12/11/2011
Νανά Στεπανιάν. ΕΝΑ ΠΑΡΑΜΥΘΙ ΣΕ ΜΙΑ ΑΛΗΘΕΙΑ
ΕΝΑ ΠΑΡΑΜΥΘΙ ΣΕ ΜΙΑ ΑΛΗΘΕΙΑ
Εικαστική έκθεση μικτής τεχνικής της Νανάς Στεπανιάν
Διάρκεια: Από 9 έως 31 Δεκεμβρίου 2011
Που: Στο Booze Cooperativa, Κολοκοτρώνη 57 – Αθήνα
Είσοδος: Ελεύθερη Ωράριο: Καθημερινά 2μμ έως 8μμ
Ζωγραφική, χρώματα, κολάζ, τυπωμένες εικόνες αντικειμένων από προσωπικές συλλογές πάνω σε ασπρόμαυρες φωτογραφίες συνθέτουν ''ένα παραμύθι σε μία αλήθεια''.
Αισιόδοξη - απαισιόδοξη
δυνατή - αδύνατη
τολμηρή - ατολμή
χαλαρή - σχολαστική
παιδί - γυναίκα
παιχνίδι - πραγματικότητα
φτωχιά - πλούσια
χαρά – θλίψη
Δύσκολο να με χαρακτηρίσω αφού είμαι όλα αυτά μαζί, δύσκολο να χαρακτηρίσω τα έργα μου που βγαίνουν απ΄όλα αυτά τα κομμάτια μου, την αλήθεια, το ψέμα, την παιδικότητα που
κουβαλάω στα πενήντα ένα μου χρόνια, την εικόνα των χρωμάτων, την εικόνα της υπερβολής, την εικόνα ''του ότι λάμπει δεν είναι πάντα χρυσός''.
Λέγομαι Νανά Στεπανιάν.
ΕΠΙΚΟΙΝΩΝΙΑ ΒΟΟΖΕ COOPERATIVA:
Άρτεμις Λειβαδάρου / Artemis Livadarou
Οργάνωση πολιτιστικών δρώμενων / Administrative department
Κοπερατίβα Τέχνης / Booze Cooperativa
Κολοκοτρώνη 57 Αθήνα / 57 Kolokotroni Str. Athens
Τηλ./Tel.: 2103240944 / 2114000863
www.boozecooperativa.com
Εικαστική έκθεση μικτής τεχνικής της Νανάς Στεπανιάν
Διάρκεια: Από 9 έως 31 Δεκεμβρίου 2011
Που: Στο Booze Cooperativa, Κολοκοτρώνη 57 – Αθήνα
Είσοδος: Ελεύθερη Ωράριο: Καθημερινά 2μμ έως 8μμ
Ζωγραφική, χρώματα, κολάζ, τυπωμένες εικόνες αντικειμένων από προσωπικές συλλογές πάνω σε ασπρόμαυρες φωτογραφίες συνθέτουν ''ένα παραμύθι σε μία αλήθεια''.
Αισιόδοξη - απαισιόδοξη
δυνατή - αδύνατη
τολμηρή - ατολμή
χαλαρή - σχολαστική
παιδί - γυναίκα
παιχνίδι - πραγματικότητα
φτωχιά - πλούσια
χαρά – θλίψη
Δύσκολο να με χαρακτηρίσω αφού είμαι όλα αυτά μαζί, δύσκολο να χαρακτηρίσω τα έργα μου που βγαίνουν απ΄όλα αυτά τα κομμάτια μου, την αλήθεια, το ψέμα, την παιδικότητα που
κουβαλάω στα πενήντα ένα μου χρόνια, την εικόνα των χρωμάτων, την εικόνα της υπερβολής, την εικόνα ''του ότι λάμπει δεν είναι πάντα χρυσός''.
Λέγομαι Νανά Στεπανιάν.
