Earlier this year, Sedition caught up with artist Angelo Plessas at London’s Frieze Art Fair. In this exclusive interview, Angelo talks about his ambitious interactive project Temple Of Play, that was commissioned by Frieze Projects for their Family Space. He also speaks about his limited editions on Sedition and his plans for the future.
Archive for the ‘Artists’ Category
Following his recent launch on Sedition, we caught up with Ergin Çavuşoğlu who talked us through his latest artworks, his interest in Marcel Duchamp, and his meticulous creative process.
Could you tell us a little more about the pieces you have created for Sedition?
I created specifically for Sedition three video pieces entitled One Hundred Thousand Balls, Joker Shuffle and Bubble Dart, all (2013). All three works convey ideas influenced by and comment on Marcel Duchamp’s ironic certificate called the Monte Carlo Bond or Obligation pour la Roulette de Monte Carlo, which he issued in 1924. For instance One Hundred Thousand Balls reflects on the Company Statutes document, which Duchamp used to advisedly legitimise his illicit bonds. Bubble Dart on the other hand substitutes with a dartboard the roulette wheel onto which his photograph taken by Man Ray is superimposed, thus making him a target. Moreover Joker Shuffle visually and contextually interprets his portrait with hair covered in foam and shaped into pointed horns, and so on and so forth.
Can you tell us about your creative process when approaching making new works?
My approach to art making is that it is foremost a scholarly activity and my creative process frequently involves distilling complex visual and textual information and contextual materials that all somehow have hypothetical relevance to the perceived systems of art. Interestingly the visual manifestation of an artwork is the last element I consider in the course of developing an idea. For example this particular body of works begun a while ago with a concept, which I will outline below in the very abstract and incoherent format entered in my notebook:
“Artists indexed market value of currencies. Each country will be rated according to the calibre of artists it produces and their place in the stock market. Rather elitist results predicted. Artists determined market value is the only real value as it is abstract and unsolicited…” (20 August 2012)
Another statement I wrote in my notebook on 17 June 2012 declares that:
“The most creative times are when you are not making artworks, but thinking about them. The making of art devoids of creativity.”
In an essence I first map out and test the concept, content, and context of the project over a prolonged period before I launch into making. Although I am better known for the large-scale spatial video installations, my practice is grounded in classical understanding of art, both in the making and the thinking. Therefore I will approach each concept with the medium it necessitates rather then being driven by so called signature style and medium specificity.
What inspired you to use Duchamp’s Monte Carlo Bond as a reference point for your digital editions on Sedition?
Possibly the most important aspect of Duchamp’s practice for me is the layering of contexts and the engagement with the intellectual rather then the visual. It is that extra depth and complexity in his work I find very rewarding. Moreover in the Monte Carlo Bond he questioned the actual system of art, and in the process helped establishing the current modes of art production, distribution and consumption, which is also curiously related to aspects of the digital format of dissemination employed by Sedition.
How do the works contribute to your wider practice and ideas explored in your work?
The themes explored in these pieces are very much intrinsic to broader ideas I am currently developing for a large narrative video installation piece. In that sense the films are both part of a larger body of works, but moreover of interrelated systems of creative thinking.
What interests you about distributing your work digitally?
The de-materialisation of the images in the process of digitisation allows the viewer to test the conceptual and contextual parameters of the artwork without the guidance and the tools employed by the traditional art establishments. It is certainly more democratic, but at the same time challenging. The work of art has to compete with an array of visually complex high and low production imagery available across various digital media platforms that are inextricably generative and occupy a large chunk of our everyday interactions and communications with the outside world. I quite like the idea of positioning art within these very competitive and fast-paced domains of popular culture.
What are your favorite artworks on Sedition?
I like works that are intellectually challenging and multifaceted. Works that offer not just visual, or retinal complexity and satisfaction, but also generate an intellectual thought and discourse and thus threading a connectedness to established art forms from past and present.
What are your current projects and exhibitions? What are your plans for the upcoming months?
In the last two years I have been developing a project entitled Desire Lines -Tarot and Chess, which will consist of a large-scale three channel video and sound installation, sculptures, paintings and anamorphic drawings. The work was commissioned by Extra City Kunsthal, Antwerp in partnership with Witte de With, Rotterdam, FLACC and 0090 Festival, Belgium and more recently Focal Point, Southend-on-Sea. The final piece will manifest itself next year in a series of large-scale solo exhibitions, site-specific works and process driven projects across the different venues. Desire Lines – Tarot and Chess examines the convergence of destiny and chance, and the disjunction and dissonance that takes place when juxtaposed with notions of the logical, categorical and rational, and which will be broadly positioned in the realms of the speak-able and the visible, or the literary and the pictorial.
The installation will consist of three distinct elements. The conceptual framework is based on the tarot and the game of chess, with references to their depictions in literature. The Tarot section takes its cue from Italo Calvino’s book ‘The Castle of Crossed Destinies’ (1973), whereas Chess remotely reflects on elements from Vladimir Nabokov’s book ‘The Luzhin Defence’ (1930). Calvino’s book portrays an encounter of travelers who tell their adventures (or whose adventures are told for them) using tarot cards instead of words. The interpretations of the cards in the book allude to classic tales such as Faust, Oedipus, and Shakespearian narratives such as Hamlet, Macbeth and King Lear. The third component of the installation will be a scene that depicts a poetry-reading event. This scene will act as a catalyst that will attempt to arbitrate between the Tarot and Chess elements. The poems will be commissioned specifically for the project under the theme of Desire Lines. They are broadly paths of will that represent the search for the shortest navigational route between an origin and destination. Structurally the work will attempt to entwine and present a series of moral and philosophical tales in the tangible format of theatrical performance.
Collectors can take advantage of a 10% discount when purchasing the entire Ergin Çavuşoğlu Collection.
Japanese audiovisual pioneer Ryoichi Kurokawa is bringing his concert ‘Syn_’ to London’s iconic BFI Southbank this Thursday 26th September 2013. The concert will showcase Kurokawa’s definitive mixed-media style; bringing together the elements of video and sound together to create a multi-sensory experience. Syn_ will feature clouds of sound that will pulsate in conjunction to video that will be projected on two dual screens. The event has been curated by art and technology organisation Alpha-ville.
(Kurokawa live at Todays Art, photo by Ed Jansen)
Due to overwhelming public demand, tickets for the event are no longer available. However to coincide with the UK premiere of Syn_, Ryoichi Kurokawa will be releasing a brand new artwork exclusively on Sedition: ‘Syn_mod.1″. The artwork is akin to the cinematic stylings sought by avant-garde directors such as Paul Klee and Vassily Kandinsky. Watch the video trailer below.
Followers of Ryoichi Kurokawa on Seditionart.com will have exclusive access to view and buy ‘Syn_mod.1′ via our new Online Private View feature opening 24 hours before the public release. The artwork will go on general sale on Sedition from Thursday 26 September.
