Archive for October, 2012

s[edition] @ The Digital Innovation Think Tank

s[edition]’s CEO Robert Norton will be presenting at the Digital Innovation Think Tank at the Rijksmuseum in Amsterdam organised in association with Wallpaper*. The conference brings together a panel of digital innovators from industry and academia including Nicolas Roope, Founder and Creative Director of Poke London, Renny Ramakers of Droog and video artist and designer Christian Borstlap and many others. The conference aims to help brands navigate the changing digital landscape. Read more about it on Wallpaper: here


At the event, the announces the launch of Rijks Studio a platform which makes available over 125,000 masterpieces of the Rijksmuseum’s collection to the public for free. The platform provides free high-res downloads of images that is open for editing and remixing through the platform.

In line with their hopeful outlook toward digital innovation in the arts, there was a rather odd appropriation of technology when they used iPads as serving trays for the canapés! One would think that iPads got greasy enough with our filthy palms all over them all the time, but this just drives the point home. Lets admit, iPads are made of shiny surface that can serve many purposes, however it does also make for a very expensive food tray. The idea makes us consider pushing the boundaries of how we can use and think about technology, though however strange or amusing.

iPad Tray

Giulia Costantini, European Marketing Director, Sothebys




Samsung Smart TV app launched @ WIRED 2012

s[edition] has launched our new Samsung Smart TV app last week at the WIRED 2012 conference with an artistic display on Samsung’s 75-inch ES9000 LED Smart TV for delegates as they explored the exhibition zone. With some of the industries leading tech professionals, s[edition] demoed and shared our work on some of the largest, most impressive, motion-sensitive screens from Samsung.

The exhibition zone curated by Lucy Johnston from The Neon Birdcage included a selection of work from the last Digital Sizzle 6 hackathon event at Whitechapel last month and new innovations in 3D printing to picture-based password authentication products from PixelPIN. We were happy to have shared the a space with some of the most exciting digital innovations happening today.

Wired 2012

Wired 2012

Wired 2012

Interview with Wim Wenders

What do you think s[edition] will do for the art market today?
It’s a great opportunity to buy art without the need of being well-heeled. You don’t earn the big bucks, but you can still own that one special piece you were craving for, knowing it is restricted to a limited number of editions. So art remains special and becomes accessible at the same time. s[edition] offers a unique platform for acquiring  photography, painting, installation or digital animation. I’m sure there is a whole new market for this, and that it speaks to a generation for whom it is not obvious that they are accessible to “art” in any of the conventional ways.
Is it a goal to make (your) art as accessible as possible?
“Accessible as possible” sounds wrong, as if it was just a cynic marketing tool and nothing more. But there’s a whole different aspect to s[edition] that, yes, reaches people beyond the general art-interested-crowd. It is utterly democratic, if you want, and lowers the (sad) gap between people who love art, and can afford to own it, and those who love art, period, but are no in the chips. On s[edition] I can just share my love for photography, in my case, with “common humanity”, if I can put it that simple.
How are you planning on working with this medium (internet) in the future?
For years we cultivated our web-presence at Wenders Images, the photo company run by my wife and myself, so as many people as possible would get information about upcoming projects and exhibitions. s[edition] is another development for an internet platform that deals with art and photography, and as it hosts many different artists it will also bring people to my work who otherwise would not have connected. And still, I feel like in good hands, and issues like copyright and ownership are well taken care of.
Are digital artworks the future?
Yes and no, in my case. As much as communication and networking are digital and will never go back, my work is still largely based on analogue procedures. I still take all my photographs on roll film negative, and I’m very happy with that, even if my film work has long moved away from that, and as I’m embracing digital procedures and 3D in the narrative and documentary form. And standing in front of a print that is 5 meters (15 feet) wide is still a different story to seeing it on a small monitor…
Does s[edition] make us have to discuss even more what looking at art and owning art is about?
At least it is opening a door that shows us unknown aspects of these old questions. We are all used to “owning” part of our everyday reality on tablets and smartphones, and of having access on these platforms to a whole world of information, tastes, preferences, vices, images, movies, games… you name it. To add ART to that palette is only logical. Somebody had to come up with it, and I’m happy to be part of that new wave of “owning” art, looking at it and dealing with it.

Shepard Fairey: Sound and Vision @ Stolen Space

Last Friday, s[edition] went down to the opening of Shepard Fairey’s ‘Sound and Vision’ exhibition at Stolen Space at the Old Truman Brewery on Brick Lane. His first exhibition in 5 years with crowds queued up around the block. DJ Z-Trip warmed the crowd as they mingled through the gallery featuring some of his screen-prints, mixed media collages as portraits of notable people and cover sleeves. Read the review of the opening with pictures here on Juxtapoz.

The exhibition uses a mix of media including canvas, collage and cuts, along with numerous appearances of his trademark stencils and some lively murals that are definitely worth checking out.

Fairey whose art reached a new height of prominence in 2008 with his iconic “HOPE” portrait of Barack Obama brings along friend and collaborator Z-Trip to supply the soundtrack to the artwork in Sound and Vision (named after the David Bowie album).

Sound and Vision embodies both the political and social influences on Fairey’s work, particularly that which are directly inspired by music. To encourage visitors to fully experience the interaction between music and art, Fairey is also showcasing his own record collection. Visitors will get chance to listen to Fairey’s music collection – which include the Sex Pistols, the Clash and Roxy Music on vintage turntables.

The exhibit taking place at the StolenSpace Gallery (, Brick Lane, opened on the evening of October 19th and will running to November 4th, 2012.

