rosenclaire / re•collections / 2010

rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View
rosenclaire / re•collections / 2010
18 February - 13 March 2010
Installation View

Open to learning new theory, 2010
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Inhibition in exhibition, 2010
Ink on vintage paper
34.5 x 27.5 cm
Claire Gavronsky
State of the Art, 2010
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
The Dissolution of the Frame IV, 2010
Bronze
28 x 9.5 x 7.5 cm / Work: 28 x 9.5 x 7.5 cm
Rose Shakinovsky
Recycling the Frame 3, 2010
Oil paint on bronze, each corner original
8.5 x 17.5 cm
Rosenclaire
Dangerous Liaison, 2010
Oil on canvas, horn ashtray and plastic tube
39.5 x 29.5 cm (painting)

Heads with Tales to Tell I, 2010
Bronze
7.5 x 9.6 x 7.5 cm / Work: 20 x 10 x 10 cm
Rose Shakinovsky
Recycling the Frame 4, 2010
Oil paint on bronze, each corner original
11.5 x 17.5 cm
Claire Gavronsky
Extending the discourse, 2010
Ink on vintage paper
25.5 x 20.5 cm
Claire Gavronsky
A perfect fit, 2010
Ink on vintage paper
32 x 26 cm
Claire Gavronsky
The truth of course, 2010
Ink on vintage paper
18 x 13.5 cm
Claire Gavronsky
Lazy Avant-Garde, 2010
Ink on vintage paper
37 x 30 cm
Claire Gavronsky
Heads with Tales to Tell II, 2010
Bronze
5.3 x 9.6 x 7.5 cm
Rose Shakinovsky
Recycling the Frame 5, 2010
Oil paint on bronze, each corner original
17.5 x 11 cm
Rosenclaire
Dante's dilemma: measuring morality, 2009
Mixed media on paper
106.5 x 76.5 cm
Claire Gavronsky
The frustration with inanimate objects, 2010
Ink on vintage paper
42 x 35.5 cm
Rose Shakinovsky
Every Three Minutes, 2009
40 dolls shoes and cutout
100 x 85 cm
Rose Shakinovsky
Recycling the Frame 6, 2010
Oil paint on bronze, each corner original
12.5 x 12.5 cm
Rose Shakinovsky
MOMA, 2010
Blackberry photographs
57 x 41 cm
Claire Gavronsky
Putting pressure on the art bubble, 2010
Ink on vintage paper
24 x 19.5 cm
Claire Gavronsky
It could also be exciting, 2010
Ink on vintage paper
33.5 x 26 cm
Rose Shakinovsky
Recycling the Frame 7, 2010
Oil paint on bronze, each corner original
12 x 2.8 cm
Rose Shakinovsky
4D Orbit, 2010
Blackberry photographs
57 x 41 cm
Claire Gavronsky
Thoughts in formation, 2010
Ink on vintage paper
47.5 x 37 cm
Rose Shakinovsky
Falling on deaf ears, 2010
Antique coffee plunger, satin box and ceramic bird on pedestal
Pedestal: 135 x 15 x 15 cm / Cylinder: 35.5 x 6 cm
Rose Shakinovsky
Recycling the Frame 8, 2010
Oil paint on bronze, each corner original
12.5 x 20.2 cm
Claire Gavronsky
Putting pressure on the art bubble, 2010
Ink on vintage paper
24 x 19.5 cm

No Monkey for imitation, Monkey for madness, 2010
Ink on vintage paper
28.5 x 23.5 cm

Weighing up apples and pears, 2010
Ink on vintage paper
37.5 x 30 cm
Claire Gavronsky
Subtle Phenomena, 2009
Oil on cotton
120 x 100 cm