ΕΠΙΚΟΙΝΩΝΙΑ ΒΟΟΖΕ COOPERATIVA:
Άρτεμις Λειβαδάρου / Artemis Livadarou
Οργάνωση πολιτιστικών δρώμενων / Administrative department
Κοπερατίβα Τέχνης / Booze Cooperativa
Κολοκοτρώνη 57 Αθήνα / 57 Kolokotroni Str. Athens
Τηλ./Tel.: 2103240944 / 2114000863
www.boozecooperativa.com
12/07/2011
12/02/2011
Gottfried Jäger | Photographisms
-Announcement photography-now.com
Photo 111103.4, 2011. Digigraphie ®
70 x 70 cm, Edition 5+2 AP
Opening Exhibition of the new gallery space in Baden-Baden
Gottfried Jäger | Photographisms
digital works 2008- 2011
3rd december 2011 - 28th january 2012
Opening reception: Friday, 2nd december 5-8 pm and Saturday, 3. december 11am - 4 pm
The artist will be present.
PHOTO EDITION BERLIN | Baden-Baden
Nikolaus von Wolff
Büttenstr.7, D - 76530 Baden-Baden Germany
Tel: +49 (0) 152 2635 0944 bb@photo-edition-berlin.com
www.photo-edition-berlin.com
Gottfried Jäger - Photographisms
digital works 2008- 2011
Artist statement: Photographisms
My early photographic works were guided by the empiric experimental method of ‘trial and error’. In this, I followed the German experimental photographer Heinz Hajek-Halke (1893–1983). From the mid 1960s on, and under the influence of philosopher Max Bense’s (1910–1990) ‘generative aesthetics’, logical sequences of images began to develop, which consequently led to the introduction of the term ‘generative photography’ as a title for an exhibition with fellow artists at Kunsthaus Bielefeld in 1968. The program based on the idea of an ‚ image-given’ (not ‚ image-taken’) photography, rests upon a systematic constructivist notion. This has been dominating my work until this day– even though I have gradually extended its margins. Starting in 1983, ‘photomaterialistic works‘, photo objects, photo assemblages, photo installations, were created. With these I study the fundamental photographic elements light and light sensitivity in materials with regard to their qualities in the imaging procedure. The project is still being continued. Since the early 1990s, I have been involving digital methods and the computer in the generative program. Hereby, the ‘emanation of light‘ (Franz Roh) is no longer the central issue but serves as a reference for my interest in its simulation.
Photo 111104.4, 2011. Digigraphie ®
100 x 135 cm, Edition 5+2 AP
Thus, the ‘photo’ series – which started with first works in 2004 – is based on the implementation of the customized computer image processing application Adobe Photoshop™. However, it is not used for its original purpose – to process a photograph. Instead, the program produces its own images, pure syntax and form.
One could say the program plays with itself whereby its syntactic qualities feature perceivably, as there is no pictorial motive that interferes or ‘disrupts’ its self reference. Merely the formal structure of the program is made visible, its degrees of brightness, contrasts, colors, textures, etc. This does not result in depictions (icons) or ideograms (symbols), but solely in formal images (symptoms) – formalisms. One can also call this ‘photographisms’ (J.A. Schmoll aka Eisenwerth), as they refer to the photographic canon of form. They become the objects in our observation.
Gottfried Jäger, July 2011
Photo 111110.4, 2011. Digigraphie ®
70 x 70 cm, Edition 5+2 AP
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Photo 111103.4, 2011. Digigraphie ®
70 x 70 cm, Edition 5+2 AP
Opening Exhibition of the new gallery space in Baden-Baden
Gottfried Jäger | Photographisms
digital works 2008- 2011
3rd december 2011 - 28th january 2012
Opening reception: Friday, 2nd december 5-8 pm and Saturday, 3. december 11am - 4 pm
The artist will be present.
PHOTO EDITION BERLIN | Baden-Baden
Nikolaus von Wolff
Büttenstr.7, D - 76530 Baden-Baden Germany
Tel: +49 (0) 152 2635 0944 bb@photo-edition-berlin.com
www.photo-edition-berlin.com
Gottfried Jäger - Photographisms
digital works 2008- 2011
Artist statement: Photographisms
My early photographic works were guided by the empiric experimental method of ‘trial and error’. In this, I followed the German experimental photographer Heinz Hajek-Halke (1893–1983). From the mid 1960s on, and under the influence of philosopher Max Bense’s (1910–1990) ‘generative aesthetics’, logical sequences of images began to develop, which consequently led to the introduction of the term ‘generative photography’ as a title for an exhibition with fellow artists at Kunsthaus Bielefeld in 1968. The program based on the idea of an ‚ image-given’ (not ‚ image-taken’) photography, rests upon a systematic constructivist notion. This has been dominating my work until this day– even though I have gradually extended its margins. Starting in 1983, ‘photomaterialistic works‘, photo objects, photo assemblages, photo installations, were created. With these I study the fundamental photographic elements light and light sensitivity in materials with regard to their qualities in the imaging procedure. The project is still being continued. Since the early 1990s, I have been involving digital methods and the computer in the generative program. Hereby, the ‘emanation of light‘ (Franz Roh) is no longer the central issue but serves as a reference for my interest in its simulation.
