and researchers.
Green Papa ya Ar t Proj ect s g reen pa pa ya . ar t
Green Papaya Art Projects is an independent initiative that supports and organises actions and propositions that explore tactical approaches to the production, dissemination, research and presentation of contemporary practices in varied artistic and scholarly fields. It endeavours to provide a platform for intellectual exchange, sharing of information, critical dialogue and creative / practical collaboration among the artistic community. Founded in 2000, it is the longest running independently run multidisciplinary platform in the Philippines.
Casa do Povo
Casa do Povo is an art center located in the Bom Retiro neighbourhood, downtown São Paulo, Brazil. It revisits and reinvents notions of culture, community and memory. Inhabited by a dozen groups, Casa do Povo develops an interdisciplinary, process-based programme and socially-engaged activities. It sees art as a critical tool in an ongoing process of social transformation. Literally “The People’s House”, Casa do Povo adapts to the needs of each project in order to attend unconventional artistic proposals as well as neighborhood associations. Its work axes (memory; collective and socially-engaged practices; dialogue and involvement with its surroundings) stem from contemporary contexts in direct relation with Casa do Povo’s historical, Jewish and humanist premises.
Lot 11 | Gabriel Orozco | Untitled, 2014
CO N T E N T S
About the Dymaxion Map ii About SOUTH-SOUTH iv Collaborators vi - ix About SOUTH SOUTH VEZA x SOUTH SOUTH VEZA times xi Non-profit Partners xii Buyer’s Guide xvi Online Bidding Guide xviii Artist & Gallery Index xx Telephone Bidding Form xxii LIVE VERNISSAGE SELLING EVENT LOTS 1 to 22
ONLINE TIMED SELLING EVENT LOTS 23 to 73
Terms and Conditions of Business 292
B UYE R ’ S GUIDE THE CATALOGUE The catalogue includes all information regarding the artworks being offered in the VEZA (including artwork details, date, medium, dimensions, quantity of items in the lot, location and so forth). ESTIMATES A low and high estimate is assigned to every artwork. Each lot has a starting bid. The starting bid is the minimum price that will be accepted for a work. The reserve price will not exceed the low estimate. GALLERY ASSISTANCE The participating galleris are available to discuss any artwork in further detail if you require additional information. Please do not hesitate to contact them at the contact details listed with each work. BIDDING IN THE LIVE SELLING EVENT Bidding may be done in three ways, depending on your preference and availability during the live selling event. All bidders will need to supply a copy of their Identity Document/Driver’s License/ Passport and a proof of address. Bidding will take place online at www.live. south-south.art or through the SOUTH SOUTH app prior to the Live Selling Event. (see Bidding Guide for more information). If you would prefer to bid via telephone or absentee, these methods will be available. Please complete the Telephone/Absentee Bidding form on p.xxii should you wish to place such bids.
Telephone bids A SOUTH SOUTH representative will phone you during the live selling event and will walk you through the sale as it happens. You may instruct the representative to bid on a work on your behalf. Don’t forget to send through your telephone bids at least 24 hours before the commencement of the auction to ensure sufficient time for processing. Absentee bid (Commission bid) Recorded bids entered into the auctioneer’s catalogue. The auctioneer will, in your absence, bid on your behalf, up to the maximum amount given by you. Should the bidding not reach your maximum bid, you will acquire the lot for one increment above the previous bid. GENERAL The estimates included in this catalogue are expressed in United States Dollars.. PAYMENTS & SHIPPING The Hammer Price is the final price paid for the artwork. The Hammer Price includes the buyer’s contribution to the ‘not-for-profit’ organizations on certain lots in the Live Vernissage Selling Event of up to 20% and platform costs of 10% of the final price. The Hammer price excludes all taxes, duties and fulfilment costs. Depending on the status/location of the buyer and the status/location of the artwork, VAT and other duties may be chargeable on either or all of the ‘not-for-profit’ contribution, platform costs and balance due for the artwork.
No additional buyer’s premium is charged on the sale. No commission is due to SOUTH SOUTH from the selling gallery. The ‘not-for-profit’ contribution, platform costs and any applicable taxes will be invoiced by SOUTH SOUTH after completion of the sale and are payable immediately. Once this payment is made and cleared, the selling gallery will contact the buyer to discuss fulfillment options, the associated costs of which will be for the buyer’s account. The selling gallery will invoice the buyer directly for the balance due on the artwork (Hammer Price less the ‘not for profit’ contribution less platform costs). All taxes and import duties will be for the buyer’s account. TIMED-ONLINE SELLING EVENT Platform costs are 10% of the Hammer Price (there will be no ‘not for profit contribution’ on the purchase of artwork during the timedonline event). LIVE SELLING EVENT Platform costs are 10% of the Hammer price. The buyer will contribute 20% of the Hammer Price to a ‘not-for-profit’ organization. The following lots are exceptions: Lot 21 – the contribution is expected to be 10% of the Hammer price Lots 13 and 20 – no contribution is expected. In all instances, the Hammer price is the final price paid by the buyer for the artwork (excluding taxes, duties or fulfillment costs).
Lot 14 | Yinka Shonibare CBE | Self Portrait (after Warhol) 5, 2013
ONLI NE BIDDIN G GUIDE
HOW TO REGISTER ONLINE Visit the SOUTH SOUTH bidding platform at https://live.south-south.art/ or simply register via the app (SOUTH SOUTH) which is available as a free download through The App Store and Google Play. To register as a first time user: Enter the required personal details (name, email address, mobile number, physical address and password). Click REGISTER. For returning users: Enter your email address and password and select LOGIN. When you are ready to place a bid click on REGISTER TO BID and complete the required fields. You will immediately receive an email alerting you of your status as a bidder in the auction.
FUNCTIONS You can add items to your WATCHED LOTS by clicking the star icon or FAVOURITE ARTISTS by clicking FOLLOW.
PLACING YOUR BID 1. PRIOR TO THE LIVE SELLING EVENT & FOR THE TIMED-ONLINE SALE You can manually place bids through the South-South VIP bidding website or via the app, or you can enter a commission bid and the system will automatically bid on your behalf up to your maximum amount, but only if someone bids against you. If you are outbid instantly this implies there is a higher maximum bid from another bidder, in this case there will not be an email or push notification. You will only be notified via email or push notification when your maximum bid has been surpassed by another bidder, we advise that you monitor your maximum bids to view the CURRENT BID price. When you are logged in, if you are the highest bidder on a lot, you will see WINNING below that lot, along with the current price. If you have been outbid, you will see OUTBID, along with the current price. If you are outbid you will receive an email or push notification letting you know that you have been outbid and inviting you to bid again. If two bidders leave the same maximum bid and that increment wins the lot, the bidder who placed their bid first will win the lot.
2. ONCE THE LIVE SELLING EVENT HAS BEGUN You can continue to bid via the website or app in the same manner as the above. All online bids will be translated and transferred into the Live Selling Event environment as each successive lot is opened by the Auctioneer. The Auctioneer will open bidding on the lot at the highest CURRENT BID online. You can continue to bid online, and increase your maximum bid as the Live Selling Event is conducted, both on the current lot, as well as on later lots in the sale. Once the Live Selling Event has begun you will no longer receive push notifications or email alerts notifying you that you have been outbid. We invite you to actively follow and bid along online as the Live sale is conducted. As the lots are sold, the platform will reflect WON, along with the PURCHASED FOR price if you were the highest bidder and successful buyer. The platform will reflect LOST, along with the SOLD FOR price if you were ultimately outbid.
DOWNLOAD THE SOUTH SOUTH APPS
ARTI ST I NDE X & PART IC IPATIN G GAL L E R IE S Abel Rodríguez Adeela Suleman Akira Ikezoe Ameh Egwuh Antoni Muntadas Anwar Jalal Shemza Basim Magdy Beatriz Milhazes Caline Aoun Cassi Namoda Cildo Meireles David Goldblatt Diana Fonseca Eduardo Ponjuán Ermias Kifleyesus Ernesto Neto Etel Adnan Farrokh Mahdavi Federico Herrero Gabriel Orozco Gustavo Speridião Helen Teede Hélio Oiticica Hema Upadhyay Hudinilson Jr. Íris B.Chocolate Jae Jarrell Johanna Unzueta Joyce Campbell Kelani Abass Lamia Joreige Lindy Lee
40 68 52 55, 56 35 20 37 13 48 3 36 19 30 29 23 10 11 27 6 12 57, 58 31 21 67 33, 34 43, 44 46 4 64 61, 62 47 69
Lionel Wendt Manuel Espinosa Marco Fusinato Martin Soto Climent Mikhael Subotzky Min ha Park Ming Smith Misheck Masamvu Nohemí Pérez Norberto Roldan Pablo Accinelli Pamela Phatsimo Sunstrum Pascale Marthine Tayou Patrick-Joël Tatcheda Yonkeu Peter Robinson Pia Camil Pow Martinez Sachiko Kazama Sanya Kantarovsky Shambhavi Singh Simon Fujiwara Sungi Mlengeya Tesfaye Urgessa Tonico Lemos Auad Troy Makaza Wadsworth Jarrell William Kentridge XuLongsen Yinka Shonibare CBE Yoshua Okón Yousha Bashir Zhu Jinshi
18 22 25, 26 54 73 70, 71 17 72 41 60 42 1 9 50, 51 63 5 59 49 7 66 8 2 24 65 32 45 16 38, 39 14 53 28 15
Addis Fine Art Afriart Gallery Anna Schwartz Gallery Blum and Poe Dastan’s Basement Dvir Gallery El Apartamento First Floor Gallery Harare Galería Elba Benítez Galeria Jaqueline Martins Galería Luisa Strina Galerie Lelong & Co. Galleria Continua Goodman Gallery Gypsum Gallery Hanart TZ Gallery Instituto de Visión Isla Flotante Jahmek Contemporary Art Jenkins Johnson Gallery Jhaveri Contemporary kurimanzutto Marfa’ Projects MUJIN-TO Production OH Gallery OMR Proyectos Ultravioleta PROYECTOSMONCLOVA Rele Gallery Sé Galeria Sicardi | Ayers | Bacino Silverlens SMO Contemporary Art Southern Stars Stephen Friedman Gallery STPI Sullivan and Strumpf Taka Ishii Gallery Whistle
Lot 22 | Manuel Espinosa | Aasef, 1977
TE LE PHO NE/ABSENT EE BIDD IN G FOR M Telephone/Absentee bids must be received at least 24 hours prior to commencement of the sale. Please send completed forms to: email@example.com | Enquiries: +27 71 675 2991
FI R ST NA M E
BI LLI N G NA M E AD D R E S S
CO N TAC T N U M B E R 1 CO N TAC T N U M B E R 2 E M AI L A D D R E SS
Please submit a copy of the following documents with this form: 1. Proof of identity (ID document, Drivers License or Passport); 2. Proof of current address LOT NO.
US $ LIMIT (HAMMER PRICE ABSENTEE/EMERGENCY BID)
I accept that if SOUTH SOUTH receives identical written bids on the same lot, the bid received first will take precedence. I agree to be bound by the Terms and Conditions of Business and reserves as printed in the catalogue. SI G NATU R E xxii
Lot 15 | Zhu Jinshi | Thunder Resounds Through the Palace, 2020
PART 1 LIVE VERNISSAGE SELLING EVENT 1 - 22
OPEN FOR ONLINE BIDDING | 3 FEBRUARY 2021 AT 10AM GMT LIVE SELLING EVENT | TUESDAY 23 FEBRUARY 2021 AT 1PM GMT 1
1 Pamela Phatsimo Sunstrum | b.1980 Botswana Did you never think there would come a time? 2020 pencil and oil on wood panel 122 x 122 x 4 cm; 48 x 48 x 1.5 in
$25 000 – 40 000 PLACE BID Artwork location | Johannesburg, South Africa In Pamela Phatsimo Sunstrum’s Did you never think there would come a time? a distant volcano can be seen erupting. This scene is contrasted by a seated woman, poised as she watches the impending doom of the volcano inching closer and closer to this seemingly safe reality. Sunstrum further heightens this tension by introducing a hole, or void, below the woman’s feet, which the artist explains could pertain to “the seeming stability of the ground and what happens when we thought to be solid is not solid at all and falls out beneath us.
Pamela Sunstrum discussing Did you never think there would come a time?
GOODMAN GALLERY | firstname.lastname@example.org | WhatsApp: Tony East +27 72 018 1293
Pamela Phatsimo Sunstrum’s (b. 1980, Mochudi, Botswana) multidisciplinary practice encompasses drawing, painting, installation and animation. Her work alludes to mythology, geology and theories on the nature of the universe. Sunstrum’s drawings take the form of narrative landscapes that appear simultaneously futuristic and ancient, shifting between representational and fantastical depictions of volcanic, subterranean, cosmological and precipitous landscapes. One of Sunstrum’s most notable projects in London came in the form of a 2018 mural which wrapped around the exterior of The Showroom in London. The work was dedicated to South African novelist Bessie Head and formed part of the exhibition titled Women on Aeroplanes, curated by The Otolith Group, Emily Pethick, and Elvira Dyangani Ose. Upcoming projects include a group exhibition at MoCA Toronto opening in spring/summer 2021. Key exhibitions and performances thus far include: Battlecry, Goodman Gallery, London (2020); All my seven faces, Contemporary Art Center, Cincinnati, OH, USA (2019); Zeitz MoCAA, Cape Town, South Africa; The Wiels, Brussels(2019); Kunsthaus Zürich (2019); The Nest, The Hague (2019); Michaelis School for the Arts at the University of Cape Town (2018); Artpace, San Antonio, TX, USA (2018); The Phillips Museum of Arts, Lancaster (2018); Interlochen Centre for the Arts, Interlochen (2016); NMMU Bird Street Art Gallery, Port Elizabeth (2016); VANSA, Johannesburg (2015); FRAC Pays de Loire, France (2013); the Havana Biennial (2012); and MoCADA, New York (2011).
2 Sungi Mlengeya | b.1991 Tanzania Ascend 2020 acrylic on canvas 150 x 140 cm; 59 x 55 in
$10 000 – 15 000 PLACE BID Artwork location | Kampala, Uganda
Sungi’s paintings consist of dark figures in minimal shades of black and browns against perfectly white backgrounds. Her topics vary widely from self-discovery to empowerment, but common themes in her work are centered around women, specifically black women. Sungi shades light on their stories; their journeys, struggles, accomplishments and relationships with their immediate societies, her stories included. She works primarily in the acrylic medium on canvas creating paintings that are free, minimalist and with a curious use of negative space. Sungi is a self-taught painter who in 2013 graduated with a bachelor’s degree in commerce and finance. In 2018 She left her job in banking to pursue a full-time art career. Sungi’s work has been collected extensively and exhibited at Christie’s 1-54 Highlights 2020, 1-54 London 2020, Unit London’s The Medium is The Message curated by Azu Nwagbogu, 1-54 New York Online Edition 2020, Cape Town Art Fair 2020, Latitudes Art Fair 2019 and ‘Surfaces’ conceptual workshop and exhibition 2019 at Afriart Gallery Kampala. The painting is about rising up, flying high in one’s thoughts. It’s a sweet escape from an undesirable reality by imagining a better existence, believing in that existence and yearning for a hopeful future.
AFRIART GALLERY | Nia Damany | email@example.com
3 Cassi Namoda | b. 1988 Mozambique “Lovers with ardent desires and strong will face obstacles along the way, safety in new lands are few and far between.” Cyclone Eloise, 2021 a dedication to all those who have been impacted by climate change in Mozambique and it’s neighbors 2021 acrylic and resin on cotton poly 76.2 x 61 cm; 30 x 24 in
$20 000 – 30 000 PLACE BID Artwork location | New York, United States
Cassi Namoda discussing the work
This painting by Cassi Namoda follows on from a series of recent landscape paintings by the artist. This work is an intimate portrayal of a young couple walking through what appears to be a “turbulent landscape”, according to the artist. “The symbolism within the work - the galaxy in the distance and the hostile bridges and waters - represents my thinking about communities that are more impacted by global warming or climate change,” says Namoda. In light of the impact of such recent occurrences as Cyclone Eloise and Idai before it, which displaced thousands, Namoda’s work serves as a “homage to everyone who has had to make pilgrimage due to these turbulent times caused by the impact of global climate change.”
GOODMAN GALLERY | firstname.lastname@example.org | WhatsApp: Tony East +27 72 018 1293
Cassi Namoda (b. 1988, Maputo, Mozambique) is a painter and performance artist who explores the intricacies of social dynamics and mixed cultural and racial identity. Capturing scenes of everyday life, from mundane moments to life-changing events, Namoda paints a vibrant and nuanced portrait of post-colonial Mozambique within an increasingly globalised world. Namoda deftly captures scenes which have the appearance of film stills: fleeting snapshots within much larger narratives. Her paintings range from bustling, faceless crowds to close-up individual portraits and her characters often stare out of the paintings, locking eyes with the viewer and breaking the fourth wall. Interweaving her own memories and imagination with images from archival photographs and the works of other artists, Namoda reflects on the cultural specificity of Mozambique, her birthplace and home for several years. Namoda’s most notable recent project was the solo exhibition To live long is to see much at Goodman Gallery Johannesburg, her first solo on the African continent. Other key exhibitions have been held at Francois Ghebaly Gallery, Los Angeles; Caribbean Cultural Center African Diaspora Institute, New York; Museum of Contemporary African Diasporan Arts, New York; CFHILL, Stockholm; Library Street Collective, Detroit and Nicodim Galleries, Los Angeles and Bucharest. This year Namoda was named one of the ‘Rising Arts Stars of 2020’ by Elephant Magazine and was commissioned to paint a cover for the January issue of Vogue Italia. Her work is held in the collection of The Baltimore Museum of Art, Maryland and Pérez Art Museum, Miami. She lives and works in East Hampton, NY.
4 Johanna Unzueta | b.1974 Chile June / September 2017 NY 2017 coper watercolor, pastel, pencil, and pin holes on indigo hand dyed watercolour paper 100 x 67 cm; 39.4 x 26.4 in
$15 000 – 25 000 PLACE BID Artwork location | Guatemala City, Guatemala Hilar, tejer, teñir (to spin, to weave, and to dye), are foundational skills learnt by Johanna Unzueta as the young apprentice of an indigenous Mapuche woman in rural southern Chile, the artist’s home country. These competencies— the act of spinning, weaving, and dyeing woolen fiber through natural pigment processes — still inform her practice and overall understanding of certain notions of labor. Unzueta is known mainly for her wool-felt sculptures and installations. They include model-size replicas of industrial buildings, commercial pipes and faucets, chains and gears, tools and hardware; pieces meticulously handcut and sewn — either bulging from the wall, hanging from the ceiling, spread across its floor, or presented outdoors in dialogue with nature. Her production also includes drawings, video, preformative actions, and objects made of cardboard and textile. Through these materials, the objects, and their presentation within specific architectural spaces and landscapes, Unzueta proposes a reflection on issues related to labor, its technological and historical unfolding and its impact on the human condition. Unzueta masterfully uses wool as a central marker and “thread” of this discussion. Her “handcrafted” approach implicates dialogue with the historical context of industrialization, its relationship to production, relevance for modernity, and economic and social impact.
Expanding on her previous work, her drawings are presented in two formats- in large scale murals and in display resembling the exhibition design of architect Lina Bo Bardi, as free-standing drawings mounted into bases of recycled wooden beams. They are created through a process that can include dyeing the paper with indigo, fustic, or other natural pigments, and puncturing the paper with needle holes. To create the shapes, Unzueta uses embroidery hoops from her collection of hundreds. The final results are delicate oval, circular, and geometric forms activated by light and conveying the sensibility of textiles. Through these subtle to complex gestures, Unzueta inscribes traces indigenous craft practices into the history of art, disrupting distinctions between art and craft practices into the history of art, disrupting distinctions between art and craft, the traditional and the contemporary, while maintaining a critical engagement with the idea of progress, notions of labor, and their implications for human existence. Moreover, her artistic interventions open and carry forward a dialogue with the history of geometric abstraction and conceptualism in Latin America. — Fabiana Lopes, 10th Berlin Biennale
PROYECTOS ULTRAVIOLETA | Stefan Benchoam | email@example.com
Johanna Unzueta (Chile) lives and works in New York and Berlin. She received her BFA from Universidad Católica de Chile. Through sculptures and installations made of felt, fabric, wood, her work questions labor and its technological, historic, and social impacts on the human condition. She combines elements of craft production and industrialization, considering the different ways in which materials and structures can be manipulated. Her solo and two-person shows include Tools for Life, Modern Art Oxford, Oxford (2020); From My Head to My Toes, to My Teeth to My Nose, Eli and Edythe Broad Art Museum at MSU, East Lansing, Michigan (2019); Of the Color of the Forest, at the Bottom of the Sea, Proyectos Ultravioleta, Guatemala City (2019); Nictinastia, Sala de Arte Público Siqueiros, Mexico City (2017); El jardín de Psyche, Galería Gabriela Mistral, Santiago (2016); Arquitectura y amistad (with Felipe Mujica), Proyectos Ultravioleta, Guatemala City (2013); and Iron Folklore, Queens Museum of Art, New York (2009). She also has several group shows including We Don’t Need Another Hero, X Berlin Biennale, Berlin (2018); The Daily Grind, London Museum, London Ontario (2016); Everyday Angels, David Rockefeller Center for Latin American Studies, Harvard University (2012); The S-Files, Museo del Barrio, New York (2011); and Contaminaciones Contemporáneas, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo (2010). Her work is in the permanent collections of The Queens Museum, New York, NY; MSU Broad Art Museum, East Lansing, MI; MAVI, Santiago, Chile; Galeria Gabriela Mistral, Santiago, Chile; Tate Collection, UK.
5 Pia Camil | b.1980 Mexico Feeding lovingly 2020 liquid watercolor, acrylic ink and oil stick on paper framed: 154.5 x 120 x 7 cm; 60 7/8 x 47 1/4 x 2 3/4 in
$22 000 – 30 000 PLACE BID Artwork location | Mexico City, Mexico Through her work Pia Camil has shown a proclivity to failure or the decaying associated to the mexican urban landscape, aspects of modernist culture and traces of art history. Her practice has explored the urban ruin – including paintings and photographs of halted projects along Mexico’s highways (highway follies); abandoned billboards that become theatre-like curtains therefore theatricalizing failed capitalist strategies (espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trio A or Cuadrado Negro). Pia Camil was born in 1980 in Mexico City, where she continues to live and work. Her work has been shown in Mexico, Colombia, France and the U.S. Camil’s work is in the permanent collection of La Colección Jumex, la Colección Patricia Phelps de Cisneros and the Kadist Art Foundation amongst others. In Ríe aahora, llora después, the title of her second solo exhibition in the gallery, Pía Camil presents, as her first autobiographical exhibition, a selection of drawings. The writer – and friend of the artist – Gabriela Jauregui writes about this set of work: “What happens when this space, a space of clarity of thought, an expressive space, that Vivian Gornick would describe as a resplendent rectangle, opens up so much that it pour out into the world? This is a personal process of thought and birth, rather than a mere conceptual exercise. Porosity: there is risk, there is trait and vulnerability. Pleasure boxes. And of pain.”
OMR | Louise Carla Sala | firstname.lastname@example.org | + 52 557 199 7302 | Whatsapp +34 610 153 364
Exhibition Ríe aahora, llora después at OMR
6 Federico Herrero | b.1978 Costa Rica Laguna 2020 oil and acrylic on canvas 120 x 120 x 4 cm; 47.2 x 47.2 x 1.6 in
$24 000 – 36 000 PLACE BID Provenance | The artist Artwork location | São Paulo, Brazil
Herrero’s prolific career as an artist was crowned in 2001, when he was the winner of the Golden Lion for best young artist at the 49th Venice Biennale, the highest award given in this prestigious international contemporary art exhibition, which has been held every year since 1895. Federico Herrero’s work is influenced by the everchanging relationship between the natural landscape and urban structures of Costa Rica.Particularly the way the painting exists as an independent entity. His curriculum counts dozens of international exhibitions, both individual and collective, among which stand out, individual exhibitions in Rio de Janeiro, Rotterdam, Madrid, Tokyo, San Francisco, among others, as well as group exhibitions at the Guggenheim Museum, New York; Onassis Cultural Center, Athens; MAM-SP Museu de Arte Moderna, Sao Paulo and biennials in Moscow, Prague, Seville and Venice, among others.
