rosenclaire / Speechless / 2018

rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
rosenclaire / Speechless / 2018
03 March - 06 April 2018
Installation View
Rose Shakinovsky
Migrants Lampedusa 1 2014 , 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Migrants Lampedusa 2 2014, 2017
Ink Jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
ALEPPO 2015 , 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Nepal Earthquake 2015 , 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
MEXICO Earthquake 2017 , 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Brussels Airport Bomb 2016 , 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Tulips 1, 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Trees 1, 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Dark Garden 1, 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Words Fail, 2017
Ink jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Under Construction, 2017
Ink Jet print on Hahnemuhle paper
Work: 110 x 75 cm
Rose Shakinovsky
Run Rabbit Run, 2017
Ink jet print on Hahnemuhle paper
Work: 37 x 105 cm
Rose Shakinovsky
Bali Volcano 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
California Wildfires 2017, 2017
Ink jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Hurricane Maria 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Natal Floods 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Hurricane Ophelia 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Pretoria Riots 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Thermal Refugees 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Lampedusa 2013/Sicily 2015/Libya 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 30 x 20 cm
Rose Shakinovsky
Grenfell Towers 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 30 x 20 cm
Rose Shakinovsky
Tornado Vaal 2017, 2017
Ink Jet print on Hahnemuhle paper
Work: 20 x 30 cm
Rose Shakinovsky
Speechless, 2017
Lightbox
Work: 150 x 85 cm
Claire Gavronsky
Laboratory of Post Natural History, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Rose Shakinovsky
After Malevich, Evolution, 2017
Aluminium, enamel paint
Variable Dimensions
Rosenclaire
Parable, 2018
Elements variable. Potted Spathiphyllum plants, pedestals, and instructions with contract
Variable Dimensions
Claire Gavronsky
Exhale I, 2017
Corten steel base with oil on plaster, cloth and resin

Claire Gavronsky
Miscalibrated – the sixth extinction, 2017
Oil on cotton
Work: 200 x 100 cm
Claire Gavronsky
Congress of the last attempt, 2017
Oil on cotton
Work: 200 x 100 cm
Claire Gavronsky
Holding our breath, 2017
Oil on cotton
Work: 130 x 190 cm
Claire Gavronsky
Anthropocene from 1790 , 2017
Oil on linen
Work: 160 x 100 cm
Claire Gavronsky
Anthropocene from 1850 , 2017
Oil on linen
Work: 160 x 100 cm
Claire Gavronsky
Anthropocene from1950 – The Great Acceleration, 2017
Oil on linen
Work: 160 x 100 cm
Claire Gavronsky
Anthropocene from 2017 - Future of no Future , 2017
Oil on linen
Work: 160 x 100 cm
Claire Gavronsky
The deer forgives the hunter, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
Riding the pit mule home, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
The last man joins the dodos, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
Creating the homeless, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
The slave trader's remorse, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
The Weight of Empathy, 2017
Pastel on TNT spun fiber
Work: 130 x 90 cm
Claire Gavronsky
BREAD! LAND! EQUALITY! 1917-2017, 2017
Set of nine drawings in ink and tempura on paper with titles adhered
Each work : 25 x 32 cm Work: 100 x 122 cm

