Decolonizing the Camera: Photography in Racial Time

Total Page:16

File Type:pdf, Size:1020Kb

Decolonizing the Camera: Photography in Racial Time Durham E-Theses Decolonizing the Camera: Photography in Racial Time SEALY, MARK,ANTHONY How to cite: SEALY, MARK,ANTHONY (2016) Decolonizing the Camera: Photography in Racial Time , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11794/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Thesis Title: Decolonizing the Camera: Photography in Racial Time Acknowledgements Page (1) Abstract Page (2) Introduction Pages (3) – (16) Chapter 1: The Congo Atrocities, A Lecture To Accompany a Series of 60 Photographic Slides for the Optical Lantern. By W.R. (Revised by Mr E.D. Morel and Rev. J.H. Harris.) Price 6d. Pages (17) - (60) Chapter 2: Race Denial and Imaging Atrocity Pages (61) - (97) Chapter 3: Violence of the Image Pages (98) - (143) Chapter 4: Decolonial Frames Pages (144) - (164) Chapter 5: Wayne Miller – ‘Black Metropolis’ Pages (165) - (186) Chapter 6: Rights and Recognition Pages (187) - (217) Photographic Archives Consulted Page (218) Bibliography Pages (219) - (236) Photographs Caption Sheet PowerPoint Presentation Mark Sealy Decolonising the Camera: Photography in Racial Time By Mark Sealy Thesis submitted for the degree of PhD School of Modern Languages and Cultures Durham University 2015 ii Table of Contents. Decolonising the Camera: Photography in Racial Time Acknowledgements Page (1) Abstract Page (2) Introduction Pages (3) – (16) Chapter 1: The Congo Atrocities, A Lecture To Accompany a Series of 60 Photographic Slides for the Optical Lantern. By W.R. (Revised by Mr E.D. Morel and Rev. J.H. Harris.) Price 6d. Pages (17) - (60) Chapter 2: Race Denial and Imaging Atrocity Pages (61) - (97) Chapter 3: Violence of the Image Pages (98) - (143) Chapter 4: Decolonial Frames Pages (144) - (164) Chapter 5: Wayne Miller – ‘Black Metropolis’ Pages (165) - (186) Chapter 6: Rights and Recognition Pages (187) - (217) Photographic Archives Consulted Page (218) Bibliography Pages (219) - (236) Photographs Caption Sheet PowerPoint Presentation “The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged.” Mark Sealy iii Acknowledgements I would like thank the following organisations and individuals for their generosity and support throughout the journey of this doctoral study thesis, without which this would not have been possible. Arts & Humanities Research Council for awarding grant funding to support the research and study. My supervisors at Durham University in the School of Modern Languages and Cultures Professor Jonathan Long, to whom I would like to express my deepest gratitude for his patience, intellectual generosity and insightful calm and structural thinking during the research and writing of this thesis. Thank You. Also Professor Andrea Noble for her initial guidance, planning and support and Professor Ed Welch for encouraging me to enter this programme of study at Durham University. I would also like to thank Ms Lucia Luck Secretary in the School of Modern Languages for being incredibly helpful at all times. My Family The thesis would not have been possible without the support of my family. Thank You to Shona Illingworth, my wife for her encouragement, patience and endurance. Thank You to my children Alina and Antony (Sonny) Sealy. 1 Abstract for Thesis Decolonising the Camera: Photography in Racial Time By Mark Sealy 2015 This thesis argues that photography is tainted with ingrained racist ideologies that have been present since its earliest inception in 1839. It considers the act of photographing the Other as a site of Western violence, myth, fantasy and disavowal. It examines archival images through the prism of race, representation and human rights with the aim of extracting new meanings that bring the Other into focus. This is done by reading the images both against the politics of the time in which they were made and as contemporary objects at work in the political and cultural present. The thesis makes the case that photography is burdened with ideological fault-lines concerning race and rights. The fault-lines have been forged by cultural and colonial violence resulting in Western scopic regimes that have dominated and fixed the Other within an inescapable set of Western epistemologies that have been used to serve and enhance imperial perspectives on race. I argue that these perspectives are still active within the Western mindset manifest as benign acts of photographic empathy that work to ultimately bolster Western hegemonies and economies. This thesis is based on 25 years of experience as a researcher and curator of international photography exhibitions, direct research into archives in different continental settings, the presentation of papers in a variety of national and international contexts, and interviews with photographers, curators and academics. My hypothesis is that the history of photography can only be complete if the voice of the subaltern is made critically present within it, so allowing us to engage with important political racial memory work that can help us re-read the past and reconfigure different meanings concerning history, race, rights and human recognition in the present. I argue that photography requires decolonising work to be carried out on its history. I propose that if we do not recognise the historical and political conjunctures of racial politics at work within photography and the effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. 