Photo 111104.4, 2011. Digigraphie ®
100 x 135 cm, Edition 5+2 AP
Thus, the ‘photo’ series – which started with first works in 2004 – is based on the implementation of the customized computer image processing application Adobe Photoshop™. However, it is not used for its original purpose – to process a photograph. Instead, the program produces its own images, pure syntax and form.
One could say the program plays with itself whereby its syntactic qualities feature perceivably, as there is no pictorial motive that interferes or ‘disrupts’ its self reference. Merely the formal structure of the program is made visible, its degrees of brightness, contrasts, colors, textures, etc. This does not result in depictions (icons) or ideograms (symbols), but solely in formal images (symptoms) – formalisms. One can also call this ‘photographisms’ (J.A. Schmoll aka Eisenwerth), as they refer to the photographic canon of form. They become the objects in our observation.
Gottfried Jäger, July 2011
Photo 111110.4, 2011. Digigraphie ®
70 x 70 cm, Edition 5+2 AP
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
11/20/2011
Lucy Hughes. Snapshot Backs
e-Announcement photography-now.com
© Lucy Hughes
Snapshot Back I, 2010, Inkjet print, 1100 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
Lucy Hughes | Snapshot Backs
November 20 – December 12 2011
{Suite} Gallery
Level 2, 147 Cuba Street / 108 Oriental Parade, 6011 Wellington +64 49767663
info@suite.co.nz http://www.suite.co.nz
Opening hours: Wed-Fri 11 am - 5 pm and Sat 11 am - 4 pm
© Lucy Hughes
Snapshot Back IV, 2010, Inkjet print, 1530 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
Lucy Hughes | Snapshot Backs
{Suite} Gallery is pleased to present works from Lucy Hughes’ latest series, which explores the family archive and its fundamental purpose to capture and stop the passing of time.
Photographic family archives leave a trace of our existence behind for future generations. By imprinting our three-dimensional world onto the surface of a two-dimensional object, there is an assumption that this object exists as a protection against the passing of time.
An archive’s fundamental purpose is to capture and stop a passing moment. Yet it is contradicted and diluted by a new purpose once that moment is physically transformed into a photographic object. Allowing the viewer only access to the back of the photo suggests a shift of emphasis. The bind to an outside referent is loosened, shifting the photograph into the realm of abstraction.
Lucy Hughes works and lives in Wellington, New Zealand and holds a Master of Fine Arts from the University of Auckland, New Zealand.
© Lucy Hughes
Snapshot Back III, 2010, Inkjet print, 1530 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Lucy Hughes
Snapshot Back I, 2010, Inkjet print, 1100 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
Lucy Hughes | Snapshot Backs
November 20 – December 12 2011
{Suite} Gallery
Level 2, 147 Cuba Street / 108 Oriental Parade, 6011 Wellington +64 49767663
info@suite.co.nz http://www.suite.co.nz
Opening hours: Wed-Fri 11 am - 5 pm and Sat 11 am - 4 pm
© Lucy Hughes
Snapshot Back IV, 2010, Inkjet print, 1530 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
Lucy Hughes | Snapshot Backs
{Suite} Gallery is pleased to present works from Lucy Hughes’ latest series, which explores the family archive and its fundamental purpose to capture and stop the passing of time.
Photographic family archives leave a trace of our existence behind for future generations. By imprinting our three-dimensional world onto the surface of a two-dimensional object, there is an assumption that this object exists as a protection against the passing of time.
An archive’s fundamental purpose is to capture and stop a passing moment. Yet it is contradicted and diluted by a new purpose once that moment is physically transformed into a photographic object. Allowing the viewer only access to the back of the photo suggests a shift of emphasis. The bind to an outside referent is loosened, shifting the photograph into the realm of abstraction.
Lucy Hughes works and lives in Wellington, New Zealand and holds a Master of Fine Arts from the University of Auckland, New Zealand.
