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Joachim Schönfeldt
Four Musicians (moo, roar, chee-ow & yeeeoh)
2010
‘… a musical piece to be performed by musicians. The backdrop is important. It is the inspiration for the composition of the musical piece, the gusto of its performance and also its “speech”.’ – Okwui Enwezor
Four Musicians (moo, roar, chee-ow & yeeeoh) is a performance and sculpture by Joachim Schonfeldt, based on the German folklore tale of the Bremen Town Musicians, as recorded by the Brothers Grimm. In the original tale, a cat, a donkey, a rooster and a dog, past the primes of their lives, leave their masters’ homes, band together and set off on an adventure to Bremen, proving that the whole is stronger than the sum of its parts.
The tale has been retold and interpreted many times in popular culture (film, animation, theatre, literature) and has been represented by a number of contemporary artists (including Maurizio Cattelan).
Four Musicians (moo, roar, chee-ow & yeeeoh) the sculpture substitutes the donkey, dog, cat and rooster with taxidermied animals: an indigenous Nguni cow, a lioness and a vulture – all symbols of African pride and power. The sculpture rests on a base resembling a traditional Zulu shield, in reference to the theme of conflict and security. Schonfeldt also stacks the animals from large to small – an effective inversion of power relations.
The sculpture functions as a backdrop to a performance of original music by James French executed by four musicians stationed opposite the sculpture and playing a selection of cornet, trumpet, trombone, french horn, baritone or tuba. These wind instruments infuse or breathe life back into the inanimate objects or animals.
The artist states:
‘The piece performed by the musicians is in essence the work. I anticipate it to be a bit like the idea of ‘windjammers’, an American circus concept that describes the intensity of the music played during the climax of an act. The stuffed animals are, to a large extent, backdrop: the often mentioned augmentation in my work. The animals augment a ’speech’ here. The speech is represented by the commissioned piece of music performed by four musicians. The four blow instruments give an impression performance of the four animals (moo, roar, chee-ow & yeeoh); ‘A full breath of air’ perhaps the operative idea. The piece of music is of a circus-band nature and very intense, performed at high pace and leaving all "breathless"’.
www.goodman-gallery.com/artists/joachimsch%c3%b6nfeldt
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The Armory Show is the United States’ leading art fair devoted to the most important artworks of the 20th and 21st centuries. In its twelve years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
The Armory Show 2010 also features The Armory Show – Modern, specializing in modern and secondary market material on Pier 92. Pier 94 continues to be a venue to premiere new works by living artists. With one ticket, visitors to The Armory Show on March 4–7, 2010 have access to the latest developments in the art world, and to the masterpieces which heralded them.
Piers 92 and 94 on 55th Street and 12th Avenue, NYC
March 4-7, 2010
Nontsikelelo Veleko
Vuyelwa, Bree Street, Newtown, from the series, Beauty is in the Eye of the Beholder (2003-2006)
Courtesy of the Artist and the Goodman Gallery, Johannesburg
In this series of observational and constructed portraits of other people’s tastes in dress and style, Veleko carefully rubs over the roles of beauty, fashion and space to knot together real, imagined and invented urban identities. Fashion is invoked not for the invisibility of the international labels inside, but rather as one of a number of strands that connect and weave together the transnational voices of urban identity. It is here, within the spatial contradictions of the city, that globality is overwriting modernity as the currency of contemporary identity. Veleko’s preference is for subjects whose clothing and style more often than not sets them apart for a derogatory comment rather than a chorus of praise. In building up this archive of fellow expressives, she photographs against the loneliness that comes from wanting and having styles that are off the centre of an aggregated modernity. – Rory Bester
I have often formed the opinion that artworks which you cannot relate is not the artwork for you. In usual fashion, I am drawn to works which I find to be slightly bizarre.
From the espresso maker which I am planning to buy, an “object and its unreliable witnesses,” the “talking clock” to the witty form juxtaposed near one”s belly, I find this piece of work to be a feast to the eye.
I haven’t had a chance to speak to the gallerists so I can only respond to this as candidly as I can. I am certain that there will be far more “high-brow” mumbo-jumbo which you can chow down on various art sites. The links are below. Meanwhile as a layman this South African piece is calling to me in more ways than one.
(Note: You do much prefer my nonsensical analysis more so than the impossible-to-read essays written by people who get As in English from Yale, right?)