GALERÍA LUISA STRINA | email@example.com
View the work exhibited
Herrero’s works can be found in important collections such as CCA Wattis Institute for Contemporary Art, San Francisco; Ella Fontanels-Cisneros Collection, Miami; Hara Museum of Contemporary Art, Tokyo; ME Collectors Room, Berlin; Museo de Santander, Spain; Museu Reina Sofia, Madrid; MUAC Museo Universitario de Arte Contemporáneo, Mexico City; Philadelphia Museum of Art, Philadelphia; Saatchi Gallery, London; Solomon R. Guggenheim Collection, New York; Tate Collection, London; 21st Century Art Museum, Kanazawa. “A Federico Herrero painting is a chromatic intervention in the world, from the canvas to the city. At first glance this gentle painting seems to give rise to acts of contemplation. The artist seems to propose a scene that, short of being the sublime, could be a sensorial feast of flashing colors. The color fields are mutually attracted, continuously playing off each other, conjoining or gaining harmonious cohesion. Blues, tones of green, pinks, warm colors exfoliate like layers of energy that shift in space like an epidemic, almost musical dissemination.” Paulo Herkenhoff
7 Sanya Kantarovsky | b.1982 Russia Woodblock Print Special Edition including: Woe to Wit, Cataract, Curtain and Good Host 2020 4 woodblock prints on washi paper in an unique box with bleach drawing by the artist box size: 51.2 x 37.4 x 3.4 cm; 20.1 x 14.7 x 1.3 in number 48 from an edition of 50
$25 000 – 35 000 PLACE BID Artwork location | Tokyo, Japan
Sanya Kantarovsky’s artistic practice revolves around painting, oftentimes incorporating film, animation, sculpture, design, and curatorial projects. His paintings take aim at imagined human subjects, which are often entangled in a variety of discomforts, both psychological and physical. On these painted stages, dissonant frequencies of seduction and repulsion vie for the viewer’s attention. The artist interrogates how desire itself can be rendered, as it contorts the faces of pleading children, leering old men, rootless cosmopolitans, and the hungry masses. Drawing on the history of humanist painting and caricature, Kantarovsky’s subjects seem proud to have been rendered and simultaneously embarrassed to exist at this elevation, embodying a doubt that echoes the artist’s own fraught relationship with the project of painting. This indulgence in affect is marked with a wry self-reflexivity, acknowledging the futility of faithfully transmuting lived experience.
TAKA ISHII GALLERY | firstname.lastname@example.org
Kantarovsky was born in Moscow, Russia in 1982 and currently lives and works in New York. He studied painting at the Rhode Island School of Design in Providence, RI and received his MFA at the University of California, Los Angeles. Kantarovsky recently presented solo exhibitions at Kunsthalle Basel in Switzerland (2018) and the Fondazione Sandretto Re Rebaudengo in Turin, Italy (2017-2018). Recent group exhibitions include Baltic Triennial 13 “GIVE UP THE GHOST” (2018), “The Arcades: Contemporary Art and Walter Benjamin” at the Jewish Museum, New York (2017); “The Eccentrics”, at the Sculpture Center, New York (2016). Other important presentations include “Happy Soul” at LAXART in Los Angeles (2015); “You are Not an Evening” at Gesellschaft für Aktuelle Kunst in Bremen (2013); “What Were You Expecting, Mr. Milquetoast, a Plot?” at Badischer Kunstverein in Karlsruhe (2014). A comprehensive monograph entitled No Joke was co-published by Studio Voltaire and Koenig Books in 2016. Kantarovsky’s works also belong to several prestigious museum collections.
The four woodblock prints were created by Sanya Kantarovsky in collaboration with The Adachi Institute of Woodcut prints in Tokyo on occasion of his first solo exhibition with the gallery in 2020. During a month-long stay at the Troedsson villa in Nikko, Kantarovsky developed a series of ink and watercolor studies, which were translated into an edition of woodblock prints through the expert craftsmanship of the Adachi Hanga printmakers. In the tradition of Edo-period Ukiyo-e prints that draw on Kabuki and Noh theater, Kantarovsky’s set of images indulges in pictorial drama. Closely considering the work of such masters as Utagawa Kuniyoshi, Kantarovsky refers to a tradition of dark and satirical image-making through specific visual notes — a bare foot emerges from beneath a gown, a seabird gazes indifferently at a grisly assault, a child receives the restraining touch of his elders. These haptic themes are transmuted through the subtlest occasions of line and color, scrubbed, veiled, piled and blurred with a persistent restlessness.
In the exhibition, the woodblock prints were installed next to the paintings and both were developed consecutively as woodblock prints and paintings, they evidence the gaps and values of these approaches, each laden with its own distinct history. The variations between the two serve as clues to how a picture is conjured and built up, suspended in different registers of seeing and making. Whereas the prints are graphically fixed, “sealed” in their commitments to the image, the paintings expand on these positions with a sense of unstable possibility. Narrative cohesion remains out of reach, and a looker is prompted to enter these oneiric scenes through a heap of simultaneities – past and present, attractive and repellant, thin and thick. This special edition consists of the four woodblock prints on washi paper which were produced by the national designated as Intangible Cultural Properties in Japan. The prints are in a unique box with bleach drawing by the artist.
All images © Sanya Kantarovsky courtesy Taka Ishii Gallery | Photo: Kenji Takahashi
View of the inside of the chapel
8 Simon Fujiwara | b.1982 United Kingdom Pink Panther vs The Pope 2020 plexiglass, metal frame, chains, paper, and light fittings 68 x 68 x 150 cm; 27 x 27 x 59 in edition 3/5 + 1AP
$28 000 – 36 500 PLACE BID Artwork location | Brussels, Belgium
DVIR GALLERY | Aleksandra Bikont | email@example.com | +32 474 96 27 10
Simon Fujiwara (born 1982, London) is a British Japanese artist living and working in Berlin. His work takes multiple forms including theme park style rides, wax figures, robotic cameras, ‘make-up’ paintings and short films that address the complexity and contradictions of identity in a post-internet, hyper-capitalist world. Fujiwara often investigates themes of popular interest such as tourist attractions, famous icons, historic narratives and mass media imagery and has collaborated with the advertising and entertainment industries to produce his work in a process he describes as ‘hyper-engagement’ with dominant forms of cultural production. His work can be seen as a complex response to the human effects of image fetish, technology and social media on his generation. ‘Pink Panther vs The Pope’ is a sculptural chandelier, suspended from the ceiling. The main corpus of the work is constructed of four transparent plexiglas panels with engravings of St. Peter’s cathedral facade turned upside down. The cut-out shapes of Pink Panther in different positions are attached to the facades. Inside the transparent corpus, an architectural model of the Sistine Chapel is attached: One may gaze into the miniature reproduction of Michelangelo’s ceiling frescos from beneath the chandelier. In ‘Pink Panther vs The Pope’, Simon Fujiwara makes oblique references to the current condition of political and moral world leaders. Pink panther - a subversive figure sometimes associated with the gay community appears to have infiltrated the catholic holy inner sanctum, the Vatican. He plays havoc, popping in and out of windows, hanging from the ceiling of the Sistine chapel. A cartoon figure, a puppet with no voice and a desire to only satisfy itself seems to be running the show. While the viewers might empathize with the innocent pink creature, Pink Panther is seemingly an unstable character without clear morals and social responsibility. Should he really be at the top, running the new world order?
Interview with Simon Fujiwara
9 Pascale Marthine Tayou | b.1967 Cameroon Poupée Pascale 2019 crystal, mixed media 76 x 30 x 24 cm 29.92 x 11.81 x 9.44 in unique work
$30 000 – 35 000 PLACE BID Artwork location | Italy
Ever since the beginning of the 1990’s and his participation in Documenta 11 (2002) in Kassel and at the Venice Biennale (2005 and 2009) Pascale Marthine Tayou has been known to a broad international public. His work is characterized by its variability. While his themes may be various, they all use the artist himself as a person as their point of departure. Already at the very outset of his career, Pascale Marthine Tayou added an “e” to his first and middle name to give them a feminine ending, thus distancing himself ironically from the importance of artistic authorship and male/ female ascriptions. This holds for any reduction to a specific geographical or cultural origin as well. His works not only mediate in this sense between cultures, or set man and nature in ambivalent relations to each other, but are produced in the knowledge that they are social, cultural, or political constructions. His work is deliberately mobile, elusive of pre-established schema, heterogeneous. It is always closely linked to the idea of travel and of coming into contact with what is other to self, and is so spontaneous that it almost seems casual. The objects, sculptures, installations, drawings and videos produced by Tayou have a recurrent feature in common: they dwell upon an individual moving through the world and exploring the issue of the global village. And it is in this context that Tayou negotiates his African origins and related expectations.
GALLERIA CONTINUA | firstname.lastname@example.org
The Poupées Pascale are crystal sculptures covered in a multiplicity of different materials: coffee and chocolate powder, textile threads, plant fibres, rag animals, bone pendants, stones, feathers and coloured straws, pearls, eggs and chalk. The nature and provenance of these materials varies widely, combining craftsmanship and industrial production, rural and urban contexts, tradition and progress. Pieced together, mixed up without any apparent criteria beyond a casual and abundant heterogeneity, their function seems to hang in the balance between the purely decorative (and therefore accessory) and the fundamental (the inalienable) as an element of characterization. Pascale Marthine Tayou began this series of works in 2005 and has continued making them ever since. He was initially inspired during a trip to Venice, when the artist saw a Murano glass vase that at first glance he mistook for an African tribal sculpture. Les Poupées are a perfect example of the process of creolization identified and theorized by Édouard Glissant, a process which has permeated much of contemporary society, a «mixing up of arts and languages that produces the unexpected […], a space in which dispersal allows for rapprochements, in which cultural shocks, disharmonies, disorder and interference become creative forces».
10 Ernesto Neto | b.1964 Brazil Caminho pelas nações com o corpo cheio de gente 2020 hand knotted drawing on cotton fabric, wood and nails 192 x 256 x 9 cm; 75,5 x 100,7 x 3,5 in unique
$65 000 – 85 000 PLACE BID Artwork location | Madrid, Spain Ernesto Neto (Rio de Janeiro, 1964) creates sculpture and sculptural environments, often involving non-traditional art materials and techniques such as stretchy semi-translucent fabric, cushions and crochet, aromatic spices and music. Neto’s work speaks to the viewer’s entire body, converting the viewer into an active and autonomous participant in the experience of the art work. Neto’s recent work has drawn on source material drawn from the indigenous cultures of Brazil, incorporating shamanism, cosmologies and belief systems, collaborative works and perception-altering practices. As in his highly tactile yet highly sculptural works, viewers are at once inside and outside, heightening the perceptual relationship of the body to the space that surrounds it, and, ultimately, back again, unto itself. Neto has had solo shows at the Pinacoteca de São Paulo (2019), MALBA - Museo de Arte Latinoamericano de Buenos Aires (2019), Blueproject Foundation (Barcelona, 2017), MCA - Museum of Contemporary Art Chicago (2017), TBA21 - Thyssen-Bornemisza Art Contemporary (Vienna, 2015), Aspen Art Museum (2014), Guggenheim Bilbao (2014), Nasher Sculpture Center (Dallas, 2012), MARCO - Museo de Arte Contemporáneo de Monterrey (2011), Fearnley
Galería Elba Benítez, Madrid, 2020. view the gallery tour: https://www. redcollectors.com/3d-ernesto-netogaleria-elba-benitez Museum of Modern Art (Oslo, 2010), MoMA - The Museum of Modern Art (New York, 2010), Hayward Gallery (London, 2010), Park Avenue Armory (New York, 2009), MACRO – Museo di Arte Contemporanea di Roma (2008), Phantéon (Paris, 2006), Malmö Konsthall (2006), MOMAT – The National Museum of Modern Art (Tokyo, 2004), MCA Museum of Contemporary Art Australia (Sydney, 2003), Hirshhorn Museum and Sculpture Garden (Washington, 2002), Kunsthalle Basel (2002), CGAC - Centro Galego de Arte Contemporánea (Santiago de Compostela, 2001), ICA - Institute of Contemporary Arts (London, 2000), and elsewhere. He has participated in numerous major biennials and international exhibitions, including the Bienal de São Paulo (2010, 1998) and La Biennale di Venezia, where he represented Brazil in 2001. Currently, the Centro Cultural La Moneda of Santiago de Chile is showing a big retrospective of the artist. Caminho pelas nações com o corpo cheio de gente (2020) forms part of the exhibition o segredo e o encontro, Ernesto Neto’s fifth solo show at the Galería Elba Benítez since 1996.
GALERÍA ELBA BENÍTEZ | +34 913 08 04 68 | email@example.com
“Como el Guadiana” (“like the Guadiana River”) — so goes the well-known Spanish saying that describes someone or something that, like the mysterious Iberian river, regularly disappears from view, only to re-appear elsewhere, its temporary absence from visibility belying what is, in fact, a continued presence. As with many such folk sayings, this one contains a deep and layered wisdom. For things do continue to exist, even when we can no longer see or otherwise sense them. Indeed, the formation of the mental schema necessary to arrive at this understanding in a physical sense — referred to as “object permanence” in psychology — is considered a crucial stage of our cognitive development during infancy: when a toy is hidden beneath a blanket, or when a person leaves a room, we must come to understand that they are still “there,” somewhere where we are not. Which, by an extension that cannot be evaded, means there is a “there” there, somewhere where we are not, a temporal or physical “there” that (as with a river) only briefly coincides with ourselves. Existence exists beyond our own. Ernesto Neto’s exhibition o segredo e o encontro (the secret and the encounter), currently on view at the Galería Elba Benítez, draws conceptually on this sense of “object permanence” while at same time driving to manifest it objects themselves. The exhibition presents a series of theme-and-variation works that, in keeping with Neto’s oeuvre, elude conventional categorization. Part tapestry, part drawing, part modular wall-sculpture, these objects consist of sets of stretched canvases and hand-knotted cords of colored fabric. The snaking “line”
demarcated by the fabric twists and turns across the support structure, at times even wrapping around its edges to the far side where it is no longer visibly accessible to the viewer. Moreover, the cord is often broken into discrete segments that nonetheless seem to connect in the mind, thus transmitting a sense of continuity that (as in film) verges on the kinetic, despite the works’ physical stasis. The deceptively simple works in o segredo e o encontro display Neto’s signature method of utilizing a bare minimum of means to impart a heightened phenomenological experience to the viewer. It is a haptic experience that is transmitted through the tactile immediacy of the knitted fabric and the exquisitely gentle palette of the colors: one need not touch these works to feel touched by them. And yet at the same time (and with an equal minimum of means) they reference a spiritual aspect that informs all of Neto’s practice, symbolizing the mind’s stitching together of the known and the unknown into what we experience as perception and consciousness, a stitching together that extends, for Neto, unto the vaster cosmological mysteries of existence, time and creation. This is all presented with extreme subtlety and understatement in o segredo e o encontro. And yet it is still very much “there.” George Stolz
11 Etel Adnan | b.1925 Beirut Liberté 2017–18 wool tapestry 141 x 202 cm; 55.5 x 79.5 in number 2, from an edition of 3 + 1 AP
$75 000 – 95 000 PLACE BID Artwork location | New York, United States Exhibition and Interview: Etel Adnan: Seasons, held at Galerie Lelong, New York Etel Adnan’s career spans more than six decades and encompasses a wide range of media—including painting, drawing, tapestry, film, ceramics, and leporellos—as it does traditions and locations. Adnan was first an author of poetry and prose, often addressing and protesting against the turmoil of the Vietnam War and the Lebanese Civil War. The landscape has informed her writing and artwork: its own history and her emotional and physical response to it. For Adnan, the landscape is mingled with memory, especially a sentiment of displacement, as she was born and raised in Lebanon, but has lived, studied, and worked in France and California throughout her life. In 2012, Adnan was included in Documenta (13) in Germany. Since then, numerous museums have presented solo exhibitions of the artist’s work, including Mudam Luxembourg – Musée d’art Moderne Grand-Duc
Jean, Luxembourg City (2019); Aspen Museum of Art, Aspen, Colorado (2019); SFMoMA, California (2018); Zentrum Paul Klee, Switzerland (2018); MASS MoCA, Massachusetts (2018); Institute du Monde Arabe, France (2017); the Serpentine Gallery, England (2016); Museum Haus Konstruktiv, Switzerland (2016); Irish Museum of Modern Art, Ireland (2015); Museum der Moderne Salzburg, Austria (2014-2015); and Mathaf: Arab Museum of Modern Art, Qatar (2014). Adnan’s work is included in major public collections such as the Centre Pompidou, France; Institut du Monde Arabe, France; M+, Hong Kong, China; Museum of Modern Art, New York; and Whitney Museum of American Art, New York. Adnan was born in Beirut, Lebanon, in 1925. She currently lives and works in Paris, France.
GALERIE LELONG & CO. | Mary Sabbatino | +1.917.470.8386 | firstname.lastname@example.org
Etel Adnan conceives her works as visual poems, each color and form carefully chosen in writing a language of her own. The recurring themes of nature and the passage of time are present in Liberté, where vertical bands of color that evoke the natural landscape, hinted by the sequence of repeating hues, are overlapped by abstracted shapes that appear to move freely upward and across the composition, recalling foliage in motion. Liberté captures an intimate encounter between the outer world and the artist’s inscape, a relationship that Adnan has explored for decades and across several disciplines, including painting, drawing, tapestry, film, ceramics and prints. Adnan discovered tapestries as a medium in the early 1960s and has been making tapestry designs for decades. “It was an enchantment; I was absorbing without knowing it the respect these carpets provoked throughout the islamo-oriental world,” Adnan has written of the inspiration drawn from her exposure to vibrant Persian carpets as a child. When her works were presented at Documenta 13 in 2012, the artist’s distinctive use of this medium was established as a key tenet of her practice. Executed in collaboration with the historic Aubusson atelier PINTON, the tapestries translate the rich colors and delicate sensory shifts of her paintings and works on paper to hand woven wool. Liberté was most recently exhibited in ETEL ADNAN: Seasons, presented at Galerie Lelong & Co., New York, from October 29 through December 23, 2020.
Exhibition ETEL ADNAN: Seasons, presented at Galerie Lelong & Co., New York, 2020.
12 Gabriel Orozco | b.1962 Mexico Untitled 2014 tempera and burnished gold leaf on linen canvas 40 x 40 cm; 15.7 x 15.7 in
$170 000 – 220 000 PLACE BID Provenance | The artist Artwork location | Mexico City
Untitled (2014) elegantly crystallizes Gabriel Orozco’s ongoing investigation into movement, fragmentation, and rotation. Orozco continues his signature use of primary colors - red, blue, and yellow, translated as gold, which imparts a reference to light. The colored, interlocking hoops - some whole and some incomplete - maintain a balanced equilibrium between the geometric and the organic through abstraction. The eye traces the sequence of various circles across the painting, each rotation denoted by a different color; their collective form takes on the appearance of something akin to an electric circuit board or an Enigma machine, implying movement. The overlapping and intersection of circles in a calibrated balance visually conveys spinning and a sense of weightless motion. Small and subtle circular marks punctuate the surface of the work in and around the hoops, almost like oscillating atoms. The circle, as Orozco said in 2014, is “an object in motion, when it’s constantly colliding, when it’s involved in constant accidents, tends towards a circular form ... The circle is not a platonic shape for me. For me the circle or the sphere is more what objects tend towards, when they are exposed to nature, collisions, and erosion.”
KURIMANZUTTO | karen-sofie kvamme | email@example.com
Installation view: Gabriel Orozco, Samurai Tree Invariants, The Museum of Modern Art, New York, December 2009 - March 2010.
Working through sketching, photography, sculpture, and installation, Orozco draws from everyday materials and circumstances as well as his own encounters and routines. Playing with ideas of accessibility, his work revolves around recurrent themes and explores multifaceted materials that allow the viewer’s imagination to discover creative associations between aspects of everyday life often overlooked or ignored. From the beginning of his career, Orozco’s nomadic lifestyle effected both the production and aesthetic of his work. His lack of a primary ‘home base’ lent a more fluid aspect to his production, allowing for the growth of a rich heteronomy of materials and themes marked by a conceptual openness to spontaneity and circumstance. Although it might be difficult to categorize Orozco’s work in terms of a physical outcome - the artist has more of an interest in questions rather than statements, and emphasizes the potential within mutating materials, forms and meanings. Gabriel Orozco was born in Jalapa in the Mexican state of Veracruz, to an artistic left-wing family that moved to Mexico City during his childhood. He studied at the Escuela Nacional de Artes Plasticas of the Universidad Nacional Autónoma de Mexico, UNAM (1981-1984) and at the Circulo de Bellas Artes in Madrid (19861987). From 1987 to 1992, he led the Taller de los viernes (Friday Workshop), at his home in Tlalpan, which became a nexus of discussion and artistic production in which Abraham Cruzvillegas, Gabriel Kuri, Dr. Lakra and Damian Ortega all participated. Gabriel Orozco has been the recipient of many awards, including: the REDCAT Award by REDCAT CalArts’ downtown center for contemporary arts, Los Angeles (2015); Cultural Achievement Award granted by The Americas Society (2014); he was decorated as an officier des Arts et des Lettres by the French Ministry
of Culture (2012); and received the Blauorange Kunstpreis granted by the Deutsche Volksbanken und Raiffeisenbankende (2006). His most recent exhibitions include: Rotating Objects, The Noguchi Museum, New York (2019); Gabriel Orozco: veladoras arte universal, Museo Nacional de Bellas Artes Cuba (2019); Gabriel Orozco, kurimanzutto, Mexico City (2017); Gabriel Orozco, Aspen Art Museum, United States (2016); Fleurs Fantomes, as part of the triennial commision for the Chaumont castle at Loire Valley, France (2014-2016); Gabriel Orozco - Inner Circles, MOT The Museum of Contemporary Art Tokyo (2015); Natural Motion, Kunsthaus Bregenz, Austria (2013) and Moderna Museet, Stockholm (2014); Thinking in Circles, The Fruitmarket Gallery, Edinburgh, Scotland (2013); Gabriel Orozco: Asterisms, Deutsche Guggenheim, Berlin (2012) and Guggenheim Museum, New York (2013). From 2009 to 2011, his work was part of a traveling retrospective solo exhibition at the Museum of Modern Art, New York; Kunstmuseum Basel, Switzerland; Centre Georges Pompidou, Paris and the Tate Modern, London. In addition, Orozco has had individual exhibitions at Museo del Palacio de Bellas Artes, Mexico City (2007); Palacio de Cristal del Retire, Madrid (2005); Serpentine Gallery, London (2004); Museo Rufino Tamayo, Mexico City (2000); The Museum of Contemporary Art, Los Angeles (2000); Philadelphia Museum of Art, United States (1999); MCA- The Museum of Contemporary Art Chicago(1994); Museum of Modern Art, New York (1993). In 2003 he was curator of the group show II Quotidiano Alterato as part of the 50th Venice Biennale. Gabriel Orozco’s work has been the subject of more than 25 monographs in different languages.
13 Beatriz Milhazes | b.1960 Brazil Feijão Fradinho 2014 collage 94 x 64 cm; 37 x 25 1/4 in framed size: 101.5 x 71.5 cm; 40 x 28 1/8 in
$135 000 – 160 000 PLACE BID Artwork location | London, United Kingdom Beatriz Milhazes was born in 1961 in Rio de Janeiro, Brazil where she continues to work today. Internationally acclaimed, Milhazes came of age as an artist during a transitional moment in Brazilian art following the collapse of the military dictatorship. The ‘Geração Oitenta’ (the Eighties Generation) proclaimed a return to painting, vivid imagery and lush colour. Drawing from the rich, tropical landscape of her surroundings, Milhazes produced vibrantly coloured paintings, collages and prints. Her methods of layering, transferring and overlapping turn surface into a shifting terrain, both energetic and material. Milhazes cites three early twentieth century European artists as the ‘centre of her interest’: Matisse, Mondrian and Tarsila do Amaral. Unifying Western and Latin American influences inspired a unique exploration, cementing Milhazes’ position as one of the leading South American artists today.