2 Introduction This thesis examines how Western photographic practice has been used as a tool for creating Eurocentric, violent, visual regimes. It explores issues of race and cultural erasure within photographic history through the direct analysis of photographic works. This analysis is done through lines of enquiry that are informed by two underlying questions. Firstly, has photography been a liberating device, or an oppressive weapon that holds the viewer/producer and citizen/subject in a violent system of continual exposure? And secondly, what epistemic value has photography brought to our understanding of difference? This thesis considers whether photographic works concerning visualisations of the ‘Other’ can produce different or new meanings when they are read critically through the prism of colonialism, its inherent forms of human negation, its temporalities and its violence. This is done with the aim of locating and reading the photographs discussed here within the ideologies of colonial time, space and place. Decolonising the camera in this context is an invitation for an analysis of photography to be made within and against the political and violent reality of Western imperialism. The central concept of decolonising the camera functions as a critical dialogue with colonial and imperial photographic histories, and the social and visual spaces they occupy. Through the photographs discussed, I argue that it is within these types of racialised photographic spaces that we can analyse the variant levels of violence done in photography concerning the making of the Other and from that perspective consider how these forms of violence worked in the service of Western colonial and imperial powers. ‘Colonialism has been a dispossession of space, a deprivation of identity’ (Barlet 2000, p.39), and it created a system of image production that maintained and disseminated its dehumanising ideologies. At the centre of this thesis lies the proposition that it is only in recognising photography as an active agent of Western colonising authority at work on the body of the Other, both in the past and in the present, that we can begin to fully recognise the complexities and political impact of photographs in visualisations of racialised subjects. Throughout this thesis I suggest that a photograph of a racialised subject must be both located and then de-located from the racial and political time of its making and not solely articulated by its descriptive (journalistic) or aesthetic (art) concerns. I maintain that it is only within the 3 political and cultural location of a photograph that we can discover the coloniality at work within it and that it is only then, through this understanding, that a process of enquiry can begin into the nature of its colonial cultural coding. A key function of decolonising the camera is to not allow photography’s colonial past and its cultural legacies in the present to lie unchallenged and un-agitated, or to be simply left as an unquestioned chapter within the history of the medium. Decolonising the photographic image is an act of unburdening it from the assumed, normative,
Recommended publications
  • How Did Two Bullets Kill 20 Million? Things You Need to Know Before We Get Going…
    How did two bullets kill 20 million? Things you need to know before we get going… Countries in Europe were becoming more and more suspicious of each other. Germany was jealous of Britain’s empire and wanted an empire of it’s own. The Balkan countries were up for grabs. Alsace-Lorraine – argued about for ages and ….. Weapons were being developed all across Europe. If that is too much to take in, just remember…. Countries in Europe were getting more and more greedy and They were VERY suspicious of “the other side”. Would you go to war… Our nation is attacked by a foreign military A nation with whom we have a mutual defense alliance is attacked Our President is assassinated by a terrorist from an unfriendly nation Our President tells us that a country is planning an imminent attack on us A country has just had a fundamentalist revolution and is sending fighters into oil-producing nations in the region An unfriendly nation has just successfully tested a nuclear weapon in violation of a signed UN agreement A US naval vessel is sunk in a foreign harbor by government agents from that country Observe the two maps: What empires are missing? What can this tell us about the outcome of the war? Other Causes: Alliances What differences do you notice about By 1914 all the major thispowers map, were and linked the by a system of alliances. Europe today? The alliances made it more likely that a war would start. Once started, the alliances made it more likely to spread.
    [Show full text]
  • CVAN Open Letter to the Secretary of State for Education
    Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country.