Reader Orientation, 2010
Oil paint on bronze on pedestal
Pedestal: 135 x 15 x 15 cm / Dice: 1.5 x 1.5 cm / Cow: 3.5 x 2 cm
Rose Shakinovsky
Recycling the Frame 9 , 2010
Oil paint on bronze, each corner original
16.7 x 17.5 cm
Rosenclaire
Invest in the immaterial, 2010
Neon sign
300cm wide / 80 x 550 x 9cm
Claire Gavronsky
Age is no hindrance, 2010
Ink on vintage paper
19.5 x 14 cm
Claire Gavronsky
Catching the sign by the tail, 2009
Oil on cotton
160 x 115 cm
Rose Shakinovsky
I Spy, 2010
Magnifying glasses with photographs and CCTV
Dimensions variable
Rose Shakinovsky
Found Installation with Incidental paintings I, Iziko SANG 2005, 2010
Digital print on paper
31 x 41 cm
Claire Gavronsky
The way the numbers fall, 2007
Oil on wooden bingo boards
16.5 x 14.5 cm (each panel)
Claire Gavronsky
Accepting Illusion, 2009
Oil on cotton
160 x 115 cm
Rose Shakinovsky
Recycling the Frame 1, 2010
Oil paint on bronze, each corner original
13.8 x 21 cm
Rose Shakinovsky
Found Installation with Incidental paintings II, Iziko SANG 2005, 2010
Digital print on paper
31 x 41 cm
Claire Gavronsky
CHAOS(K/0S), 2010
Oil paint on school slates
28 x 20 cm

She understands it, 2010
Ink on vintage paper
39.5 x 29.5 cm
Claire Gavronsky
A Disobedient Aspiration, 2010
Ink on vintage paper
32 x 27.5 cm

Poor fellow - it is only paint, 2010
Ink on vintage paper
17 x 10.8 cm
Claire Gavronsky
Lost Child, 2009
Oil on linen
150 x 100 cm
Rose Shakinovsky
Recycling the Frame 10, 2010
Oil paint on bronze, each corner original
2.8 x 17.5 cm
Rose Shakinovsky
Found Installation with Incidental paintings III, Iziko SANG 2005, 2010
Digital print on paper
31 x 41 cm
Claire Gavronsky
EMPTY(MT), 2010
Oil paint on school slates
22 x 16 cm

I made you, 2010
Ink on vintage paper
13.5 x 9.4 cm
Claire Gavronsky
Being with Malevich, 2009
Oil on linen
180 x 140 cm
Rose Shakinovsky
Recycling the Frame 11, 2010
Oil paint on bronze, each corner original
17 x 22.5
Rose Shakinovsky
Found Installation with Incidental paintings IV, Iziko SANG 2005, 2010
Digital print on paper
41 x 31 cm
Claire Gavronsky
FORCED(4ST), 2010
Oil paint on school slates
28 x 20 cm

But Neither Spoke, 2009
Oil on cotton
176 x 150 cm
Rose Shakinovsky
Recycling the Frame 12, 2010
Oil paint on bronze, each corner original
9 x 28 cm
Rose Shakinovsky
Post Linguistic I, 2009
Oil paint and mixed media
100 x 70 cm
Claire Gavronsky
FATE(F8), 2010
Oil paint on school slates
28 x 20 cm
Claire Gavronsky
Waiting for the masterpiece, 2010
Ink on vintage paper
20.5 x 15.5 cm
Claire Gavronsky
Of Bathwater and Spilt Milk, 2009
Oil on cotton
170 x 200 cm
Rose Shakinovsky
Recycling the Frame 13, 2010
Oil paint on bronze, each corner original
8.7 x 17.5 cm
Claire Gavronsky
FATE(F8), 2010
Oil paint on school slates
28 x 20 cm

I believe it's flat, 2010
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Those violent against nature and art - Dante, 2008
Oil on linen
190 x 200 cm
Rose Shakinovsky
Recycling the Frame 14, 2010
Oil paint on bronze, each corner original
8.5 x 16.5 cm
Rose Shakinovsky
Post Linguistic III, 2009
Oil paint and correction tape on paper
100 x 70 cm

Impressing the neighbours, 2010
Ink on vintage paper
38.5 x 32.5 cm
Claire Gavronsky
Deadlock, 2010
Ink on vintage paper
34 x 28 cm
Claire Gavronsky
Beslan, 2005
Oil on linen (diptych)
190 x 200 cm
Rose Shakinovsky
Recycling the Frame 15, 2010
Oil paint on bronze, each corner original
14 x 21.5 cm
Rose Shakinovsky
Under Correction I, II, III, 2009
Watercolor and correction tape
100 x 700 (each)