From 2014-2015 Milhazes was the subject of a major solo exhibition ‘Jardim Botânico’ at Peréz Art Museum, Miami, USA. The year before, she had a major retrospective titled ‘Meu Bem’ at Centro Cultural Paço Imperial, Rio de Janeiro which toured to Museu Oscar Niemeyer, Curitiba, Brazil. In 2003, Milhazes represented Brazil at the Venice Biennale. Milhazes’ works are included in prominent collections internationally, including San Francisco Museum of Modern Art, San Francisco; The Guggenheim Museum, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro; Tokyo Art Museum, Tokyo; TB A21, Thyssen-Bornemisza Art Contemporary, Vienna; Museo Nacional Centro de Arte Reina Sophia, Madrid.
STEPHEN FRIEDMAN GALLERY | firstname.lastname@example.org.
Born in Rio de Janeiro, Brazil in 1960, Beatriz Milhazes is known for her use of vibrant colours and spiralling geometric designs. Her works combine Brazilian cultural imagery and Modernist European influences, capturing rhythm, movement and depth in kaleidoscopic patterns of abstract shapes. Milhazes’s distinctive style is rooted in the colours and natural landscape of Brazil, evident in boldly colourful arabesques inspired by plants, ceramics, lacework, carnival, music and architecture. Milhazes first began making paper collages in 2003 but a collage technique is also evident in her paintings, which, since the 1990s, have combined several elements adhered to the canvas in a collage style. ‘Feijão Fradinho’ combines paper cut-outs, layered forms, patterning and abstraction. Found materials such as patterned paper and sweet wrappers are overlaid with blocks of silkscreen colour creating areas of contrast within a dense patchwork of pattern. Arranged around a vertical stem, separate elements form a restless symmetry in this work.
14 *Yinka Shonibare CBE | b.1962 United Kingdom Self Portrait (after Warhol) 5 2013 screenprint, digital print and hand painted linen 134.5 x 134 cm; 53 x 52 7/8 in unique with 1 AP
$60 000 – 90 000 PLACE BID Artwork location | London, United Kingdom Exhibited | Yinka Shonibare MBE RA, Recreating the Pastoral, VISUAL Centre for Contemporary Art, Carlow, 6 February to 19 June 2016; Self: Image and Identity, Turner Contemporary, Kent, UK, 24 January to 10 May 2015; Cannonball Paradise, Gerisch Stiftung, Neumunster, Germany, 27 April to 19 September 2014; and Yinka Shonibare MBE: Egg Fight, Fondation Blachère, Apt, France, 22 May to 20 September 2014. * Please note, this work is promised on loan to ‘Yinka Shonibare: End of Empire’ at Museum der Moderne Salzburg from 22 May to 12 September 2021.
Self Portrait (after Warhol) 5 forms part of a series of self portraits by Yinka Shonibare CBE. This unique, hand-painted and screen-printed work presents the imagery of Shonibare’s trademark Dutch wax batik fabric overlaid across an intimate portrait of the artist’s face. Rich in colour and texture, this work is a visual homage to Andy Warhol’s iconic Camouflage painting of 1986. Shonibare’s self portraits present an innovative way of working with the Dutch wax batik fabric. The brightly coloured, patterned fabric is a symbol of African identity but originates in Indonesia, is produced in the Netherlands and sold in West Africa. Shonibare has embraced Dutch wax batik designs as a kind of visual language in his practice. Assertive and commanding, the works draw to mind the inseparability of the artist and his trademark material, which serves to mark his identity as a ‘post-colonial hybrid’. Beginning with his renowned ‘Diary of a Victorian Dandy’ and ‘Dorian Gray’ series, Shonibare has inserted himself in the frame with a subtly psychological take on the genre of self-portraiture. Previously, Shonibare’s identity had been recognised and reflected in the material of his work but in this painting the artist becomes both central to the work and disguised by it.
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Yinka Shonibare CBE RA was born in 1962 in London, England and moved to Lagos, Nigeria at the age of three. He currently lives and works in London. Describing himself as a ‘post-colonial hybrid’, Shonibare explores issues of race and class through sculpture, painting, photography, film, and tapestries. His signature material, brightly coloured batik fabric, was originally inspired by Indonesian design, mass-produced by the Dutch and sold to the colonies in West Africa. In the 1960s the material came to signify African identity and independence. In May 2021 Shonibare will have his largest European survey exhibition at Museum der Moderne, Salzburg. In 2020 ‘Yinka Shonibare CBE: Justice for All’ opened at The Arts Centre, Singapore. In 2019 Tate acquired ‘The British Library’, an installation of over 6,000 books bound in batik fabric. Shonibare’s Nelson’s Ship in a Bottle was installed in Trafalgar Square, London between 2010 and 2012, before going on permanent display at National Maritime Museum, London. Examples of Shonibare’s Wind Sculpture series have been displayed across the world including at Yorkshire Sculpture Park, Wakefield (2013); Gerisch Stiftung, Neumünster (2014); MCA Chicago, Illinois (2014); Ndubuisi Kanu Park, Lagos (2016) and Smithsonian National Museum of African Art, Washington, D.C. (2016). Shonibare’s works are included in prominent collections including Tate, London; V&A Museum, London; British Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C.; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art in Rome and VandenBroek Foundation, Netherlands.
15 Zhu Jinshi | b.1954 China Thunder Resounds Through the Palace 2020 oil on canvas 25 x 30 cm; 10 x 12 in
$7 500 – 10 000 PLACE BID Artwork location | Tokyo, Japan
Zhu Jinshi is a pioneering figure in Chinese abstract painting and installation art. His nearly sculptural tableaus of color and texture, expansive installations composed of airy sheets of xuan paper, visualize a monumentality in gesture and spirit. Against the backdrop of the economic and political rise of the People’s Republic of China, Zhu’s body of work negotiates traditional Chinese aesthetics and poetry with the Western art historical canon, tracing the development of a generation of Chinese artists who sought artistic forms of expression to liberate and critique. Having come of age during the Cultural Revolution with no formal artistic training, Zhu’s early exposure to and adoption of abstraction opened the door to new forms of artmaking. He joined the Chinese avant-garde group the Stars (xīngxīng huàhuì) and participated in the seminal 1979 exhibition outside the National Art Museum, a watershed moment in the history of contemporary Chinese art. Shortly after, Zhu migrated to Germany, taking part in the diaspora of Chinese artists to western countries. There, he was immersed in the European avant-garde and began to experiment with conceptual, installation, and performance art, all the while utilizing materials rooted in Chinese tradition such as rice paper and bamboo. While Zhu eventually returned to painting, these explorations into installation and multidimensionality deeply impacted his practice thereafter. Zhu eventually returned to Beijing in 1994 and set up his studios in the outskirts of the city where he works today.
BLUM AND POE | Jessica Witkin | Jessica@blumandpoe.com | +1 (310) 836-2062
All images © Zhu Jinshi. Courtesy of the artist and Blum & Poe, Los Angeles/ New York/Tokyo
About Thunder Resounds Through the Palace Zhu’s recent body of small paintings carries the same substantiality of his larger works but marks a return to a period of more focused introspection in his cycle of artmaking. He describes painting at this limited scale as a challenge of working within a confined area, but also as a renegotiation with tradition. Setting aside his usual arsenal of ad hoc painting tools— spatulas, wood boards, shovels, and other such applicators—in favor of the paintbrush, Zhu seeks to discover new possibilities in convention. Instead of painting upright, Zhu is able to set the smaller canvas on the tabletop to paint in a horizontal orientation, embodying the format of classical Chinese literati painters and calligraphers. Within the vibrant swaths of medium piled atop the canvas in overflowing swirls, the artist imagines not the action paintings of Pollock, but the portraits of Velázquez, Titian, and Van Dyck. Zhu Jinshi’s approach to naming his paintings is often a poetic endeavor, a process at times only loosely connected to the composition of the work, leaving the conjuring of meaning largely up to his viewer. In Thunder Resounds Through the Palace, one could imagine the sudden alarm of thunder reverberating through long halls of an old, baroque palace, materialized in the heavy dollops of red and green, intermingling into purples and blues, with rare highlights of yellow. In the mind’s eye, the movement of color and material—as they meld and retract—forms a story, a near-tactile memory.
Zhu Jinshi in his studio, Beijing, China, 2020. Courtesy of Action Media.
16 William Kentridge | b.1955 South Africa Untitled (Whispering in the Leaves) 2016 Indian ink on found paper each sheet size: 36.5 x 41.5 cm; 14.3 x 16.3 in combined size: 108.4 x 124.1 cm; 42.6 x 48.8 in (set of nine drawings pinned into a grid)
$140 000 – 180 000 PLACE BID Artwork location | Johannesburg, South Africa View Untitled (Whispering in the Leaves)
William Kentridge’s Untitled (Whispering in the Leaves) is taken from his three-channel projection, Notes Towards a Model Opera. Rooted in the extensive research into the intellectual, political, and social history of modern China, from Lu Xun to revolutionary theatre, the work explores dynamics of cultural diffusion and metamorphosis through the formal prism of the eight model operas of the Cultural Revolution.
William Kentridge – Notes Towards a Model Opera
GOODMAN GALLERY | firstname.lastname@example.org | WhatsApp: Tony East +27 72 018 1293
William Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, travelling to Festival d’Aix and to Lyon in 2011. The five-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna Festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017, and last year his acclaimed performance project The Head & The Load opened at Tate
Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection. In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town. Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, opened in late August 2019 and will run until July 2020. In addition, Kentridge’s new opera project, Waiting for the Sibyl, premiered at Teatro dell’Opera di Roma in September 2019. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress. Most recently, Kentridge’s production of Alban Berg opera Wozzeck ran at the Metropolitan Opera in New York.
17 Ming Smith | b.1947 United States Mother and Child, New York, NY negative dated 1977, printed later archival pigment print 55.9 x 76.2 cm; 22 x 30 in signed lower right; from an edition of 10
$23 000 – 35 000 PLACE BID Artwork location | New York, United States Ming Smith, the first Black female photographer whose work was acquired by the Museum of Modern Art New York (MoMA), creates haunting, poetic, ethereal photographs that have become icons of 20th century life. “Ming Smith: An Aperture Monograph” was released last autumn. Smith was the first female member of Kamoinge, a Black photography collective started in the 1960s aimed at presenting black life in a positive way by challenging stereotypes presented in the media. She is featured in “Working Together: Louis Draper and the Kamoinge Workshop” that premiered at Virginia Museum of Fine Arts and travels to The Whitney Museum of American Art, The J. Paul Getty Museum and Cincinnati Art Museum. Ming Smith was recently in the touring exhibition “Soul of a Nation: Art in the Age of Black Power”, “Arthur Jaffa: A Series of Improbable, Yet Extraordinary Renditions”, and “Down Time: On the Art of Retreat” at the Smart Museum. Jenkins Johnson Gallery received the 2019 Frieze New York Stand Prize for its presentation of her work and presented her at 2019 Frieze Masters. Smith is in museums including The Whitney Museum of American Art, The J. Paul Getty Museum, the Baltimore Museum of Art, Studio Museum in Harlem and the National Gallery of Art, Washington, DC.
Ming Smith’s, Mother and Child, New York City, NY, 1977 depicts love shared between a mother and child, against the back drop of urban life. Smith feels that too often photographs of Black communities focus on images of poverty or violence. Smith wants to emphasize the positivity she views daily. Ming Smith documents everyday moments through her ethereal and transcendent vision, combining a deliberate blurriness with experimental post-production techniques including double exposed prints,collage, and painting, amplifying the works’ dream-like qualities. In her New York- Harlem Series, Smith used her camera to capture and preserve moments of Black communities during the late 1970 and 1980s. Taking her camera with her everywhere she went, Smith applied improvisation to her practice, capturing and recognizing the simple beauty she witnessed. In Mother and Child, New York City, NY, 1977 we see a young woman and child making a call on a payphone, instantly stamping this as a moment in time. An air of mystery surrounds the two figures, yet their actions and composure are relaxed. Mother and Child, New York City, NY 1977 is part of the Museum of Modern Art, New York permanent collection.
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18 Lionel Wendt | Sri Lankan 1900–1944 Untitled c.1930
Provenance | Yvonne Poulier, Sri Lanka; Nalin Tomar and Mahijit Singh, New Delhi; Simon Ray Indian & Islamic Works of Art, London and Amrita Jhaveri Limited, London
gelatin silver print sheet size: 38 x 30 cm; 15 x 12 in, unframed unique
Literature | Another version of this print is published in Ewing, William A. Love & Desire : Photoworks. London: Thames & Hudson. (1999)
$15 000 – 18 000 PLACE BID
Artwork location | London, United Kingdom
Lionel Wendt (b.1900-d.1944, Colombo. Lived and worked in Colombo) was one of Asia’s earliest modern photographers and a leading cultural figure in Sri Lanka. A pioneer of modernism in South Asia, he engaged with international art movements such as Surrealism and confidently made them his own. He experimented with technique and subject, using photomontage and solarisation to produce sensual silver gelatin prints spanning portraits and landscapes as well as abstracted object studies grounded in Sri Lankan life. Dedicated to promoting and advancing the country’s local culture, Wendt founded the influential 43 Group, an artistic collective in opposition to mainstream colonial and academic aesthetics.
Wendt’s work is included in numerous important collections, including Kiran Nadar Museum of Art, New Delhi; Metropolitan Museum of Art, New York; Minneapolis Institute of Art, Minneapolis; National Gallery of Canada, Ottawa; Sharjah Art Foundation, Sharjah; Tate, London; The National Gallery of Australia, Canberra; and The Rijksmuseum, Amsterdam.
Lionel Wendt studied law at the Inner Temple and music at the Royal Academy in London between 1919 and 1924. His work has been shown internationally, including, most recently: Tate Britain, London (2020); MASP, São Paulo (2017); Huis Marseille, Amsterdam (2017); Documenta 14, Athens (2017); Dhaka Art Summit, Dhaka (2016); 10th Gwangju Biennale, Gwangju (2014).
If there is an image that has come to epitomise the desirable male body, it’s one of a muscled, almost naked torso photographed up close. What is today a ubiquitous image – used in high-end advertising campaigns, the works of celebrated gay photographers and across various dating platforms – was once a novelty. Its tight framing unleashes fantasy through a fragment of the body – a key element in the modern erotic image. This image was taken sometime in the 1930s by Lionel Wendt, a prominent avant- garde figure in Ceylon. After his sudden and premature death in 1944, his negatives were destroyed but hundreds of prints survive that bear witness to his eclectic imagery. There are no editions of Wendt’s works - this print is a unique variation.
JHAVERI CONTEMPORARY | Amrita Jhaveri | firstname.lastname@example.org | +44 779 988 1411.
19 David Goldblatt | South Africa 1930–2018 Dancing-master Ted van Rensburg watches two of his ballroom pupils, swinging to a record of Victor Sylvester and his Orchestra, in the MOTHS’ Hall at the old Court House, Boksburg 1980 silver gelatin hand print image sizee: 25 x 38 cm; 9.8 x 14.9 in
$20 000 – 30 000 PLACE BID Artwork location | Johannesburg, South Africa David Goldblatt (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. He began exploring the medium of photography after matriculating in 1948 but only formally made photography his profession after his father died in 1962 and the family business, a mining concession store, was sold. In the years that followed, while Goldblatt supported his family through photography commissions and magazine work, he produced more than ten major photographic series, documenting the people, landscapes and structures of South Africa. In 1989, Goldblatt founded the Market Photography Workshop, a training institution in Johannesburg, for aspiring photographers. In 1998 he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. In 2001, a retrospective of his work, David Goldblatt Fifty-One Years began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in
Video of David talking about Boksburg, courtesy of the San Francisco Museum of Modern Art
the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and Barbican Centre in London. In 2017, Goldblatt installed a series of portraits from his photographic essay Ex-Offenders in former prisons in Birmingham and Manchester. The portraits depict men and women, from South African and the UK, at the scene of their crimes, with accompanying texts that relate the subjects’ stories in their words. In the last year of his life, two major retrospectives were opened at Centre Pompidou in Paris, and the Museum of Contemporary Art in Sydney. The Goldblatt Archive is held by Yale University, in New Haven, Connecticut. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award and in 2016, he was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France.
GOODMAN GALLERY | email@example.com | WhatsApp: Tony East +27 72 018 1293
Images courtesy of the David Goldblatt Legacy Trust
20 Anwar Jalal Shemza | Indian 1928–1985 Meeting 1963 oil on canvas 76.2 x 61 cm; 30 x 24 in
$150 000 – 180 000 PLACE BID Exhibited | Speech Acts, Manchester Art Gallery, Manchester, United Kingdom, 25 May 2018 to 22 April 2019; South Asian Modernists 1953–63, The Whitworth, Manchester, UK, 30 September 2017 to 15 April 2018 and BP Spotlight Display : Anwar Jalal Shemza, Tate Britain, 12 October 2015 - Autumn 2016 Literature | Dadi, Iftikhar (ed.), Anwar Jalal Shemza, London: Ridinghouse (2015). Artwork location | London, United Kingdom Anwar Jalal Shemza (b.1928, Shimla-d.1985, Stafford. Lived and worked in Stafford) was already an established artist in Pakistan, when he arrived in Britain in the 1950s to study at the Slade. His experience in Britain, marked by an existential crisis, led him to abandon all that he had done before and look for a new direction and language – one which would embrace modernism and take account of his cultural identity. His paintings, drawings and prints explore abstraction, geometry and pattern – the basis of much traditional Islamic art – towards modernist exploration. Anwar Jalal Shemza received his BFA from the Mayo School of Art (now National College of Arts) in Lahore, before enrolling at the Slade School of Art, London (1956). His work has been exhibited widely, in solo and group shows, including: Sharjah Biennial 14, Sharjah (2019); Manchester Art Gallery, Manchester (2019); The Whitworth, Manchester (2017-18); Haus der Kunst, Munich (2016-2017); 10th Gwangju Biennale, Gwangju (2014); Tate Britain, London (2012); Ikon, Birmingham (19992000); Birmingham City Museum, Birmingham (1997-8); Manchester Metropolitan University, Manchester (1992); Hayward Gallery, London (1989-90). 78
Public collections that hold Shemza’s work include Ashmolean Museum, Oxford; Birmingham Museum and Art Galleries, Birmingham; Bradford Museum and Art Galleries, Bradford; British Museum, London; Guggenheim Abu Dhabi; Herbert F Johnson Museum of Art, Cornell University, Ithaca; Lahore Museum, Lahore; Metropolitan Museum of Art, New York; Middlesbrough Institute of Modern Art, Middlesbrough; Oriental Museum, Durham University, Durham; Pakistan National Council of Art, Islamabad; Sharjah Art Foundation, Sharjah; Tate, London. Meeting, 1963 belongs to a group of paintings from 1963 that engage modernism through an exploration of abstraction, geometry and pattern. Working with basic form - the square, the circle and the semi - circle - which were visually and culturally neutral, this group of works provide Shemza with a set of infinite yet flexible building blocks. Such a disciplined, formalist practice based on geometry is remarkable for a South Asian artist. He notes in Urdu: “A circle – a square – a puzzle – for which a lifetime is not enough.”
JHAVERI CONTEMPORARY | Amrita Jhaveri | firstname.lastname@example.org | +44 779 988 1411.
Installation View from BP Spotlight Display, Tate Britain showing Meeting, 1963 alongside Composition in Red and Green, Squares and Circles now in the Tate Collection
21 Hélio Oiticica | Brazilian 1937–1980 Sêco 15 1957 gouache on paper laid on board 38.7 x 42.9 cm; 15.25 x 16.9 in framed: 67 x 69.2 x 4.4 cm; 26.4 x 27.25 x 1.75 in
$250 000 – 300 000 PLACE BID Artwork location | New York, United States Hélio Oiticica is known for his dynamic grid-like compositions on cardboard, free-standing wooden structures, and large-scale multi-sensorial installations. He was a pivotal member of the Neo-Concrete group (1959-1961), a movement of Brazilian artists seeking to impart the geometric investigations of Concretism with emotion, sensuality, and subjectivity. Throughout his brief career, Oiticica challenged traditional notions of art and art practices by liberating color into three-dimensional space and integrating viewer participation as a central element by which to experience his work. Oiticica’s work has been increasingly acknowledged since his death in 1980, most recently by the exhibition Hélio Oiticica: Dance in my Experience, presented at the Museu de Arte de São Paulo, Brazil, and Museu de de Arte Moderna do Rio de Janeiro, Brazil, in 2020. Other
retrospectives include To Organize Delirium, which debuted at the Carnegie Museum of Art, Pennsylvania, in 2016 and travelled to the Art Institute of Chicago, Illinois and the Whitney Museum of American Art, New York through 2017; The Body of Color, presented by the Museum of Fine Arts Houston, Texas, in 2007, and the Tate Modern, England, in 2008. His work is represented in institutions around the world including the Museum of Modern Art, New York; Museo de Arte Latinoamericano de Buenos Aires, Argentina; Inhotim Centro de Arte Contemporânea, Brazil; Museu de Arte Moderna de São Paulo, Brazil; Museum of Fine Arts, Houston; and Centro Nacional Museo de Arte Reina Sofía, Spain. Hélio Oiticica was born in Rio de Janeiro, Brazil, in 1937, and died in 1980. The Estate of Hélio Oiticica is managed by the Projeto Hélio Oiticica in Rio de Janeiro.
GALERIE LELONG & CO. | Mary Sabbatino | +1.917.470.8386 | email@example.com
Hélio Oiticica (1937-80) is considered one of the most important postwar artists from Latin America, whose influence extended globally. His work spans the rigorous geometry begun in the Rio de Janeiro-based artist collective, Grupo Frente to the Neo Concrete Movement, to sculpture and pioneering multi-media installations and performances and films. Oiticica’s work demonstrates a commitment to experimentation and a rejection of traditional expressive means. Beginning in 1957, Oiticica began to disrupt the density and structure of his early works in a series of gouaches on board in a self-coined word, Metaesquemas (1957–58). In these horizontal compositions, forms are arranged in a grid, sometimes interrupted by wavering movements . Metaesquemas are often exhibited in the context of the Neo-Concrete, a 1950’s movement of the Brazilian avant-garde in poetry and painting. Though the Neo-Concrete group was based in Brazil, it related to a global manifestation of geometry as a utopian and spiritual response to the destruction and chaos of WWII. Particularly present in Latin America, these manifestations were also seen in Europe, India and the United States. The Seco from 1957 is midway in Oiticica’s condensed but intense experimental works with color on paper before moving to three dimensional ones. Using the building blocks of red and blue gouache, he engaged the entire page as part of the artwork.
Sub one installation view, Galerie Lelong 2018
22 Manuel Espinosa | Argentinian 1912–2006 Aasef 1977 acrylic on canvas 60 x 60 cm; 23.6 x 23.6 in; framed size: 61.5 x 61.5 cm; 24.2 x 24.2 in
$75 000 – 80 000 PLACE BID Artwork location | Houston, United States “The only realist painting is, for me, the one that searches to affirm its material reality before anything else...” Although known today for his participation in the Asociación de Arte Concreto-Invención, Manuel Espinosa (1912-2006) was an established artist in Buenos Aires several years before the group was formed. His first solo exhibition, held in 1940 at the Teatro del Pueblo, included oil paintings and pastels featuring a mélange of surreal symbols and figures such as mannequins, musical instruments, mechanical appliances, and birds, but Espinosa’s artistic trajectory changed dramatically in 1943. That year, he visited Montevideo and met Joaquín Torres-García, who inscribed a copy of his book La ciudad sin nombre for him. Within a year, Espinosa had moved away from his surrealist compositions, and he began making paintings and works on paper marked by spare outlines of recognizable shapes. Art critic Julio Payró described the works as having a note of “mystery or mocking wit in…fresh and chromatically seductive compositions…” In the early 1940s, Espinosa befriended artist, designer, and theorist Tomás Maldonado. Tapping into international concrete art movements as well as the non-representational movements centered in Buenos Aires, Espinosa and Maldonado, along with Alfredo Hlito and Raúl Lozza, founded the Asociación de Arte Concreto-Invención in 1945. Their work broke entirely from figurative traditions, focusing instead upon geometry and color studies. In a 1946 manifesto,
they proclaimed, “The artistic era of the representational fiction has reached its end.” After the group dissolved in 1949, Espinosa traveled often to Europe, where he met members of the De Stijl movement and artists in the Italian groups Movimento di Arte Concreta and Forma. In the 1960s and 1970s, Espinosa arranged squares and circles in serial patterns in his paintings and drawings. These variations investigate subtle effects of space and color and explore optical sensations of depth and movement. In these works, Espinosa embraced an idea proposed by Swiss architect Max Bill, who believed that the practice of creating variations upon a theme could offer a systematic and precise understanding of a particular form. Music and literature were important subjects for Espinosa throughout his career, but in the late 1960s and 1970s, he titled several of his works in homage to specific composers and writers. Espinosa’s painting titled Gnossionnes III (1973) takes its title from a series of piano pieces by Erik Satie, who coined the term “gnossionne” to describe a new musical form that broke from established structures such as a piano prelude or sonata. Espinosa was fascinated by the rhythmic simplicity and poetic nature of Satie’s work. In other paintings, Espinosa makes more oblique references; for a 1977 exhibition, he titled his paintings after James Joyce’s novel Ulysses. For example, Dublin, 16 de junio de 1904 (1977) refers to the day the novel takes place. Espinosa was drawn to Joyce’s use of language, which resonated with the artist’s method of structuring his complex compositions around seemingly simple pictorial elements. Writing about Espinosa in 1974, art critic Marta Traba described him as “a man who, with no exhibitionism, is capable of making silences have a glowing intensity.” Manuel Espinosa’s works are represented in several major collections including Fondo Nacional de los Artes, Buenos Aires; Blanton Museum of Art, Austin, TX, USA; Museo de Arte Moderno, Buenos Aires; Museo Nacional de Bellas Artes, Buenos Aires; Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas; Museum of Art at the Rhode Island School of Design, Providence, RI, USA and Patricia Phelps de Cisneros Collection, New York, NY, USA.