© Lucy Hughes
Snapshot Back III, 2010, Inkjet print, 1530 x 1100 mm, Edition of 5
Courtesy {Suite} Gallery
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
François Berthoud
e-Announcement photography-now.com
François Berthoud © François Berthoud
François Berthoud
Until December 3, 2011
Galerie Walter Keller, Oberdorfstr. 2, CH-8001 Zurich / Switzerland
Tel.: +41 (0) 43 268 53 65 info@kellerkunst.com
http://www.kellerkunst.com
François Berthoud © François Berthoud
After the success of his first Museum exhibition ever, Gallery Walter Keller in Zurich/Switzerland is proud to show the first gallery exhibition of François Berthoud in Zurich, where he lives and works. The Museum of Design Zurich announced Berthoud’s exhibition this summer with the following words: „Swiss artist François Berthoud is among the outstanding fashion illustrators of the present day.
Born in 1961 and trained at the School of Applied Arts in Lausanne, Berthoud soon developed a distinctive style for the graphic transcription and illustration of contemporary clothing, shoes, handbags, perfumes, and accessories. His expressive, aesthetically appealing linocuts, drip pictures, and computer graphics have accompanied countless fashion campaigns – from Yves Saint Laurent to Bulgari or Sonia Rykiel. In these works the depicted object and Berthoud’s visual interpretation of it complement one another to generate atmospheric total works of art that substantially shape our perception of a featured product and contribute to its marketing success. (...) Particularly fascinating is the use of complementary analog and digital techniques to produce masterly results.“
Publication
François Berthoud Studio, Museum für Gestaltung Zürich (Ed.), G/E, Hatje Cantz, CHF 47.00
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
François Berthoud © François Berthoud
François Berthoud
Until December 3, 2011
Galerie Walter Keller, Oberdorfstr. 2, CH-8001 Zurich / Switzerland
Tel.: +41 (0) 43 268 53 65 info@kellerkunst.com
http://www.kellerkunst.com
François Berthoud © François Berthoud
After the success of his first Museum exhibition ever, Gallery Walter Keller in Zurich/Switzerland is proud to show the first gallery exhibition of François Berthoud in Zurich, where he lives and works. The Museum of Design Zurich announced Berthoud’s exhibition this summer with the following words: „Swiss artist François Berthoud is among the outstanding fashion illustrators of the present day.
Born in 1961 and trained at the School of Applied Arts in Lausanne, Berthoud soon developed a distinctive style for the graphic transcription and illustration of contemporary clothing, shoes, handbags, perfumes, and accessories. His expressive, aesthetically appealing linocuts, drip pictures, and computer graphics have accompanied countless fashion campaigns – from Yves Saint Laurent to Bulgari or Sonia Rykiel. In these works the depicted object and Berthoud’s visual interpretation of it complement one another to generate atmospheric total works of art that substantially shape our perception of a featured product and contribute to its marketing success. (...) Particularly fascinating is the use of complementary analog and digital techniques to produce masterly results.“
Publication
François Berthoud Studio, Museum für Gestaltung Zürich (Ed.), G/E, Hatje Cantz, CHF 47.00
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Chila Kumari Burman. FRAGMENTS OF MY IMAGINATION
e-Announcement photography-now.com
Auto Portrait, 2011, 2011, Mixed media on pigment print paper, hand embellished with gems, 117 x 86 cm
Chila Kumari Burman
FRAGMENTS OF MY IMAGINATION
19 November – 23 December 2011
at Blindspot Gallery, Hong Kong
Opening Reception: Friday, 18 November 2011, 6:30-8:30pm
Blindspot Gallery
24-26A, Aberdeen Street, Central, Hong Kong Tel.: +852 2517 6238
info@blindspotgallery.com, www.blindspotgallery.com
“Fragments of My Imagination” is Chila Kumari Burman’s first solo exhibition in Hong Kong featuring her latest photographic collages and print artworks on paper and canvas that are uniquely embellished with gems, rhinestones and crystals.
Wonderland, 2011, 2011, Mixed media on pigment print paper, hand embellished with gems and bindis, 137 x 97 cm
One of the few British Indian artists to exhibit internationally, Burman’s story is no ordinary one. Born to Punjabi immigrants who came to Britain to earn a decent living, Burman grew up in the back streets of Bootle in Liverpool. Although her father was a bespoke tailor, he could not find work and became an ice cream man to support his family. Chief influences in Burman’s art remain her family and Indian roots. One often finds images of ice cream, cornets, and lolly ices scattered throughout her beautiful works that seamlessly blend references to popular culture with family photos, Bollywood stars and Hindu gods.
