HackelBury Fine Art, London is pleased to present the exhibition “From a Private Collection” 

HackelBury Fine Art

28th April until 4th June 2022

Seydou Keita, Untitled – Turned head, 1952/55 

From a Private Collection 

“I studied history at university …. for me history is a big part of collecting photography …. because the images tell a good and interesting story” The Collector 

HackelBury Fine Art, London is pleased to present the exhibition “From a Private Collection” a group of photographs acquired by one collector over a decade, celebrating the work of some of the most important photographers of the 20th century. The exhibition will be at HackelBury, London from 28th April until 4th June 2022. 

The collection was acquired over a decade from 2000 and reveals the individual taste and sensibility of one collector – reflecting their personal interest in history and visual storytelling.  The works were acquired over time and illustrate the invaluable relationship between collector and gallery, fundamentally based on trust and taste.  It maps the journey of a visitor to HackelBury in 2000, using a work bonus to purchase their first photograph El Malpais, May, 1997 by David Michael Kennedy. This purchase, together with the encouragement and guidance of the gallery owners Sascha Hackel and Marcus Bury, became the genesis for the beginning of a collection.  

“It is totally fine to pick something which you love. But it’s always a good idea to try and pick a strong work too that will enhance the collection. For me, it was easy because Marcus and Sascha gave me good advice in terms of what the strong works were”. The Collector

David Michael Kennedy, El Malpais, May, 1997

Harnessing HackelBury’s extensive knowledge of photography and the ability to identify important and representative works, the collector went on to acquire major works by iconic figures.   These artists included Berenice Abbott, Henri Cartier-Bresson, Elliot Erwitt, Frank Horvat, William Klein, Irving Penn, Sebastião Salgado and Doug and Mike Starn. This diverse and groundbreaking group of photographers dedicated their careers to capturing the essence of the people, places, time and history which inspired them.  

Seydou Keita and Malick Sidibe provide us with a glimpse of the social and cultural backdrop of their home country Mali in works such as Untitled – Lovely Daughter, 1949/51 by Seydou Keita and Christmas Eve, 1963 by Malick Sidibe. Famed for their studio portraits they brought to life a world, little known in the West at the time.  David Michael Kennedy is famous for his portraits of musicians, native Americans and expansive landscapes whilst Alexandre Vitkine chose to photograph industrial landscapes and explore the tension between man and machinery. 

Irving Penn, Elliott Erwitt, William Klein, Arnold Newman and Frank Horvat are fascinated by people and their portraits of leading figures and the fashion world draw us into a world of glamour and mystique. Illustrated by works such as Hat with Five Roses, Barbara Mullen, Paris, 1956 by Klein, Irving Penn’s Cecil Beaton, 1958, Arnold Newman’s Igor Stravinsky, New York City, 1946 and Elliott Erwitt’s Marilyn Monroe, New York, 1956. 

Henri Cartier-Bresson, Sebastião Salgado and Berenice Abbott are documentary photographers interested in the plight of people, moments in time or historical events reflected in works such as Behind the Gare St. Lazare, 1932 by Henri Cartier-Bresson, Exchange Place, New York, 1934 by Berenice Abbott and Dinka Man, 2006 by Sebastião Salgado. 

Doug and Mike Starn and Liz Rideal choose more abstract still-life images using material objects to evoke thoughts and ideas. 

Ranging from portrait and fashion photography, landscape and street photography, photojournalism, documentary and abstract photography, these artists were on a journey to discover the potential of their medium and the power of their subject matter. These selected works ‘From a Private Collection’ provide us with an opportunity to see, through the eyes of one collector, a passion for photography and the legacy of a gallery.  

“Building an art collection is a journey of discovery – the collector is exposed to art over time and their own taste and interests evolve.  The role of the gallery is to build a relationship based on trust and knowledge.  This helps the collection reflect the personality and interests of the collector. It’s always a pleasure to have this opportunity.” Marcus Bury

“Literally 95% of my collection was bought from HackelBury gallery”. The Collector 

Frank Horvat, Givenchy Hat (A) for Le Jardin Des Modes, 1958

About HackelBury Fine Art

Founded by Sascha Hackel and Marcus Bury, HackelBury Fine Art deals in 20th and 21st century artworks. Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing and sculpture. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach. 