SICARDI | AYERS | BACINO | Will Isbell | +1 832 264 3466 | firstname.lastname@example.org
After the Second World War, a group of artists from the River Plate region in Argentina tried to overcome the melancholy of that ruined time by putting their creative energy and political commitment to work making something they called Concrete Art. Though polemical at first, this movement left an indelible mark on Argentinean art history and helped to put Latin American Constructive Art on the international map. Manuel Espinosa was at the forefront of this movement of young artists who, rather than addressing a humanity overwhelmed by fears brought on by the war, preferred to create art that emphasized joy while looking ahead to the society of the future. These artists were opposed to any illusory form of ‘representing’ reality and instead ‘presented’ forms that were pure invention. Their aesthetic program was based on the use of simple geometric forms such as triangles, squares, and circles, painted in flat colors and combined in different ways. By Maria Cristina Rossi, 2013
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23 Ermias Kifleyesus | b.1974 Ethiopia Small Market 2020 oil on canvas 160 x 218 cm; 62.9 x 85.8 in
$19 500 – 25 500 PLACE BID Artwork location | Brussels, Belgium
Ermias Kifleyesus (b. 1974, Addis Ababa) lives and works in Brussels. He attended the Addis Ababa University, Alle School of Fine Arts and Design where he was taught by the influential painter Tadesse Mesfin. As a multidisciplinary artist, Kifleyesus uses a plethora of artistic techniques and media, ranging from large-scale paper collages, mixed-media canvas pieces, and fresco-style murals, to video installations and intricate metal sculptures. By creating and deconstructing images, he allows us to investigate important questions about the human condition and the larger complexities of the world that occupy him. In Ermias’s own words he describes his practice: “I explore the flip side of paintings, this is true with my own work and the works I discover. I’m performing with the front and back of paintings, engaging the places in between canvas, primer, oil paint, and varnish by working with light in that uncharted territory. This process gives new life to forgotten spaces; my technique gives vision and voice to my ideas, heroes, and idols.”
ADDIS FINE ART | email@example.com
24 Tesfaye Urgessa | b.1983 Ethiopia Chasing After the Wind I 2020 oil on canvas 150 x 150 cm; 59 x 59 in
$19 000 – 25 500 PLACE BID Artwork location | London, United Kingdom Tesfaye Urgessa (b. 1983) has quickly become one of the most prominent contemporary artists from Ethiopia. Based in Germany since 2009, Urgessa’s artistic practice draws upon a range of influences including Ethiopian iconography, German Neo-Expressionism, and the London School. Tesfaye’s Ethiopian heritage is deeply interwoven into his work, which is often seen through his use of Ethiopian iconography. In his own words, this is like ‘always having an Ethiopian accent, no matter what language I’m speaking’. During his time travelling Europe as a young man, before finally settling in Germany, he encountered the heritage of German Neo-Expressionism and the London School, which he would also incorporate to his imagery.
ADDIS FINE ART | firstname.lastname@example.org
The subject matter of Tesfaye’s work can vary from each body of work as he broaches themes as diverse as the migrant crisis, to biblical allegories. It is in story-telling and a kind of artistic activism is where Urgessa found a style of his own. The mute reciprocity between the observer and the observed shuffles the power dynamics and the notion of agency and race. The portrayed exceed the frame with their gaze, interrogating the viewer. Chasing After the Wind I, is titled after a well-known verse by Solomon is in Ecclesiastes 1:14 which discusses the folly of pursuit of material wealth, in the hope of finding peace and happiness. To do so is like “chasing after the wind”, it is an unattainable goal.
25 Marco Fusinato | b.1964 Australia Mass Black Implosion (February Pieces, Cornelius Cardew) 2012 ink on archival facsimile of score, two panels 68 x 58.5 cm; 26.7 x 23 in each
$12 000 – 14 000 PLACE BID Artwork location | Melbourne, Australia Marco Fusinato is an artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. Marco Fusinato has been presented in many significant exhibitions including, ‘SUPERPOSITION: Art of Equilibrium and Engagement’, 21st Biennale of Sydney (2018); ‘Every Brilliant Eye: Australian Art of the 1990s’, National Gallery of Victoria (2017); ‘All the World’s Futures’, the 56th International Art Exhibition of the Venice Biennale (2015); ‘Soundings: A Contemporary Score’, Museum of Modern Art, New York (2013); ‘The Imminence of Poetics’, 30th Sao Paulo Biennial (2012); and ‘Parallel Collisions’, Adelaide Biennale of Australian Art, Art Gallery of South Australia (2012), titled after one of the artist’s works. He also provided a range of projects for ‘Sonic Youth: Sensational Fix’, a travelling exhibition of artists who have collaborated with
Sonic Youth, that toured throughout museums in Europe (2008 – 2010). Fusinato was recently nominated for two prestigious awards, the Nam June Paik Art Centre Prize, South Korea (2018) and the Nasher Prize, Dallas, USA (2017). Fusinato has been featured in Artforum (“Dark Energy: The art of Marco Fusinato”, Branden W. Joseph, February 2011) and was included in the recent anthology Performance Art: From Futurism to the Present, RoseLee Goldberg (Thames & Hudson, 2011). Fusinato’s work is represented in important public and corporate collections including, National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Museum of Contemporary Art Australia, Sydney; Monash University Museum of Art, Melbourne; Museum of Old and New Art, Hobart; and Chartwell Collection, New Zealand. Fusinato will represent Australia in the fifty-ninth edition of the Venice Biennale, opening in April 2022.
ANNA SCHWARTZ GALLERY | Tania Doropoulos | Director | email@example.com
Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document — a 20th or 21st-century avant-garde music score — as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. In these works, treated by Fusinato as propositions for new
noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one — a relentless propensity to both destruction and expressive creation in the single action, or in this case the production of noise.
26 Marco Fusinato | b.1964 Australia The Infinitive 6 2019 white UV halftone ink on black aluminium 250 x 500 cm; 98.4 x 196.8 in
$48 000 – 60 000 PLACE BID Artwork location | Melbourne, Australia The Infinitives is an ongoing series where a specific image from the print media – of the decisive moment in a riot in which a protagonist brandishes a rock – is blown up to history painting scale using the latest commercial print technologies.
ANNA SCHWARTZ GALLERY | Tania Doropoulos | Director | firstname.lastname@example.org 104
27 Farrokh Mahdavi | b.1970 Iran Untitled 2020 acrylic on canvas 95 x 75 cm; 37.5 x 29.5 in
$5 000 – 7 000 PLACE BID Artwork location | Dubai, UAE
Farrokh Mahdavi (b. 1970, Tehran, Iran) is amongst the most prolific painters of his generation in Iran, with his works being easily distinguished through the use of unique pinkish hues and his recognizable technique where he aims to reach “a more material meaning” by “omitting the impurities”, defamiliarizing the well-known facial elements, and crossing over “cliché definitions”. His works emphasize his depiction of the fleshy pink color, a color that covers his figures and allows to “render a more general depiction of human beings devoid of stereotypes of gender and of race”. The faces in Mahdavi’s work concentrate on features such as the eyes or the lips, and the rest are covered by thick layers of pink paint, accurately expressing the emotions of his characters. He tries to specify forms and conditions without directly depicting anything additional to that as he believes it deviates from the main point. Farrokh Mahdavi’s work has been shown in Iran and abroad in major exhibitions such as “City Prince/sses” at the Palais de Tokyo in Paris, 2019 and the Iranian Pavilion in Venice Biennale, 2015.
DASTAN’S BASEMENT | Roshan Takallomi | +98 910 006 5723 | email@example.com
Video of Farrokh Mahdavi in his studio
28 Yousha Bashir | b.1989 Iran Untitled 2020 acrylic on canvas 213 x 170 cm; 84 x 67 in
$5 000 – 7 000 PLACE BID Artwork location | Dubai, UAE Yousha Bashir (b. 1989) is an artist living and working in Tehran, Iran. Bashir received a BFA in visual arts from Farhangian University of Tehran. His artistic practice ranges from painting and sculpture to installations and site-specific works. Bashir’s works oscillate between abstraction and figuration and the key concepts which tie most of his works together are deconstruction, duality and suspension. Bashir’s recent works are a continuation of his focus on abstract landscapes, framed within more extensive landscapes, creating a new perspective and challenging the idea of the painting’s solid framework. Through these works, Bashir explores the relationship between the digital realm and the painting itself as a physical entity. The landscapes in his work examine the translation of images through the digital realm into the canvas and vice versa.
DASTAN’S BASEMENT | Roshan Takallomi | +98 910 006 5723 | firstname.lastname@example.org
Video of Yousha Bashir in his studio
29 Eduardo Ponjuán | b.1956 Cuba Tornado II 2019 canvas mounted on a wooden frame 100 x 190 cm; 39,37 x 74,80 in
$25 000 – 30 000 PLACE BID Exhibited |“Del laberinto se sale por un costado”, El Apartamento gallery, Havana, 2019-2020. Video of Eduardo Ponjuán discussing his work
Artwork location | Havana, Cuba Eduardo Ponjuán (Pinar del Rio, 1956) is one of the essential artists within the historiography of Cuban art. His work, which emerged during the eighties, can go further in the precipice of certain truths, to overcome itself as a discursive generator. Ponjuán moves in different directions, supported by the alibi of a conceptualism that has reinvented itself again and again. There is not a precise way of cataloging him, because in his case any taxonomy becomes reductionist. Ponjuán is a painter, an installation and conceptual artist, an inexhaustible thinker. After more than three decades of sustained work, he has developed several personal and collective exhibitions inside and outside the island (USA, Italy, Spain, Colombia, Canada, Mexico). He has also participated in events of the relevance of the Venice Biennial, the Havana Biennial, the South Biennial of Panama, the Cuenca Painting Biennial, and the Malta International Biennial. His work has been worthy of numerous local and international awards. Among them, we can refer to the National Prize for Visual Arts (2013) and the National Prize of Curatorship (2007). Also, the First Prize of Collage at the International Biennial of Malta (1999) and the grant awarded by the
Brownstone Foundation of France (2005). His work has been included in prestigious collections, such as the Museo Nacional de Bellas Artes (MNBA), Havana; the DarosLatin America Collection, Switzerland; the Collection of the Fondazione Sandretto Re Rebaudengo, Italy; the Farber Collection, the Blanton Museum of Art and the ASU Art Museum collections, both in the USA. This artwork belongs to a series of paintings based on the landscape genre. They embody the aesthetic of the illustration, the animated cartoon, and the graphic design. Mostly, are based on climates and natural phenomena that the artist has not witnessed or experienced. Eduardo Ponjuán juxtaposes the unreal quality of its representation –it is never naturalistic– to the paradox of this painting’s origin: these are landscapes painted in the tropics because the artist lives and works in Havana. These paintings, which manipulate and reinterpret images from the Internet public space, reach pictorial materiality that frustrates its original nature. Ponjuán deploys all his resources to conform a kind of painting of erotic dimension where the spectator forgets the subject and focuses on observing how these “digital print” style artworks are made of.
EL APARTAMENTO | Christian Gundín | email@example.com
30 Diana Fonseca | b.1978 Cuba Untitled (from the “Degradación” series) 2020 paint taken from the facades of buildings in Havana on wood 150 x 150 cm; 59.05 x 59.05 in
$15 000 – 18 000 PLACE BID Artwork location | Havana, Cuba
Diana Fonsecas’ degradations are works conformed by scraps of paint layers from different Havana’s facades. Such random old paints overlapped generates an abstract visuality that rescue, by an autonomous artwork, the city’s history and the intimate history of the individuals that inhabit that city. The title itself points to the series idea: “Degradación”, degradation in a temporal and physical sense –deterioration, fading, forgetting– and also, logically, in a symbolic dimension.
EL APARTAMENTO | Christian Gundín | firstname.lastname@example.org
Diana Fonseca (Havana, 1978) is a multidisciplinary artist who easily moves through the worlds of drawing, sculpture, installation, object, and video art. Diana transforms everyday events and their most irrelevant details into impossible variants of itself. In this way, each segment of reality becomes part of her fables. In that new universe -arisen as a result of her fiction- beats the reality echo with a minimal, amazing, deeply lyrical, and unique tone of voice. She has performed numerous personal exhibitions both inside and outside the island. Among her most interesting solo projects are “Diana Fonseca”, held at the Sean Kelly Gallery in New York, USA, and “Cara a cara” (with Jacques Villeglé), Brownstone Foundation, Paris, France. Her work has been included in collective exhibitions in relevant art centers and museums: CAM Louise Wells Cameron Art Museum, Wilmington, USA; Stravos Niarchos Foundation Cultural Center (SNFCC), Athens, Greece; Centro de Arte Wifredo Lam, Havana, Cuba; CAB Art Center in Brussels, Belgium and the School of Fine Arts, Boston, USA. In 2015 she was awarded the EFG Bank & ArtNexus Acquisition Prize, Bogotá, and recently she received JustMad Residency, Asturias, Spain and Cast Research, Melbourne, Australia. Her work is part of the following institutional collections: Bronx Museum of the Arts, New York; Torrance Art Museum, Torrance; Davis Museum at Wellesley College, Massachusetts; CAB Art Center, Brussels; Perez Art Museum (PAAM), Miami; EFG Bank & ArtNexus, Bogotá; Margulies Collection, Miami; Kadist Foundation, San Francisco; Calosa Foundation, Mexico City; Foundation Jean Boghosian, Brussels.
Video of Diana Fonseca discussing her work
31 Helen Teede | b.1989 Zimbabwe Ecosystems 2020 oil on canvas 200 x 170 cm; 78.7 x 66.9 in
$5 500 – 7 000 PLACE BID Artwork location | Johannesburg, South Africa After completing her BFA at Michaelis in Cape Town and MFA (cum Laude) at Università Iuav di Venezie in Venice, Helen Teed has recently returned to live and work in Zimbabwe. Her research and art practice is influenced by the relationship between power and narrative and the historical trajectory of these. Working with painting and nature as a contested and politicised spaces, Teede explores ways in which the earth’s surface can be “read”, and how we determine our position as a species that marks the world in impactful ways. Concurrently she also uses social critique as an opportunity for interaction with the broad spectrum of modes of painting, drawing fluidly on historical traditions and movements from cave painting to impressionism and minimalism. Teede’s work has been exhibited and collected internationally across North America, Europe, Middle East as well as in Africa, including Zeitz MoCAA and Tiroche DeLeon collection.
Video of Helen Teede discussing her work
Ecosystems, picks up a proto-classical European narrative of the idyll of nature as a place of perfection and innocence but infused with contemporary sense of uncertainty and questioning about what we are seeing, how we are seeing and if we can believe what we are seeing at all.
FIRST FLOOR GALLERY HARARE | Valerie Kabov | email@example.com | +263 775 709 031
images courtesy of the artist and First Floor Gallery 125
32 Troy Makaza | b.1994 Zimbabwe Dispatches from Zambesia Part 1 2020 silicone infused with paint 158 x 180 x 4 cm; 62.2 x 70.8 x 1.5 in
$4 500 – 6 500 PLACE BID Artwork location | Johannesburg, South Africa
Troy Makaza’s works woven from painted silicone strings and brushstrokes inhabit the space on either side of painting and sculpture. Threadlike spider webs, accented with bands and braids of bright colour silicone, are part of Makaza’s broader examination of the fluid and in-flux relationships between various social groups and classes in contemporary Zimbabwe, which intersect with politics, gender, power, history and land. These mutating and surreal shapes build powerful metaphors for cultural and personal interactions and bonds, where tradition, colonial past and contemporary power structures are forced into dynamic and often tense coexistence and co-evolution. Makaza’s work has been exhibited and collected widely in Africa and internationally including major institutions such as Zeitz MoCAA and Macaal.
Video of Troy Makaza discussing his work
Dispatches from Zambesia Part 1, is a work which builds on a series responding to conversations about the various fictions about what Zimbabwe is imagined to have been as projected on the present. These fictions, often impacted by colonial past, often involve the idea of land and its agricultural abundance and in Makaza’s work they emerge as magical reimagining of mapping and land.
FIRST FLOOR GALLERY HARARE | Valerie Kabov | firstname.lastname@example.org | +263 775 709 031
images courtesy of the artists and First Floor Gallery
33 Hudinilson Jr. | Brazilian 1957–2013 Untitled 1980/2009 collage on paper 32 x 47 cm; 12.5 x 18.5 in
$3 900 – 4 500 PLACE BID Provenance | Artist’s Estate Artwork location | Brussels, Belgium
Hudinilson Jr (São Paulo, 1957-2013) was one of the most important Brazilian artists of his generation, influencing the entire Brazilian artistic scene, not only through his personal work - produced between the 70’s and 2000’s - but also because of his active role as a catalyzing personality of artist groups and experimental exhibitions. During the late 1970’s, the artist learned to operate the xerox-machine to its limit, exploring all possible graphic possibilities; he enlarged details, cut them, widened again, distorting the images of his body to the point where they became pure abstract texture. He said that this exercise meant losing oneself to seeing, an “exercise of seeing myself”, as he would later name many of his series.
In recent years, his work has been presented in important exhibitions such as United by AIDS (Migros Museum, 2019), Maskulinitaten (Bonner Kunstverein, 2019), Histories of Sexuality (MASP, São Paulo, 2018), Xerografia: Copyart in Brazil, 1970–1990 (University of San Diego, 2017) and The Matter of Photography in Americas (Stanford University, 2018. The solo exhibition Hudinilson Jr: Explicit is currently on display at the Pinacoteca do Estado (São Paulo). His work resides in the collections of the Museum of Modern Art (New York), Museo Nacional Centro de Arte Reina Sofía (Madrid), Migros Museum (Zurich), MAGA Museo d’Arte (Gallarate), MALBA (Buenos Aires), MASP (São Paulo), Pinacoteca do Estado (São Paulo), Museu de Arte Moderna (São Paulo), São Paulo’s University Contemporary Art Museum, among others.
GALERIA JAQUELINE MARTINS | Jaqueline Martins | email@example.com | + 55 11 991 508 247
34 Hudinilson Jr. | Brazilian 1957–2013 Untitled 1980/2009 collage on paper 32 x 47 cm; 12.5 x 18.5 in
$3 900 – 4 500 PLACE BID Provenance | Artist’s Estate Artwork location | Brussels, Belgium
Hudinilson Jr. used collage as a daily practice. Although simple at first sight, what makes these compositions stand out are the suggested themes and narratives, where images taken from newspapers, encyclopedias, music magazines and art catalogs assume the same archival character present in his Cadernos de Referência (Reference Notebooks). However, unlike the notebooks, frantically filled in order to catch up with the artist’s flow of consciousness, these collages on paper reveal a greater concern with composition and theme choice, becoming visual tableaus where the selected fragments could suggest, together, new connections and assimilations. The artwork is double face. Additional images show the front and the reverse parts.
GALERIA JAQUELINE MARTINS | Jaqueline Martins | firstname.lastname@example.org | + 55 11 991 508 247
35 Antoni Muntadas | b.1942 Spain Brasil... Tudo Bem. Tudo Bom! 2006 silkscreen on paper 43 x 94 cm; 16.9 x 37 in (unframed) from an edition of 70
$1 600 – 2 000 PLACE BID Provenance | The artist Artwork location | São Paulo, Brazil Antoni Muntadas has a degree in architecture from the University of Barcelona and in graphic arts from the Pratt Graphics Center, New York. The artist addresses social, political and communication issues, such as the relationship between public and private space in different social contexts and investigates the means of information and the ways in which they can be used to censor or promulgate ideas. His projects are presented in different media, such as photography, video, publications, installations and urban interventions. Recent individual exhibitions include: Muntadas. Interconnessioni, MAMbo, Bologna, Italy (2020); Muntadas. Elkarrekiko loturak, interconexiones, interconnessioni, Artium, Vitoria, Spain (2019); Asian Protocols: China, Three Shadows Photography Art Center, Beijing, China (2018); Dérive Veneziane, Luisa Strina Gallery, São Paulo (2017). Recent collective exhibitions include: Dérive Veneziane, 72. Mostra Internazionale d’Arte Cinematografica, Palazzo del Casinò, Venice, Italy (2015); The Illusion of Light, Palazzo Grassi, Venice (2014); Fútbol: The Beautiful Game, LACMA, Los Angeles (2014); Revisiting Histories, Kent Fine Art, New York (2014); Stadium, Arc en Rêve Center d’Architecture, Bordeaux,
GALERIA LUISA STRINA | email@example.com
France (2013); Project methodology, MUSAC, León (2012); La Triennale, Intense Proximity, Paris, France (2012). His works can be found at Centre Pompidou, Musée National d’Art Moderne, Paris; Museo Nacional Centro de Arte Reina Sofia, Madri; Collection Bosser-Tournereau, Paris; Deutsche Messe AG, Hannover; Fundação de Serralves, Porto; Museum of Modern Art, New York; Palais des Beaux-Arts, Brussels; Solomon R. Guggenheim Museum, New York; Sudwest LB, Stuttgart; Tate Modern, London; among other public collections. The issue of displacement between discourse and reality is explored by the artist. In Brazil ... All right, all good !, Muntadas highlights two expressions that are very popular in Brazil, manifesting a game of irony, since this common greeting does not portray the reality of the country in question. Reflecting on the contrasts experienced in the country, the artist makes use of a leafy forest landscape in this serigraphy by confronting here one of the biggest problems in Brazil, which is currently in its worst phase: the devastation of natural resources, especially the Amazon.
36 Cildo Meireles | b.1948 Brazil Fontes 2016 wooden box, aluminum and plastic watch, cut pvc numbers Clock: 20,3 Ø x 4 cm; 8 Ø x 1.6 in from an edition of 100
$12 000 – 15 000 PLACE BID Provenance | The artist. Artwork location | São Paulo, Brazil
GALERIA LUISA STRINA | firstname.lastname@example.org
Meireles is one of the most influential living artists. With a career that spans over five decades, Meireles’ work has a vast vocabulary that is political, poetic, and rigorous; which completes itself with the presence of the spectator. While Meireles works are generally informed by political events, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space, that merges physical, cerebral, and sensorial elements. Cildo Meireles has participated in exhibitions around the world including 37th, 50th, 51st, and 53rd Venice Biennale; 16th, 20th, 24th, and 29th São Paulo Biennial; 6th and 8th Istanbul Biennial; and documenta Kassel, in 1992 and 2002. He was subject of retrospective shows at SESC Pompeia (2019), Pirelli HangarBicocca (2014), Fundação Serralves and Centro de Arte Reina Sofia (2013-2014). His artworks are held in institutions across the globe, such as a retrospective called Entrevendo at Sesc Pompéia in São Paulo, the 21st Century Museum of Contemporary
Art in Kanazawa, Centre Georges Pompidou, Kiasma Museum of Contemporary Art, Museo Reina Sofia, Tate Modern, S.M.A.K, Museum für Moderne Kunst in Frankfurt, Blanton Museum of Art, Glenstone Foundation, LACMA, MoMA, and Instituto Inhotim, among others. With its 6,000 rulers, 1,000 clocks and 500,000 vinyl numbers, Fontes demonstrates the aesthetic of accumulation which is a feature of many of Meireles’s installations. However, the rulers and clocks undermine their very purpose: the order of their numbers and the spacing of their measurements are illogical, so that the ability of these almost-Readymade objects to measure either time or space is subverted. The idea of Fontes edition (clocks) came from the complex installation Fontes, shown at the 1992 Documenta in Kassel.