Struck by the magic of abstraction while undressing, 2010
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Cold Feat, 2006
Oil on linen
Work: 190 x 200 cm
Rose Shakinovsky
Recycling the Frame 16, 2010
Oil paint on bronze, each corner original
10.5 x 17.5 cm
Rose Shakinovsky
Cardboard Sculpture Game 1-11, 2010
Bronze corners, each corner original
8.5 x 17 cm
Claire Gavronsky
The death of Painting, 2010
Ink on vintage paper
40.5 x 39.5 cm
Claire Gavronsky
Who do you see?, 2010
Ink on vintage paper
21 x 15.5 cm
Claire Gavronsky
Waiting for the masterpiece, 2010
Ink on vintage paper
20.5 x 15.5 cm
Claire Gavronsky
Lasciare suonare / Let ring, 2009
Oil on cotton
Work: 200 x 148 cm
rosenclaire
Sisyphus ZA, 2010
Dry point etching
79 x 60.6 cm
Claire Gavronsky
Happy Fidelity, 2010
Ink on vintage paper
39 x 29 cm
Claire Gavronsky
The Dissolution of the Frame I, 2010
Bronze
24.5 x 10 x 7.5 cm / Work: 25 x 7 x 9 cm
Rose Shakinovsky
Recycling the Frame 18, 2010
Oil paint on bronze, each corner original
10.5 x 18 cm
Rosenclaire
Seismograph, 2010
Oil on board and antique stethoscope
18 x 12.5 cm (painting)
Claire Gavronsky
No frame can keep us apart, 2010
Ink on vintage paper
16.5 x 19 cm
Claire Gavronsky
Good comes with bad, 2010
Ink on vintage paper
22 x 17.5 cm
Claire Gavronsky
The Dissolution of the Frame II, 2010
Bronze
37.5 x 7.5 x 7.5 cm
Rose Shakinovsky
Recycling the Frame 2, 2010
Oil paint on bronze, each corner original
12 x 24.5 cm
Rosenclaire
Punctuation, 2010
Oil on linen, French curve and ludo dot
Work: 30 x 39 Painting cm Variable Dimensions
Claire Gavronsky
The Dissolution of the Frame III, 2010
Bronze
28.5 x 9.5 x 7.5 cm

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

rosenclaire / re•collections / 2010 - Installation View

18 February - 13 March 2010

Open to learning new theory

Claire Gavronsky

Inhibition in exhibition

Claire Gavronsky

State of the Art

Claire Gavronsky

The Dissolution of the Frame IV

Rose Shakinovsky

Recycling the Frame 3

Rosenclaire

Dangerous Liaison

Heads with Tales to Tell I

Rose Shakinovsky

Recycling the Frame 4

Claire Gavronsky

Extending the discourse

Claire Gavronsky

A perfect fit

Claire Gavronsky

The truth of course

Claire Gavronsky

Lazy Avant-Garde

Claire Gavronsky

Heads with Tales to Tell II

Rose Shakinovsky

Recycling the Frame 5

Rosenclaire

Dante's dilemma: measuring morality

Claire Gavronsky

The frustration with inanimate objects

Rose Shakinovsky

Every Three Minutes

Rose Shakinovsky

Recycling the Frame 6

Rose Shakinovsky

MOMA

Claire Gavronsky

Putting pressure on the art bubble

Claire Gavronsky

It could also be exciting

Rose Shakinovsky

Recycling the Frame 7

Rose Shakinovsky

4D Orbit

Claire Gavronsky

Thoughts in formation

Rose Shakinovsky

Falling on deaf ears

Rose Shakinovsky

Recycling the Frame 8

Claire Gavronsky

Putting pressure on the art bubble

No Monkey for imitation, Monkey for madness

Weighing up apples and pears

Claire Gavronsky

Subtle Phenomena

Reader Orientation

Rose Shakinovsky

Recycling the Frame 9

Rosenclaire

Invest in the immaterial

Claire Gavronsky

Age is no hindrance

Claire Gavronsky

Catching the sign by the tail

Rose Shakinovsky

I Spy

Rose Shakinovsky

Found Installation with Incidental paintings I, Iziko SANG 2005

Claire Gavronsky

The way the numbers fall

Claire Gavronsky

Accepting Illusion

Rose Shakinovsky

Recycling the Frame 1

Rose Shakinovsky

Found Installation with Incidental paintings II, Iziko SANG 2005

Claire Gavronsky

CHAOS(K/0S)