Courtesy the Artist and Victoria Miro, London
© Idris Kahn. Photography © Suki Dhanda
Birmingham-born artist Idris Khan is renowned for drawing inspiration from the history of art, philosophy and music. After Twombly…One Evening is a homage to late artist Cy Twombly and features Khan’s signature creating and erasing process. We took some time out with Idris Khan to find out more about After Twombly…One Evening, featured as Artwork Of The Week on Sedition, and his solo exhibition Beyond The Black at Victoria Miro Gallery opening 20 September – 9 November in London.
How did you find out about Sedition in first instance?
A friend and curator Adam Waymouth introduced me to Sedition. I loved the concept and then I found that several artist from Victoria Miro gallery had made work for the site.
What do you find most compelling about the digital medium?
It’s daunting and endless possibilities.
After Twombly… One Evening is featured as artwork of the week on Sedition. Could you share how you created this piece? Did you plan the work in digital format or did you transform it?
When I make my photographs I always start with a digital camera, photographing marks that I make over and over again on a chalkboard. The original concept for the piece was to make a still image. In a way it’s a stop frame animation. The camera is set up in one place and then I write the poem on a chalkboard, photograph it and the rub it out and photograph that. The photographs were then brought into final cut and a short film was made from around 100 still photographs.
The work references the scribbled, calligraphic-style of American artist Cy Twombly. What inspires you most about Twombly’s work?
This work was actually inspired by Twombly’s photographs he took of his own pairings in his studio. He was quite passionate about photography and always documented different stages of his work in his studio. One photograph in particular was of four of his chalk paintings resting against each other and I loved the way the lines seem to leap from one painting to another. This gave me the idea to record every mark of a painting and bring them together with a thousand pictures.
Can you explain a little more about the barely legible poem that features in the piece?
It was a poem taken from a Twombly Painting about a wilting peony.
Your third solo exhibition Beyond the Black opens this month at Victoria Miro in London. What can visitors expect from the exhibition?
In the exhibition’s seven paintings and one large wall I use a mixture of black pigment, rabbit skin glue and slate dust to create an absorbent ground which I apply to aluminium panels or directly to the wall and then sand back to produce a smooth, slate-like surface. The paintings are intensely dark with a dense radial constellation of words creating an image that suggests a contained energy emanating from a central point.
Do you have any upcoming projects or exhibitions you can share with us after Beyond The Black?
Yes. I’m have been asked to design the sets for a ballet by Wayne McGregor set to Max Richter’s version of The Four Seasons at the Zurich Opera House which opens in April next year.
Sedition is currently involved in setting up a number of digital exhibitions in contemporary museums – what are your thoughts on this trend in the future?
It should happen more and more.
Image by Michael Morris
Follow Idris Kahn on Sedition and keep up to date on his new releases.
The Tracey Emin I Promise To Love You digital collection from Sedition is on display at The Atkinson galleries in Southport, UK in an exhibition titled Love Stories: Romance Obsession & Heartbreak. Emin’s collection features her notable neons which she has used as a consistent medium since the 1990’s. Pastel coloured light tubes, bent to mimic the artist’s handwriting, spell out illuminated thoughts and feelings: passions, love declarations, disappointments and fears, or simply insults. And the subject is always Emin herself: we read her disappointments, her desires, her experiences, her infatuation and her anger – her neon works are her written confession.
The Love Stories exhibition at The Atkinson explores the universal experience of love and loss in five stages: flirtation and courtship; the choice; marriage; obsession and betrayal; settled love. A broad spectrum of media is used to chart this journey, from traditional oil paintings to contemporary installations and moving image. The exhibition is on from 7 September until January 2014.
Mark Amerika (b.1960) opens exhibition with fellow ‘net native’ artist Shu Lea Cheang at London’s Furtherfield Gallery on 31 August. Amerika is a US-based media artist, novelist and theorist who has been exploring the nature and possibilities of the internet and how virtual communication and reality interact with and affect everyday life since the early 1990s. He is known as a pioneer of virtual concepts, creativity, and communication – and the possibilities that all of the latter offer the individual in a postmodern world.
Featured in the exhibition are three works from Amerika’s Museum of Glitch Aesthetic (MOGA) series: Lake Como Remix, The Comedy of Errors and 8-Bit Heaven. Museum of Glitch Aesthetic was originally commissioned by Abandon Normal Devices for the 2012 AND Festival. These are shown alongside two pieces by Shu Lea Cheang.
Lake Como Remix, MOGA (2012) by Mark Amerika
Amerika has also launched two new digital editions on Sedition to coincide with the exhibition: #NewAesthetics TV (Extended Play Remix) from the MOGA series and Honolulu Hermes, two new works available exclusively on Sedition in editions of 300.
In his career, Amerika been named named a “Time Magazine 100 Innovator” in their continuing series of features on the most influential artists, scientists, entertainers and philosophers into the 21st Century. His work has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2009-2010, The National Museum of Contemporary Art in Athens, Greece.
If you happen to be in London, don’t miss the exhibition that will be running until 20 October at Furtherfield Gallery – McKenzie Pavilion, Finsbury Park, London N4 2NQ. For more information visit the gallery website.
Tracey Emin’s exclusive digital limited edition on Sedition raises vital funds for the NSPCC – the UK’s leading children’s charity specialising in child protection.
For every digital edition sold of Tracey Emin’s This is My Favourite Little Bird, the full retail price (£50) will be donated to the NSPCC to support its post-abuse therapeutic services for vulnerable children and young people across the UK.
The artwork is a 1 minute 25 seconds digital animation featuring a tiny bird that recalls the cool-blue neon that Emin created in 2010 for the façade of London’s Foundling Museum. The image unfolds upon a gently-creased fabric, and it is as if we are encountering the invisible hand of the artist embroidering the outline of a bird perched on a leafy branch. The scene is punctuated by a rainbow of multi-coloured flowers that emerge above, while the work’s title is delineated in Tracey’s handwriting below.
Tracey Emin said: “I have always supported the NSPCC. The Sedition project was exciting and inventive. The Little Bird is one of my favourite images. A small fledgling. I was more than happy to donate this to the NSPCC.”
Funds raised from sales of the digital limited edition will go towards the NSPCC’s Rebuilding Childhoods Appeal, created to help fund post-abuse therapy for children.
To view and purchase the work visit: http://www.seditionart.com/tracey_emin/this_is_my_favourite_little_bird
(Photo credit: Prosopopoeia by Mat Collishaw displayed on a TV)
Sedition has partnered with Edition Hotels for the opening of The London Edition Hotel located in London’s Fitzrovia. In celebration of the opening on September 12th, British artist Mat Collishaw was commissioned by Edition Hotels to create an exclusive digital limited edition available only on Sedition.