FOR ALL PRESS ENQUIRIES PLEASE CONTACT 

Camilla Cañellas – Arts Counsultancy & PR

E: camilla@culturebeam.com M:+34 660375123 

Phil Crook – HackelBury Fine Art

E: phil@hackelbury.co.uk T: +44 20 7937 8688 

Instagram @hackelburyfineart 

Synthesis Gallery and Cosmic Rays Film Fest are pleased to present The Flowers I Have Never Seen in My Garden

Opening March  24, 2022 – 7pm CET on Mozilla Hubs

Aura Garden II 2021 © Chris Golden

The Flowers I Have Never Seen in My Garden

March  24, 2022 – 7pm CET on Mozilla Hubs

Chris Golden, Mohsen Hazrati, Lauren Moffatt, Sabrina Ratté

The flowers I have never seen in my garden is a digital exhibition featuring works by Chris Golden, Sabrina Ratté, Mohsen Hazrati, and Lauren Moffatt. Constructed in the free-floating space of Mozilla Hubs, the works on view utilize this programmable backdrop to examine how gardens might appear in the wake of ecological and social cataclysms.  

These flowers, the works on view, are not invisible, so much as hypothetical, speculative. Each work contributed, each virtual garden plot, extends into all the others, creating a network of virtual pathways that unfold sequentially, like the illustrations of an idea that is carefully trying to prove itself.  

The exhibition does not claim to be an online gallery space, or even a threedimensional archive, but acts more like a herbarium populated with anthropomorphized flora. A kind of new world is invoked where mechanism and finality mingle, not in the manner of a futuristic cyborg, but in a way where human history and natural history as we know them overgrow into a parallel reality that shares the same concerns as ours. Questions of ecological preservation, identity and its relationship to memory, and the threat of mass extinction are duly addressed. Only here, the familiar solutions offered by our world are placed in parentheses.  

Chris Golden’s Aura Garden, for example, treats of memory – only here memory is invaded by a sort of aural shimmer that translates the dynamics of floral growth into a psychedelic reflection of the calmness in nature. Through a mingling of visuality and sound, the viewer is confronted by the notion that “moments”, even at their most epiphanic, are nothing more than contingent human constructs. 

Sabrina Ratté’s Floralia offers a speculative natural history through a graduated and precise process of segmentation and reconstruction. Simulating the fusion of technology and organic matter, the work plunges the viewer into a speculative future, where samples of extinct plant species are preserved and displayed in a virtual archive room. Through editing and visual strategies, this archive room is sporadically transformed under the effect of interference caused by the memory emanating from the listed plants, revealing traces of the past that continue to haunt the present.  

Mohsen Hazrati, the architect of this Hubs environment, uses the utopian space of the virtual to revisit the history of technology. Taking the ancient Iranian innovation of using wine and other stringents (lemons, vinegar) to generate small volts of electricity, Hazrati has realized a 3D recreation of this pioneering ancient technology. The fruits that spark this device to life are wholly virtual, but have a practical, effective existence within an imaginarium modeled to look like a garden.  

Lauren Moffatt, for her contribution, plays off of the tension that obtains between augmented reality and virtual reality. Her Flowers for Suzanne Clair (named after a secondary character in J. G. Ballard’s disaster fiction novel The Crystal World) creates a strange type of organic digitality which pivots on a process of collecting and digitizing plant specimens through an exchange between the physical and the virtual. Fusing photographic details of flowers with aleatory textures, these fictive plant species are windows to alterity glimpsed through a prism of biological life.  

Staging, ultimately, is essential to what is happening throughout The flowers I have never seen in my garden. Looking at the the digital species the show models itself around, history itself becomes heavy with an unsettling inertia; and the concept of “nature” becomes mechanized to a point where we can almost peer past it, towards a sentient nothingness that defies the logic of temporal descriptors. 

The flowers I have never seen in my garden is curated and designed by George Vitale (synthesis gallery) and produced by Cosmic Rays. 

CHRIS GOLDEN (b. 1988, GBR, https://chrisgolden.art) is a digital artist exploring the energy and vibration of this world. His work focuses on synthesizing a meditative-psychedelic perspective through colour and form. Chris presents a spectrum of projects across physical and digital planes that shares a visual way of being. A reminder of our energy that resides within. 