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

rosenclaire / Speechless / 2018 - Installation View

03 March - 06 April 2018

Rose Shakinovsky

Migrants Lampedusa 1 2014

Rose Shakinovsky

Migrants Lampedusa 2 2014

Rose Shakinovsky

ALEPPO 2015

Rose Shakinovsky

Nepal Earthquake 2015

Rose Shakinovsky

MEXICO Earthquake 2017

Rose Shakinovsky

Brussels Airport Bomb 2016

Rose Shakinovsky

Tulips 1

Rose Shakinovsky

Trees 1

Rose Shakinovsky

Dark Garden 1

Rose Shakinovsky

Words Fail

Rose Shakinovsky

Under Construction

Rose Shakinovsky

Run Rabbit Run

Rose Shakinovsky

Bali Volcano 2017

Rose Shakinovsky

California Wildfires 2017

Rose Shakinovsky

Hurricane Maria 2017

Rose Shakinovsky

Natal Floods 2017

Rose Shakinovsky

Hurricane Ophelia 2017

Rose Shakinovsky

Pretoria Riots 2017

Rose Shakinovsky

Thermal Refugees 2017

Rose Shakinovsky

Lampedusa 2013/Sicily 2015/Libya 2017

Rose Shakinovsky

Grenfell Towers 2017

Rose Shakinovsky

Tornado Vaal 2017

Rose Shakinovsky

Speechless

Claire Gavronsky

Laboratory of Post Natural History

Rose Shakinovsky

After Malevich, Evolution

Rosenclaire

Parable

Claire Gavronsky

Exhale I

Claire Gavronsky

Miscalibrated – the sixth extinction

Claire Gavronsky

Congress of the last attempt

Claire Gavronsky

Holding our breath

Claire Gavronsky

Anthropocene from 1790

Claire Gavronsky

Anthropocene from 1850

Claire Gavronsky

Anthropocene from1950 – The Great Acceleration

Claire Gavronsky

Anthropocene from 2017 - Future of no Future

Claire Gavronsky

The deer forgives the hunter

Claire Gavronsky

Riding the pit mule home

Claire Gavronsky

The last man joins the dodos

Claire Gavronsky

Creating the homeless

Claire Gavronsky

The slave trader's remorse

Claire Gavronsky

The Weight of Empathy

Claire Gavronsky

BREAD! LAND! EQUALITY! 1917-2017

Goodman Gallery Cape Town
3 March – 6 April 2018

Speechless marks rosenclaire’s fourth solo exhibition at Goodman Gallery in which Rose Shakinovsky and Claire Gavronsky question the power of words to represent and relate to our surroundings.

In the words of the artists: ‘this exhibition registers an inability to comprehend and articulate the political, social and ecological crises experienced around the world today. This implies the breakdown of all secure structures including language, communication and materiality itself. We approach the ‘unspeakable’ from a position of warning but also of wonder.’

Speechless takes its cue from current discourse on the Anthropocene, described by writer Robert Macfarlane as ‘the new epoch of geological time in which human activity is considered such a powerful influence on the environment, climate and ecology of the planet that it will leave a long-term signature in the strata record.’ Macfarlane warns that ‘we have become titanic geological agents, our legacy legible for millennia to come’ in an attempt to urge human beings to consider the implications of our actions in terms of ‘deep time’ – beyond the here and now.

Deploying different visual languages, rosenclaire propound a shared belief in the world as an ever-shifting fusion of equal components, always in state of becoming. Their work can be read as part of a wave of artists, philosophers, scientists and anthropologists who ask that we look to new ways of relating to each other and to nature or else face extinction.

Shakinovsky’s semi-abstract prints strip back stock media images of recent natural disasters and social upheavals, including the fire in London’s Grenfell Towers, the Syrian refugee ‘crisis’, wildfires in California and the Natal floods, to create ‘a composition without balance or symmetry, mirroring the incoherence and collapse of the social and revenge of the natural’.

Within these alluring works, Shakinovsky boldly attempts ‘to represent the new visual language that may define these times,’ as she puts it, looking to re-represent ‘the underlying structure of disaster and the visual forms it takes.’

Gavronsky’s delicate pastel works posit a deflated colonial male figure as humbled in the face of nature and, at times, crippled by remorse as he is positioned on his knees before people exploited over the ages. In one work a man kneels before a flock of imposing Dodos, joining them in extinction.

Other paintings by Gavronsky evoke a scrapbook, or perhaps a crime wall, mapping key moments of human technological ‘progress’, from industrialization in the 1800s to the ‘Great Acceleration’ of the 1950s through to the present. Current world leaders, such as Donald Trump and Kim Jong Un, loom large within this enmeshed narrative assemblage whereby human beings and natural resources continue to be exploited.

rosenclaire began collaborating in the 1980s when they moved from South Africa to Italy, where they run a residency program for international artists. Their collaboration is defined by two distinct artistic languages which grapple with their shared concerns. They have exhibited individually and collaboratively around the world, most recently in the group exhibition Right To The Future (2017) at the Museum of the 20th and 21st Century Art in St. Petersburg. They have collaborated with William Kentridge on a number of occasions and are known for producing public participatory works, such as the Soap Boxes sculpture commissioned by the South African National Gallery in Cape Town in 2003.

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).