rosenclaire / Immaterial Matters / 2012

rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
rosenclaire / Immaterial Matters / 2012
03 March - 24 March 2012
Installation View
Claire Gavronsky
Slates: W,w., 2012
Oil paint on school slates
26 x 18.5 cm

Post Colonial Safari, 2007
Canon Powershot

Claire Gavronsky
Slates: F,f., 2012
Oil paint on school slates
26 x 18.5 cm
Rosenclaire
Seismograph, 2010
Oil on board and antique stethoscope
18 x 12.5 cm (painting)
Claire Gavronsky
Slates: L,l., 2012
Oil paint on school slates
26 x 18.5 cm
Rosenclaire
Punctuation, 2010
Oil on linen, French curve and ludo dot
Work: 30 x 39 Painting cm Variable Dimensions
Rosenclaire
Dangerous Liaison, 2010
Oil on canvas, horn ashtray and plastic tube
39.5 x 29.5 cm (painting)
Claire Gavronsky
Circa 14th C - 21st C, 2009
Oil on Linen
3 x 3m

Landscape I (Stromboli), 2009
Etching
15 x 20cm
Rosenclaire
Gesture, 2007
Installation Includes: 2 sculptures, 2 stands, DVD, 2 drawings by Kentridge
Installation Variable

Post Linguistic (Diptych), 2011
Oil paint and mixed-media
100 x 70 cm (per panel)

Foliage, 2009
Etching
14 x20cm
Rose Shakinovsky
Post Linguistic (Whites), 2011
Paper
100 x 70 cm

History of Art, 2005
Drypoint and aquatint
79 x 108cm
Rose Shakinovsky
Found Installation with Incidental paintings I, Iziko SANG 2005, 2010
Digital print on paper
31 x 41 cm
Rose Shakinovsky
Post Linguistic (Shorthand), 2011
Oil paint Paper
100 x 70 cm
Rose Shakinovsky
Found Installation with Incidental paintings II, Iziko SANG 2005, 2010
Digital print on paper
31 x 41 cm
Rose Shakinovsky
Primary Sensation, 2011
Oil on canvas
100 x 70 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

Bingo!, 2011
Bingo chips and photograph
110 x 95 cm
Claire Gavronsky
The Dissolution of the Frame II, 2010
Bronze
37.5 x 7.5 x 7.5 cm

Poor fellow - it is only paint, 2010
Ink on vintage paper
17 x 10.8 cm
Rose Shakinovsky
Domino Effect, 2011
Found objects
Dimensions Variable
Claire Gavronsky
The Dissolution of the Frame III, 2010
Bronze
28.5 x 9.5 x 7.5 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

Struck by the magic of abstraction while undressing, 2010
Ink on vintage paper
17 x 11 cm

No Master’s Voice, 2011
Oil and paper on cotton
120x90 cm

Heads with Tales to Tell I, 2010
Bronze
7.5 x 9.6 x 7.5 cm / Work: 20 x 10 x 10 cm
Claire Gavronsky
Heads with Tales to Tell II, 2010
Bronze
5.3 x 9.6 x 7.5 cm

Open to learning new theory, 2010
Ink on vintage paper
17 x 11 cm
Rose Shakinovsky
Next Time, 2011
Scratch cards
50x40cm
Claire Gavronsky
Heading Away from Daumier I, 2012
Bronze and granite
approx. 15 x 7.5 x 5 cm

Hyphen 1, 2011
Oil on oil board
15x20cm
Claire Gavronsky
Heading Away from Daumier II, 2012
Bronze and granite
approx. 15 x 7.5 x 5 cm

I made you, 2010
Ink on vintage paper
13.5 x 9.4 cm
Claire Gavronsky
Heading Away from Daumier III, 2012
Bronze and granite
approx. 15 x 7.5 x 5 cm

Hyphen 2, 2011
Oil on oil board
15x20cm
Claire Gavronsky
Unravelling Meaning, 2010
Ink on vintage paper
34.7 x 29.9 cm
Claire Gavronsky
Recollecting, 2009
Oil on cotton, mounted on wood
45 x 40 cm