MOHSEN HAZRATI (b. 1987, IRN, http://mohsenhazrati.com) graduated with a BA in graphic design from Shiraz Art Institute of Higher Education in 2012, minoring in new media and digital art. His works focus on literature and digital technologies. In 2013 together with Milad Forouzande, Hazrati founded “DarAlHokoomeh Project”: a new media art curatorial project based in Shiraz, Iran. 

LAUREN MOFFATT (b. 1987, AUS, https://www.deptique.net/) is an Australian artist working with immersive environments and experimental narrative practices. Her works, often presented in hybrid and iterative forms, explore the paradoxical subjectivity of connected bodies and the indistinct boundaries between digital and organic life.  

SABRINA RATTÉ (b. 1982, CAN, http://sabrinaratte.com/) is an artist living between Montreal and Marseille. Her practice includes video, animation, installations, sculptures, audio-visual performances, prints and Virtual Reality. Mixing analog technologies, photography and 3D animation, she investigates the influence of digital and physical spaces and the interplay between these surroundings and subjectivity.  

COSMIC RAYS is an organization based in Chapel Hill, North Carolina that supports the promotion and diffusion of innovative film, video, and digital media art through public screenings, live performance, and gallery exhibition.

synthesis gallery is an immersive blend of technology and art displayed under one roof, showcasing cutting-edge experiences by new wave artists and visionaries through virtual and augmented reality. Dedicated to exhibiting internationally renowned, well-established artists alongside emerging ones, since its inception, synthesis has garnered considerable attention in the art scene. 

Opening: March 24, 2022 – 7pm CET

Exhibition: March 24, 2022 – June 23, 2022 

Private Tour: email to register, +49 176 325 10217 

Online venue: https://hubs.mozilla.com/vA8xeJa/ (activated on March 24th) 

The exhibition is generously supported by: 

Join the discussion about the exhibition online at:  

Instagram: @cosmicraysfilmfestival; @synthesis.gallery  

Facebook: Cosmic Rays; synthesis gallery

Website: cosmicraysfilmfest.com; synthesis.gallery

Discord: https://discord.gg/WjWcqPQtrz

KATJA LIEBMANN: Dust in the Wind

HackelBury Fine Art, 4th March to 23rd April 2022

Dust in the Wind, 1996/2020 Toned Cyanotype

HackelBury Fine Art, London is pleased to present: Dust in the Wind, a solo exhibition of new work by Katja Liebmann and her fourth exhibition at HackelBury Fine Art. With this body of work, Liebmann creates “etchings of time” by revisiting negatives, made over the last twenty-five years, to condense time and memory. By bringing together yesterday and today, and using low tech photographic processes, she creates work which has a timeless and painterly quality allowing her to “develop time like a picture” for “memories are malleable and recollection changes with time”.

“During our journeys through life, to our alleged goal, it is easy to become detached from our immediate environment. It becomes hard to see anything beyond what we have already learned to see and most of what we see, when we see, is quick and remote; we are lost in thought. I try to capture these traces of moments, of life happening around us, frozen in one image.”

The title Dust in the Wind inspired by the Kansas song, reflects Liebmann’s interest in the metaphor of the journey and her exploration of time passing. There is a melancholy in the work, which mirrors the ageing process of the material she is reusing, and which alludes to a sense of impermanence and mortality.

“Some of the negatives were quite dusty, and to me it was this dust, telling it ́s own story, adding to the enigma of the images.”

Using simple old analogue cameras, these images were taken by the artist in the 1990s whilst on walks and bus trips through London and New York in order to capture the ‘spirit of the city’. For Liebmann the intention was to document each journey from the point of boarding to the end of the line, the final destination.

The title of some of these works and the overall subject matter suggest a longing for belonging as seen through the eyes of an outsider. Liebmann also makes the trace of human presence almost indecipherable and this eradication of identifiable figures echoes the invisibility of the individual and the anonymity of the city.

Liebmann’s life has been characterised by moving to new places and adapting to change. Dust in the Wind gathers these visual recordings of urban anonymity and transforms them in hauntingly beautiful images which document a uniquely personal journey.