Prosopopoeia is a stunning video work that represents an illuminated diamond slowly rotating before a black background. Within the diamond are reflections of flowers – many of them Collishaw’s beloved orchids – that glitter and break up into prisms. The flowers catch fire, burn up, drown in luscious leafy green only to reappear in another rotation of the precious stone.
The work is available exclusively for friends of The London Edition. Prosopopoeia is currently not for sale but you can view and enjoy this stunning piece on the Sedition website or add it to your Wish List to receive the latest updates about the work.
The Chapman’s three dinosaurs “The Good”, “The Bad” and “The Ugly” placed at the base of the Gherkin.
The Chapman brothers are taking part in London’s 2013 Sculpture in the City programme with their infamous work The Meek Shall Inherit the Earth, but not the Mineral Rights. The three piece corten steel sculpture of large scale dinosaurs reminiscent of make-your-own children play-sets was first exhibited in the Royal Academy’s Annenberg Courtyard at the occasion of the 2007 Summer Exhibition and famously refers to Paul Getty, said to have made the remark “The Meek Shall Inherit the Earth, but not the Mineral Rights”.
The sculptures measure more than eight meters in length and tower up to seven meters high and are currently on view in the Eastern part of London’s City, in the heart of the Square Mile.
More information here.
Sedition artist and creative computer mastermind Casey Reas participated in the publication 10 PRINT CHR$(105.5+RND(1)); : GOTO 10, available from MIT Press. The book takes a look at a single line of code – the BASIC program for the iconic Commodore 64 (inscribed in the books’ title) – and examines it as a lens through which to consider the phenomenon of creative computing and its cultural significance. Reas designed 10 PRINT and co-wrote it together with Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Heremy Douglas, Mark C. Marion, Michael Mateas, Mark Sample, and Noah Vawter.
Book purchases support the non-profit organisation PLAYPOWER and MIT Press.
“10 Print is a creative adventure in reading source code as a technical object and cultural icon, as well as a window onto the ways in which technical and artistic practices mingle. Wildly imaginative and boldly collaborative, it sets a high bar for the emerging field of critical code studies. It celebrates the ‘Maker’ philosophy and the DIY spirit of home computing at its best. A romp, a scholarly exposition, and an experiment in writing in a collaborative authorial voice, it is a delight not to be missed.” —N. Katherine Hayles, author of How We Think: Digital Media and Contemporary Technogenesis; Professor of Literature, Duke University
Watch a fascinating video interview with Korean artist Lee Lee Nam. Listen to the artist talking about his works, take a look at how digital pieces develop, have a peek into the studio, and hear how the famous 8 fold screen work came into existence, which was exhibited at Harrods, London.
Lee Lee Nam creates mesmerizing digital and video works that juxtapose European old master paintings and traditional Asian art with modern day imagery. Discover his two digital limited editions on s[edition], Dreamscape 1 and Dreamscape 2 each available in editions of 1,000.
Photo Credit: © LuxArtAsia
After having produced an exceptionally large painting for Sperone Westwater in New York, Chinese artist Liu Ye revealed in an interview with WHITEWALL that he would like to return to China and work on the smallest paintings, yet: “I really want to try and see how tiny I can make them”. Read the full interview here.
Liu Ye is one of China’s most prominent contemporary painters. He is famous for his bright-hued paintings of childlike figures, the cartoon character Miffy the bunny, and works referencing one of his favourite artists – Piet Mondrian. The artist has released two exclusive digital limited editions on s[edition]. The Little Match Seller and Red Warship are available on s[edition] in editions of 1,000 each.
Liu Xiaodong has taken up residency in London painting a pub! Liu, one of China’s most famous and successful contemporary artists, recently joined the prestigious ranks of Lisson Gallery – the latter already represent Ai Weiwei, Lee Ufan and Tatsuo Miyajima. Liu is in unique residency in London this summer where he is painting an eccentric London pub near the gallery on-site, before he is scheduled to have his first exhibition at Lisson from September 25th until November 2nd in London this year.
s[edition] is thrilled to unveil Liu’s first ever digital limited edition Blinking at an approved satellite exhibition at the 55th Venice Biennale opening June 1st until November 24th. For those going to Venice, don’t miss his work displayed at Spazio Thetis, Castello 2737, 30122, Venice, Italy in the building directly opposite the Italian Pavilion.
Liu Xiaodong’s film Blinking was created from ten video segments from a documentary about his painting excursions over recent years. Blinking is now available in an edition of 1,000 starting at £180/$188.
Michael Joo has is undertaking a Smithsonian Artist Residency Fellowship, at the Smithsonian Art Museum in Washington DC: he is “shadowing experts [from the Smithsonian’s technology department] in digital imaging and exhibitions to research and learn without the pressure of having to produce anything.” One of Joo’s ambitions is to study the advanced 3D scanning and printing technologies available at the museum. Are you ready for 3D digital Michael Joo antlers above your fireplace?
Joo’s digital limited edition The Difference Between (Idiots and Angels) is available on s[edition] for $50 in edition of 5,000.
We have launched another YBA artist-duo: twin-sisters Jane and Louise Wilson! They have been making movies together since the late 1980s, and especially their early works regularly feature themselves: in one film we watch Jane and Louise get hypnotised, and when the hypnotist asks them to touch their own faces, Jane’s hand reaches towards Louise’s face and Louise’s towards Jane’s; in a different movie the sisters take LSD for the first time, living out their experience in a room with flashing strobe lights.
More recently, Jane & Louise Wilson were commissioned by the National Trust to produce a project in Orford Ness on the Suffolk coast in Great Britain. The project called ‘Blind Landing’ refers to the Blind Landing Experimental Unit that was operational during the Cold War period: “The work comprises of a series of yardsticks sited within the laboratory buildings, that challenge the sense of scale and ruin, pointing to the architecture of forensics and camouflage, and highlighting their historic relevance as ‘future ruins’.” Watch them discuss their project (below), which is the origin of their digital limited edition Pagoda, Lab 5 H-bomb test facility, Orford Ness on s[edition].
The sisters have released three digital photographs as digital limited editions on s[edition] including: False Positives, False Negatives, The New Brutalists, and Pagoda, Lab 5 H-bomb test facility, Orford Ness available for $8/£5 each in editions of 1,000.
During the May Bank Holiday, all of Mark Titchner’s s[edition] artworks were on public display on the BBC Big Screen, at Millenium Square, Bristol, every 20 minutes: Up!, Fear of Life, Tantric Separation, and Love and Work were shown in conjunction with the launch of Titchner’s new sculpture A Naiad. The latter is based on a Victorian piece of machinery and named after the water nymphs of Greek Mythology – naiads – to evoke the aquatic theme of the work and the city of Bristol.