Seriously WTF. Crazyisgood. SML Love. Highly recommended.
# Art Info
William Kentridge & Marguerite Stephens
Self Portrait as a Coffee Pot, III, 2012
Mohair Tapestry
283 x 230 cm
# William Kentridge
William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be altered and filmed this way until the end of a scene. These palimpsest-like drawings are later displayed along with the films as finished pieces of art.
en.wikipedia.org/wiki/William_Kentridge
www.goodman-gallery.com/artists/williamkentridge
# Goodman Gallery
Goodman Gallery is at the forefront of contemporary art in South Africa. Its focus is on artists – from South Africa, the greater African Continent, and other countries – who engage in a dialogue with the African context.
163 Jan Smuts Ave, Parkwood
2193 Johannesburg
South Africa
# SML Data
+ Date: 2013-05-23T14:02:11+0800
+ Dimensions: 3456 x 4137
+ Exposure: 1/125 sec at f/2.0
+ Focal Length: 22 mm
+ ISO: 100
+ Camera: Canon EOS M
+ Lens: Canon EF-M 22mm f/2 STM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.EOSM.03944
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“William Kentridge & Marguerite Stephens. Self Portrait as a Coffee Pot, III, 2012. Mohair tapestry (Detail). Edition of 6” / Goodman Gallery / Art Basel Hong Kong 2013 / SML.20130523.EOSM.03944
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #WilliamKentridge #MargueriteStephens #Coffee #WTF #LOL #GoodmanGallery #SouthAfrica #opinions
Joachim Schönfeldt
Four Musicians (moo, roar, chee-ow & yeeeoh)
2010
‘… a musical piece to be performed by musicians. The backdrop is important. It is the inspiration for the composition of the musical piece, the gusto of its performance and also its “speech”.’ – Okwui Enwezor
Four Musicians (moo, roar, chee-ow & yeeeoh) is a performance and sculpture by Joachim Schonfeldt, based on the German folklore tale of the Bremen Town Musicians, as recorded by the Brothers Grimm. In the original tale, a cat, a donkey, a rooster and a dog, past the primes of their lives, leave their masters’ homes, band together and set off on an adventure to Bremen, proving that the whole is stronger than the sum of its parts.
The tale has been retold and interpreted many times in popular culture (film, animation, theatre, literature) and has been represented by a number of contemporary artists (including Maurizio Cattelan).
Four Musicians (moo, roar, chee-ow & yeeeoh) the sculpture substitutes the donkey, dog, cat and rooster with taxidermied animals: an indigenous Nguni cow, a lioness and a vulture – all symbols of African pride and power. The sculpture rests on a base resembling a traditional Zulu shield, in reference to the theme of conflict and security. Schonfeldt also stacks the animals from large to small – an effective inversion of power relations.
The sculpture functions as a backdrop to a performance of original music by James French executed by four musicians stationed opposite the sculpture and playing a selection of cornet, trumpet, trombone, french horn, baritone or tuba. These wind instruments infuse or breathe life back into the inanimate objects or animals.
The artist states:
‘The piece performed by the musicians is in essence the work. I anticipate it to be a bit like the idea of ‘windjammers’, an American circus concept that describes the intensity of the music played during the climax of an act. The stuffed animals are, to a large extent, backdrop: the often mentioned augmentation in my work. The animals augment a ’speech’ here. The speech is represented by the commissioned piece of music performed by four musicians. The four blow instruments give an impression performance of the four animals (moo, roar, chee-ow & yeeoh); ‘A full breath of air’ perhaps the operative idea. The piece of music is of a circus-band nature and very intense, performed at high pace and leaving all "breathless"’.
www.goodman-gallery.com/artists/joachimsch%c3%b6nfeldt
+++
The Armory Show is the United States’ leading art fair devoted to the most important artworks of the 20th and 21st centuries. In its twelve years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
The Armory Show 2010 also features The Armory Show – Modern, specializing in modern and secondary market material on Pier 92. Pier 94 continues to be a venue to premiere new works by living artists. With one ticket, visitors to The Armory Show on March 4–7, 2010 have access to the latest developments in the art world, and to the masterpieces which heralded them.