    [Show full text]
  • Stuart Hall Bibliography 27-02-2018
    Stuart Hall (3 February 1932 – 10 February 2014) Editor — Universities & Left Review, 1957–1959. — New Left Review, 1960–1961. — Soundings, 1995–2014. Publications (in chronological order) (1953–2014) Publications are given in the following order: sole authored works first, in alphabetical order. Joint authored works are then listed, marked ‘with’, and listed in order of co- author’s surname, and then in alphabetical order. Audio-visual material includes radio and television broadcasts (listed by date of first transmission), and film (listed by date of first showing). 1953 — ‘Our Literary Heritage’, The Daily Gleaner, (3 January 1953), p.? 1955 — ‘Lamming, Selvon and Some Trends in the West Indian Novel’, Bim, vol. 6, no. 23 (December 1955), 172–78. — ‘Two Poems’ [‘London: Impasse by Vauxhall Bridge’ and ‘Impasse: Cities to Music Perhaps’], BIM, vol. 6, no. 23 (December 1955), 150–151. 1956 — ‘Crisis of Conscience’, Oxford Clarion, vol. 1, no. 2 (Trinity Term 1956), 6–9. — ‘The Ground is Boggy in Left Field!’ Oxford Clarion, vol. 1, no 3 (Michaelmas Term, 1956), 10–12. 1 — ‘Oh, Young Men’ (Extract from “New Landscapes for Aereas”), in Edna Manley (ed.), Focus: Jamaica, 1956 (Kingston/Mona: The Extra-Mural Department of University College of the West Indies, 1956), p. 181. — ‘Thus, At the Crossroads’ (Extract from “New Landscapes for Aereas”), in Edna Manley (ed.), Focus: Jamaica, 1956 (Kingston/Mona: The Extra-Mural Department of University College of the West Indies, 1956), p. 180. — with executive members of the Oxford Union Society, ‘Letter: Christmas Card Aid’, The Times, no. 53709 (8 December 1956), 7. 1957 — ‘Editorial: “Revaluations”’, Oxford Clarion: Journal of the Oxford University Labour Club, vol.
    [Show full text]
  • Service Above Self the ROTATOR ROTARY CLUB of SOUTHPORT
    THE ROTATOR of the ROTARY CLUB OF SOUTHPORT District: 9640 Queensland,Chartered 20 Australiath August, 1945 16 May 2017 th Chartered 20 August 1945 Charter No: 6069 www.southportaustraliarotary.org Club No 17905 Service Above Self th Presidents Message for the Rotator of the 16 of May ROSTER 16 May I feel I am still coming down from a post Conference high, I think the best I have been to in my thirty nine Chr Michael I years and a special thankyou to DG Michael and to my Southport Rotary mates for a strong attendance and Sgt NA organizing and manning the registration desk. We’re a good team and I think did a dam good job. Atnd Jim S I am really drawn to people who don’t have a job, but RI President have a vocation, a calling and with it a dedication to Trs Tony S John Germ make a difference in people’s lives, and so it was with Rt Mn NA Nicole and Camille from Currumbin Special School, last night. I am sure we all felt privileged to be able to assist In Tst Lea R in some small way in the development and care of these special children. Th ks Greg D We had some fabulous speakers at the conference in Kerry O’Brien, Ita Buttrose and Noel Pearson but I have Up/Dn Lionel P to say the speakers I enjoyed the most were Rotarians, in particular Past President of RI, Bill Boyd and RI Director Scribe Allan T Noel Travaskis. A few gems for me from Bill Boyd: 3.6 DG Michael Irving billion people on our planet do not have access to clean water, largely due to poor sanitation leading to contamination of the water supply, leading to the deaths of 6,000 people a day from water borne diseases.
    [Show full text]
  • A Way of Life Considering and Curating the Sainsbury African
    A Way of Life Considering and Curating the Sainsbury African Galleries Christopher James Spring A Context Statement submitted in partial fulfilment of the requirements For the award of Doctorate in Professional Studies by Public Works Institute for Work Based Learning Middlesex University United Kingdom 2015 1 Table of Contents Abstract 3 Summary and Introduction 3 Part 1: Laying the Foundations 13 Part 2: The Sainsbury African Galleries 30 Part 3: The Forum 44 An ending, a beginning 73 Bibliography 77 Appendices 1. The MoM in reviews of the African Galleries 83 2. The African Galleries Reviewed 84 3. Chris Spring bibliography 86 4. Fieldwork 91 5. Exhibitions 91 6. Major Acquisitions 92 7. Festivals and Conferences 93 List of Images ‘Two Towers’, 2008, p.4, Kester and the Throne, p.10, The Tree of Life, p.11, Register, 1988, p.19, House in Farafra Oasis, 1991, p.22, ‘Big Masquerade’ by Sokari Douglas Camp, 1995, (copyright SDC and the Trustees of the BM) p.23, ‘Meriel’, 1998, p.25, Weaver in Mahdia, 1997, p.28, ‘Vessel’ by Magdalene Odundo, 2000, (copyright MO and Trustees of the BM), p.33, Kenya cricket shirt, 2001, p.39, The African Galleries Introduction, 2004, p.46, Mahdaoui’s ‘Joussour’, 1997 (copyright Nja Mahdaoui), p.48, In Temacine, 2013, p.49, Ifitry, Morocco, 2013, p.50, ‘Hujui Kitu’ kanga, 2003,(copyright Trustees of the BM),p.53, Kester on the Throne, 2000, (copyright Kester and Christian Aid) The Throne of Weapons, 2002,(copyright Kester and the Trustees of the BM),p.54, Tree of Life in Peace Park, 2004,(copyright David
    [Show full text]
  • Estonian Education Landscape