Hyphen 3, 2011
Oil on oil board
18x25cm

Hyphen 4, 2011
Oil on board
22cm
Rose Shakinovsky
What Laure Saw, 2011
Photograph
Work: 45 x 80 cm Frame: 54 x 86 x 3.5 cm
Rose Shakinovsky
Cardboard Sculpture Game , 2010
Bronze corners (5 pieces), each corner original
8.5 x 17 cm
Rosenclaire
Sign of The Times: The Buck Stops Here, 2009
Chromadek
90 x 60
Rose Shakinovsky
Hyphen 5, 2011
Oil on board
18x25cm
Rosenclaire
Sign of The Times: Beware of falling stocks, 2009
Chromadek
92 x 68 cm
Rose Shakinovsky
I Spy, 2010
Magnifying glasses with photographs and CCTV
Dimensions variable

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

A Long Reign, 2001
Oil on canvas
180x100cm
Claire Gavronsky
State of the Art, 2010
Ink on vintage paper
17 x 11 cm
Rose Shakinovsky
Hyphen 6, 2011
Oil on board
18x25cm
Claire Gavronsky
She understands it, 2010
Ink on vintage paper
17.5 x 10.5 cm

Complicit, 2011
Found objects on plinth
40 x 15 x 12cm

I believe it's flat, 2010
Ink on vintage paper
17 x 11 cm

You Can Take a Horse to Water But You Can’t Make it Drink, 2011
Oil on canvas
190.1 x 153 cm
Rose Shakinovsky
Other M(Other), 2011
Porcelain
30x30x30cm
rosenclaire
Exhibitionism, 2012
Live feed footage on plasma screen


Debt Cycle, 2011
Found objects
15x15x7 cm, 25x17x10 cm

L’avanguardia non si arrende mai (The avantgarde never gives up), 2011
Oil on canvas
102 x 83 cm
Claire Gavronsky
Cause of death, Corporate Cancer., 2012
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Our future is behind us , 2012
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Compositional Balance, 2012
Ink on vintage paper
18 x 11.5 cm

Peace Process, 2011
Oil on canvas
Work: 100 x 120 cm
Claire Gavronsky
Marks are real, 2012
Ink on vintage paper
17 x 11 cm

Derrida 3, 2011
Erasers
110 x 85
Claire Gavronsky
Reflecting on Imperfection, 2012
Ink on vintage paper
17 x 10.5 cm

A Case for Painting, 2011
Oil on canvas
Work: 100 x 120 x 2.5 cm
Claire Gavronsky
1963 , 2012
Oil on canvas
Frame: 133 x 103 cm Work: 130 x 100 cm
Rose Shakinovsky
Amuser Paris I, 2010
Nikon Coolpix and Blackberry


Observer 1, 2011
Oil on canvas and aluminium backing
Work: 190 x 75 cm
Claire Gavronsky
Weighing up apples and pears, 2010
Ink on vintage paper
17 x 10.5 cm
Claire Gavronsky
Do I frame or am I framed?, 2010
Ink on vintage paper
11 x 8.5 cm

PC, 2007/9
2 wooden sculptures, magnifying glass, postcard, and stands
Variable Dimensions: 40 x 25 x 25 cm
Claire Gavronsky
Observer 2, 2011
Oil on canvas aluminium backing
Work: 190 x 75 cm
Claire Gavronsky
Mr and Mrs Who?, 2012
Ink on vintage paper
17 x 10.5 cm
Claire Gavronsky
Run with the Hare and Hunt with the Hounds, 2011
Etching
34 x 51 cm
Rose Shakinovsky
Underground, 2011
Photograph
8 x 95 cm

Viva il coraggio (Long live courage), 2011
Oil on canvas
135 x 80 cm

A Void I, 2010
Painted bronze corners
140 x 117 cm

Opening up the Playing Field, 2011
Oil on canvas
180.5 x 100 cm
Claire Gavronsky
The Revival of painting, 2012
Ink on vintage paper
17 x 11 cm