Windows 2, 1996/2020 Toned Cyanotype

Thames 1, 1996/2020 Toned Cyanotype

About Katja Liebmann

Katja Liebmann (German b.1965) grew up in Berlin and is based in Oldenburg/Germany. She is a graduate of the Royal College of Art, London, the Kunsthochschule, Berlin and the Academy of Fine Arts, Nuremberg. In 2001 she received a Scholarship from the Hasselblad Foundation in Goeteborg, Sweden. She was shortlisted for the 1998 Citibank Photography Prize (now the Deutsche Börse Photography Prize) and was awarded the prestigious DAAD scholarship in 1995. Her work is in the permanent collections of the Royal College of Art, London; the Victoria and Albert Museum, London; the Charles Saatchi Collection, London; the LzO Art Collection, (Landessparkasse zu Oldenburg), Oldenburg; the Bishkek Art Centre, Kyrgyzstan; and the Omsk Museum of Visual Arts, among others.

She is a lecturer in printmaking and early photographic processes at Carl von Ossietzky University, Oldenburg and was Visiting Lecturer at the Royal College of Art, London College of Printing and Camberwell College of Art, London, Kent Institute of Art & Design, Kent, UK and Haccetepe University, Ankara.

Liebmann first gained critical acclaim for the series Gotham City, which was acquired by the Saatchi Collection. She describes herself as a ‘painterly soul’, citing Rembrandt, Turner, Poussin, and Titian as her inspiration. On a quest for beauty and harmony, seeking order from chaos, her images are characterised by a softness and longing which she likens to German Romanticism. Liebmann’s use of the early photographic technique is not a sentimental choice; for her it simply presents the best means to portray the ephemerality of time and existence.

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688 Instagram @hackelburyfineart

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 http://www.hackelbury.co.uk

Coral Woodbury: Palimpsest

Coral Woodbury: Palimpsest

HackelBury Fine Art, 4th November 2021 – 22nd January 2022

HackelBury Fine Art, London is pleased to present: Palimpsest, a solo exhibition of new work by Coral Woodbury, and her first solo exhibition in the UK and Europe, in which her allegiance to people’s stories and making the invisible visible permeate three bodies of work. In Revised Edition the artist redraws the history of art from a feminist perspective; in Palimpsest she illuminates the transformative power of time and life experience and in the In Place series she employs the language of colour as a record of cross-cultural travel. The title of the exhibition Palimpsest reflects this idea of a journey through time, life and place.

Books are a recurring theme in Woodbury’s work. Their structure becomes a composition with which to work, providing “a tension between text and image”. Her fascination with palimpsests (ancient parchment manuscripts which were reused over centuries) lies in the connection of humans across time – through their thoughts and their hands. For Woodbury a book is a metaphor and she finds parallels between body and book, the spine that binds it and holds it together. The vellum and the skin, what is held inside and the covering.

A Remarkably Nasty Woman, 2021
Broken Spine V, 2021

Coral Woodbury

Coral Woodbury (b. 1971) critically reinterprets Western artistic heritage from a feminist perspective, bringing overdue focus and reverence to the long line of women artists who worked without recognition or enduring respect.

Coral’s most recent project Revised Edition focuses on Janson‘s History of Art. First published in 1962, the book quickly became a referential text on art history, for generations shaping the Western canon and understanding of art. Its influence as a survey textbook should however have been called into question as the text did not mention any female artists until 1986. The more recent editions of the book are still heavily male-dominated, failing to recognise the legacy and importance of women artists.

With Revised Edition, Coral inks portraits of women artists over images from the well-known canon. Using material culture which is available to her – either photographs or self-portraits of the women – Coral makes visible those who are obscured from history. She describes herself as a “historian, gazing backward, and as an artist, creating anew” whose works “are a way to heal the injustices and omissions of art history”. Recognising that women were vital contributors to art history and yet excluded from it both in their own and subsequent times, Coral reclaims space for them. Bringing women together across time and place, she re-recasts and re-crafts the story of art.