    Fact Sheet April 2009 Estonia Today THE CROSS OF LIBERTY AND THE MONUMENT TO THE WAR OF INDEPENDENCE IN TALLINN War of Independence and the Cross of In 1925, the Riigikogu passed a law to discontinue Liberty bestowal of the Cross of Liberty, saying that the services of the individuals who were notable in In the Estonian War of Independence, which took establishing the independence of the state and place from 1918–1920, the Estonian side lost 6 275 freedom of the nation had been honoured. men and women, with many more injured. However, the awarding of the Cross of Liberty as a military decoration was preserved, and the To recognise the service of participants in the War guidelines for awarding it still exist in today’s of Independence, the first Estonian state decoration, Decorations Act. The last holder of the Cross of the Cross of Liberty, was created in 1919. The Law Liberty, Karl Jaanus, died on 6 October 2000 in on the Establishment of the Cross of Liberty stated Estonia. that those who provided military and civilian services during the creation of the Republic of Estonia could receive the decoration. Preserving the memory of the War of Independence before and after the Strict guidelines were followed in awarding the Second World War Cross of Liberty, so it became Estonia’s most distinguished award, as well as the only one whose In addition to honouring the most remarkable holders were legally given a number of privileges soldiers in Estonia’s War of Independence and and concessions. The first seven Crosses of Liberty allies that served the Estonian nation, Estonia also were bestowed in August 1919 on officers of the US wanted to preserve the memory of all those who Red Cross that helped Estonia during the War of fought in the war.
    [Show full text]
  • Occassional Papers: the New Photography 1920S–1940S
    occasional papers DEPARTMENT OF INTERNATIONAL AND AUSTRALIAN PHOTOGRAPHY Introduction cover: UMBO Selbst (Self- The National Gallery of Australia began acquiring Over the years many substantial talks have been portrait) c 1930, printed 1980 gelatin silver photograph photographic art in 1972, and in 2012 current given by staff and guest speakers, and those papers National Gallery of Australia, holdings are over 25000 works, of which over half that were not published are now planned to be Canberra, purchased 1983 are Australian. This significant print collection is progressively placed on the Gallery’s website. above: Lev Levitsky complemented by the National Gallery of Australia Tsar Nicholas II of Russia and A number of specific strengths exist in the Gallery’s Tsarina Alexandra Research Library’s excellent and extensive catalogue with children, Peter Hof, collection, including holdings of modernist 16th August 1901 of photographic literature. National Gallery of Australia, photography of the 1920s to 1930s. This paper Canberra, purchased 2006 The story of the development of the Gallery’s addresses background material to the modern photography collection has been told in the Gallery’s photography collection and has been contributed publication Building the collection, released in 2003. by Robert Deane, former Assistant Director Significant new directions began in 2006 with a (Administration), currently a volunteer and new focus on the representation of the history of Honorary Researcher. photography in the Asia-Pacific region, announced in October 2005 by Director Ron Radford in his Gael Newton Senior Curator, Photography A vision for the National Gallery of Australia. June 2012 (That document and further information can be found on the Gallery’s website: nga.gov.au, see tabs for ‘information’ and ‘collections’.) The New Photography 1920s–1940s ‘Photography is the art of the revolution’1 The Great War saw the annihilation of an entire societies through the fields of advertising, left: Cover of Das Deutsche Lichtbild 1927.
    [Show full text]
  • PDF File, 1.7 MB
    Black History Events Report – Victoria and Albert Museum 2003 Analysis of Black History Events held at the Victoria and Albert Museum during Black History Month Full Report (February 2003) Prepared By The Market Research Group (MRG), Bournemouth University, On Behalf of The Victoria and Albert Museum www.themarketresearchgroup.co.uk Page 1 Black History Events Report – Victoria and Albert Museum 2003 CONTENT OF REPORT CONTENT OF REPORT............................................................... 2 1: Executive Summary .................................................................. 4 1.1: Event analysis (4.1.) Both questionnaires. ..........................................................4 1.2: Demographics (4.3.)...........................................................................................5 2: Introduction ............................................................................... 7 2.1: The Black History Events ....................................................................................7 2.3: The Market Research Group (MRG) ...................................................................7 2.4: Project Aims & Objectives ...................................................................................7 2.4.1: Project Aims........................................................................................................................7 2.4.2: Project Objectives ...............................................................................................................7 3: Methodology.............................................................................
