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

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

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

Claire Gavronsky

Heads with Tales to Tell I, 2010 Bronze

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

4D Orbit, 3 R's, MoMA (set of 3), 2010 Blackberry photographs, triptych

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

Rose Shakinovsky

Reader Orientation, 2010 Oil paint on bronze on pedestal

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

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

Found Installation with Incidental paintings I, Iziko SANG 2005, 2010 Digital print on paper

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

Found Installation with Incidental paintings II, Iziko SANG 2005, 2010 Digital print on paper

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

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

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

Claire Gavronsky

Those violent against nature and art - Dante, 2008 Oil on linen

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)

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

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

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

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

Claire Gavronsky

The Dissolution of the Frame III, 2010 Bronze 28.5 x 9.5 x 7.5 cm

No 3D loaded yet

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

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). They collaborate as wives and as dedicated mentors who have run a renowned artists residency program in Tuscany for the past 30 years. Each of them are artists in their own right and make work individually as well.

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.

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.
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.