“What has even been deemed art at all, all of art history was defined and determined by men” explains Coral. As women were for centuries excluded from art institutions and forbidden to perform what was considered essential artistic training, their creative input was often demoted to the areas of art considered as minor as well as domestic decorative crafts. Coral’s inclusion in the Revised Edition of portraits of women artists who were omitted from the realm of High Art, makes a stand against male.

CV

b. 1971, NY
Lives and works in Boston, NY

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About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688 Instagram @hackelburyfineart

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 http://www.hackelbury.co.uk

© 2021 HackelBury Fine Art, Ltd. Copyright for all images is held by the respective artist or estate and they may not be reproduced in any form without express permission. All rights reserved.

Beyond the Traditional Publishing Life Cycle

By Christiane Wagner, Editor-in-Chief

To achieve Art Style Magazine’s goal of being part of the best indexers, besides considering a periodicity of at least two years, it is necessary to meet some other requirements. Among the required actions is to have the magazine well-protected and linked to the best repositories. Thus, we are thinking about the future, protecting and promoting the Art Style Magazine’s publications by using Zenodo and Core repositories. We have just done this with our first edition. The whole process is very detailed, but we will soon conclude this important lesson in all Art Style Magazine editions.

With Zenodo, “researchers can receive credit by making the research results citable, through OpenAIRE integrating them into existing reporting lines to funding agencies like the European Commission. Citation information is also passed to DataCite and onto scholarly aggregators.” Art Style Magazine is also deposited in CORE — Open Access for the Humanities and Commons Open Repository Exchange, which is stored in the Columbia University Libraries’ long-term digital preservation storage system.

Art Style Magazine aims to improve how research production quality is evaluated through publications, being a signatory to the main agreements that pursue practices related to research articles published in peer-reviewed journals, which can and should be extended to other products, such as datasets, because they are relevant research results.

Furthermore, the aim is to evaluate the research on its merits. We are also committed to ensuring that our journal will be well-indexed and are working toward this. It is only a matter of time, considering that the best indexing takes, on average, two years. The main indexers and institutions we have subscribed our Art Style Magazine to are as follows: Web of Science, Clarivate Analytics, DOAJ (Directory of Open Access Journal), ERIH Plus (European Reference Index for the Humanities and Social Sciences), Google Scholar Metrics, Latindex, and, most importantly, to become a member of the Committee on Publication Ethics (COPE). COPE is committed to educating and supporting editors, publishers, and those involved in publication ethics to move the publishing culture towards one where ethical practices become a regular part of it. We expect the support and contribution of all those involved and passionate about research and publications, especially in our area. We wish you all the best that Art Style Magazine can offer.

Cinema’s Technical Vanguard, Modern and Contemporary Art

By Christiane Wagner

In retrospect, in this fourth issue of Art Style Magazine,  the bases of the primary aesthetic reflections are focused on modern art and avant-garde movements in their effects, mainly to represent the visually perceived universe of the constructivists, cubists, futurists, dadaists, and surrealists, configuring images through collage, montage, and assemblage to the techniques of film editing. The essay “Montage and Assemblage: an Aesthetic Shock” by Dominique Berthet presents the methods and theories of significant Russian filmmakers in the development of film editing effects and shows how “montage (editing) has transitioned from concept to concept in the film theory of young Soviet filmmakers.” For instance, the French word montage (1917) was appropriated and transformed into a concept–the concept of film editing–that is to say, that it loads of rich theoretical content. Also, he highlighted montage as an aesthetic and political challenge associated with other arts rather than with cinema. Moreover, he stated montage being based on the shock of fragments, themselves linked to artistic modernity, and the assembly of fragments as “the mark of refusal and emancipation vis-à-vis representation, déjà-vu, of the established order.” Finally, toward contemporary art in its “limitless hybridization of artistic practices.”

Screenshot 2020-01-15 02.43.38.png
Excerpts from Glumov’s Diary is Eisenstein’s first film, 1923. Screenshot by Christiane Wagner. Creative Commons Attribution license (reuse allowed).

“It should be noted that the contradictory debates between Kuleshov, Pudovkin, Vertov, and Eisenstein on the subject of montage must be seen in the context in which they were born – that is, the Soviet Union of 1917-1940. Montage assumes the selection of fragments, their combination (approximation), and the construction of a set” (Berthet 2019).