37 Basim Magdy | b.1977 Egypt The Man Who Stole a Bone from the Sahara Confronted by the Shadow of War 2020 oil on canvas 42 x 49 cm; 16.5 x 19.3 in
$23 500 – 28 000 PLACE BID Artwork location | Basel, Switzerland
Basim Magdy (b. 1977) is an artist based in Basel, Switzerland and Cairo, Egypt. His recent exhibitions include Asleep in Another Dimension, 2020, MuHKA, Antwerp; Water After All, 2020, MCA Chicago; A Peacock and a Hippo Walk Into an Existential Debate: 2019, La Kunsthalle Mulhouse; Surround Audience: 2015, New Museum Triennial, New Museum, New York; Lest the Two Seas Meet, Museum of Modern Art Warsaw; The Heart is Deceitful Above All Things, HOME Manchester, UK and Lismore Castle Arts, Ireland; La Biennale de Montreal, Canada; MUMA – Monash University Museum of Art, Melbourne and a solo presentation at Art in General, New York. His work has been featured in numerous solo and group shows including the SeMA Biennial MediaCity, Seoul, Korea, 2014; the 13th Istanbul Biennial, Turkey, 2013; Biennale Jogja XII, Indonesia, 2013; the Sharjah Biennial 11, UAE, 2013; La Triennale, Palais de Tokyo, Paris, 2012 and Transmediale, Haus der Kulturen der Welt, Berlin, 2012.
GYPSUM GALLERY | email@example.com
He was shortlisted for the second edition of the Future Generation Art Prize, Pinchuk Art Centre in 2012 and is the winner of Abraaj Art Prize, Dubai and the New:Vision Award, CPH:DOX Film Festival, Copenhagen in 2014. Magdy is the recipient of the 2016 Deutsche Bank Artist of the Year award. Basim Magdy’s vocabulary is permeated with a perplexity at a future that seems to bring both tragedy and fortune, it is an attempt to map out a sardonic account of our history. His visual language denotes the work’s temperament: an iridescent, unhurried flow of images that act as a futurist’s outlook on the contemporary. His paintings tell alternative stories of an impending apocalypse and consciously exist in multiple temporalities. Interested in time and processes of selective historicization, Basim Magdy asks what will be made of us when we are looked at from the future and what artefacts, prophecies and narratives remain to tell our stories.”
38 Xu Longsen | b.1956 China Big Dipper: Alkaid Star 2020 ink on Japanese Gold Paper 180 x 180 cm; 70.8 x 70.8 in
$190 000 – 230 000 PLACE BID Provenance | The artist. Artwork location | Hong Kong, China
In spring 2018, the Art Institute of Chicago presented Xu Longsen’s solo exhibition “Light of Heaven”, marking their first exhibition of contemporary ink art. Xu Longsen’s key contribution to the evolution of landscape painting is his own concept of ‘monumental ink,’ which is both deeply immersed in China’s painting tradition, at the same time Xu brings to it a completely contemporary language, representing the artist’s particular methodology. Xu’s monumental installations, has been exhibited to great acclaim at the Palace of Justice in Belgium, Museum of Roman Civilization, and Nelson-Atkins Museum of Art. Xu Longsen was born in Shanghai in 1956, and graduated from the Shanghai Arts and Crafts College in 1976. He currently lives and works in Beijing, China and Princeton, New Jersey, USA. Xu’s works are in major public and private collections internationally, including those of the Art Institute of Chicago, Nelson-Atkins Museum of Art, Oxford University Art Museum, Brunei Gallery, SOAS, University of London, the Thomas Pritzker Collection and the Department of Culture and Tourism, Abu Dhabi.
Big Dipper: Alkaid Star came from XU’s latest body of work made in 2020. In the Chinese tradition, Magic Mountains are the abode of gods and immortals. Mountains are therefore painted with religious reverence, and are made to exude a spiritual aura. Magic Mountains are anchors of the earth, like constellations are anchors of the cosmos. This is the concept that Xu Longsen has titled these paintings with names of constellations. Xu’s key contribution to the evolution of Chinese landscape painting is his own concept of ‘monumental ink landscape painting,’ which is both deeply immersed in the Chinese monumental painting tradition, and brings to it a completely contemporary language. There is a long tradition of art on gold paper, especially with making room dividers and screens. As screens, gold paper landscapes tend to be large in size.
HANART TZ GALLERY | +852 2526 9019 | firstname.lastname@example.org
39 Xu Longsen | b.1956 China Lang Feng No.3 2016-17 ink on Paper 118 x 118 cm; 46.4 x 46.4 in
$80 000 – 100 000 PLACE BID Provenance | The artist. Exhibited | The artist’s one-person exhibition “Light of Heaven”, Art Institute of Chicago, USA, 2018 Artwork location | Hong Kong, China
Lang Feng is one of the featuring series in Xu Longsen’s major exhibition in the Art Institute of Chicago in 2018. The way Xu Longsen builds his mountains is essentially sculptural, eschewing classic methods of delineating landscape through the addition of trees and plants or the use of texture strokes (cunfa). Rather, the textural effects and the spirited movements of brushwork are contained within the physical construction of Xu’s mountain forms. The artist’s layers of ink wash provide an entryway into the inner structure of the mountains: up close we find intimations of form in the time before form began, and at a distance is revealed the stillness and solemn grandeur of the mountains. These lofty mountains and unending waters occupy a realm that is remote from the concerns of the everyday world. They seem to hover and shift between the concrete and the ephemeral, between form and non-form. All that the painting surface reveals is the movement and rhythm of forces both ancient and timeless.
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View the Xu Longsen International Show
40 Abel Rodríguez | b.1941 Colombia Terraza Baja 2020 ink on paper 70 x 100 cm; 27.5 x 39.3 in
$8 000 – 12 000 PLACE BID Artwork location | Bogotá, Colombia Abel Rodríguez is a sage of the Nonuya people who possesses the ancestral knowledge of medicinal plants and of the ecological systems of the Amazon basin. In the 90s, running away from the Colombian armed conflict, Abel’s family left La Chorrera, their native territory. In order to preserve his legacy, Rodríguez started drawing his knowledge. Now, due to the work of scientists, contemporary artists and curators his pieces are valued for their plastic qualities and for the unique cosmovision they transmit, not only about the jungle, but also about human condition. Recording and describing the botanical and religious knowledge of the Nonuyas, transmitted from generation to generation, through a very strict lineage that is maintained by means of diets and severe restrictions, the work of Abel Rodríguez is an ancestral treasure, a gift of the jungle to this globalized, totalizing and homogenized world. Don Abel’s drawings, beyond representing a landscape, contain the very spirit of nature, which is manifested through the relationships between all living beings. For the original peoples of America, the river, the rain and the minerals are living entities, and, like other beings, they possess qualities that are communicated by different intangible means. Don Abel considers himself as a medium between men and the spirit. His mission is to leave documents that manifests the 158
presence of the Spirit uniting everything. In this way, the work of Abel Rodriguez functions as a work of art and as a sacred object. Contemplation of nature is the origin of historical narratives as well as being the starting point for science. When observers start representing nature in their minds, contemplation becomes a fundamental need for humans and the first step in their constructing of knowledge. Drawing the forest allowed the possibility of showing ecological relations and evidenced that, as forests undergo seasonal transformations in temperate zones, in the Amazon too : the leaves change, flowers and fruits appear, the ground changes, and – above all- the smell and the presence of animals varies. The concept of ecological calendar has been very important throughout Abel’s work as it reveals the dynamics, transforming forces and biological diversity of the Amazon. This is represented in his work through the transformation of trees in different kind of forests, a perspective that expands our fragmented and static vision of the Amazonian landscape.
INSTITUTO DE VISIÓN | firstname.lastname@example.org | email@example.com | +57 1 322 6703 | +1 305 323 3103
41 Nohemí Pérez | b.1962 Colombia Panorama Catatumbo (10) 2018 charcoal on fabric 180 x 500 cm; 70.8 x 196.8 in
$12 000 – 15 000 PLACE BID Artwork location | Bogotá, Colombia
INSTITUTO DE VISIÓN | firstname.lastname@example.org | email@example.com | +57 1 322 6703 | +1 305 323 3103
The multidisciplinary work of Nohemí Pérez revolves around the relationships between men and nature, and the conflicts, tensions and genesis that arise from this constant friction. Based on notions of architecture, cinema and sociology, the artist proposes a rereading of her place of origin, the Catatumbo territory -a geographical region with a very particular natural and sociocultural ecosystem-. Indeed, from the times of colonial conquest until today, the Catatumbo has been the scenery of multiple conflicts, composing a complex plot of anachronistic situations characteristic of Latin American contemporaneity. Illegal armed groups of rights and left ideologies, native tribes, evangelical missionaries, large multinationals of mining and drug trafficking organization coexist in this tropical jungle. From the close emotional ties of her experience, from the territory of her memory and her affections, Nohemí Pérez reconstructs her history of origin while collecting the voices of those who live and have lived in the Catatumbo. Her use of charcoal and coal refers to mining, thus through her practice she makes visible the violence triggered by the exploitation of natural resources. Reflecting the various realities of the Catatumbo, a particular interest of Nohemí’s work is to project a new symbology on this territory allowing it to appear as a possible scenery for reconstruction and peace.
Very popular in Europe in the 19th century, Panoramas are large paintings mounted in circular spaces. Depicting landscapes, cities, trips or great historical events, they offer an encompassing organizing vision that implies a dominant point of view – it was indeed a typical colonialist representation of conquered territories. Based on these notions and on her personal memories, Pérez proposes a drawing installation of a non-linear history of the Catatumbo. Bordering Venezuela, this region of Colombia is a dense tropical forest very rich in mining resources. The history of oil and natural resources’ exploitation has also been a history of aggression against the people who inhabit this region. However, far from being collected, those voices have been silences and concealed. In Perez’ drawings of the jungle, those scenes of violence are subtly, sometimes almost imperceptibly depicted. Only as the viewer approaches the work closely they emerge out if this natural, wild and dense camouflage. The arrival of the Colpet (Colombian Petroleum Company), the confrontation of the natives and workers for their territory, the arrival of the missionaries, the settlers, the guerrillas, the coca planting, paramilitary and guerrilla massacres, gasoline smuggling, commuting, palm crops…all these scenes can be observed through a curtain of dense vegetation.
42 Pablo Accinelli | b.1983 Brazil Relación externa 2019 shelf variable dimensions: 280 x 33.5 cm; 110 x 13 in
$11 000 – 20 000 PLACE BID Artwork location | Buenos Aires, Argentina Pablo Accinelli’s work manipulates and subverts familiar objects to reveal latent uses and functions, often featuring measuring tools, modular typographies, publications and items associated with labour or a lack of. The objects also function as references to specic environments and co-exist to form a unifying landscape that is invisible, yet present. These synthesized places can be inhabited physically and mentally, and hint at a time after work, of waiting, leisure and ways to expand time. Pablo Accinelli studied with the artists Alejandro Puente and Diana Aisenberg. Accinelli is part of Actividad de uso together with Leandro Tartaglia, a group dedicated to writing books about young Argentine artists since 2006. Teached as an associate professor in the annual workshop of Jorge Macchi, in the postgraduate program for artists in the Universidade Di Tella (2011 and 2009). Recent shows include: “Inminencia das poéticas” (Bienal de Sao Paulo,
ISLA FLOTANTE | firstname.lastname@example.org
2012); “When Attitudes Became Form Become Attitudes” (CCA Wattis, São Francisco, 2013); “No importa mi nombre” (Universidad Torcuato Di Tella, Buenos Aires, 2013); “Fleeting Imaginaries” (CIFO, Miami, 2014); “United States of Latin America” (Museum of Contemporary Art Detroit, 2015); “Future Light – Escaping Transparency” (Bienal de Viena, MAK, 2015); “Extension du domaine du jeu” (Nouveau festival, Centre Pompidou, Paris, 2015); “Técnicas Pasivas” (Gregor Podnar Gallery, Berlin, 2016); “Glory hole” (Jaqueline Martins Gallery, 2016); “Por aqui tudo é novo” (Instituto Inhotim, Minas Gerais, 2016); “Cae la tarde” (Luisa Strina Gallery, Sao Paulo, 2016); “Lontano” (The Goma Gallery, Madrid, 2017), “Unanime noite” (Museo Iberé Camargo, Porto Alegre, 2018), “Nubes de paso” (MALBA, Buenos Aires, 2018), “Duraciones” (Bruno Murias Gallery, 2018), “There´ll never be a door. You´re inside” (Fundación Santander, Madrid, 2019) and “Núcleo” (Museo Lasar Segall, Sao Paulo, 2019).
43 Íris B.Chocolate | b.1974 Germany A Sul. O Sombreiro — Amour 2015 metal, plaited artificial hair, peacock feathers 55 x 45 x 40 cm; 21.5 x 18 x 16 in; 9 kg
$11 000 – 14 500 PLACE BID Exhibited | 2019 Travesías Atlánticas, IV Bienal de Montevideo, Montevideo, Uruguay; 2019 A Doll’s House, Kapellhaus, Baku, Azerbaijan; 2018 O Triângulo Atlântico, 11a Bienal de Artes Visuais do Mercosul, Porto Alegre, Brazil; 2017 The Atlantic Triangle, Rele Gallery Lagos, Nigeria 2017 The Atlantic Triangle, Saracura, Rio de Janeiro, Brazil; 2016 A Sul O Sombreiro, MAAN Memorial Doutor António Agostinho Neto, Luanda, Angola Artwork location | Vienna, Austria
Iris B. Chocolate, born in Germany, is a visual artist who lives and works in Luanda, Angola. After graduating, between 1999 to 2005, she worked as artistic assistant and Executive Director of Camouflage Brussels – the European satellite of the Center of Contemporary Art of Africa. She is founding member and artistic director of the project lugânzi—The Living Archive a research platform for art and cultural learning based in Luanda, Angola (www. luganzi.net). Collective exhibitions (selection): 2021 How we will live together? Biennale Architettura; 17th International Architecture Exhibition with Paula Nascimento and Jaime Mesquita, Venice, Italy; 2020 Through our Eyes – narratives of Angolan womanhood, Abuja Art Week Digital, Nigeria; Fuckin‘ Globo VI, Luanda, Angola; 2019
4th Montevideo Biennial, Montevideo, Uruguay; A Doll‘s House, Kapellhaus, Baku, Azerbaijan; 2018 11th Mercosul Biennial, Porto Alegre, Brazil; Mystery of Foreign Affairs, Maputo, Mozambique; Indivíduo. Cidade, Metamorfose, Jahmek Contemporary Art, Luanda, Angola; 2017 The Atlantic Triangle, Rele Gallery Lagos, Nigeria; The Atlantic Triangle, SARACURA, Rio de Janeiro, Brazil; Madgermanes Kunstverein Schwerin, Schwerin, Germany and Everything is Illuminated, performance, Etimba Fest, Benguela, Angola. 2016 she represented Angola during the show Highlights: Sight and Sounds: Global Film and Video atThe Jewish Museum New York, US. 2010 II Trienal de Luanda, Luanda, Angola. 2009 Art and Family, M1 Singapore Fringe Festival, National Museum Singapore, Singapore. 2007 I Trienal de Luanda, arte, cultura, política e história contemporânea, Luanda, Angola.
JAHMEK CONTEMPORARY ART | email@example.com | +244 923 505 077
We have to understand that the past is present in our present. […] Horror and despair passed on through silence. [Quote: The pain of the future generations] The project was initially inspired by the novel A Sul. O Sombreiro written by the Angolan author Pepetela. The novel leads us to Angola in the XVI and XVII century and takes place during the beginning of colonial rule. The arrangement of the faceless suspended figures reminds of a typical museum display of ancient knight’s armours or clothing. The figures appear as metaphors of the military power, the ecclesiastical power of the church and the secular power, the royal court. The color scheme of the feathers is based on the famous feather headdress of Moctezuma II (Aztec), the original is exhibited in the Weltmuseum in Vienna, Austria. The Mexican government has asked for many years in vain for the return of the object, which has an enormous cultural value for the Mexicans.
TV Zimbo, Program Cooltura, 13’, Angola 2016
The consequences and traumas colonialism left on the still very young post-colonial nations is omnipresent through the generations. It is not just considering the past, bringing to mind that modern European society and its economic system cannot be conceived without its colonial conditionality and crimes, but also on looking where we are today as politics of expansion and racism continue to exist.
Details, installation video of artwork/ interview with the artist about the work: Documentation Exhibition MAAN, Angola 2016
44 Íris B.Chocolate | b.1974 Germany A Sul. O Sombreiro — Imperial Mantel Robe 2015 metal, plaited artificial hair, peacock feathers mantel: 6,7 m x 1.5 m; 239 x 58 in; 20 kg tailor’s dummy: 160 x 39 x 27 cm; 63 x 15 14.5 in; 9 kg
$18 000 – 24 000 PLACE BID Exhibited | 2019 Travesías Atlánticas, IV Bienal de Montevideo, Montevideo, Uruguay; 2019 A Doll’s House, Kapellhaus, Baku, Azerbaijan; 2018 O Triângulo Atlântico, 11th Bienal de Artes Visuais do Mercosul, Porto Alegre, Brazil; 2017 The Atlantic Triangle, Rele Gallery Lagos, Nigeria; 2017 The Atlantic Triangle, Saracura, Rio de Janeiro, Brazil; 2016 A Sul O Sombreiro, MAAN Memorial Doutor António Agostinho Neto, Luanda, Angola Artwork location | Vienna, Austria
JAHMEK CONTEMPORARY ART | firstname.lastname@example.org | +244 923 505 077
45 Wadsworth Jarrell | b.1929 United States At the Three Deuces 1991 21 colour silk screen on cold press, 100% cotton rag 55.9 x 76.2 cm; 22 x 30 in
$9 500 – 16 000 PLACE BID Artwork location | New York, United States Wadsworth Jarrell (b. 1929, Albany, GA) a painter and photographer, creates pattern-intensive images that combine vibrant colors that celebrate the struggles, strengths and beauty of African Americans. In 1968 Jarrell co-founded AFriCOBRA (African Commune of Bad Relevant Artists), a collective of young Black artists, whose interest in Transnational Black Aesthetics led them to create one of the most distinctive visual voices in 20th Century American art. AfriCOBRA characteristics included vibrant “Cool-Aid” colors, bold text and positive images of Black people. They established a philosophical and aesthetic foundation for the Black Arts movement of the 1960s, and 70s. Jarrell was also a member of the Organization of Black American Culture, and painted the “Rhythm and Blues” section of The Wall of Respect mural in Chicago. Jarrell’s recent exhibitions include the 58th Venice Biennale, Cleveland Museum of Art, Smart Museum, and the touring exhibition “Soul of a Nation: Art in the Age of Black Power” which started at the Tate Modern. He is in many collections including the Museum of Modern Art, Whitney Museum of American Art, Brooklyn Museum of Art and the Studio Museum in Harlem. He attended the Art Institute of Chicago and has an MFA from Howard University. He was a professor at Howard University
and University of Georgia, Athens. Wadsworth recently released his book “AFRICOBRA: Experimental Art Towards a School of Thought”. He is married to Jae Jarrell. Wadsworth Jarrell, an authority on jazz and blues, has relationships with many leading musicians, and through the decades Jarrell’s paintings celebrated African American music by portraying some of its most revered performers. In the 1991 serigraph, “At The Three Deuces”, the artist includes Miles Davis on trumpet, Charlie Parker on saxophone, and Sam Potter on bass at the New York nightclub Three Deuces. Jarrell, a master colorist, uses twenty-one colors to depict the design patterns of swaying geometric images, suggesting the syncopated jazz rhythms in the music. Jarrell uses zigzag patterns and geometric shapes stenciled in, sprayed over one another, or combed on in thick impasto with garden tools and a bricklayer’s trowel. In “At The Three Deuces” Jarrell’s combing technique creates ridges of raised pigment to build the features of the figures, as well as the African symbols and patterns. He defines the spacial interior of the night club stage with the undulating patterns weaving between the musicians, across the middle and bottom planes along with the two other flowing patterns across the top plane.
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46 Jae Jarrell | b.1935 United States Untitled 2021 Artwork in production. Please view the auction website for updates and details. VIEW ONLINE Artwork location | New York, United States
Jae Jarrell, co-founder of AfriCOBRA (African Commune of Bad Relevant Artists), will debut a new series of works for South South Veza. Jarrell’s new project borrows from her powerful revolution-themed garments and the principals of AfriCOBRA, which helped propel the Black Arts Movement of the 1960s and 70s. For details please visit the following website: http://bit.ly/JaeJarrell
JENKINS JOHNSON GALLERY | firstname.lastname@example.org
Jae Jarrell, in her Cleveland Studio, 2019. Photo credit: Karen Jenkins-Johnson 183
47 Lamia Joreige | b.1972 Lebanon Ouzai 2017 metal alloy 90 x 240 cm; 35.4 x 94.5 in number 3, from an edition of 3 + 2AP
$50 000 – 60 000 PLACE BID Artwork location | Beirut, Lebanon
MARFA’ PROJECTS | Laetitia Zalloum | email@example.com
Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She earned her BFA from the Rhode Island School of Design, where she studied painting and filmmaking. She uses archival documents and elements of fiction to reflect on history and its possible narration and on the relationship between individual stories and collective memory. Her practice, rooted in her country’s experience, explores the possibilities of representing the Lebanese wars and their aftermath, particularly in Beirut, a city at the center of her imagery. Joreige’s artworks have been presented internationally in various exhibitions and venues, among which: Centre Pompidou and Musée Nicéphore Niépce (France); Harvard University’s Carpenter Center for the Visual Arts, the International Center of Photography, the New Museum, the San Francisco Museum of Modern Art and Taymour Grahne Gallery (US); Tate Modern, Tate Britain, Serpentine Gallery and Cardiff National Museum (UK); Sharjah Biennial (UAE) and Galerie Tanit and Art Factum (Lebanon). This sculpture is inspired from and based on the mapping of the main avenues and streets that constitute Ouzai today. Most of them were made without formal planning, in flux, often defined by the rapid construction of houses and buildings, and forming a network of complex structures and shapes.
Interview with Lamia Joreige
48 Caline Aoun | b.1983 Lebanon Paperplane 2021 unique inkjet print on folded paper 125 x 180 cm; 49.2 x 70.8 in variation 10 of 12
$7 500 – 12 000 PLACE BID Artwork location | Beirut, Lebanon Born in Beirut in 1983, Caline Aoun lives and works between Beirut and London. She graduated with a Bachelor’s degree in Fine Art from Central Saint Martins, London in 2005. In 2009, she received a Postgraduate degree in Fine Art from the Royal Academy School, London. She also earned a Professional Doctorate in Fine Art at the University of East London, London in 2012. Selected solo exhibitions include Seeing Is Believing (Palais Populaire, Berlin), Artissima (Torino, Italy), Seeing Is Believing (MAXXI, Rome), Concrete Layers (Greynoise, Dubai), Remote/Local (Art|Basel – Statements), The Future of Smart Technology in your Hands (Noshowspace, London), Scape (Sartorial Project Space, London). Her work has been exhibited in a number of group exhibitions, including When The Image Is New, The World Is New (Marfa’, Beirut), Leaving the Echo Chamber – Look for Me All Around You (Sharjah Biennal 14, UAE), Home Beirut – Sounding the Neighbours (MAXXI, Rome) I Spy with my Little Eye…(Casa Arab, Madrid and Mosaic Room, London), Dust (Centre for Contemporary Art at Ujazdowski Castle, Warsaw), Stopped Clocks in Places of Busyness (Fold Gallery, London), Exposure 2012 (Beirut Art Center, Beirut).