Titchner’s exclusive digital limited editions are available on s[edition] at $16/£10/€12.
Credits: Mark Titchner, A Naiad, 2013.
Commissioned by Bristol City Council. Courtesy of the artist and Bristol Museums, Galleries and Archives.
Photo © Max McClure.
Photo credit: © ArtLyst
Bharti Kher’s The Skin Speaks A Language Not Its Own, 2006, was sold for $1,785,000 on Monday at Christie’s New York and is a new record auction price for the artist. The sale titled THE 11TH HOUR realised a total of $38,827,000 and was held in partnership with the Leonardo DiCaprio Foundation. The proceeds will benefit environmental and wildlife conservation efforts supported by the Foundation. More than 30 of the world’s most recognised living artists donated works to the sale. Kher’s sculpture was one of nine artworks to sell above $1,000,000.
On Tuesday, April 9, 2013, we had the pleasure to present a panel at Soho House in London with Samsung about the evolution of pigment to pixels – how digital limited editions are transforming the world of art collecting. Will Rowe, Founder of Protein led a lively panel with V&A Curator of Digital, Louise Shannon, Artist Doug Foster, Samsung Smart TV Marketing Manager, Lali Parikh, and s[edition] CEO Robert Norton. The discussion was very fruitful in exploring digital art from various perspectives around the creating, collecting and distributing of art through screens and devices.
On the day, we launched our latest edition by award-winning British artist Doug Foster. Veil of Light is available on s[edition] starting at £10/$16 in an edition of 500.
In an exciting collaboration with s[edition], Mary Katrantzou has created her first digital artwork. The Greek fashion designer with a background in architecture and a textile design degree from Central Saint Martins is best known for her exceptional print designs that characterize her ready-to-wear collections. She transcribes themes onto fabric that accumulate into a visual play of illusions: objects mirror each other in obscured proportions and create a fascinating and fantastic world of colour and beauty.
For Pound, Katrantzou uses a similar system as when creating her textiles: she chooses an unwearable object – a pound note – and makes it the central theme of her design. She appropriates, changes and plays with it until it generates a completely new form. Pound is a collage of many fragments of English pound notes that are fused into a magical whole that is then animated according to the rules of a kaleidoscope. We watch as the screen before us explodes again and again in new and surprising shapes and forms. The effect is hypnotic, fascinating, and stunningly beautiful all at once.
The work is available in editions of 1,000 starting at £10 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases. Pound is one of four exclusive digital limited editions curated by the ICA. All proceed for this work will benefit the ICA.
Fashion designer Mary Katrantzou (b.1983, Athens) studied for a BA in Architecture at the Rhode Island School of Design before transferring to Central Saint Martins, London, where she completed her degree in Textile Design in 2005 and graduated with a MA with Distinction in Fashion in 2008. Her first ready-to-wear collection debuted at London Fashion Week in spring/summer 2009, with the support of the British Fashion Council. Despite it being a small collection of only nine dresses, Katrantzou picked up 15 prestigious stockists including Browns, Joyce, and Colette. The designer received show status in 2009.
Tracey Emin rings in Valentine’s Day eve in Times Square to see her dazzling display on the the big screens. Her neon messages of love will be up daily from from 11:57pm-midnight for the month of February. View the video from her public appearance with a crowd of fans and followers as they celebrate her work and love for Valentine’s.
Tracey Emin’s ‘I Promise To Love You’ collection is available on s[edition] for just £240/$384 here. The collection includes six digital limited editions of her unique handwritten neon messages about desire, unrequited love and passion.
14 February – 30 March 2013
Blain|Southern, 4 Hanover Square, London W1S 1BP
For his second solo exhibition at Blain|Southern, THIS IS NOT AN EXIT, the British artist Mat Collishaw returns to the medium of oil painting. However, as is usual with his practice, nothing is literal; the primary source material – magnified images drawn from the pages of glossy magazines – is a simple metaphor, one part of a prism conceived to examine moral questions provoked by the excessive binge culture that preceded the global financial crisis.
Mat Collishaw has nine digital limited editions available on s[edition]. Find out more about his work here.
Urban Legends, 2012
Images Courtesy of the Artist and Blain|Southern
Photographer: Matthew Hollow, 2012
s[edition] is excited to be in Times Square for Tracey Emin’s Midnight Moment. Check out photos from Times Square today in preparation of Tracey’s public appearance here tomorrow. Don’t miss her in the Big Apple as she rings in Valentine’s Day! She will be making a public appearance on 13th Feb at 11:57pm. See our Facebook event for more details: here.
‘Heartwalk’ designed by Situ Studio — an installation inspired by the collective experience of Hurricane Sandy. The work is crafted out of salvaged boardwalk boards from the waterfronts of NYC. Another unique expression of love and care in Times Square for Valentines Day.
One of the many posters promoting the Tracey Emin midnight moment throughout February.
FOR IMMEDIATE RELEASE
Irene Kopitov +44 (0)20 7420 1700
S[EDITION] LAUNCHES THREE NEW WORKS BY TRACEY EMIN AND BRINGS DIGITAL VALENTINE TO NEW YORK’S TIMES SQUARE
EMIN PUBLIC APPEARANCE TO CELEBRATE LOVE OF NYC
Tracey Emin’s series of neon works entitled “I Promise to Love You” to be shown every night from 11:57pm – midnight throughout February 2013
Organized and Supported by the Times Square Advertising Coalition in Partnership with Times Square
(London, UK) January 31, 2013 – s[edition], the online platform for the world’s most renowned contemporary artists to sell their digital limited editions, brings celebrated British artist Tracey Emin to Times Square throughout February.
“Every year I send valentines. This year I won’t have to. Times Square will do it for me,” said Tracey Emin. The title is her promise to love NYC, as well as individual promises to love one another.
The artwork, a dazzling visual valentine, will be shared with New Yorkers and visitors as part of a synchronized program on over fifteen of the largest digital displays in Times Square.
“I Promise to Love You”, will premiere on February 1st and play throughout the month as part of the “Midnight Moment”, a presentation of the Times Square Advertising Coalition (TSAC) and Times Square Arts. s[edition] helped bring these works to Times Square and they will all be available for sale simultaneously and exclusively at www.seditionart.com.
“This is a pivotal moment for the awareness and appreciation of art in digital format. We’re thrilled that the Times Square Advertising Coalition and Times Square Arts reached out to us and we look forward to supporting their “Midnight Moment” program,” said Robert Norton, CEO of s[edition].
s[edition] has also created a multi-channel social media campaign to engage fans and provide people with an opportunity to win unique works by Tracey Emin.