Shepard Fairey – Día de los Muertos
Shepard Fairey, Día de los Muertos digital edition available on s[edition]

Shepard Fairey - Peace Guard
Shepard Fairey, Peace Guard digital edition available on s[edition]

DJ Z-Trip on the decks

s[edition] featured in Vanity Fair

“No artist can afford to ignore the consequences of the way our view of the world has been transformed by new digital technology, instant access to information and computer graphics […] The great majority of artists still prefer to work in more traditional materials:  paint, metals, bronze and clay.  But as a new generation is born into the a world in which they hold a hand-held device from birth, all this will change.”  – Charles Saumarez Smith


s[edition] was featured in Vanity Fair (Nov 2012) in an article by Charles Saumarez Smith, former director of The National Gallery and currently Chief Executive of the Royal Academy in London – exploring the art in the digital era. Read the full article here: ‘Digital Switchover’, Vanity Fair Art Supplement, Nov 2012



Wallpaper: s[edition] x AES+F


New Edition: Reincarnation by AES+F


AES+F‘s unique aesthetic is famous for its hypnotic appeal, classical beauty, multilayered narrative, and alienation. With their latest project, Reincarnation, created in collaboration with Wallpaper* magazine, the Russian artist collective completes their trilogy about the modern world: heaven, purgatory and hell.

The work is based on Giovanni Bellini’s Allegoria Sacra depicting purgatory: unchristened children, figures of the Old and New Testament and ancient mythology meet in a modern international airport where grounded passengers are suspended between time and place. AES+F reinterpret the painting by transporting the characters into a hyper real future where they combat with recognizable themes of the modern world.

Reincarnation is an extract from the complete film, Allegoria Sacra. The work’s overarching themes include obsession with beauty, youth, luxury, and society’s avoidance of moral and ethic responsibility all unfolding in a stunning, yet grotesque dance to baroque choral music.

The work will go on sale today as an edition of 1,000 for £50.


Image (c) AES+F, courtesy of s[edition]



Tracey Emin Book Signing and Reading at Emin International

To celebrate Frieze Week and the launch of Emin International’s new range of products, Tracey Emin is hosting a reading and book signing at her shop in East London this Friday 12 October from 6-8pm. Located in the heart of Spitalfields, the shop sells limited edition prints, books, posters and household objects rendered in Tracey’s signature style.

Emin International will be selling a new series of handmade Rosettes. Also available to buy will be the range of products designed for Tracey’s recent show at Turner Contemporary, Margate, including the limited edition print Golden Mile (2012).

About Emin International

Tracey Emin, one of Britain’s most celebrated artists, began Emin International in 2008. After showing at several art fairs throughout the UK the shop opened in December 2011. The shop sells many items that are not available online including i-pad drawings and embroidered napkins.


Frieze thus far: Tim Noble & Sue Webster and an American Skips Over the Pond

And it’s official -Frieze has hit London. The international art crowds have descended upon the capital to view and buy the best and most coveted contemporary and Old Master’s works available. Without getting caught up in the hoopla of the white tents, it is always better to venture to the galleries themselves to see some of the most talked about exhibitions of the year.

Monday saw the opening of Bedlam, Steve Lazarides’ finale to his trilogy of pop-up exhibitions at the The Old Vic Tunnels. The dingy tunnels were filled with a gothic funhouse of installations by an array of artists. And even Shepard Fairey, in town for his own show opening in two weeks in London, stopped in to take in the madness. Hurry up, the tunnels will close up for the final time 21 October 2012.

Last night saw opening of husband and wife duo Tim Noble & Sue Webster‘s latest solo exhibition at Blain|Southern Hanover Square. The brand new space highlighted new work from the artists, including a new take on their beloved “Forever” and self-portraits made from their shadow sculptures. Written about in The Observer, Guardian and online through countless websites and art blogs including Dazed Digital, Nihilistic Optimistic is definitely not a show to miss during the Frieze season. The show will be open until 24 November 2012

And for those of you want to own their own artwork form the show than head over to s[edition] to purchase an exclusive edition, Nihilistic Optimistic, created by the duo to coincide with the exhibition. As an edition of 500, prices have now jumped to £10 so hurry up and buy yours before it increases to the next price bracket.


Images: (1) Bedlam – (c) Ian Gavin/Getty Images/ (2,3) courtesy of Blain|Southern/ (4) (c) Tim Noble & Sue Webster courtesy of s[edition]

New Edition: Nihilistic Optimistic by Tim Noble & Sue Webster

To coincide with their new solo exhibition at Blain|Southern London Hanover Square, Tim Noble & Sue Webster have created a digital limited edition of a brand new artwork sold exclusively through s[edition] including our new dynamic pricing model.

Nihilistic Optimistic is the British duo’s eighth collaboration with s[edition]. The artwork references the duo’s latest exhibition at Blain|Southern of the same name. The edition offers an opportunity for those who attend the show to own an affordable exclusive work by Tim Noble & Sue Webster.

A fittingly dualistic title, Nihilistic Optimistic responds to the oppositional forces present within their works, and indeed within the artists themselves. Here, cool flickering neon lights oscillate to illuminate the two words and indicate a paradigm, which is at once constructive and destructive, hopeful and despairing with the alteration of the neon. Light and shadow, figuration and abstraction co-exist in a constant state of tension as the words materialise and then disappear before our eyes.

The work will go on sale Tuesday 9 October, as an edition of 500 for £5 along with the continuation of s[edition]’s new dynamic pricing model. To reward early collectors, Nihilistic Optimistic will be available for as low as £5. The price of the artwork will then steadily increase as editions become scarcer.

Nihilistic Optimistic will be on view at Blain | Southern London Hanover Square from 10 October – 24 November 2012.


Keep checking back for images from tonight’s opening!


Image (c) Tim Noble & Sue Webster