film illustration
Film illustration
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Collectible graphic
Sneaker culture is now fully embedded in the collectible world, with certain Air Jordans, Yeezys, and designer collabs reaching six-figure resale prices. Collectors are looking for limited releases, exclusive collaborations, and unworn, boxed pairs.
Collectura is ook DE verzamelaarswinkel waar u verzamelobjecten kunt kopen in Den Haag. In onze winkel vinden cadeauzoekers, liefhebbers van collectorsitems en verzamelaars alles wat ze nodig hebben. Sinds 1967 verkopen wij, veelal uit eigen import, catalogi, literatuur, accessoires en collectables voor de verzamelaar. Bij ons vindt u catalogi over de waarde van postzegels, munten, speelgoed, LP’s, singles, keramiek, verzamelkaarten, movie/tv merchandise en nog veel meer.
Sneaker culture is now fully embedded in the collectible world, with certain Air Jordans, Yeezys, and designer collabs reaching six-figure resale prices. Collectors are looking for limited releases, exclusive collaborations, and unworn, boxed pairs.
Collectura is ook DE verzamelaarswinkel waar u verzamelobjecten kunt kopen in Den Haag. In onze winkel vinden cadeauzoekers, liefhebbers van collectorsitems en verzamelaars alles wat ze nodig hebben. Sinds 1967 verkopen wij, veelal uit eigen import, catalogi, literatuur, accessoires en collectables voor de verzamelaar. Bij ons vindt u catalogi over de waarde van postzegels, munten, speelgoed, LP’s, singles, keramiek, verzamelkaarten, movie/tv merchandise en nog veel meer.
From retro video games to vintage toys, nostalgia-fueled collecting is making a huge comeback. Games like Super Mario 64 and The Legend of Zelda: Ocarina of Time have sold for six figures at auction, while sealed VHS tapes from the 80s and 90s are commanding surprising premiums.
Als u memorabilia en verzamelobjecten wilt kopen, moet u er snel bij zijn. Wat vandaag in de verzamelaarswinkel ligt, kan morgen alweer weg zijn! Twijfelt u over een bepaald object? Schroom niet om contact met ons op te nemen. Stuur hiervoor een e-mail naar . Wilt u liever in onze winkel de collectie bekijken? U vindt ons op de Piet Heinstraat 113. Wij zijn maandag open van 13:00-17:30. Dinsdag t/m vrijdag zijn we geopend van 10:00 tot 17:30 en zaterdag van 11:00 tot 17:30. Tot en met kerstmis zijn wij nu ook op zondag open van 12:00 tot 16:00!
Empire of the Sun artwork
“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the war zone. It was very interesting to be taken into the war zone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremberg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”
And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”
It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of land mines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”
“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the war zone. It was very interesting to be taken into the war zone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremberg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”
And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”
It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of land mines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”