    [Show full text]
  • Charlie Phillips Resume
    Charlie Phillips Resume SOLO EXHIBITIONS 2018 Nine Night – a selection from the ‘How Great Thou Art’ exhibition to accompany theatre production, Trafalgar Studios, London Charlie Phillips: How Great Thou Art, Dorfman Foyer and the Wolfson Gallery, National Theatre, London 2017 London is the Place For Me by Charlie Phillips, Lomography Gallery Soho, London Through the Looking Glass; Exploring Multi Cultural London An Exhibition by Charlie Phillips, Dugdale, Enfield, London 2014 How Great Thou Art – 50 Years of African Caribbean Funerals in London, Photofusion Gallery, London 2013 Charlie Phillips: The Urban Eye, New Art Exchange, Nottingham 2004 Notting Hill in the Sixties, The Black Hidden History and Heritage of Kensington and Chelsea. Chelsea Library, London 2003 Through London’s Eyes: Photographs by Charlie Phillips, Museum of London GROUP EXHIBITIONS 2020-2021 The Museum of London and the Dub London: Bassline of a City 2 October 2020 - 31 January 2021 Freedom Road: A film which re-imagines the music of the American Civil Rights movement in the time of Black Lives Matter In March 2020 as part of POW! (Thanets Womens Festival), vocalist Sabina Desir and keyboard player Jessica Lauren created their immersive performance Freedom Road at Turner Contemporary in Margate. 2019 Paris-London, Musée national de l'histoire de l'immigration, Paris France 12 March 2019 until 5 January 2020 Includes photos by Charlie Phillips and Vanley Burke. V&A - Black History Month Explore photos taken between the 1950s and 90s, documenting the lives of black
    [Show full text]
  • Congo Missionary and Campaigner Chapter 1 the Making of a Missionary
    related to the movement’s history, practice, and thought. history, to the movement’s related ennial International History Brethren Conferences, as well as other scholarly works Studies in Brethren History aims to make readily accessible the product of the bi to change them. tirelessly campaigned Lord’ the of soldier ‘fearless this how and times, his and rightful place in history. ielsen from the obscurity into which he had fallen and restores him to vincing his case for each of the central book’s claims. It rescues Daniel J. Dan quest. A forgotten tombstone in an old island cemetery started on Óli Jacobsen his T 9 ISBN • • • is book makes three bold new claims for Daniel J. Danielsen (1871–1916): Danielsen J. Daniel for claims new bold three makes book is 780957 the Faroes. within of the movement in the spread crucial at a critical juncture role As the Congo. in the a change of regime stir the conscience of public and force was the He Twain. writers such as Mark used by Congo under the rule that were of King Leopold II Belgium in the took some of the most famous photographs atrocities He 978-0-9570177-4- T rough rough painstaking original research, he persuasively makes a con 017740 f rst Faroese-speaking, full-time Brethren evangelist, he had a evangelist, full-time Brethren rst Faroese-speaking, f 0 rst to hold public meetings in the campaign which would T e book also paints a fascinating portrait of a man Editor of Editor Daniel J. Danielsen Brethren Historical Review Historical Brethren Dr.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • Charity Art Auction in Favor of the CS Hospiz Rennweg in Cooperation with the Rotary Clubs Wien-West, Vienna-International, Köln-Ville and München-Hofgarten
    Rotary Club Wien-West, Vienna-International, Our Auction Charity art Köln-Ville and München-Hofgarten in cooperation with That‘s how it‘s done: Due to auction 1. Register: the current, Corona- related situation, BenefizAuktion in favor of the CS Hospiz Rennweg restrictions and changes 22. February 2021 Go to www.cs.at/ charityauction and register there; may occur at any time. please register up to 24 hours before the start of the auction. Tell us the All new Information at numbers of the works for which you want to bid. www.cs.at/kunstauktion Alternatively, send us the buying order on page 128. 2. Bidding: Bidding live by phone: We will call you shortly before your lots are called up in the auction. You can bid live and directly as if you were there. Live via WhatsApp: When registering, mark with a cross that you want to use this option and enter your mobile number. You‘re in. We‘ll get in touch with you just before the auction. Written bid: Simply enter your maximum bid in the form for the works of art that you want to increase. This means that you can already bid up to this amount, but of course you can also get the bid for a lower value. Just fill out the form. L ive stream: at www.cs.at/kunstauktion you will find the link for the auction, which will broadcast it directly to your home. 3. Payment: You were able to purchase your work of art, we congratulate you very much and wish you a lot of pleasure with it.
    [Show full text]