Extreme Moment - The Miracle of St Bernard, 2010
Oil on canvas
Work: 182 x 138 cm
Claire Gavronsky
Women's Conversation, 2012
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
Diaphanous Counterpoint, 2012
Ink on vintage paper
17 x 11 cm

Waiver, 2011
Oil on canvas
180 x 140 cm
Claire Gavronsky
Narcissus's Suprise, 2012
Ink on vintage paper
17 x 10.5 cm
Claire Gavronsky
Dog Knows Best, 2012
Ink on vintage paper
17 x 11 cm
Claire Gavronsky  
Just lost all the files, 2010
Ink on vintage paper
11 x 8 .5 cm

Way after Manet (Victorine and Laure), 2011
Oil on canvas
Work: 179 x 130 cm
Claire Gavronsky
In Search of the referents, 2012
Ink on vintage paper
17 x 11 cm
Claire Gavronsky
This one will be protected, 2012
Ink on vintage paper.
17 x 11 cm
Claire Gavronsky
Slates: D,d., 2012
Oil paint on school slates
26 x 18.5 cm
Claire Gavronsky
The Theorist's Blind Spots, 2012
Ink on vintage paper
17 x 11 cm
Rose Shakinovsky
End of the Line (Between Erasure and Composure) Ed of 10, 2011
Painted bronze objects
Dimensions variable

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

rosenclaire / Immaterial Matters / 2012 - Installation View

03 March - 24 March 2012

Claire Gavronsky

Slates: W,w.

Post Colonial Safari

Claire Gavronsky

Slates: F,f.

Rosenclaire

Seismograph

Claire Gavronsky

Slates: L,l.

Rosenclaire

Punctuation

Rosenclaire

Dangerous Liaison

Claire Gavronsky

Circa 14th C - 21st C

Landscape I (Stromboli)

Rosenclaire

Gesture

Post Linguistic (Diptych)

Foliage

Rose Shakinovsky

Post Linguistic (Whites)

History of Art

Rose Shakinovsky

Found Installation with Incidental paintings I, Iziko SANG 2005

Rose Shakinovsky

Post Linguistic (Shorthand)

Rose Shakinovsky

Found Installation with Incidental paintings II, Iziko SANG 2005

Rose Shakinovsky

Primary Sensation

Claire Gavronsky

The Dissolution of the Frame I

Bingo!

Claire Gavronsky

The Dissolution of the Frame II

Poor fellow - it is only paint

Rose Shakinovsky

Domino Effect

Claire Gavronsky

The Dissolution of the Frame III

Claire Gavronsky

The Dissolution of the Frame IV

Struck by the magic of abstraction while undressing

No Master’s Voice

Heads with Tales to Tell I

Claire Gavronsky

Heads with Tales to Tell II

Open to learning new theory

Rose Shakinovsky

Next Time

Claire Gavronsky

Heading Away from Daumier I

Hyphen 1

Claire Gavronsky

Heading Away from Daumier II

I made you

Claire Gavronsky

Heading Away from Daumier III

Hyphen 2

Claire Gavronsky

Unravelling Meaning

Claire Gavronsky

Recollecting

Hyphen 3

Hyphen 4

Rose Shakinovsky

What Laure Saw

Rose Shakinovsky

Cardboard Sculpture Game

Rosenclaire

Sign of The Times: The Buck Stops Here

Rose Shakinovsky

Hyphen 5

Rosenclaire

Sign of The Times: Beware of falling stocks

Rose Shakinovsky

I Spy

Reader Orientation

A Long Reign

Claire Gavronsky

State of the Art

Rose Shakinovsky

Hyphen 6

Claire Gavronsky

She understands it

Complicit

I believe it's flat

You Can Take a Horse to Water But You Can’t Make it Drink

Rose Shakinovsky

Other M(Other)

rosenclaire

Exhibitionism

Debt Cycle

L’avanguardia non si arrende mai (The avantgarde never gives up)

Claire Gavronsky

Cause of death, Corporate Cancer.