Piers 92 and 94 on 55th Street and 12th Avenue, NYC
March 4-7, 2010
Andries found the pieces disturbing...there was a lot of death and grotesqueness. The person in the bath is Lee Miller in Hitler's bath! Fitting that she's a surrealist photographer being represented in a 21st century surrealist photo exhibition. I'm glad I attended the discussion with the artists. It explained the apparent random throwaway nature of the pieces...however the more closely observed there were layers of context and accident meanings, a result of the two artists using images that had meaning to them, but juxtaposing them in the surreal tradition of an exquisite corpse.
In war the camera has become as powerful a weapon as the gun. And like a gun can be used as self-defence or an aggressive tool to prove a point. In some ways the camera is more dangerous...distorting truth, or only showing events (or movements in time) out of context in order to push an agenda. It can be used to expose horrors previously hidden, though ironically the horrors still continue, the 'public' numbed by the onslaught of gruesome images, so out of context with the position of comfort from which the public usually views the image. The discourse of Broomberg and Chanarin reminded me of the philosophising in John Berger's book "Understanding a Photograph".
Michelle at the Post African Futures exhibition, Goodman Gallery, Johannesburg. June 2015. Shot on a Fujifilm X100T, postprod with Nik classic cam filter.
The artists did not say who the figure was other than it's an image from a police training manual. The MC of the event said it looked remarkably like Ludwig Wittgenstein, who coincidently enough was at the same primary school as Hitler, apparently at the same time according to a school photo. And here the artists had placed the two images opposite each other...
This was my first introduction to the collaborative that is Broomberg and Chanarin. I was fascinated how their discourse and images were not about making beautiful images...but rather are a contemporary commentary on what is a photograph today...what does it mean to the artist, the subject, the viewer, to society in general and to those with commercial and political interests in photographic images. Especially in today's digital world where photos are now electronic data to be distributed instantly, easily manipulated, easily used. We who take pictures, the masses, unwittingly feed the "machine" with a myriad of data, to be used sometimes with (and sometimes without) our permission to all sorts of ends we have no idea about. The contradiction of us wanting to broadcast our pictures instantly and across the world and yet insisting on our privacy being maintained creates questions of ethics and exploitation that have yet to be answered. The evening with them and their art has left my mind spinning with thoughts and questioning my interest in photography and the direction I would like to take...
The sculptor was mentioned who created the status that these photographs are of... I unfortunately cannot recall his name. But he was of interest because although he was a sculptor in the 1800's - he was more interested in photography. The boxes, I understand, were used for photographic paper. Examples of Broomberg and Chanarin's playful and intellectual game of layered meaning and irony in the way they have chosen and arranged their images.
"Truth games - Graça Machel - Provoked disaster - Magnus Malan" by Sue Williamson, 1998.
One of the works on show at the opening night of Nation State at the Goodman Gallery in Johannesburg, 27 May 2009.
Bili Bidjocka,
Enigma, #16
2009
260 x 390 cm
Why is this night different from any other night? 2009, Czech beads and poly cotton thread, edition of 2
The virtual exhibition FROM V TO X (VIA PARIS) by Siyabonga Mthembu (The Brother Moves On) in Germany and Bogosi Sekhukhuni in Paris streamed live at the Goodman Gallery in Johannesburg on Saturday 28 June. [The archived video stream can be viewed at - www.youtube.com/watch?v=38KzCekptOk]
Amongst Men, 2014. M1casts with marble aggregate and fiberglass blanket, gut, sound. Goodman Gallery. MOAD
The virtual exhibition FROM V TO X (VIA PARIS) by Siyabonga Mthembu (The Brother Moves On) in Germany and Bogosi Sekhukhuni in Paris streamed live at the Goodman Gallery in Johannesburg on Saturday 28 June. [The archived video stream can be viewed at - www.youtube.com/watch?v=38KzCekptOk]
The virtual exhibition FROM V TO X (VIA PARIS) by Siyabonga Mthembu (The Brother Moves On) in Germany and Bogosi Sekhukhuni in Paris streamed live at the Goodman Gallery in Johannesburg on Saturday 28 June. [The archived video stream can be viewed at - www.youtube.com/watch?v=38KzCekptOk]
The virtual exhibition FROM V TO X (VIA PARIS) by Siyabonga Mthembu (The Brother Moves On) in Germany and Bogosi Sekhukhuni in Paris streamed live at the Goodman Gallery in Johannesburg on Saturday 28 June. [The archived video stream can be viewed at - www.youtube.com/watch?v=38KzCekptOk]