The s[edition] blog – http://blog.seditionart.com/ – will showcase photos of valentines sharing a kiss in front of Tracey Emin’s works in Times Square, submitted via Twitter or Instagram using the hashtag #MidnightMoment. Those who take photos from 11:57 – midnight, with Tracey Emin’s “I Promise to Love You” in the background, will receive a Tracey Emin limited edition as well as be entered to win the complete “I Promise to Love You” digital neon collection, and signed copies of Tracey Emin’s books, ‘My Life in a Column’ & ‘Strangeland’. The winning photo will be chosen via crowd sourced voting. The artist will also pose with fans in Times Square on February 13th, giving them the chance to tag themselves on s[edition]’s Facebook page.
As one of the world’s most celebrated contemporary artists, Tracey Emin’s moving series of digital neon works, “I Promise To Love You”, is comprised of six artworks around the theme of love. In this unique moving image, the glowing words—made of digital neon lights—slowly spell themselves out, as if being written by the invisible hand of Tracey herself. The gentle electric pulsing of the text gradually builds into a searing, potent red, leaving the viewer in no doubt about the power of love. Times Square, famous for its neon lighting displays, is the perfect venue for the premiere of Emin’s animation.
Alan High, Chairman of the Times Square Advertising Coalition and President & General Manager of Clear Channel Outdoor Spectacolor & Mall Divisions, said, “Times Square is the world’s best place to spread a message and our sign operators are delighted to help Ms. Emin share her Valentine’s Day message with New York as part of our ‘Midnight Moment.’”
“Tracey Emin captures the vocabulary of neon that for so long defined Times Square’s signage,” said Tim Tompkins, president of the Times Square Alliance.
s[edition] is the leading platform used by the world’s most renowned contemporary artists to offer their works in digital limited editions for collectors to enjoy and display on connected devices and screens. s[edition] offers everyone an easy, enjoyable and social way to experience collecting, at affordable prices. The s[edition] platform allows members to follow artists, browse, collect and sell works, send editions as gifts to friends, and build their own collections. s[edition] offers works by Damien Hirst, Shepard Fairey, Tracey Emin, Jenny Holzer, Yoko Ono, Elmgreen & Dragset and Bill Viola among others. Founded by Robert Norton, former CEO of Saatchi Online, and Harry Blain, the founder of Blain|Southern, the mission of s[edition] is to provide greater access to the artworks of our time and to offer a wider audience the opportunity to be able to enjoy and collect the works of today’s greatest living artists. www.seditionart.com
About the Artist
Tracey Emin was born in London in 1963, and studied at Maidstone College of Art and the Royal College of Art, London. She often uses events from her own life as inspiration for her art. Her work can be romantic, humorous, tragic, angry, hard-hitting or hopeful, and is often animated by a playful wit. Working across a wide range of media her body of work includes painting, drawing, sculpture, video, installation, and needlework. In 2007 Emin represented Britain at the 52nd Venice Biennale, was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, London, a Doctor of Letters from the University of Kent and Doctor of Philosophy from London Metropolitan University. In 2008 Emin’s first major retrospective was exhibited at the Scottish National Gallery of Modern Art, subsequently touring to Malaga in 2008 and Bern in 2009. In 2010, Emin collaborated with Louise Bourgeois on a suite of works on paper, entitled ‘Do Not Abandon Me’. In 2011 the Hayward Gallery presented a major survey of the artist’s work entitled Love is What You Want and the same year she became the Royal Academy’s Professor of Drawing. In 2012 there was a solo exhibition of the artist’s work at Turner Contemporary, Margate, and a touring exhibition of her films was organized by MALBA, Buenos Aires. Tracey Emin lives and works in London.
Times Square Advertising Coalition (TSAC) is a trade association comprised of major advertisers, retailers, real estate firms, media companies and other businesses involved in the outdoor sign industry in Times Square, along with organizations representing Broadway and the community. Members of TSAC include: ABC Regional Sports & Entertainment Sales, Clear Channel Spectacolor, Daktronics, D3 LED, Digital Domination, Hines Management, Jamestown One Times Square, Lamar Advertising Company, Landmark Sign & Electric, Metro Media Technologies, Newmark Knight Frank, North Shore Neon, P.R.omotion!, Sherwood Outdoor, SL Green, The Times Square Alliance, The WOW Factor and Thomson Reuters. www.timessquareadcoalition.org
Times Square Arts, the public arts program of the Times Square Alliance, presents leading contemporary art and performances in multiple forms and media to more than 400,000 daily visitors to New York City’s Times Square, making it one of the highest profile public arts programs in the United States. Since its inception, Times Square Arts has featured works by a diverse group of more than four dozen prominent and emerging artists. Working in partnership with cultural institutions and festivals, the program is further supported by Rockefeller Brothers Fund and, the Department of Cultural Affairs of NYC. Visit www.TimesSquareNYC.org/arts for more information. Follow us on Twitter: @TSqArts
DLD (Digital – Life – Design) is a global conference network on innovation, digital media, science and culture which connects business, creative and social leaders, opinion-formers and investors for crossover conversation and inspiration. The DLD13 Conference will take place from 20-22 January 2013 in Munich, Germany. Speakers this year include artist and designer Aaron Koblin, artist and computer scientist, John Maeda, art curator and director of Serpentine Gallery, Hans Ulrich Obrist, Chinese publisher and curator, Ou Ning among others.
s[edition] will be presenting an exhibition of artworks at the conference featuring works by Elmgreen & Dragset, Jenny Holzer, Angelo Plessas, Peter Saville, Mark Titchner and Liu Ye. s[edition] CEO, Robert Norton will be attending and providing updates from the event next week.
Photos from the DLD arts projects 2013. Exhibition curated by Hans Ulrich Obrist and Johannes Fricke Waldthausen including artworks by s[edition].
Considered one of the most important photographers of his generation, Juergen Teller is one of a few artists who has been able to operate successfully both in the art world and the world of commercial photography. This exhibition will provide a seamless journey through his landmark fashion and commercial photography from the 90s, presenting classic images of celebrities such as Lily Cole, Kurt Cobain and Vivienne Westwood, as well as more recent landscapes and family portraits.
Teller entered the London photography scene through the music industry taking photographs for record covers, it was Teller’s photograph of Sinéad O’Connor for her single Nothing Compares 2 You that marked an important moment in his career. Teller’s photographs first appeared in fashion magazines in the late 80s, and included portraits of Kate Moss when she was just fifteen years old. Teller’s images could be described as the antithesis of conventional fashion photography seen perhaps most markedly in his campaigns for Marc Jacobs. Read more >
Juergen Teller is a renown German photographer who immigrated to England in the 1980s and is today based in London. His work has been focused equally in the fashion world as in the domain of music. Over the years he has worked alongside great personalities such as, for example, in the fashion houses like Yves Saint Laurent for which he has directed advertising campaigns, or for famous singers. He is widely recognized as one of the most popular contemporary fashion photographers in spite of his “bad boy” reputation in the world of fashion.