Claire Gavronsky

Our future is behind us

Claire Gavronsky

Compositional Balance

Peace Process

Claire Gavronsky

Marks are real

Derrida 3

Claire Gavronsky

Reflecting on Imperfection

A Case for Painting

Claire Gavronsky

1963

Rose Shakinovsky

Amuser Paris I

Observer 1

Claire Gavronsky

Weighing up apples and pears

Claire Gavronsky

Do I frame or am I framed?

PC

Claire Gavronsky

Observer 2

Claire Gavronsky

Mr and Mrs Who?

Claire Gavronsky

Run with the Hare and Hunt with the Hounds

Rose Shakinovsky

Underground

Viva il coraggio (Long live courage)

A Void I

Opening up the Playing Field

Claire Gavronsky

The Revival of painting

Extreme Moment - The Miracle of St Bernard

Claire Gavronsky

Women's Conversation

Claire Gavronsky

Diaphanous Counterpoint

Waiver

Claire Gavronsky

Narcissus's Suprise

Claire Gavronsky

Dog Knows Best

Claire Gavronsky  

Just lost all the files

Way after Manet (Victorine and Laure)

Claire Gavronsky

In Search of the referents

Claire Gavronsky

This one will be protected

Claire Gavronsky

Slates: D,d.

Claire Gavronsky

The Theorist's Blind Spots

Rose Shakinovsky

End of the Line (Between Erasure and Composure) Ed of 10

Immaterial Matters at Goodman Gallery Johannesburg will be rosenclaire’s first exhibition in the city since they left for Italy in 1985. The show is a remix of work from their re.collections show at Goodman Gallery Cape in 2010, work shown recently in Europe and new works created for this exhibition.

In 2010 rosenclaire’s neon sign Invest in the Immaterial illuminated Cape Town, Johannesburg and Dakar calling for action that was not an obsessive amassing of material gain and visibility, but rather a virtual rebalancing of the scales.
Immaterial Matters takes up from there referring to works that range from the irreverent to the transcendent. The title and the work proffer two ideas: one, that the immaterial is what matters and two it asks a question about relevancy.

The medium matters only as a transient messenger of meaning whether it be oil paint, bronze, found objects, games, video or scraps of paper. The work explicitly defies categorisation and sites itself neither on the page nor in the margins but rather questions the materiality of the paper itself. That which is material, the visual plane, is proportionately relevant to that which resonates from it. Thoughts and responses that in their own diverse trajectory move from the political, to tongue in cheek play and repartee with art history to places of quietness and contemplation.

The show features works that address the current economic meltdown and sideswipe at the contemporary art world and it’s stock market mentality. In their respective oil paintings and bronzes rosenclaire re-present canons of figurative and abstract modernist work in the context of providing a lintel over the Posts and a lookout point to the great beyond. Art addresses and undresses itself in both form and substance. Matter shifts, changes, mutates as time, desire and fashion dictate.

Antimatter is a dualistic hypothesis as is Anti-art that struggles to maintain a position of dissensus in the face of the rampant commodification of art. rosenclaire’s work presents an intimate interlocution between themselves and a viewer where stereotypes are challenged and new perspectives offered.

Artistic duo Rose Shakinovsky and Claire Gavronsky – collectively know as rosenclaire – were both born in South Africa and now live and work between Florence, Johannesburg and Cape Town. They left South Africa in 1985 for Italy, where they established a prestigious art residency programme in Tuscany. They have exhibited extensively both locally and internationally, and their work has featured at major events such as the Dakar Biennale and Spheres in France. Prominent public sculpture commissions include their Soap Boxes at the South African National Gallery in Cape Town. As well as conducting artist workshops in Italy and the United States, rosenclaire have returned regularly to South Africa to conduct workshops in Venda and Cape Town.

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.

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.

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).