The Paperplane series seeks to address the status of image-as-matter in the current digital media environment, with its attendant ideology of dematerialisation and augmented reality. Yet, it is in the over saturation of digital images that Aoun foregrounds impressions of the printing machine itself, traces of pressure, residues of ink, and the physical folds of the paper, as an antidote against digital dematerialisation of everyday life, bringing the hardware into play: the body, the machine, and the paper. The Paperplane series are objects of ‘non-images’ prints, where spectral fields of colour are superimposed onto one another. They are made by repeatedly feeding folded paper through an industrial printer, resulting in delicate colour gradient prints, and paper jam traces on the folds from their inevitable collisions with the head of the printer during the printing process. This series of works is part of the Deutsche Bank and the MAXXI Museum collections.
MARFA’ PROJECTS | Laetitia Zalloum | firstname.lastname@example.org
49 Sachiko Kazama | b.1972 Japan McColoniald (New Continent Discovery) 2003 oil ink and woodcut print on Japanese paper 59.5 x 84.5 cm; 23.4 x 33.2 in, unframed number 6, from an edition 10
$3 500 – 5 000 PLACE BID Artwork location | Tokyo, Japan Sachiko Kazama was born in Tokyo in 1972. Kazama lives and works in Tokyo, Japan and graduated from Department of Printmaking, Musashino Art School in 1996. By using abundant color expressions between black and white, Kazama engraves social and political satire and nonsensical human acts sometimes comically and sometimes delicately on her woodcut print with a delightful sense of humor. Through enormous research on history, past and present events intersect and create a fictional story in her works. The work is from McColoniald series, themed on globalism and colonialism with unique twist. The print is based on famous engraving which depicts Christopher Columbus’ landing in the Caribbean. However, an infiltrator is slipped into the scene, holding a familiar M-shaped signboard.
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50 Patrick-Joël Tatcheda Yonkeu | b.1985 Cameroon Hymn to Saffo 2017 oil and pigments on paper 30 x 30 cm, 11.8 x 11.8 in (20 pieces from a series of 58 pieces) each piece is framed independently with natural wood
$13 000 – 15 000 PLACE BID Artwork location | Dakar, Senegal Patrick-Joël was born in 1985 in Douala, Cameroon. After a scientific training at the St Jean Baptiste College in Bangangté, and a brief stay at the universities of Dschang (maths/ informatics) and Yaoundé I (Plastic Arts), he finally decided to devote himself to art. Patrick-Joël leaves for Italy where he studies painting and later obtains a scholarship to access the Academy of Fine Arts in Bologna. There, he obtains a Bachelor’s degree in painting in 2013 and later on in 2016 a Master’s degree in Visual Arts with a dissertation on “Zen in art”. At the end of his academic years, he moves to Bologna. As relentless researcher, he continued his journey through numerous collaborations between Africa and Italy, through the coming together of intercultural workshops with schools and associations in the Emilia-Romagna region.
OH GALLERY | Océane Harati | firstname.lastname@example.org |+221 77 655 52 22 | WhatsApp : +221 78 119 00 34
For Patrick-Joël, a man is thus no different from a plant, he has the same value as a rock, wind, air, sun or fire. His use of ephemeral paper, as for the incredibly long drying process of the natural pigments and oil that he applies on it, reveal all together this kind of interaction; it is an “earthy technique” that imposes patience and wait such as nature does. Even more so, his process narrates a ritual. A ritual mindful of African traditions and therefore very tied to the cult of ancestors. While making, Patrick-Joël performs a ritual and the work is a space-time recording of such rituality. It is a residual of a ritual materialised in the physical support of the paper through meaning: “a rituality of meaning”. Over the support, our eyes are filled with encounters, interactions, crashes and collisions made of ancestral colors in constant movement. We glimpse in them the artist’s physical gestures and yet experience images that took a very long time to rest and become. They are simultaneously explosions and contemplations. Although painting and sculpture are his favorites mediums, Patrick-Joël Tacheda Yonkeu expresses himself also through performance and installation. Back in 2018 he performed in Milan the Cameroonian traditional ritual Fa’h-original of the Medumba tribe-known for bringing back harmony to places where there has been extreme conditions of violence. The performance, in collaboration with the artist Leone Contini, took place over the artificial hills and public parks that were built during the after-war with the ruins of the bombings; spaces that in the surface appear as green clods but that hide the rubble of wartime destruction and European’s legacy.
As for Patrick-Joël’s installation, his work at Villa Romana residency in Florence culminated with the construction of a three-meters-hight bright blue wheel. It is a nostalgic work that recalls his personal farm childhood and the use of the wheel in the rural contexts in which we grew up. A period in which life was regulated by the sprouting of seeds, childbirth of animals and all natural things. The awaiting of nature is also expressed in the work through the use of blue as primordial ocean recalling primitive intentions. Finally, the tireless wheel always moves and swivel thus perpetuating the idea of a timeless belly of the universe. All in all, the artist’s creative discourse is about a notion of collectiveness. It regards what it is to be human today and interact with each other in a morally sound way. The real motive hence beyond Patrick-Joël’s rituality of meaning is to rediscover a collective moral consciousness that is fair, just and better suited to our times. He invites the viewer to go back to the origins of human civilisation and to fairly rethink history and development in order to avoid an endless repetition of our same mistakes over and over. It is only with a multilateral vision of the world as opposed to a mono-centric, that we can embrace a fair re-reading of our past mistake thus avoiding the “collective amnesia” on what went wrong. In Patrick-Joël’s own words: “Perhaps, it is just a matter of rhythm, rhythm of the earth, of transmutation, or the transcendence of the “I” for the embracing of the “we” in its essence”.
51 Patrick-Joël Tatcheda Yonkeu | b.1985 Cameroon Lesbos 2017 oil and pigments on mounted paper, diptych 250 x 300 cm; 98.4 x 118.1 in
$22 000 – 25 000 PLACE BID Exhibited | Dakar Biennial, 2018 called L’heure Rouge (The Red Hour) curated by Simon Njami Artwork location | Dakar, Senegal
OH GALLERY | Océane Harati | email@example.com |+221 77 655 52 22 | WhatsApp : +221 78 119 00 34
all images courtesy © Patrick Joël Tatcheda Yonkeu OH GALLERY
Patrick Joël Tatcheda Yonkeu performance image © Alessandro Nassiri
52 Akira Ikezoe | b.1979 Japan Coconut Heads in Brooklyn Museum 2017 oil on canvas 127 x 127 cm; 50 x 50 in
$10 500 – 15 000 PLACE BID Artwork location | New York, United States
Akira Ikezoe (Japan, 1979) is a New York-based artist. He holds a BA from Tama Art University, Tokyo, Japan. Drawing from a combination of the ancient animism and futuristic technologies of his home country, Ikezoe creates works in diverse disciplines, including drawing, painting, video, and performance. In Ikezoe’s works, the human figure is presented as his alter ego and woven into a metaphysical and mythological context that depicts a timeless melting point between human and natural boundaries. His solo exhibitions include SometimesYou Must Go Down to Go Up, Proyectos Ultravioleta, Guatemala (2019); Coconut Heads, Brennan & Griffin, New York (2018); If 6 was 9 by Proyectos Ultravioleta at NADA NY, New York (2016); El fin del Este Coincide con el Fin del Sur (The End of the East Coincides with the End of the South), Proyectos Ultravioleta, Guatemala (2015); Drawing, Ise Cultural Foundation, New York (2010); Repeater, SANAGI FINE ARTS, Tokyo, Japan (2009); and Ephemeral Garden, ESSO Gallery, New York (2008). In 2016 he received the Pollock-Krasner grant, as well as an open-ended studio grant from the Elizabeth Foundation for the Arts.
PROYECTOS ULTRAVIOLETA | Stefan Benchoam | firstname.lastname@example.org
Details of Coconut Heads in Brooklyn Museum
In one of Akira’s Outside in paintings, a man lays face down in a grassy field, the hillocks of green and brown meeting the taupe sky at the mid-point of the page. His elbows are slightly bent and at their seams they have split open to reveal a black and white zebra pattern.The man kicks his legs into the air, his feet have become zebra heads, the black and white stripes spreading up his legs. In two photos from his hometown of Kochi, Japan, Akira describes human architecture engulfed by nature: covered in mud, overgrown with grasses, their functions are erased by other processes. He tells me, “Japan had a huge earthquake in 2011, and that made me think there are conflicts between culture and nature around us… but, also, I thought the same type of conflicts exist inside of human bodies.” When we blend from human to tree, when our bodies cross zebras, there is a softening of edges. “There is no clear borderline between human and nature, I think.” This softening erases firm binaries and inflexible categories of knowledge, letting the Outside in. In this softer space, things can be more than one thing, can move gently into porous ambiguities, settle into erasures and fluidities. Akira has a daily drawing practice where one image becomes the structure for the next, each spinning into surreal situations from the marks of yesterday’s drawing. Narrative meaning is less significant than continuity, the tail (tale!) remaking itself in retellings (re-tailings!) that let the visual forms lead the story. Recently, Akira has been making his own taxonomy of museum collections; he takes screen-captures of the entire online collection of MoMA, and then files each image into his own system of folders, erasing the organization of the museum’s canonizing logic. In Akira’s taxonomy, the categories are arranged by what he sees in the work: In his
Nature folder, subfolder Animals, he includes fish and sea creatures, crocodiles, frogs, other insects, death, donkeys, animals rebelling. It’s an ambitious re-cataloging, a project that will take years. From this taxonomy, he makes a series of Coconut Head paintings: here, his iconic Coconut Heads interrupt, intertwine, penetrate works of art from various museums. Akira provides PDF documents, the catalog of images for each painting’s expansive field of references. In this taxonomy, the museum’s meaning-making function peels away, and the collection becomes a site of other imaginings. These wildly irreverent and curious intrusions into art history nudge the originals into compromises with Akira’s universe of silliness, a flow chart storytelling that is as much exquisite corpse as sleepy bedtime story for a child reluctant to sleep, one tale/tail/telltale leading intuitively into another and another. The boundaries blur. Reversing the logic of the taxonomy project, Akira makes a series of paintings from diagrams and flow charts: his schematic source materials include drawings for three kinds of power plants, the educational system in Vietnam, stock market predictions, a weather monitoring system, a corporate workflow. The geometry of the diagrams, stripped of information, become the directives for a series of Coconut Heads misadventures. “My stories are like domino effects,” he says. One thing happens and then everything else falls in a reactive sequence, guided only by the preexisting arrows and boxes. In Akira’s parallel universe, one system of logic is the twin of the seemingly illogical; instructions for systems become paths to fairytales, and isn’t that a generous softening to how the world “works.” - Laura August -
53 Yoshua Okón | b.1970 Mexico Chocorrol 1997 Lightjet C-print 71.2 x 105 x 4 cm; 28.03 x 41.34 in number 4, from an edition of 5 + 1AP
$8 000 – 10 000 PLACE BID Literature | Welchman, J. 2017. Yoshua Okon, Colateral | Collateral. Mexico City: MUAC, Museo Universitario de Arte Contemporáneo & Museo Amparo, p.13, 25, 31. Artwork location | Mexico City, Mexico
For Chocorrol, a male Xoloitzcuintle dog copulates with a French Poodle dog. This doggy porn documents the sexual act between the two canines but also has a subliminal social message of the ‘lesser’, ‘lower class’ dog taking on what would be considered a more refined, upper class dog; the mixing of two cultures, as one breed violates the purity of the other.
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Video of Chocorrol, 1977
Yoshua Okón was born in Mexico City in 1970 where he currently lives. His work, like a series of near-sociological experiments executed for the camera, blends staged situations, documentation and improvisation and questions habitual perceptions of reality and truth, selfhood and morality. In 2002 he received an MFA from UCLA with a Fulbright scholarship. His solo shows exhibitions include: Yoshua Okón: Collateral, MUAC, Mexico City and Amparo Museum, Puebla; Yoshua Okón, Ghebaly Gallery, LA; Yoshua Okón: In the Land of Ownership, ASAKUSA Tokyo; Salò Island, UC Irvine, Irvine; Piovra, Kaufmann Repetto, Milan; Poulpe, Mor Charpentier, Paris; Octopus, Cornerhouse, Manchester and Hammer Museum, Los Angeles and SUBTITLE, Städtische Kunsthalle, Munich. His group exhibitions include: Manifesta 11, Zurich; Istanbul Biennale, Istanbul; Gwangju Biennale, Korea; Antes de la resaca, MUAC, Mexico City; Incongruous, Musèe Cantonal des Beux-Arts, Lausanne; The Mole´s Horizon, Palais des Beaux Arts, Brussels; Mercosur Biennial, Porto Alegre; Amateurs, CCA Wattis; San Francisco; Laughing in a Foreign Language, Hayward Gallery, London; Adaptive Behavior, New Museum, NY and Mexico City: an exhibition about the exchange rates between bodies and values, PS1, MoMA, NY, and Kunstwerke, Berlin. His work is included in the collections of Tate Modern, Hammer Museum, LACMA, Colección Jumex and MUAC, among others.
54 Martin Soto Climent | b.1977 Mexico Origen / Dos soles negros 2018 tights on raw linen 40 x 25 x 4.1 cm; 15.75 x 9.84 x 1.61 in
$5 000 – 7 000 PLACE BID Exhibited | Todo comienza en otra parte, Proyectos Monclova, Mexico City, 2018 Artwork location | Mexico City, Mexico Martín Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent’s works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality. His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist’s practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
PROYECTOSMONCLOVA | firstname.lastname@example.org
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with blogs and independent initiatives from the international art scene, while preparing his master’s degree on photography at the Academia de San Carlos, UNAM. Tights twisted within a wooden box, explores the relation between the external shell that we built as a protective appearance and the ethereal substance that we secretly hold as individuals. Every piece exposes a segment of intimacy. Made in a sculptural way, the deep reliefs invite us to peeping in a voyeuristic way into what its clearly delimitated as an intimate territory, allowing us to inhabit this fragile instant of instinctive attraction. The translucent and delicate materials used in these pieces evoke both the female body and the spirit of intimacy.
55 Ameh Egwuh | b.1996 Nigeria With A Smoke in My Hand (from the How Do You Love Yourself Series) 2020 acrylic on canvas 152 x 137 cm; 60 x 54 in
$4 500 – 6 500 PLACE BID Artwork location | Lagos, Nigeria Ameh Egwuh (b.1996, Nigeria) is a visual artist whose practice is characterized by his fascination with lines. Drawing inspiration from the scarification techniques of ancient Ife art, Adinkra, and Nsibidi art signs and symbols, Egwuh’s paintings invite the viewer into an expansive, multi-layered world populated with dynamic figures in intimate and casual scenes of family and everyday life. Exploring concepts of home and familial responsibilities, solitude, and identity, Egwuh utilizes multiple modes of representation from expressionistic painting techniques to his use of lines and geometric patterns — drawn from textile designs from his hometown, Idoma in Benue state — in representing skin and backgrounds. His eclectic visual vocabulary conveys varying textures of lives lived and spaces occupied. Egwuh studied Fine and Applied Art at the Delta State University, Abraka, Delta State and has been part of different exhibitions, competitions, and trainings such as the ACOEDE International School competition, Afriuture Painting Competition by Ramati Art Africa in 2018 and Generation Y exhibition organized by Retro Africa. In 2019 he participated in the inaugural edition of Rele Arts Foundation’s Young Contemporaries Bootcamp and was selected in 2020 as part of Rele Arts Foundation Young Contemporaries. Egwuh lives and works in Lagos.
RELE GALLERY | Kehinde Afolabi | email@example.com
Interview with Ameh Egwuh
57 Gustavo Speridião | b.1978 Brazil they say 2020 acrylic paint and acrylic varnish on canvas 212 x 155 cm; 83.5 x 61 in
$5 400 – 8 050 PLACE BID Artwork location | São Paulo, Brazil
SÉ GALERIA | firstname.lastname@example.org | +55 11 99522-9496
Gustavo Speridião, 1978, lives and works in Rio de Janeiro. He produces drawings, collages, paintings, installations, sculptures, photographs, and videos. In 2020 he took part in the group exhibition “Chronicle du Trouble” curated by Thierry Raspail at the gallery Les Filles du Calvaire, Paris. Also took part in the touring exhibition “Imagine Brazil” , curated by Gunnar B. Kvaran, Thierry Raspail, and Hans Ulrich Obrist between 20132015. He presented the solo show “Kilometers” at Sé gallery, São Paulo, in 2017, and “Geometrie. Montage. Equilibrage. Photos and Videos” at Maison Europeene de La Photographie, in 2013, in Paris. Among the prizes received, the highlights are Projéteis Artes Visuais, by Funarte, in 2007 and Marcantônio Villaça / FUNARTE (Acquisition for the collection of the Museum of Contemporary Art in Niterói), in 2010. His works are in important Brazilian public collections such as the National Museum of Fine Arts, Rio de Janeiro, the Gilberto Chateaubriand Collection (Museum of Modern Art, Rio de Janeiro), Museum of Contemporary Art in Niterói, and that of the Art Museum of Rio de Janeiro. Gustavo Speridião’s works are governed by the idea of Kino-Glaz, from the Russian avant-garde cinema, which can be roughly translated as “cinema-eye”. His actions focus on the idea that the artistic environment should imitate the human eye, using this technique to explore everyday life situations. His practice includes drawings, collages, paintings, installations, and sculptures. His work is characterized by witty juxtapositions, attention to language, framing, and color; criticizes and gets involved with art history and contemporary culture.
58 Gustavo Speridião | b.1978 Brazil i am glad this kind of art will end 2020 acrylic paint and acrylic varnish on canvas 212 x 153 cm; 83.5 x 60 in
$5 350 – 8 000 PLACE BID Artwork location | São Paulo, Brazil
SÉ GALERIA | email@example.com | +55 11 99522-9496
59 Pow Martinez | b.1983 Philippines Buried Treasure 2021 oil and acrylic on canvas 153 x 153 cm; 60 x 60 in
$8 000 – 10 000 PLACE BID Artwork location | Manilla, Philippines Pow Martinez (b. 1983) is a painter based in Manila, Philippines. One of the most sought-after artists of his generation, his recent exhibitions include City Prince/sses (2019) at Palais de Tokyo in Paris and 50 Years in Hollywood (2019) at Pinto in New York. Martinez has held solo exhibitions in Singapore, Jakarta, and Manila. Martinez’s paintings belie their grotesque subject matter with indelibly beautiful surfaces and a wide-ranging, daring use of color. He makes colorful works that are known for their characters in landscapes of disintegration and urban scenarios. Hi recent paintings are based on the endless stream of social media #selfies, #throwbacks, #nofilters, and #blessed. They are parodies of life under lockdown – emotional, alive, rich.
Buried Treasure is Pow Martinez’s humorous yet dark take on living in this modern age of uneasiness. His cartoony style mimics the covert strangeness of daily life. A night scene of an androgynous person dressed in a bikini bottom and a life-vest searches for buried treasure with metal detector and headphones. Completed under the context of a global health crisis, Martinez adds symbolic weight to this activity as viewers identify with the solitary subject, foraging for highlights under widely grim circumstances. Overall, an unlikely scene, but one that in Pow’s world is not so impossible.
SILVERLENS | firstname.lastname@example.org | Whatsapp +63-917-587-4011
Sustainable Anxiety by Pow Martinez
60 Norberto Roldan | b.1953 Philippines 100 Altars for Roberto Chabet / NO. 28 (cabinet version) 2020 installation with furniture from demolished houses, globe, vintage cameras, binoculars and otther found objects with a T5 lighting system 264 x 92.5 x 46 cm; 104 x 36.5 x 18 in
$18 000 – 23 000 PLACE BID Provenance | Ziggurat, Silverlens, Manila, 2020 Artwork location | Manilla, Philippines Ziggurat, Silverlens by Norberto Roldan
Norberto Roldan’s (b. 1953, Roxas City, Philippines; lives and works in Manila, Philippines) practice is rooted in social and political issues. His installations, assemblages and paintings of found objects, text fragments and found images address issues surrounding everyday life, history, and collective memory. He is represented in several landmark surveys like No Country: Contemporary Art for South and Southeast Asia, Solomon R Guggenheim Museum (2013); Between Declarations and Dreams: Art of Southeast Asia Since the 19th Century, National Gallery Singapore (2015); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, National Art Centre Tokyo (2017); and Passion and Procession: Art of the Philippines, Art Gallery of New South Wales (2017). 100 Altars for Roberto Chabet / NO. 28 (cabinet version) is a freestanding altar that stands nearly 10 feet. For the base elevation, Roldan replaced the wooden cabinet shelves with glass tops and filled the insides with found objects and fluorescent lights. This ziggurat tells of an imagined life anchored by a large object: a globe stacked between film reels and cameras. Fluorescent lights — spelling HUNT — suffuse the ground level with a red glow.
SILVERLENS | email@example.com | Whatsapp +63-917-587-4011
61 Kelani Abass | b.1979 Nigeria Casing History 22 2020 letterpress type and case with digital print diptych: 32 x 53 cm; 12.9 x 20.9 in
$5 000 – 7 000 PLACE BID Artwork location | Lagos, Nigeria
SMO CONTEMPORARY ART | Nneoma Ilogu | firstname.lastname@example.org | +234 809 997 7552
62 Kelani Abass | b.1979 Nigeria Chronological Remuneration XI 2020 acrylic, oil and pastel on canvas diptych: 183 x 214 cm; 72 x 84 in
$12 000 – 14 000 PLACE BID Artwork location | Lagos, Nigeria
Kelani Abass (b. 1979) studied at the Yaba College of Technology, Lagos, graduating in painting with distinction. Kelani has taken part in several residencies and workshops including Headlands Center for the Arts, San-Francisco, California and Malt Air, Maltfabrikken, Ebetoft Denmark. He has been selected to present his work at the 5th International Biennale Casablanca 2021. His recent body of work explores the importance of material inheritance, and interrogates how past and present coalesce. Kelani attempts to make a statement of the future that concedes the interdependence of different moments, while investigating the possibilities inherent in painting, photography and printing. He also adopts the use of archival materials to highlight personal stories, against the backdrop of social and political events, which also engage time and memory. Kelani’s recent exhibitions include ‘[Re:] Entanglements, Contemporary Art and Colonial Archives’, National Museum Lagos (2019), The Contemporaries II, SMO Contemporary Art/The Wheatbaker (2018), ‘if I could save time’, Centre for Contemporary Art, Lagos (2016).
I engage technology to by-pass obsolete materials, transporting them into modern relevance. Usurping outmoded machinery and tools such as printing cases, letterpress types, metal plates, rubber blocks and the stamping tool to generate new narratives. In Casing History, I re-appropriate the use of letterpress type-case by switching the letters in each box with personal and collective archives which includes photographs from family albums, a journal hand written between the 1920s and 1970s, old post cards and images from autobiographies to elucidate memory, archiving and collective experience basically painting with time using un-calibrated palettes of grays, sepia, and greens, replacing the traditional mediums with these objects; As the tonal value of the imagery gets paler through phases in essence this expresses feelings and emotions; joy and pain, life and death, wealth and beauty.
SMO CONTEMPORARY ART | Nneoma Ilogu | email@example.com | +234 809 997 7552
63 Peter Robinson | b.1966 New Zealand Temporal Otherness 2021 pencil on paper 29,7 x 21 cm; 11.6 x 8.2 in
$1 400 – 1 700 PLACE BID Provenance | The artist Artwork location | Auckland, New Zealand
Peter Robinson, born in 1966 is of Hakatere /Ngāi Tahu descent. He studied sculpture at Ilam School of Fine Arts (1985-1989), and now lives and works in Auckland. Robinson’s work has been exhibited extensively in New Zealand and internationally. He was New Zealand’s representative at the 49th Venice Biennale (2001), participated in the 13th Istanbul Biennale (2013), 11th and 18th Biennale of Sydney (1998/2012) and the 8th Baltic Triennale of International Art, Vilnius (2002). Exhibitions include: Toi Tū Toi Ora: Contemporary Māori Art, Auckland Art Gallery Toi o Tamaki (2020-21); Continental Shift, Ludwig Forum für Internationale Kunst, Aachen (2000); Toi Toi Toi: three generations of artists from New Zealand, Museum Fridericianum, Kassel (1999); and Cultural safety: contemporary art from New Zealand, Frankfurter Kunstverein, Frankfurt am Main (1995). Robinson was nominated for the Walters Prize in 2006 for The Humours at Dunedin Public Art Gallery, and again in 2008 when he won for his exhibition ACK at Artspace, Auckland.