Transfiguration, 2011, was created by Matt Pyke together with Realise Studio for the reopening of the prestigious digital arts gallery La Gaite Lyrique, Paris. A bulky human figure walks at a brisk equalized speed at the center of the screen and transforms in a cycle of progressively transient and surprising materials. We watch how flames grow into metal structures that transform into rock-like matter, out of which icy crystals spring. After numerous further transformations, the walking giant takes on liquid qualities, then becomes gas, and in turn transforms into a perfectly depicted fury figure out of innumerable strands of multi-colored hair; and so on.
The work is available in editions of 1,000 starting at £10 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases.
Matt Pyke (b.1975) is one of the most innovative digital-motion artists of his time. Pyke’s body of work, which explores the tensions between abstract and figurative form and the synesthesia of sound and image, encompasses a striking diversity: it ranges from interactive design and branded art to shop installations and iPhone applications, and it is reflected in collaborations with a large variety of companies such as Apple and AOL. Pyke has engaged in artistic partnerships and worked on commissions for leading art institutions, including for the V&A Museum, London, in 2008. He is also the mastermind behind design studio Universal Everything, a collective of designers, programmers, musicians and artists who are famous for their boundary-pushing commissions for brands like Chanel, MTV, and London’s 2012 Olympics.
In December, s[edition] is proud to have announced the release of two new editions by Chinese contemporary artists Liu Ye and Sui Jianguo. Art Radar explored their creative process as painters and sculptors and their first experiences working in the digital medium with s[edition]. Read the article here: Asia market perfect for digital art? [s]edition takes on Chinese artists. We hope to see more work from these artists in digital format soon.
1,000 Pounds by Sui Jianguo
1,000 Pounds reminds aesthetically of Sui Jianguo’s early sculpture of a more organic abstract character and choice in materials, as was typical of his work in the early 1990s. In addition, 1,000 Pounds references the most classic practice of modern sculpture itself: the dedicated modelling and remodelling by the artist’s hand. Auguste Rodin made his name when he decided to move away from the Baroque and neo-Baroque smooth surfaces of 19th century sculptural tradition. He opted for textured surfaces and the extreme interplay of light and shadow – made possible by strong modelling techniques that did not obscure the expressive impact of the artist. In its entirety, 1,000 Pounds seems to convey exactly this: the physical impact of the hand onto the clay, the concreteness of the flesh, the brutality contained within the act of forcing the bare earth into a shape decided by the sculptor.
Upon completion, 1,000 Pounds was cast by Sui Jianguo into bronze. It exists as a artwork in its own right and physical form.
The work is available in editions of 1,000 starting at £5 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases.
Sui Jianguo (b. 1956 in Qingdao, Shandong province) received a BA in the Fine Arts Department from the Shandong University of Arts in 1984 and an MA in the Sculpture Department from the China Central Academy of Fine Arts in 1989, where he currently presides as the head of the Sculpture Department. He has been praised by art critics for being a “pioneer venturing to the farthest reaches of Chinese sculpture.”
Red Warship by Liu Ye
Liu Ye’s Red Warship is a digital reference to Liu’s 1997 oil painting, Spirit of the Sea,and comprises many of the themes typical of the artist’s oeuvre: we find homage to Piet Mondrian, characters depicted are rendered in a puerile style, we see sailor hats and angel wings simultaneously. It is a prime example of how Liu likes to play between mysterious fantasy and episodes of complex storytelling and art historical references.
The work is available in editions of 1,000 starting at £5 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases.
Liu Ye (b. 1964) is one of China’s most prominent contemporary painters. He is famous for his bright-hued paintings of childlike figures, the cartoon character Miffy the bunny, and works referencing one of his favourite artists – Piet Mondrian. He has an immediately recognizable style that is described as simple to read yet complex in its levels of meaning and technique. Liu: “What I do is about painting and art history. Chinese aesthetics have a traditional system, history, very high quality and taste, different from Western taste but quite meaningful in our time”.
In December, s[edition] released three editions as part of AES+F’s Islamic Project collection.
All three works are available in editions of 500 starting at £5 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases.
Find out more about the collection here:
In 1996, AES+F launched “Travel Agency to the Future: Islamic Project” – a conceptual art piece that not only catapulted the artist collective to prominence but gained in controversy after 2011. Images of famous landmarks and tourist destinations were digitally altered to look as if taken over by a radical and backward form of Islamic culture. In conjunction, AES+F set up a travel office where souvenir items were sold with these images printed on them, and where visitors could “plan” a fictional holiday into the depicted world. Read more >
AES+F’s “Islamic Project” is key when looking at the artists’ oeuvre, and New Liberty in particular is the most iconic images of the series. Framed as a “visualization of fears of Western society about Islam”, the digitally altered photograph of a burka covered Statue of Liberty could not have more of an impact when wanting to amuse, disturb and raise questions with the viewer all at the same time.
Beaubourg, part of AES+F’s “Islamic Project” series, depicts the Centre Pompidou, Paris, obliterated by oriental carpets, various types of Middle Eastern looking architecture, and a large headdress wearing crowd. The image is to represent stereotypical fears of what radical Islam is and might become in a world dominated by politically loaded myths. By juxtaposing extremes the artist collective aims to highlight the absurdity of suchlike world views.
AES+F’s London is part of its “Islamic Project” series intended to reveal the absurdity behind modern “Clash of Civilization” theories, as made popular by the political theorist Samuel Huntington in the mid 1990s. The artist collective’s strategy is to take stereotypical views of cultures and to exaggerate them by creating a visual ‘worst case scenario’ of exactly these ideas – and to therewith demonstrate their absurdity.
AES+F was formed in 1987 by conceptual architects Tatiana Arzamasova and Lev Evzovich, and graphic artist Evgeny Svyatsky. The trio has worked together on various sculptural, digital and installation-based projects, from digital collage to porcelain, fiberglass sculpture to public installation. In 1995, Moscow-born fashion photographer Vladimir Fridkes began collaborating with AES group, forming the ‘F’ in AES+F. The collective achieved worldwide recognition and acclaim in the Russian Pavilion at the 2007 Venice Biennale with their provocative, otherworldly Last Riot, the first in a trio of large-scale, multi-channel video animations of striking originality that have come to define both their aesthetic and push the boundaries of video installation.
During the month of December, s[edition] released six new editions by filmmaker and artist Wim Wenders as part of his Places Strange and Quiet series. The series includes nine photographic works from his explorations for his films around the world. Find out more about the editions here:
Places Strange and Quiet series
Wim Wenders’ “Places Strange and Quiet” series refers to a selection of forty photographs taken by the artist between 1983 and 2011 while location scouting for his films or simply traveling the world for travels’ sake. The collection features everything from industrial “beaches” in Palermo, Sicily, to abandoned fun fairs in Armenia. Wenders: “When you travel a lot, and when you love to just wonder around and get lost, you can end up in the strangest spots. … I don’t know, it must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.”