She understands it

Claire Gavronsky

A Disobedient Aspiration

Poor fellow - it is only paint

Claire Gavronsky

Lost Child

Rose Shakinovsky

Recycling the Frame 10

Rose Shakinovsky

Found Installation with Incidental paintings III, Iziko SANG 2005

Claire Gavronsky

EMPTY(MT)

I made you

Claire Gavronsky

Being with Malevich

Rose Shakinovsky

Recycling the Frame 11

Rose Shakinovsky

Found Installation with Incidental paintings IV, Iziko SANG 2005

Claire Gavronsky

FORCED(4ST)

But Neither Spoke

Rose Shakinovsky

Recycling the Frame 12

Rose Shakinovsky

Post Linguistic I

Claire Gavronsky

FATE(F8)

Claire Gavronsky

Waiting for the masterpiece

Claire Gavronsky

Of Bathwater and Spilt Milk

Rose Shakinovsky

Recycling the Frame 13

Claire Gavronsky

FATE(F8)

I believe it's flat

Claire Gavronsky

Those violent against nature and art - Dante

Rose Shakinovsky

Recycling the Frame 14

Rose Shakinovsky

Post Linguistic III

Impressing the neighbours

Claire Gavronsky

Deadlock

Claire Gavronsky

Beslan

Rose Shakinovsky

Recycling the Frame 15

Rose Shakinovsky

Under Correction I, II, III

Struck by the magic of abstraction while undressing

Claire Gavronsky

Cold Feat

Rose Shakinovsky

Recycling the Frame 16

Rose Shakinovsky

Cardboard Sculpture Game 1-11

Claire Gavronsky

The death of Painting

Claire Gavronsky

Who do you see?

Claire Gavronsky

Waiting for the masterpiece

Claire Gavronsky

Lasciare suonare / Let ring

rosenclaire

Sisyphus ZA

Claire Gavronsky

Happy Fidelity

Claire Gavronsky

The Dissolution of the Frame I

Rose Shakinovsky

Recycling the Frame 18

Rosenclaire

Seismograph

Claire Gavronsky

No frame can keep us apart

Claire Gavronsky

Good comes with bad

Claire Gavronsky

The Dissolution of the Frame II

Rose Shakinovsky

Recycling the Frame 2

Rosenclaire

Punctuation

Claire Gavronsky

The Dissolution of the Frame III

Goodman Gallery Cape proudly presents the first solo exhibition by rosenclaire in South Africa for over twenty years. Working under the name rosenclaire, Rose Shakinovsky and Claire Gavronsky present a conversation between their respective and collective practices and identities in re.collections.

The show’s title refers to a collection of arbitrary objects and thoughts waiting to be re-ordered, renamed and remembered: a heterogeneous gathering. Across-pollination between the flea-market, the studio, art history and personal experience, the show is a juxtaposition of painting, drawing, sculpture and installation. rosenclaire refer to their work as context-specific, governed by implicit signification where the subject matter defines the choice of media and stylistic convention.

re.collections, implies a reference to collections, collecting, correcting, naming, renaming and reframing cultural constructs of art and artifice. Here Gavronsky’s remake of Goya’s caprices, complimented by her large paintings and bronze sculptures tease and taunt our notions of art and marketing the mark. Shakinovsky’s museum sleuthing and Brechtian interruptions dissolve the boundaries and transgress the borders between art and non-art. A video by Shakinovsky from an ongoing series of illicitly filmed museum walks, and a sound piece by rosenclaire complete this intervention.
re.collections and its implications with regard to history and memory, both personal and political, are explored by Gavronsky, in a collapsing and enfolding of history, in which she presents Dante’s hell, side by side with the Beslan massacre of the innocents, in a series of large oil paintings.