SOUTHERN STARS | Gabriela Salgado | firstname.lastname@example.org | +44 79 49 297 269
Peter Robinson’s practice has traversed a wide range of material languages in the past three decades. These include his celebrated political paintings dealing with coloniality in New Zealand, his collaborative felt installations that challenged notions of hierarchy and power in the artworld, and minimalist gallery interventions that raised questions about spatial inhabitation and perception. In his recent Rag Trade installation presented in a vacant warehouse in Auckland’s Morningside precinct, Robinson seemed to draw onto space, combining mass-produced objects within the composition. Some of these elements evoked humorously melancholic human figures or echoed current world tribulations – such as climate change and social conflict. However, eschewing any taxonomy the seemingly incongruent objects sparked extraordinary interactions. Devoid of hierarchical ordering, Robinson’s sculptural components are free to connect through histories of affect, creating a web of entangled meaning. The Rag Trade drawings provide a similar visual experience. Contained in the paper’s humble nest, the drawings merge the artist’s trademark use of language with cartoon-like images. Presented is a form of automatic writing where words and images collide to suggest a kind of index of manual for Robinson’s installations.
Rag Trade installation
64 Joyce Campbell | b.1971 New Zealand Praya from the Marianas series 2003 Fujiflex photograph 100 x 150 cm; 39.3 x 59 in
$7 000 – 8 500 PLACE BID Provenance | The artist Artwork location | Auckland, New Zealand
Joyce Campbell (b. 1971 Aotearoa New Zealand) is an interdisciplinary artist based in Auckland New Zealand. She has an MFA from Elam School of Fine Arts, University of Auckland (1999), where she is now Associate Professor. She has lived, studied, taught and worked in Southern California and has undertaken residencies in New Zealand and Antarctica. Her recent work utilises anachronistic photographic techniques, such as the daguerreotype and ambrotype, as well as conventional analogue and digital photography, video, film and sculpture. She uses these to examine the collision of natural and cultural systems often in extreme environments. Her interests have led her to render visible microbial colonies, crystals in the process of formation, silver dispersing into colloidal suspension, the migration of glaciers into the ocean, distressed coral reefs and dead forests, river gorges in rural New Zealand and California’s desert washes and industrial brownfields. She has exhibited throughout New Zealand, and her works have been included in solo and group exhibitions in Australia and the U.S.A.
SOUTHERN STARS | Gabriela Salgado | email@example.com | +44 79 49 297 269
Joyce Campbell employs historical photographic techniques to produce captivating images that suggest hidden forces within the visible world. Aided by pseudoscientific processes of revealing microbial life and other living organisms, the artist borrows 19th-century photography tools that enable her to interpret the real with metaphorical visual strategies. Moreover, her interest in biological systems merges with Māori spiritual connections to land, as seen in her recordings of waterways and renderings of the mythical figure of te tāniwha, a series made within the context of an ongoing collaboration with Richard Niania, of Ngāti Kōhatu tribe. Te tāniwha could be translated as sea monster or water spirits, at times threatening but also regarded as guardians by the people in the territory. The tāniwha is a fitting subject in the artist imagery, and it inhabits her intriguing images with their liminal nature, invoked as both physical and symbolic creatures depending on the context. Following similar methodologies, her studies of morphogenesis point to an interpretation of phenomena with images that preclude precise readings. Such is the case of Praya, 2003 from the Marianas series, where fluids dancing in water allow her to create seductive allegories of biological formations.
65 Tonico Lemos Auad | b.1968 Brazil Porcelain 2019 woven paper, wool and linen on linen in purple heart wood frame 64.5 x 63.5 cm ; 25 3/8 x 25 in
$28 000 – 35 000 PLACE BID Artwork location | London, United Kingdom Tonico Lemos Auad’s varied practice investigates materiality, sensuality, process and how people negotiate the space around them. Auad was born in 1968 in Belém, Brazil. He now lives and works in London, UK. Auad explores physical manifestations of belief, specifically looking at the personal or cultural significance afforded objects in everyday life. Often encompassing notions of architecture and landscape, Auad’s unique way of working subverts traditional techniques associated with craft such as embroidery, woodcarving and stonemasonry. This year Auad exhibited at Biennale Gherdëina VII in Ortisei, South Tyrol, Italy (curated by Adam Budack). In 2019, Stephen Friedman Gallery presented two separate solo projects by Tonico Lemos Auad and Mamma Andersson at Frieze London, winning the 2019 Frieze Stand Prize. In 2016, Auad was the subject of a major solo exhibition at De La Warr Pavilion in East Sussex, UK. In 2011, a collection of specially commissioned sculptures titled ‘Carrancas and Reflected Archaeology’ were exhibited as part of the Folkestone Triennial in Kent, UK. Other recent solo exhibitions include ‘Tonico Lemos Auad’, Pivô, curated by Kiki Mazzuchelli, São Paulo, Brazil (2015); ‘Paisagem Noturna’, Galeria Luisa Strina, São Paulo, Brazil (2013); ‘Tonico Lemos Auad’, Stephen Friedman Gallery, London, UK (2012-2013); ‘Sleep Walkers’, Centro Cultural São Paulo, São Paulo, Brazil (2011); ‘Epílogo,’ Zapopan
Museum, Zapopan, Mexico (2010); and Aspen Art Museum, Aspen, Colorado, USA (2007). The design of Tonico Lemos Auad’s recent textiles are loosely inspired by Derek Jarman’s iconic coastal garden at Prospect Cottage in Dungeness. Evoking a psychedelic, cinematic state of mind, Jarman’s borderless and roughhewn garden spreads all the way to the distant horizon where sky, sea and shingle meet as one. Such limitless vistas and desert-like colours feature in Auad’s work, with architectural forms and distinct borderlines demarcating open areas of woven textile. Auad combines a variety of different techniques to make his textiles including knitting, crochet, needle work and weaving. In addition, Auad employs diverse types of yarn: silk, wool, linen, cotton, paper and natural fibres. Working on several works at a time, the genesis of each composition is entirely intuitive. In ‘Vitamin T’ (2019), George Vasey (Curator at Wellcome Collection, London) writes that Auad demonstrates an “emotional acuity with his use of colour and material... While his work is often laboriously constructed, there is a refreshing simplicity in the way it looks, reminding us of the potential of the human hand.” Auad’s works are defined by the process of their making, slowly revealing each individual stitch, crocheted loop and interwoven thread.
STEPHEN FRIEDMAN GALLERY | firstname.lastname@example.org.
66 Shambhavi Singh | b.1966 India Griha Do / Sanctum ( II ) 2011 pigmented paper pulp with STPI handmade cast paper pulp 188 x 144.5 x 5 cm; 74 x 56.8 x 1.9 in unique
$12 500 – 18 500 PLACE BID Artwork location | Singapore Shambhavi was born in Patna, Bihar in 1966. She received a BFA from the College of Fine Arts and Crafts, Patna, in 1986 and an MFA in the College of Arts, New Delhi, in 1992. Her works have been exhibited worldwide in a number of solo exhibitions including Lullaby at Talwar Gallery, New Delhi (2008); A Bird and 2000 Echoes at Talwar Gallery, New York (2007); and Passage from India at the Association for Visual Arts, Cape Town (1998). Shambhavi’s practice is inspired by her journeys around the globe, in particular to Amsterdam and South Africa. Her paintings, sculptures and installations are characterised by themes of self-exploration, survival and livelihood. At STPI, Shambhavi translated her concepts inspired by the frugal lives of farmers from her native land Bihar, India, into powerful, minimalist works using paper.
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67 Hema Upadhyay | 1972–2015 India Universe Revolves On (XVI) 2008 mixed media assemblage of pigmented STPI handmade paper, flocking, photographs and wood 169.5 x 263 x 29 cm; 66.7 x 103.5 x 11.4 in unique
$40 000 – 61 000 PLACE BID Artwork location | Singapore
Hema Upadhyay nee Hirani (1972–2015) was born in Baroda, India. Her newly produced works at STPI question the meaning of ‘home’ in the face of India’s rapid urbanisation through autobiography and personal insights. One of India’s illustrious contemporary artists, Upadhyay returned to printmaking after a decade’s hiatus. During her six week residency at STPI, Upadhyay scaled new heights of technical virtuosity in a series of monumental works displaying the innovative use of Chinese wooden puzzles and clay onto STPI handmade paper. Her solo exhibition at STPI Universe revolves on, allowed viewers to witness the process of an artistic shift. Hema Upadhyay entered daringly into the dynamics of paper and print, stretching her own and STPI’s continuing undertakings.
STPI | firstname.lastname@example.org
68 Adeela Suleman | b.1970 Pakistan After All It’s Always Somebody Else Who Dies 2018 steel with 22k gold plating 213.4 x 124.5 cm; 84 x 49 in
$20 000 – 27 000 PLACE BID Artwork location | Sydney, Australia The mainstay of Suleman’s artistry explores a series of dichotomies that point to the fragile and fleeting ephemerality of life. By juxtaposing her intricate – initially pastoralized scenes as rendered in the filigree tradition of Islamic art – against the hard, formidable qualities of the stainless-steel medium, Suleman’s sculpture is reminiscent of the precarious nature of the human condition inherent in the flux of societies. The recurring motifs in Suleman’s work—organic subjects such as birds and flowers—form detailed, repetitive patterns, which are replete with symbolic meaning. Abstracted notions of loss and disappearance quietly resonate through her sculptures. In lieu of tombs, memorials and funerals, the works confront our earthly fears, but remain suggestive of transcendental relief. They may be seen simultaneously as symbolic representations of the coexistence between love of nature and the chaos of man, in addition to the fragmented documentaries referencing recent violent and catastrophic occurrences within the artist’s socio-political landscape. Adeela Suleman studied Sculpture at the Indus Valley School of Art and completed a Master’s degree in International
Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists’ Collective in Karachi, in addition to being Associate Professor and Head of the Fine Art Department at Indus Valley School of Art and Architecture. Suleman has participated extensively with group and solo exhibitions worldwide, including Phantoms of Asia at the Asian Art Museum, San Francisco, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art, Hanging Fire – Contemporary Art from Pakistan at The Asia Society, New York; Gallery Rohtas 2, Lahore; Canvas Gallery, Karachi; Aicon Gallery, New York; and, the International Exhibition of Contemporary Art, Bologna, Italy (2008). Reviews and features of work appear in Artforum and the New York Times, among other publications. Since the 1947 partition of India, both Pakistan and India remain locked in ideological disputes. After All It’s Always Somebody Else Who Dies is a monument to the ongoing violence and brutality between the two countries. The work is comprised of individually beaten-steel birds hung in a sheath like curtain. Each bird represents a life claimed by sectarian violence in Adeela’s home city of Karachi, Pakistan.
SULLIVAN AND STRUMPF | email@example.com | +61 9698 4696
69 Lindy Lee | b.1954 Australia The Dust of Fire 2018 Chinese ink, fire on cold pressed paper 154.5 x 102 cm; 60.8 x 40.1 in
$16 000 – 22 000 PLACE BID Artwork location | Sydney, Australia The Dust of Fire is a work on paper, which Lee has altered through the repetitive application of fire. This gesture embodies the Buddhist act of renewal, where all that is held inside oneself is released. Such markmaking emphasises one’s presence in the moment. Each mark-making gesture is a pitch into eternity – meeting with this moment – indeed in Buddhism eternity isn’t anywhere else but here, there is only this moment of now.
SULLIVAN AND STRUMPF | firstname.lastname@example.org | +61 9698 4696
Lindy Lee’s practice explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. She employs chance and spontaneity to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Her works are meditative, often revealing themselves through time. Lee’s early works make reference to the Western canon of portraiture and question the notion of authenticity in artistic practice. Lee has used imagery from her family photo albums to explore the experiences of loss and transition that have spanned five generations of travel from China to Australia. In 2015, Lee collaborated with UAP on The Life of Stars, a 6-metre tall stainless steel sculpture, hand panel beaten and mirror polished. The work draws parallels between a pattern of luminous interconnecting concentric circles and the principle that everything in the universe is interrelated. A blessing of vitality and abundant energy, The Life of Stars demonstrates the idea that wellbeing naturally springs forth when the individual and the power of interconnection are in balance. With a practice spanning over three decades, Lindy Lee has a wellestablished reputation in Australia, as well as widespread international recognition. Recent solo exhibitions include, The Seamless Tomb, Sullivan+Strumpf, Sydney (2017); Lindy Lee: The Dark of Absolute Freedom, the University of Queensland Art Museum, Brisbane (2014); Universal Record of the Flame, 10 Chancery Lane, Hong Kong (2013); and Birth and Death, Campbelltown Art Centre, Sydney (2007). Group exhibitions include, Infinite conversations: Asian-Australia Artistic Exchange, National Gallery of Australia, Canberra (2018); Adelaide Biennial of Australian Art: Divided Worlds (2018); Versus Rodin: Bodies Across Time and Space, Art Gallery of South Australia, Adelaide (2017); Beyond Words: Calligraphic Traditions of Asia, Art Gallery of New South Wales, Sydney (2016-17); Marking Time, Museum of Contemporary Art, Sydney (2012); Chinese Australia, Australia China Art Foundation, Melbourne (2012); and Painthing (as one), Australian Experimental Art Foundation, Adelaide (2010). Lee has exhibited in the USA, Germany, Canada, China, Hong Kong, Japan, Malaysia, New Zealand and Singapore. In 1984, she graduated with a Bachelor of Visual Arts and a Postgraduate Diploma in painting from Sydney College of the Arts, and in 2001she received her PhD in Fine Art from the University of New South Wales. Lee’s important public works include Life of Stars: Tenderness of Rain, at the Zheng Zhou Cultural Centre, China (2016); and a commission to create a new public space in Sydney’s Chinatown (2012), as well as significant projects currently under development throughout Asia.
70 Min ha Park | b.1984 Korea Report, Window 2013 acrylic and oil on canvas 200 x 180 cm; 78.7 x 70.9 in
$10 800 – 20 000 PLACE BID Artwork location | Seoul, South Korea Min ha Park’s paintings are realized parallels of the symbolic and spiritual landscapes through division and dispersion of light, color and form into units. On the surface, these landscapes echo the current climate, the air filled with dust and fog; delving further, the haze of memory and sentiment. In recent works, Park uses silver pigment to portray the shimmering, suffocating climate of the city under microdust. The fine brushstrokes and their particulate layers appear and disappear in accordance to the light and the viewing angle. By repeating these units and motions, painting and erasing, asking and answering, Park grants a constantly changing visual experience and environment that is simultaneously coexistent with and separate from reality as it is sensed. Min ha Park (b.1984) currently lives and works in Seoul. She received her BFA from the School of Visual Arts, and her MFA from Yale University. Recent solo exhibitions include Peculiar Weather, Whistle, Seoul (2020); Sun Gone, ONE AND J. Gallery, Seoul (2019); and Night Swimming, Skibum McArthur, LA (2016). Her work has been shown internationally in group exhibitions such as 22nd WHITE NOISE : PIGEON, WHITE NOISE, Seoul (2020); It’s snowing in LA, AA I LA Gallery, LA (2018); Adidas NMD, DDP, Seoul (2016), and more.
PR | Ellen Justus | email@example.com | +82 27 944 775 | +82 10 2883 7274
Min ha Park’s paintings evoke spontaneous association through confrontational co-existence and juxtaposition. The surface of the canvas acts as a platform for careful symbolic conversation. As seen in Report, Window, the strata of her animated brushstrokes bring onto the canvas a sense of hectic speed or direction born from the flow of daily life; unending, repeating, hovering in constant oscillation. The frenetic but frozen movement of the background invokes a polarized sense of direction, weaving this way and that, one that is steadied by the hint of yellow and aquamarine showing through and above the warped window at the center. From repetition comes ennui, coloring the haze of dust and light in softer shadow. Sensual, corporeal response is of particular interest to Park—that is, the lasting traces of emotional states of anxiety upon the body; or conditions triggered by air, by sound, by other invisible sources. Here, Park portrays a distant landscape through the afterimage of air and light as it can be sensed: its memory, or its sentiment, white noise drowning out chords of blue.
71 Min ha Park | b.1984 Korea Window X Horizon X Beam 2014 oil on canvas 200 x 180 cm; 78.7 x 70.9 in
$10 800 – 20 000 PLACE BID Artwork location | Seoul, South Korea Expanding the bounds of what is considered landscape, Min ha Park distorts scenery and sensation through her use of intense color and shape. Yet rather than a reproduction her abstract paintings seek a parallel, mirroring scenery as it is sensed in a synthesis of sight, sound, and touch. In Window X Horizon X Beam, swathes of green are interrupted by dancing particulate matter, framed at the top and side of the canvas by shimmering, skylike bars. Layer by impossibly thin layer she builds an endless field, its vastness reflecting a languorous but musical tedium held in discord by the disparate entities at its perpendicular borders. Revealed through myriad brushstrokes, the perpetual movement of the floating, black dust—its presence a brief interlude from the verdant sea—and her brushwork comes in contrast to a tedium inherent to the haze of a quotidian landscape, expressed paradoxically in her choice of pigments. At the edges, gleaming silver light and the fluorescent horizon realize the dawn of an airy city, overcast with particulate matter, inescapable in today’s metropolis. The constructed stratosphere of her work grows tangible where the fog floats below a skylit membrane, the layers of paint applied so thickly as to give it a visible border.
WHISTLE | Ellen Justus | firstname.lastname@example.org | +82 27 944 775 | +82 10 2883 7274
Window X Horizon X Beam (detail)
72 Misheck Masamvu | b.1980 Zimbabwe Cream for Burns 2020 oil on canvas 198 x 176 cm; 78 x 30 in
$26 000 – 34 000 PLACE BID Artwork location | Johannesburg, South Africa Misheck Masamvu (b. 1980, Penhalonga, Zimbabwe) explores and comments on the socio-political setting of postindependence Zimbabwe, and draws attention to the impact of economic policies that sustain political mayhem. Masamvu raises questions and ideas around the state of ‘being’ and the preservation of dignity. His practice encompasses drawing, painting and sculpture. Masamvu studied at Atelier Delta and Kunste Akademie in Munich, where he initially specialised in the realist style, and later developed a more avant-garde expressionist mode of representation with dramatic and graphic brushstrokes. His work deliberately uses this expressionist depiction, in conjunction with controversial subject matter, to push his audience to levels of visceral discomfort with the purpose of accurately capturing the plight, political turmoil and concerns of his Zimbabwean subjects and their experiences. His works serve as a reminder that the artist is constantly socially-engaged and is tasked with being a voice to give shape and form to a humane sociological topography. In 2020, Masamvu took part in the 22nd Biennale of Sydney. Masamvu’s work has been well-received and exhibited in
numerous shows including Armory Show 2018, Art Basel 2018, Basel Miami Beach 2017, 1-54 Contemporary African Art Fair New York 2016, São Paulo Biennale 2016, and the Venice Biennale, Zimbabwe Pavillion 2011. Masamvu’s solo presentation Talk to me while I’m eating is currently on view at Goodman Gallery in London. Misheck Masamvu uses painting as a way to show the ‘breakdown of the pursuit of humanity’. His emotionally charged paintings express the artist’s psychological state as he experiences the socio-political strife taking place in his home country. Masamvu, who studied at the Atelier Delta and Kunste Akademie in Munich, is influenced by the German Expressionist and Neo-Expressionist movements. His works consist of layered painted surfaces, abstracted forms and brushstrokes which are almost visceral and exist as remnants of the physical action of painting. One gets the sense that multiple temporalities have been included in one picture plane and that beneath the surface of one painted image, an infinity of others exists.
GOODMAN GALLERY | email@example.com | WhatsApp: Tony East +27 72 018 1293
73 Mikhael Subotzky | b.1981 South Africa Tall Ship I (from the Massive Nerve Corpus series) 2018 ink on linen image size: 162.5 x 110 cm; 64 x 43.5 in
$15 000 – 20 000 PLACE BID Artwork location | Johannesburg, South Africa Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a number of important international exhibitions, including most recently Masculinities: Liberation through Photography at the Barbican in London (2020), Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in 2021. Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), the San Francisco Museum of Modern Art and the South African National Gallery, among others. Subotzky’s work was included in Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015). He has a forthcoming solo presentation of Ponte City (with Patrick Waterhouse) at the San Francisco Museum of Modern Art.
GOODMAN GALLERY | firstname.lastname@example.org | WhatsApp: Tony East +27 72 018 1293
This work, one of three paintings on linen which depict tall ships, was featured in Mikhael Subotzky’s solo exhibition Massive Nerve Corpus (Goodman Gallery Johannesburg, May 2019). These works engage with the artist’s colonial inheritance in a country where most white people arrived on ships. They are a natural development of Subotzky’s “Sticky-tape transfers”, with which he has ripped and scrubbed his way into found images, clawing at their skins until they give way and their representational function is first disabled, and then rearticulated in what he describes as “a more honest, or less dishonest, way.” Excerpt from Interview with Hansolo Umberto Oberist, Johannesburg, 2019 HUO: Many of your materials and the images on them look like skins or membranes. I’m looking at three paintings of ships which appear to ghost through the linen. MS: I’m trying to express how these forms are both the instruments of power and at the same time highly vulnerable bodies. The sails of those ships are relatively insubstantial objects, but they were harnessed to provide huge amounts of kinetic power - enough to conquer lands and move millions of bodies across oceans. Likewise, on the inside, a lung can be so easily punctured, but it can also expand and contract constantly to sustain eighty years of life. Achilles, the greatest warrior we know, can be killed by a single arrow to the heel. I don’t think we can fully understand the exercise of white masculine power without exploring its vulnerability too, both within the body and in the instruments that we developed to allay this vulnerability and exercise power. HUO: And it was these tall ships that brought your ancestors here to steal the land? MS: Yes! It wasn’t literally my ancestors because they were Lithuanian and German Jews, but that’s the thing about whiteness, its violent privilege has been homogenized to the point where I genuinely feel like I carry both the burden – call it guilt or shame - and the unearned privilege of that history. That itself is a huge irony because so much intellectual effort in the 19th century went into classifying the “white races” and differentiating them. Jews, like the Irish and the Italians before them, didn’t have any divine right to being included in whiteness, but once we were in, the benefits flowed.
TE R MS & CO N D ITIO N S O F B U SI NE SS A N D R U L E S O F AU C T I O N THIS AUCTION AND THE BIDS BEING CALLED ARE BEING DONE SO FROM OUR AUCTIONEER AT OUR PREMISES IN JOHANNESBURG ACCORDINGLY THIS AGREEMENT MUST AND DOES COMPLY WITH THE PROVISIONS OF SECTION 45 OF THE CONSUMER PROTECTION ACT 68 OF 2008 1.
DEFINITIONS 1.1. The following terms shall have the meanings assigned to them hereunder and cognate expressions shall have corresponding meanings: 1.1.1. “Act” means the Auctions (Bidding Agreements) Act 1927 and the Auctions (Bidding Agreements) Act 1969 in the United Kingdom and also section 45 of the CPA in South Africa Consumer Protection Act No. 68 of 2008 (“CPA”) as read with the Regulations promulgated thereunder in the Government Gazette No. 34180 on 1 April 2011; 1.1.2. “Artistic work” means: 22.214.171.124. any drawing, picture, painting, collage, sculpture, ceramic, print, engraving, lithograph, screen print, etching, monotype, photograph, digitally printed photograph, video, DVD, digital artwork, installation, artist’s book, tapestry, artist designed carpet, performative artwork and any medium recognised as such in the future; 126.96.36.199. any work of craftsmanship and/or artwork which does not fall under 188.8.131.52 as set out in the Copyright Act No. 78 of 1978. 1.1.3. “Auction” means any sale whereby a Lot is put up for sale by public auction and auctioned off by Ruarc Peffers on behalf of South South or such other auctioneer employed by South South from time to time; 1.1.4. “Auctioneer” means Ruarc Peffers or such other representative of South South conducting the Auction who warrant these Rules of Auction comply with the Act; 1.1.5. “Bidder” means any person who makes an offer to buy a particular Lot and includes the Buyer of any such Lot. A bid shall be made by a person registered to bid indicating a bid in any way meant to be understood that way by the Auctioneer and using the South South bidding platform through which he has registered to participate in any auction event; 1.1.6. “Buyer” means any Bidder who makes a bid or offer for a Lot which has been offered for sale (whether by Private Treaty, Auction or otherwise) and which bid or offer has, subject to a reserve price, been accepted by South South and/or the Seller; 1.1.7. “Business day” means any day other than a Saturday, Sunday, or any other official public holiday in South Africa or the United Kingdom; 1.1.8. “Platform costs” means the amount equal to 10% of the Hammer price plus VAT thereon payable by the Buyer to South South, from which the Auctioneers fee will be deducted as a first charge, on the sale of a Lot. “Donation” means the amount equal to 20% of the Hammer Price on certain identified lots, plus any applicable VAT thereon, payable by the Buyer to South South, on the sale of a Lot. 1.1.9. “Catalogue” means any brochure, price-list, condition report or any other publication (in whatever medium, including electronic), published by South South for the purpose of or in connection with any Auction; 1.1.10. “Forgery” means any imitation of any artistic work made with the intention of misrepresenting the authorship, origin, date, age, period, culture, and/or source of any Lot; 1.1.11. “Hammer price” means the bid or offer made by the Buyer for any Lot that is knocked down by the Auctioneer at a sale of that Lot; 292
INTRODUCTION 2.1. South South carries on the business of fine art Auctioneers and consultants on the Lots provided by the Sellers. As fine art Auctioneers, South South generally acts in the capacity of agent for the Seller. 2.2. Set out in this document are the terms and conditions governing the contractual relationship between South South and prospective Bidders, Buyers and Sellers. This document must be read together with: 2.2.1. sale room notices published by South South pertaining to the condition, description and/or authenticity of a Lot; and 2.2.2. any announcement made by South South and/or the Auctioneer prior to or on the proposed day of sale of any Lot, provided that no changes to the terms set out in a Property Receipt Form shall be made without the prior agreement of South South and the Seller.