Open Air Screen
During a trip to Palermo, Sicily, in 2007, Wenders took several photographs that became part of his “Strange and Quiet Places” series, including Open Air Screen. The image depicts an empty outdoor movie theatre where a crowd of abandoned bright orange chairs is assembled as if they were a conglomeration of spectators. In their accumulation and same orientation, the chairs seem anthropomorphous, attracted by the empty bare stone screen.
The work is available in editions of 1,000 at just £5.
Not a single thing depicted in Sun Bather seems to make sense when considered in connection to another. In Wenders’ own words: “‘Nothing exists without its opposite.’ (Who the heck said that?) But what could the opposite of this be? And where would it exist? I couldn’t help thinking that this “beach scene” in Palermo was already part of a parallel world.”
The work is available in editions of 1,000 at just £5.
Ferris Wheel is typical of Wenders’ desolate solitudes. The photograph was taken during his travels through Armenia in 2008, where the artist came across an abandoned defective ferris wheel in the middle of an empty field. Wenders explains that photography allows him to focus on a place rather than people – unlike film. And yet, once places “speak”, they speak of “all those (people) who once were there, who lived there, who passed through, and who messed something up”.
The work is available in editions of 1,000 at just £5.
Street Corner in Buttle
Street Corner in Buttle, taken in 2003 in Montana, USA, is of an exceptional painterly sensibility and composition that almost seems uncanny: the slightly tilted lamp post breaks the picture’s vertical alignment perfectly, the red fire hydrant creates a central focus point that pulls all other aspects of the image together, the stark contrast that renders the shadows black balances out the use of colour with Mondrian-esque sophistication.
The work is available in editions of 1,000 at just £5.
In 2005, Wim Wenders traveled from Tokyo to Onomichi, taking the reverse journey undertaken by the protagonists of Wenders’ favourite film: “Tokyo Story” by Yasujiro Ozu, 1953. In the movie, an old couple from Onomichi visit their children in Tokyo one last time, after which the wife dies upon their return home and the husband is left alone.
The work is available in editions of 1,000 at just £5.
Wim Wenders (1945, Düsseldorf, Germany), is best known for his work as a film director and is one of the most important figures of the New German Cinema period, which emerged in the 1970s. As well as creating iconic films, the artist works with the medium of photography and addresses themes of memory, time, loss and movement.
Wenders studied medicine and philosophy before settling in 1966 as a painter and engraver in Montparnasse, Paris. His career as a filmmaker began in 1967, when he enrolled at the newly founded Academy of Film and Television, Munich. In the late 1960s he made several short films, which were influenced by American artists including Andy Warhol; these were characterised by their long and uneventful scenes.
JacksonPollock.org is one of the most famous works of Internet Art created by artist Miltos Manetas in 2003. It’s a super simple Flash application that allows any visitor to create one of Jackson Pollock’s drip paintings by clicking and dragging the mouse. The application has also now been developed for iPhone and iPad for endless creativity on your device.
Manetas is a Greek artist who studied conceptual art at the Academy of Brera, in Milan. In 2009 he founded the InternetPavilion for the Venice Biennial. He is also founder of the art movement Neen, which appropriates technology for the creation of unexpected and wondrous creative results. Check out our Jackson Pollock creation here.
Lucky us! Mustafa Hulusi came by to the s[edition] office to work on a new edition. Mustafa Hulusi (born 1971) is a London based conceptual artist that uses a diverse set of mediums for his work, such as painting, photography, video and installation. Being of Cypriot-Turkish origin Hulusi explores his dislocated cultural background in his work which deals with hybrid identities.
His two works on s[edition] include Afyon and Extasis both available at £10 in editions of 1,000. His works are inspired by the flowers and fruits from the landscape of his home country. Watch out for new editions from him soon.
Wim Wenders’ Places Strange and Quiet series refers to a selection of forty photographs taken by the artist between 1983 and 2011 while location scouting for his films or simply traveling the world for travels’ sake. The collection features everything from industrial “beaches” in Palermo, Sicily, to abandoned fun fairs in Armenia. Wenders: “When you travel a lot, and when you love to just wonder around and get lost, you can end up in the strangest spots. … I don’t know, it must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.”
All three editions are available in editions of 1,000 just at £5. Get them now on s[edition].
Idris Khan is a London-based artist born in the UK in 1978. Since completing his Master’s Degree with a Distinction in Research at the Royal College of Art in London in 2004, he has received international acclaim for his minimal, yet emotionally charged photographs, videos and sculptures and is without question one of the most exciting British artists of his generation.
See some of his latest works with chalk and photographs here:
Liu Ye’s The Little Match Seller is iconic of the artist’s oeuvre. A lonely female character is depicted in a silent sombre winter landscape and shelters a flickering flame. Over and around the image, we see snow flakes flurry through the night. Their rendering contrasts the rest of the picture – the girl and vast plain look like a two dimensional color-pencil drawing, whereas the snow flakes appear three dimensional in their animation and soft depiction. Only the hair and candlelight of the figure are in motion: they both flicker, creating a mysterious atmosphere that gives the impression that the cartoon figure has come to life.
The work is available in editions of 1000 starting at £5 and are part of s[edition]’s dynamic pricing model – as edition availability decreases the price of the work increases.
s[edition] is pleased to announce our latest artist launch – Angelo Plessas. The Greek/Italian digital artist has teamed up with s[edition] to release The Angelo Plessas Collection, which includes 5 of his limited digital editions as part of our our dynamic pricing structure.
Angelo Plessas’ main medium is the internet. He uses it to explore the duality of virtual realities and virtual lives composed and conducted by real people in a real world. Plessas: “The internet could be called a monument to an ever-changing present. (It) appropriates time in an interesting way, and I am fascinated by (how humans behave in order to deal with this appropriation).”
Plessas’ main oeuvre constitutes of interactive websites whose domain names serve as simultaneous titles and a references to physical locations. These websites are designed in a stark graphic style of bold geometric forms and shapes. They are typical of the artist’s overall aesthetic – regardless whether virtual or visible in a gallery space.
The works are both available in editions of 1,000 starting at £5. The entire collection can be purchased at £20 (at a discount of 20%). The prices of the editions will increase as they it sell out – so get them early!
s[edition] is pleased to announce our latest artist launch – Jacco Olivier. The Dutch artist has teamed up with s[edition] to release two of his works Microbe and Pike, as part of our our dynamic pricing structure.
Jacco Olivier’s work merges traditional Abstract painting with video animations that document the interplay between representation and abstraction. Though he considers himself a painter, his work is the documentary of the process of painting where he photographs every stroke in every stage of the process to create movement and animation of the painting in its creation. Oliver explains, “I like to enter a painting from the front and leave at the back, to record the things that happen between the layers.”
