Kunst

Einrichtung und Dekoration

Schmuck und Edelsteine

Uhren, Schreibgeräte und Feuerzeuge

Mode

Münzen und Briefmarken

Comics und Animation

Oldtimer, Motorräder und Automobilia

Wein, Whisky und Spirituosen

Asiatische Kunst und Stammeskunst

Sammelkarten

Spielzeug und Modelle

Archäologie und Naturkunde

Sport

Musik, Filme und Kameras

Bücher und historische Memorabilien

Die schönsten Objekte – präsentiert von {name}

Sebastian Hau

I first became aware of Nigeria's remarkable film industry while working on the series The Hyena & Other Men. Everywhere I traveled, out of the corner of my eye, I'd see people watching these locally produced films—in bars, hotel lobbies, anywhere there was a television. The production values ​​back then were really low, especially the sound quality, which is perhaps why the films irritated me so much at first. But then, at some point, I became more interested in the industry itself, which is the third largest in the world after the United States and India. It wasn't the economics of releasing 500 to 1,000 films each year that interested me as much as the cultural issues encoded in a cinema made by local producers for local audiences. Here we have a local entertainment industry that enables mass self-representation through popular culture. I don't want to exaggerate: the Nigerian film industry diligently produces a mix of banal, strange, interesting, and occasionally profound films. What intrigued me was the authenticity at stake and, if you think about it a little more, how this exercise in authenticity challenges Western preconceived ideas about Africa.
With these grand ideas in mind, I began photographing on film sets. It was an unproductive avenue. I wasn't interested in making a documentary project that would show the puppet strings: the movie cameras, the booms, the microphones, and the countless operators behind the scenes. I was more interested in the cinematic ideas and stereotypes being manufactured for mass consumption. One night, I met a makeup artist who showed me his portfolio: photographs of actors in makeup. He worked in Enugu, which is much easier to work with than Lagos, and he had many connections. We reached an agreement whereby he would help me on my portrait series; the collaboration would showcase his skills with makeup and costumes as much as mine with the camera.The portraits were made over four trips. The individual shoots weren't formal events on a film set; I prefer to think of them as theatrical happenings that sometimes came together quite informally. Of course, I directed the final compositions; they weren't spontaneous events as such. I think it's important to recognize that my photographs offer a selective engagement with the ideas and visual culture of Nollywood. I chose not to involve myself in the soap opera genre, which is very popular in Nigeria and generally set in upper-class homes. I had no interest in that. My taste is more toward the macabre; I loved horror movies as a kid. There's still an element of that in the subterranean parts of my mind.The project's arc involved imagining a series of portraits, inventing them with actors, and then documenting these fictional subjects. In my development as an artist, this project was the first time I truly questioned the veracity of portraiture. I realized how portraiture can be played with, that it can be so much more than just the surface-level depiction of a subject. For example, the portrait of the three enslaved women is easy to misinterpret. But, in fact, it's a photograph of three paid actors dressed in costumes and chains. Working on this series and then reading the responses, I became more aware of what the viewer brings to the image, which often exceeds what is depicted.

Fotografie - Anzahl: 1 - Fotobuch

Pieter Hugo - Nollywood - 2009

Wein

Mindestpreis

Ohne Mindestpreis

Sofortkauf

Budget

Enddatum

Dienstag

heute

Mittwoch

8 März

Freitag

10 März

Donnerstag

9 März

morgen

Samstag

11 März

Standort

Italien

Frankreich

Spanien

Niederlande

Belgien

Deutschland

Portugal

Irland

Tschechische Republik

Österreich

Dänemark

Schweiz

Rumänien

Luxemburg

Vereinigtes Königreich

Polen

Finnland

Schweden

Estland

Litauen

Norwegen

Zypern

Griechenland

Ungarn

Slowakei

Marke

Marcato

Cantine Ferrari

Bellavista

Giulio Ferrari

Marchesi Antinori

Salon

Ca' del Bosco

Perrier-Jouët

Jacques Selosse

Contadi Castaldi

Bollinger

Louis Roederer

Centinari

Franck Bonville

Joseph Perrier

Ayala

Gosset

Krug

Mosnel

Rocche dei Manzoni

Scacciadiavoli

WMF / Geislingen

Besserat De Bellefon

Billecart-Salmon

Laurent-Perrier

Objekt

Rotwein

Weißwein

Schaumwein

Roséwein

Dessertwein

Champagner

Sherry

Jahrgangschampagner

Weinkühler

Champagnerkühler

Rosé-Champagner

Portwein

Weinzubehör

Jahrgangs-Rosé-Champagner 

Weinglas

Thekenfass

Herkunftsland

Argentinien

Australien

Südafrika

Chile

Neuseeland

Libanon

Nordamerika

Europa

China

Marokko

Uruguay

Flaschengröße

Flaschen (0,75 l)

Flasche (0,75Â l)

Magnumflasche (1,5 L)

Magnum (1,5 L)

Doppelmagnum/Jeroboam (3 l)

McKenzie (5,0 L)

Halbe Flasche (0,375 L)

Methusalem (6,0Â l)

Flasche (0,72 l)

Imperial (6 L)

Halbe Flasche (0,375 l)

Flaschen (0,7 l)

Französischer Pot (0,5 L)

Salmanazar (9,0 L)

Belshazzar (12 L)

Clavelin (0,2 L)

Flasche (0,73 l)

Jennie (0,5 L)

Clavelin (0,62 L)

Nebuchadnezzar (15,0 L)

Halbe Flasche (0,35 l)

Halbe Flaschen (0,35 l)

Liter (1,0 L)

Material

Versilbertes Messing

Messing

Versilbert

Plastik

Aluminium

Kristall

Holz

Metall

Legierung

Zustand

Vollständig unbeschädigt, lesbares Etikett

Völlig intakte Metallkapsel

Vollständig unbeschädigte Metallkapsel mit Produktionsloch

Vollständig unbeschädigte Wachskapsel

Fleckiges/ beschriftetes/ gerissenes oder loses, aber lesbares Etikett

Leicht korrodierte/ gerissene oder gebrochene Kapsel

Eingedrückter Korken

Leicht abgenutzte Kapsel

Wie neu - unbenutzt

Stark korrodiert/ gerissen oder gebrochene Kapsel

Hervorragender Zustand - kaum gebraucht, mit minimalen Altersspuren & Verschleißerscheinungen

Guter Zustand - gebraucht mit geringen Alterungsanzeichen

Mäßiger Zustand - stark gebraucht & mit möglicherweise fehlenden kleineren Teilen

Kein Etikett

Zubehör

In originalem Holzkasten

In originaler Kartonverpackung

Eingewickelt in das Originalpapier

In originaler Schatulle

Nicht originale Holzkiste

In originalem Geschenkkarton

Periode

2024

2020 und ff.

1970-1980

1910-1920

1920-1930

2010–2020

2025

Stil

Art Nouveau

Moderne

Farbe

Silber

Schwarz

Beige

Anbaugebiet

Toskana

Barolo

Rioja

Brunello di Montalcino

Ribera del Duero

Bordeaux

Saint-Émilion

Piemont

Pauillac

Amarone della Valpolicella

Wein

Dieses Objekt ist leider nicht mehr verfügbar, aber es gibt noch viel zu entdecken

Pieter Hugo - Nollywood - 2009

Beliebt in Wein

6666 Objekte

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