LEGISLATIVE FRAMEWORK Every Auction is to be governed by inter alia the Auctions (Bidding Agreements) Act 1927 and the Auctions (Bidding Agreements) Act 1969 in the United Kingdom and also section 45 of the CPA in South Africa and the rules of Auction (the “Rules”) as amended from time to time. 4.
GENERAL TERMS OF BUSINESS 4.1. Every bid made shall constitute an offer. Acceptance of the highest bid made, subject to confirmation by the Seller, shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by South South or the Seller. In the event that the highest bid does not meet the reserve, it will remain open for acceptance by the Auctioneer or the Seller and for no less than 48 hours after the Auction was concluded. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or South South. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern, precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither South South nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions, incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. South South shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty, representation or promise on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph 16), whether express, implied or tacit is given by South South, its servants, its agents, or its employees, or the Auctioneer or the Seller and accordingly nothing shall be binding or legally enforceable in this regard. 4.8. Any Lot which proves to be a Forgery (which will only be the case if an expert appointed by South South for such purposes confirms this in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to the Seller within 7 (seven) days from the date of Auction or Private Treaty (as the case may be), in the same condition in which it was at the time of the Auction or accompanied by a statement of defects, the number of the Lot, and the date of the Auction or Private Treaty at which it was purchased. 4.9. Buyer’s claiming (whether in contract, delict or otherwise) under paragraph 4.8 will be limited to the amount paid for a particular Lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/ her including but not limited to claims for damages, loss of profit, injury to reputation, mental anguish and suffering etc; 4.10. The benefit of paragraph 4.8 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by South South or the Seller in respect of the Lot sold. 4.11. South South reserves its right, to refuse admission to any person to its
South South’s legal costs, calculated on the scale as between attorney and own client incurred by the Seller and South South in enforcing any of its rights or those of its principal whether such rights are exercised by way of legal proceedings or otherwise. 4.21. No Party shall be in breach of contract or liable for any loss of profit or special damages or damage suffered as a result of a force majeure or any other event which falls outside of the Parties’ reasonable control. Notice must be given to all Parties if such an event occurs in order to enable the defaulting Party to remedy their performance. The occurrence of the aforementioned events will not excuse a Party from paying any outstanding amounts owed to any of the other Parties. 5.
TERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with South South before the commencement of an Auction in accordance with the various provisions of inter alia UK Anti-Money Laundering (AML) and Know Your Customer (KYC) laws and regulations. 5.2. Upon registration by the Bidder, the Bidder must acknowledge that they are aware of and agree to be bound by these Terms of Business. All Bidders shall be personally liable for their bids and offers made during any Auction and shall be jointly and severally liable with their principals if acting as agent. 5.3. Any person acting on behalf of a Bidder or Buyer may be required to produce evidence of his/her authority to so act and in a manner that is satisfactory to South South in its discretion. 5.4. A Lot shall be sold to the highest bidder (regardless of the perceived or actual value of the Lot) but subject to the reserve or the consent of the Seller if the reserve has not been met. 5.5. No bid may be made for an amount which is lower than the fixed value set by the Auctioneer and any bid may be withdrawn prior to the hammer being struck down. It is the Auctioneer’s discretion to accept or reject a bid that is lower than the standardised incremental amount set by the Auctioneer. The Auctioneer may refuse any bid which does not exceed the previous bid by at least 5% (five per cent) or any such percentage which in the opinion of the Auctioneer is required. 5.6. Any dispute which should arise regarding the validity of the bid, the identity of the Bidder or between more than one Bidder, shall be resolved at the sole discretion of the Auctioneer. 5.7. Each Bidder is deemed to be acting in their capacity as principal unless South South has acknowledged otherwise in writing prior to the commencement of the Auction and the Bidder bidding for another shall be required to produce a letter authorising the Bidder to represent him and the Identity Documents of both persons. 5.8. All Bidders are encouraged to attend any Auction where a Lot is to be sold by Auction. South South will endeavour to execute any absentee, written bids and/or telephone bids, provided they are, in South South’s absolute discretion, received in sufficient time and in legible form as required under these Terms of Business. 5.9. Any bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by South South, be confirmed in writing to South South before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with South South at least 24 (twenty-four) hours before the commencement of the Auction. South South shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of South South and consents to these Terms of Business. 5.10. The Buyer must make payment of the Platform costs immediately after the fall of the hammer but in any event no later than 48hours after the fall of the hammer. All payments shall be made by Credit Card, Swift transfer or any other 294
recognised Electronic Funds Transfer (EFT) in full and make arrangements with Seller for collection and delivery of the purchased Lot immediately after payment in full has been effected. On hand over of the Lot to the Buyer (or his representative), the full risk and title (subject to payment in full having been made first) over that Lot shall pass to the Buyer, who shall henceforth be responsible for any loss of and/ or damage to and/or decrease in value of any Lots purchased at the Auction or at a Private Treaty sale. Any Lot not collected immediately after the Auction will remain insured for 48 (forty-eight) hours after completion of the Auction. The Seller must be paid in full and the funds cleared before the Lot is handed over to the Buyer. 5.11. If the Buyer has not made payment within 1 (one) week of the Auction South South reserves the right to cancel the Sale and to claim damages from the Buyer including but not limited to the Buyers and Sellers premium, storage and insurance costs and the costs of conducting the auction which are estimated at one million rand per auction. 5.12. The collection of any Lot by a third party on behalf of a Buyer must be agreed with the Seller not later than the close of business on the day following the relevant Auction. 6.
EXCLUSION OF LIABILITY TO BUYERS OR SELLERS 6.1. No Buyer or Seller shall be entitled to cede, delegate and/or assign all or any of their rights, obligations and/or interests to any third party without the prior written consent of South South in terms of these Terms of Business. 6.2. The Buyer accepts that neither South South nor the Seller: 6.2.1. shall be liable for any omissions, errors or misrepresentations in any information (whether written or otherwise and whether provided in a Catalogue or otherwise) provided to Bidders, or for any acts and/or omissions in connection with the conduct of any Auction or for any matter relating to the sale of any Lot, including when caused by the negligence of the Seller, South South, their respective employees and/ or agents; 6.2.2. gives any guarantee or warranty to Bidders other than those expressly set out in these Terms of Business and any implied conditions, guarantees and warranties are excluded; and 6.2.3. without prejudice to any other provision of these general Terms of Business, any claim against South South and/or the seller of a Lot by a Bidder shall be limited to the Hammer price of the relevant Lot. Neither South South nor the Seller shall be liable for any loss of profit, indirect or consequential losses. 6.3. A purchased Lot shall be at the Buyer’s risk in all respects from the knock down of the Auctioneer’s hammer (and acceptance of the bid if applicable), whether or not payment has been made, and neither South South nor the Seller shall thereafter be liable for, and the Buyer indemnifies South South against, any loss or damage of any kind, including as a result of the negligence of South South and/or its employees or agents. 6.4. All Buyers are advised to arrange for their own insurance cover for purchased Lots unless agreed otherwise in writing. 6.5. South South does not accept any responsibility for any Lots damaged by insect infestation, changes in atmospheric conditions or other conditions outside its control (including damage arising as a result of reasonable wear and tear). South South will be responsible for the replacement or repair costs for any frame and glass breakages resulting from the wilful or negligent conduct of any of South South’s servants and agents. 7.
GENERAL CONDUCT OF THE AUCTION 7.1. The Auctioneer remains in control of the Auction and has the absolute discretion to either withdraw or reoffer any Lots for sale, to accept and refuse bids
and/or to reopen the bidding on any Lots should he/she believe there may be a dispute of whatever nature (including without limitation a dispute about the validity of any bid, or whether a bid has been made, and whether between two or more bidders or between the Auctioneer and any one or more bidders) or error of whatever nature, and may further take such other action as he/she deems necessary or appropriate. The Auctioneer shall commence and advance the bidding or offers for any Lot in such increments as he/she considers appropriate. 7.2. The Auction is to take place at the stipulated time and no delay shall be permitted to benefit a specific person who is not present but should be present at the Auction. 7.3. The Auctioneer shall be entitled to bid on behalf of the Seller of any lot, up to but not equal to or more than the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and Seller once the Auctioneer knocks down the hammer and this shall be the Hammer price accepted by the Auctioneer (after the determination of any dispute that may exist and subject to the Seller’s consent if the reserve price was not achieved). The benefits flowing from this agreement constitute a benefit for a third party, in this case, South South, which benefits South South hereby accepts. South South shall not be liable for any breach of the agreement by either the Seller or the Buyer. 8. IMPORT, EXPORT, COPYRIGHT RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD 8.1. South South and the Seller, make no representation or warranties whether express, implied or tacit pertaining to the authenticity, quality, genuineness, condition, value, origin, ownership of any goods or whether express, implied or tacit as to whether any Lot is subject to import, export, copyright and licence restrictions. It is the sole responsibility of the Buyer to ensure that they acquire the relevant export, import licenses or copyright licenses prior to exporting or importing any Lots. 8.2. South South does not in any way undertake to ensure that the Buyer procures the necessary permits required under law, nor are they responsible for any costs incurred in obtaining a license (whether an application for such license was approved or not). 8.3. All Lots which incorporate any material originating from an endangered and/or protected species (including but not limited to ivory and bone) will be marked by a symbol in the description of the Lot in the Catalogue. South South does not accept responsibility for a failure to include these marks on the Lots. Any prospective Buyer is to ensure that they received the necessary permission from the relevant regulatory agents, specifically when importing and/or exporting the Lot. A Buyer will be required to acquire a permit from the Department of Nature Conservation or any similar government authority prior to exporting or importing the Lot as well as any other export or import license which may be required by law, including the licences required under the Convention of the International Trade in Endangered Species (“CITES”). Failure to obtain or be approved for such permits shall not constitute a ground for the cancellation of the sale or the non-payment of any amounts due in terms hereof. 9.
ABSENTEE BIDS 9.1. Absentee bids are a service provided by South South upon the request of the Buyers. South South shall in no way be liable for any errors or omissions in such bidding process. The Purchase price of the Lots will be processed in the same manner as it would be in other bids. 9.2. Where two or more Buyers provide identical bids, the earliest will take precedence. When absentee bids occur by telephone they are accepted at the Buyer’s risk and must be confirmed prior to the sale by letter or e-mail to South South.
9.3. All absentee bids shall be registered with South South in accordance with South South’s procedures and requirements not less than 24 (twenty-four) hours before the Auction and/or the Private Treaty sale. South South reserves its right to receive, accept and/or reject any absentee bids if the aforementioned time period has not been satisfied. 9.4. An absentee bidder must register his/her identity in the same way that any other would be required to under these Terms of Business. 10.
RESCISSION OF SALE Notwithstanding the provisions above, if, within 7 (seven) days after the relevant Auction or Private Treaty sale, the Buyer makes a claim to rescind the sale due to Forgery and South South or the Seller is satisfied that the claim is justified, South South reserves the right to rescind the sale and refund the Buyer any amounts paid to South South and still held by South South in respect of that sale and the Seller hereby specifically authorises South South to do so. 11.
PAYMENT AND COLLECTION 11.1. The Buyer acknowledges that South South acting in its capacity as agent for the Seller of a particular Lot: 11.1.1. VAT may be payable on the full Hammer price if the Seller is a registered VAT vendor; 11.1.2. South South shall be entitled to a Buyer’s commission and/or any other agreed fees for that Lot. 11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer (subject to any reserve), the Buyer shall, before delivery of the Lot, pay South South the Platform costs and Donation (if applicable) and make arrangements for payment of the Purchase price immediately after the Lot is sold and should South South require, the Buyer shall provide it with their necessary registration details, proof of identity and any further information which South South may require. 11.3. The Buyer shall make payment in full to South South for all amounts due and payable to South South (including the Platform costs and Donation, if applicable, of each Lot bought by that Buyer) on completion of the sale but within 48 hours of the date of sale (or on such other date as South South and the Buyer may agree upon in writing) in cash, by credit card, Swift transfer or any other electronic funds transfer (“EFT”), or such other payment method as South South may be willing to accept. Any cheque and/or credit card payments must be arranged with South South prior to commencement of the Auction. All credit card purchases are to be settled in full on the date of sale and shall be subject to an administrative merchant fee of 3,5% of the Platform costs. 11.4. Ownership of a Lot shall not pass to the buyer thereof until South South has received settlement of the Platform costs and the Seller has received the Purchase price of the respective Lot in full and the funds have cleared. Seller shall not be obliged to release a Lot to the Buyer prior to receipt in full payment thereof. However, should Seller agree to release a Lot to the Buyer prior to payment of the full Purchase price, ownership of such Lot shall not pass to the Buyer but shall remain strictly and unconditionally reserved for the Seller, nor shall the Buyer’s obligations to pay the Purchase price be impacted, until such receipt by Seller of the full Purchase price in cleared funds. 11.5. The refusal of any approval, licence, consent, permit or clearance as required by law shall not affect the Buyer’s obligation to pay for the Lot. 11.6. All packaging and handling of Lots is at the Buyer’s risk and expense, will have to be attended to by the Buyer or the Seller if agreed between them in writing, and South South shall not be liable for any acts or omissions of any packers or shippers. 295
OWNERSHIP 12.1. Until such time that the total Purchase price and any Sellers Premium plus vat has been paid and hand over has taken place, ownership of the purchased goods shall vest with the Seller. 12.2. Unless agreed otherwise in writing, the collection of the goods/Lots shall be done by the Buyer at their own cost immediately after the Auction has taken place. It is recorded and agreed that South South shall never be in physical possession of items sold and bought at any auction. The goods shall always be in the possession of the Seller or his designated representatives but not South South. The Buyer shall ensure that any third parties attending to collection for the Buyer have been properly authorised in writing to attend to such collections. 12.3. South South shall not provide any assistance of any nature whatsoever to the Buyer in transporting the goods upon the completion of the Auction. 13.
BREACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price or fails to collect the goods bought as provided for in these Terms of Business, Seller in exercising its discretion will, without any prejudice to any other rights it may have in law, be entitled to exercise one or more of the following remedies set out below. Seller may: 13.1.1. institute proceedings against the Buyer for any non-payment and/or any damages incurred as a result of the breach of contract; 13.1.2. cancel the sale of that Lot or any other Lots sold to the defaulting Buyer at the same time or at any other Auction; 13.1.3. resell the Lot or do any such thing that would cause it to be resold by Auction or Private Treaty sale; 13.1.4. remove, store and insure the goods at the sole expense of the defaulting Buyer, the Buyer shall be responsible for all charges associated therewith; 13.1.5. retain any Lot sold to the same Buyer at the same time, or at any other Auction and only allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to South South and the other Sellers in terms of these Terms of Business, including interest, storage charges and any other charges; 13.1.6. South South may reject any bid made by or on behalf of the defaulting Buyer at any future Auction; 13.1.7. charge a reasonable rental fee for each day that the item is stored by from the date of Auction until the time of collection. 13.1.8. charge interest at a rate of the prime rate plus 3% (three per cent) per month on any outstanding amounts from the date of Auction. 13.1.9. charge the Buyer the full costs of conducting the auction which is estimated at GBP50 000.00 per event. 13.2. In the event that South South resells any Lot at a subsequent Auction as a result of South South exercising the Seller’s remedy referred to in paragraph 13.1.3 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price. South South shall be entitled to earn commission on any subsequent sale of the same work irrespective of how many times it is sold by them. 14.
TERMS RELATING TO THE SELLER As per the Seller’s irrevocable instruction, South South is instructed
to sell at an Auction all objects submitted for sale by the Seller and accepted by South South and to sell the same to the relevant Buyer of the Lot of which those objects form part, provided that the bid or offer accepted from that Buyer is equal to or higher than the Reserve (if any) on that Lot (subject always to paragraph 14.4), all on the basis set out in these Terms of Business. 14.2. The Seller also irrevocably consents to South South’s ability to bid for any Lot of which any of those objects form part as agent for one or more intending Buyers. 14.3. South South is authorised to continue to market any objects not sold on Auction for a period of 14 (fourteen) days after the Auction for the possible sale of such objects by South South by way of Private Treaty or otherwise pursuant to paragraph 14.4. 14.4. South South is authorised to offer for sale either by Private Treaty or otherwise, without further instruction or notification to the Seller, within 14 (fourteen) days after the Auction, all or any remaining objects submitted for sale by the Seller and received and accepted by South South in accordance with paragraph 14.1, which objects were not sold on Auction. The bid accepted on these items must not be less than the amount that the Seller would have received, had that Lot been sold on Auction at the Reserve (if any) on that Lot taking into account the deduction of the applicable Seller’s commission for which the Seller is liable. 14.5. Both South South and the Auctioneer each have the right, to offer an object referred to above for sale under a Lot, to refuse any bid or offer, to divide any Lot, to combine two or more Lots with the prior approval of the relevant Seller(s), to withdraw any Lot from an Auction, to determine the description of Lots (whether in any Catalogue or otherwise), to store accepted objects at the Auction premises or any other location as he/she may deem fit and whether or not to seek the opinion of experts. 14.6. South South shall not be under any obligation to disclose the name of the Buyer to the Seller, save for the circumstances contemplated elsewhere in these Terms of Business or otherwise required by law. 15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS 15.1. Any estimation given by South South is an opinion and cannot be relied on as a true reflection of what the final Hammer price will be on the date of the sale and as such is never guaranteed. South South has the right to change any estimations at any point in time in agreement with the Seller recorded on the relevant Property Receipt Form. 15.2. The Seller hereby agrees that South South shall fully rely on any description of the goods or Lots provided to them by the Seller or his agent. 15.3. South South shall not be held liable for any error, misstatement or omission in the description of the goods/Lots whether in the Catalogue or otherwise unless such error, misstatement, omission is a direct result of the intentional, misleading and deceptive conduct of South South’s employees and/or agents. 16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER 16.1. The Seller hereby warrants to South South and the Buyer that: 16.1.1. he/she is the lawful owner or consignee of the objects put up for sale or Auction and is authorised to offer such objects up for sale at an Auction; 16.1.2. he/she is legally entitled to transfer title to all such objects and that
they will be transferred free of any encumbrances of third-party claims; and 16.1.3. he/she has complied with all requirements necessary, legal or otherwise, for the import (if importing is applicable to the sale) and has notified South South in writing of any third parties who have failed to comply with the aforesaid requirements in the past; 16.1.4. the place of origin of the Lot is accurate. 16.1.5. the object forming part of the Lot is capable of being used for the purpose to which it was made and has no defects which are not apparent from any external inspections and that he/she is in possession of any valid approval, license, consent, permit or clearance required by law for the sale of any Lot. 16.2. The Seller hereby indemnifies and shall keep South South and the Buyer indemnified against any loss or damage suffered by either party as a result of any breach of any warranty in these Terms of Business. 16.3. The Seller hereby agrees that South South may decline to sell any object submitted for sale, irrespective of any previous acceptance by South South to sell it, for any reason deemed reasonable and appropriate in its discretion. 17.
PLATFORM COSTS Subject to remaining terms of this agreement, the Purchaser confirms that it will pay the Platform costs immediately after the fall of the hammer to South South such fee being deemed to have been earned and is payable immediately payable 18.
RESERVES 18.1. All Lots are to be sold with a Reserve, unless otherwise agreed upon between South South and Seller in writing prior to the date of Auction. Any changes to a Reserve will require the prior consent of South South and the Seller. The Seller acknowledges that unless a reserve is set, South South shall not be entitled to bid on behalf of the Seller to protect the integrity of the value of any work being auctioned. 18.2. Where the Auctioneer is of the opinion that the Seller or any person acting as agent of the Seller, has made a bid on the Lot and above a Reserve that existed on such Lot, they may knock down the Lot to the Seller. The Seller will then be required to pay all expenses which the Buyer is liable for and any expenses which the Seller is liable for along with the Seller’s commission to South South. 18.3. In the event that a Reserve exists on a particular Lot, South South may sell such Lot at a Hammer price below the Reserve, on the condition that the Seller receives the amount they would have been entitled to, had the sale been concluded at the Reserve. South South reserves the right to adjust the Seller’s commission accordingly in order to allow the Seller to receive the amount payable had the Lot been sold at the Reserve. 18.4. Where a Reserve on a Lot does not exist, South South shall not be liable for the difference between the Purchase price and the estimated selling range. 19.
INSURANCE 19.1. Seller undertakes to insure all objects to be sold as part of any Lot, at its own expense, unless otherwise agreed to in writing, or otherwise, between the Seller and South South.. 19.2. In the event that South South is instructed to not insure any property, the Seller shall bear the cost and risk at all times. The Seller also agrees to: 19.2.1. indemnify South South for any claims brought against South South and/or the Seller for any damage or loss to the Lot, however it may arise. South South shall be reimbursed by the Seller for any costs incurred as a result thereof;
and 19.2.2. notify the insurer of the existence of the indemnities set out herein. 20.
PAYMENT IN RESPECT OF THE SALE PROCEEDS The Seller shall be responsible for collecting the balance of the purchase price excluding the Platform costs from the Purchaser. 21.
WITHDRAWAL FEES Written notice must be given to South South 7 (seven) days prior to the Auction, where a Seller decides to withdraw a Lot from Auction. South South reserves the right to convert any Seller’s commission payable on this Lot, photography costs, advertising and marketing costs, or any other expenses incurred on a Lot, into withdrawal fees. The amount of this withdrawal fee shall be determined based on the mid-estimate of the selling price of the objects comprising the Lot along with any VAT and expenses incurred thereon given by South South. 22.
PHOTOGRAPHY AND ILLUSTRATIONS The parties hereby grant to South South limited use rights to the images of any items placed on auction and sold for marketing and related purposes and in perpetuity. 23.
LOTS WHICH HAVE NOT BEEN SOLD The Seller and South South shall discuss and agree a strategy in respect of any lots unsold at any auction event and which remain unsold for 14 days after such auction event assuming the goods are not sold by private treaty through the agency of South South. 24.
AMENDMENT OF THESE TERMS AND CONDITIONS 24.1. South South may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such amended Terms of Business (whether on its website or by any other means whatsoever). 24.2. No amendment in terms of paragraph 24.1 above shall be binding on any Party to any Sale which has been entered into as at the date of that amendment unless agreed to by the relevant Parties in terms of paragraph 24.3. 24.3. No: 24.3.1. amendment or consensual cancellation of these Terms of Business or any provision or term hereof; 24.3.2. agreement, bill of exchange or other document issued or executed pursuant to or in terms of these Terms of Business (including, without limitation, any valuation, estimate or reserve issued in terms hereof); 24.3.3. settlement of any dispute arising under these Terms of Business; 24.3.4. extension of time, waiver or relaxation or suspension of or agreement not to enforce or to suspend or postpone the enforcement of any of the provisions or terms of these Terms of Business or of any agreement, bill of exchange or other document issued pursuant to or in terms of these Terms of Business, shall be binding on any Party to any Sale concluded in terms of these Terms of Business unless agreed to by the Parties to that Sale (whether that agreement is recorded in writing or otherwise).