The films that result from this documentation process are rapturous animations of narrative episodes. A man bathes, an airplane lands, a woman wraps herself into a towel. The viewer is presented with an intimate display of the painter’s trade and decision making process as Olivier exposes every change to his composition.
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.
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 (http://www.stolenspace.com/), Brick Lane, opened on the evening of October 19th and will running to November 4th, 2012.
Shepard Fairey, Día de los Muertos digital edition available on s[edition]
Shepard Fairey, Peace Guard digital edition available on s[edition]
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]
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.
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]
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
s[edition] is pleased to announce our latest artist launch – Idris Khan. The Britsh artist has teamed up with s[edition], the world’s leading platform for digital limited editions, with his latest work After Twombly…One Eveningas part of our our dynamic pricing structure.
In After Twombly… One Evening, Idris Khan references one of his greatest influences: Cy Twombly. From the late painter’s canvas to the words of a nearly illegible poem connected to Twombly, Khan’s work is a true homage to the recognizable calligraphy style of one of the most revered contemporary American painters of the 20th Century.
After Twombly… One Evening is a digital chalk drawing that plays with surface and texture as it subtly self-alters in continuous hazy clouds. The changing dust patterns prevent the viewer from reading the entirety of the poem, as if the words conceal the work’s hidden meaning. While connecting the viewer with a celebratory painting that comes to life before their eyes, the work simultaneously evokes the sombre reality of Twombly’s recent death in 2011. Khan said the following about his inspiration for the work:
I wanted to capture every part of the process of making this photograph. So that when my final composition was made it included every trace and erasure of that trace whilst trying to create an unreadable language. I wanted the writing to become free and live beyond the word that it started at. What is captured in the video is the duration of the writing and the duration of the removal
Idris Khan is also featured in the November edition of Vanity Fair as part of a larger article on s[edition].
The work is an edition of 1000 starting at £10. After Twombly… One Evening is also part of s[edition]’s dynamic pricing model. As edition availability decreases the price of the work increases.
Last night, s[edition] hosted its first panel on digital art. Held at the ICA London, the panel discussion consisted of artists, curators, professors, and writers, all of whom are opinion leaders in digital art. The theatre at the ICA was full to capacity with audiences eager to hear artists Daniel Brown, Mat Collishaw, Matthew Johnstone and Quayola as well as Professor and Director of FACT in Liverpool, Mike Stubbs, Curator of The Composing Rooms, Che Zara Blomfield, and moderator Kevin Holmes, UK Editor of The Creators Project.
The participants had a heated debate about the term “digital art” and whether it encompasses are created using new technology. Other terms used were “Post-Internet” and “New Media” which was argued to be dated. Other topics included the issues of conservation and preservation in terms of collecting technologically created works as well as how digital art should be sold for commercial purposes, or if it should be provided for public consumption.
After the panel, Brooklyn Lager sponsored a reception in the ICA bar where audience members had the opportunity to speak with the panelists and review the discussion. The artists’ work was show on screens provided by Samsung and Aaron Koblin‘s digital edition of “Flight Patterns” was projected, exciting guests who had yet to see the work exhibited in such a way. DJ Mark Bickmore also kept everyone in good spirits with his own blend of electronica and synth music.
Thank you to everyone who made it last night and to those who helped create a wildly successful night including the ICA, Protein, Brooklyn Lager, Samsung and our panel participants.
This weekend, I finally went to see “The Art of Chess” at the Saatchi Gallery. Not only is the gallery free, but is hardly ever that crowded, so you can take your time interacting and experiencing with the amazing artworks before you. So Saatchi was the perfect place to view “The Art of Chess.”
The exhibition included 16 chess sets that were created by some of the world’s leading contemporary artists. They ranged from video (Gavin Turk) to a woven quilt (Tracey Emin) and everything in-between. Each truly reflected the artist’s aesthetic and how they are inspired by the “game of kings.” The Exhibition is only on until 3 October, so hurry up to see it before it closes this week. Some of our favorites were The Chapman Brothers (above), Damien Hirst and Tim Noble & Sue Webster.
Last weekend some of our favorite artists participated in a chartiable exhibition entitled AKA Peace. Artists like Tim Noble & Sue Webster, The Chapman Brothers, Damien Hirst, and Mat Collishaw transformed decommissioned AK-47 assault rifles into works of art to raise money for Peace One Day, an international organisation promoting peace and conflict resolution.
s[edition] was invited to the private view where we saw the unveiling of the works before they are auctioned by Philips de Pury London on 4 October. In attendance were many of the artists including Sue Webster, Charming Baker and Jake Chapman, who curated the exhibition.
s[edition] is now available to purchase on The Fancy! The site is a Pinterest-esque consumer platform, where buyers can pin items they like and buy directly.
Currently, you can buy a range of works from Mat Collishaw, Mark Titchner, Mustafa Hulusi, Shepard Fairey and more. But the best part are the new images we released of our works to accompany the launch. See some of our favorites below.
Bharti Kher’s work encompasses painting, sculpture and installation. Among her signature materials, she uses ready-made, colored vinyl bindis to create spectacularly vibrant paintings. The bindi takes its name from the Sanskrit word “bindu,” or dot. Since first appearing in her work in 1995, the bindi has telegraphed aesthetic and cultural duality, and a means to mix the superficial with the sublime.
Many people believe it’s a traditional symbol of marriage while others, in the West particularly, see it as a fashion accessory,” Kher has explained. “But actually the bindi is meant to represent a third eye – one that forges a link between the real and the spiritual-conceptual worlds.”
In Symphony the thousands of differently coloured bindis form fireworks and swirls of movement, which vibrate in the eyes of the viewer.
The work is an edition of 1500 starting at £10. Symphony is also part of s[edition]’s dynamic pricing model. As edition availability decreases the price of the work increases.
On October 1 next week, s[edition] is excited to be hosting a digital art panel at the ICA London. Disruption: The Convergence of Art and Technology will consist of a panel discussion amongst curators, artist, digital art professionals and writers about the current trends of digital art as it crosses cultural boundaries in curation, artists’ practices and collecting.
Participants include: Daniel Brown (Artist), Mat Collishaw (Artist), Matthew Johnstone (Artist), Quayola (Artist), Mike Stubbs (Director of FACT) and Ché Zara Blomfield (Curator). Kevin Holmes (Executive Editor of The Creators Project) will moderate the discussion.
Following the panel will be a drinks reception sponsored by Brooklyn Lager where audience members can mingle with the panel and other digital art enthusiasts. There will also be DJ Mark Bickmore and a chance to view the artists’ work on screens provided by Samsung.
So what are you waiting for? If you live in London come and meet the s[edition] staff and digital art influencers. Plus it’s free, so no excuses! Get your tickets here.