Shakinovsky intervenes with discarded and decontextualized found objects, now re.collected and reconnected into a new syntax. Magnifying glasses scrutinize, focus, enlarge and force the viewer to recollect and reflect. Many works ask the viewer to engage in joining the dots, to become creative participants in the visual and conceptual games presented by the artists.
rosenclaire’s neon sign on the outside of the gallery asking the public to “invest in the immaterial” echoes other contemplative works situated in a quiet space in the gallery. Shakinovsky pays homage to both Rancière and Derrida. Among other works we find discarded protective cardboard corners from Gavronsky’s paintings, bronzed and repainted, and erasers carefully arranged and placed directly on the wall. The play between art and non-art, sense and non-sense is ultimately subverted again by the beauty and stillness of the works that is echoed in the pathos and empathy of Gavronsky’s elegy to her father.

Public Walkabout Saturday 20 February 2010 at 11am

Rose Shakinovsky

Born in Johannesburg, South Africa in 1953. Lives and works in Florence, Italy
Rose Shakinovsky’s work defies any stylistic category as it consists of work that ranges from the re-presentation and decontextualization of found objects, found images and found situations, to delicately painted abstractions and ironic bronzes. The work concerns itself with current political and social discourses while simultaneously referencing and reconstructing art historical edifices. Shakinovsky is interested in the structure as well as the morphology of all seemingly coherent visual and nonvisual languages from the prelinguistic to the post-linquistic and the digital. Her present research is concerned with discourses pertaining to the Posthuman, Postanthropos, Transhuman, Migration and the consequences of Climate Change.

Rose Shakinovsky and Claire Gavronsky collaborate as the artist “rosenclaire”, as wives and as dedicated mentors who have run a renowned artists residency program in Tuscany for the past 30 years.

Shakinovsky has over the past decade given contemporary art history courses to collectors, philanthropists and business leaders hoping to inspire them to contribute to fostering the arts in their respective countries.

Claire Gavronsky

(b. 1957, Johannesburg)

Claire Gavronsky works in a variety of mediums, most notably in painting and sculpture. Her work often uses visual reference’s to historical paintings, and cues are sometimes taken from events from everyday life. Memory, racism, violence against women and children are some of the theme’s which run through her oeuvre. Her work also bridge’s sometimes complex narratives through overlaid images, and stories which link the past to the present.

In 1981 Gavronsky received a Master of Fine Art in painting, and she moved to Italy in 1985 and has since lived between Cape Town and Tuscany.

In Florence, Gavronsky established, with fellow artist Rosemarie Shakinovsky, an international artist’s residency workshop in Tuscany. After the success of these workshops they founded workshops in Cape Town, Johannesburg, Venda and Botswana. Gavronsky and Shakinovsky often collaborate under the name Rosenclaire. They also collaborate on occasion with William Kentridge. She has exhibited extensively in South Africa, Europe and the United States of America.

Rosenclaire

Born in Johannesburg, South Africa. Live and work in Florence, Italy
Rosenclaire’s collaborative work began in the mid 1980’s when they translocated from South Africa to Italy. Their artwork and teaching has always involved some form of political activism. Though very different in stylistic approach, their work shares the same concepts and common concerns. The collaborative work is generally context-specific.
Rosenclaire exhibitions are therefore works in themselves where they both respond to a central concern and the show as a whole is designed as a cohesive installation.
They join forces in order to creatively facilitate a discourse pertaining to a specific theme, place or situation that they are invited to participate in. This may be a curated show, a public sculpture or a pedagogic intervention. Exhibitions often contain a live feed that both references surveillance but at the same time renders the audience as subject and content of the work. The work is done specifically for the conceptual task at hand where, as artists, they regain control and responsibility for generating a specific dialogue with both the art world and general public. An important permanent interactive installation called ‘Soapboxes’ of theirs, sits outside the South African National Gallery/IZIKO (SANG).