Dad in Front of His Van, 2011,
2011, Mixed media on pigment print paper, hand embellished with gems, 43 x 54 cm
Educated at the famous Slade School of Art, Burman has worked experimentally across print, paint, sculpture, photography and mixed media since the mid 1980’s. Drawing on fine and pop art imagery, she explores Asian femininity, her personal family history, and articulates a critical position within contemporary post-colonial consumption saturated Britain.
Perfect Fit, 2011, 2011,
Mixed media on pigment print paper, hand embellished with gems, 89 x 96 cm
In recent works such as Fortune and Perfect Fit, Burman explores issues of gender and race through the aesthetics of collecting. Playing with the formal properties of dress accessories, lingerie, bindis, bras, flowers, hair-pieces and jewelry, she works with repetition, pattern and allusions to the hyper-feminine, the sexual and the everyday. Encompassing the idea of Arte Povera and recycled materials, Burman cleverly transforms these 'worthless' materials that many consider cheap kitsch into a body of art worthy of serious contemplation.
About Chila Kumari Burman
Burman received her professional Fine Art and Graphic Design training at Leeds Polytechnic and later pursued her Master of Fine Art (Printmaking) at Slade School of Fine Art in London. Burman’s works are globally exhibited at major galleries and museums and comprise important public collections in the UK and abroad including the Victoria and Albert Museum, Birmingham Museum, The British Council in London, Arts Council England, Wellcome Trust in the United Kingdom, as well as the Devi Foundation in New Delhi. Burman currently lives and works in London.
About Blindspot Gallery
Blindspot Gallery is set up to bring contemporary photography, an art form that has entered the blind spot of the Hong Kong art market, to a higher degree of visibility. We feature both established and emerging photographers and artists, mainly from the region but not limited to.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Auto Portrait, 2011, 2011, Mixed media on pigment print paper, hand embellished with gems, 117 x 86 cm
Chila Kumari Burman
FRAGMENTS OF MY IMAGINATION
19 November – 23 December 2011
at Blindspot Gallery, Hong Kong
Opening Reception: Friday, 18 November 2011, 6:30-8:30pm
Blindspot Gallery
24-26A, Aberdeen Street, Central, Hong Kong Tel.: +852 2517 6238
info@blindspotgallery.com, www.blindspotgallery.com
“Fragments of My Imagination” is Chila Kumari Burman’s first solo exhibition in Hong Kong featuring her latest photographic collages and print artworks on paper and canvas that are uniquely embellished with gems, rhinestones and crystals.
Wonderland, 2011, 2011, Mixed media on pigment print paper, hand embellished with gems and bindis, 137 x 97 cm
One of the few British Indian artists to exhibit internationally, Burman’s story is no ordinary one. Born to Punjabi immigrants who came to Britain to earn a decent living, Burman grew up in the back streets of Bootle in Liverpool. Although her father was a bespoke tailor, he could not find work and became an ice cream man to support his family. Chief influences in Burman’s art remain her family and Indian roots. One often finds images of ice cream, cornets, and lolly ices scattered throughout her beautiful works that seamlessly blend references to popular culture with family photos, Bollywood stars and Hindu gods.
Dad in Front of His Van, 2011,
2011, Mixed media on pigment print paper, hand embellished with gems, 43 x 54 cm
Educated at the famous Slade School of Art, Burman has worked experimentally across print, paint, sculpture, photography and mixed media since the mid 1980’s. Drawing on fine and pop art imagery, she explores Asian femininity, her personal family history, and articulates a critical position within contemporary post-colonial consumption saturated Britain.
Perfect Fit, 2011, 2011,
Mixed media on pigment print paper, hand embellished with gems, 89 x 96 cm
In recent works such as Fortune and Perfect Fit, Burman explores issues of gender and race through the aesthetics of collecting. Playing with the formal properties of dress accessories, lingerie, bindis, bras, flowers, hair-pieces and jewelry, she works with repetition, pattern and allusions to the hyper-feminine, the sexual and the everyday. Encompassing the idea of Arte Povera and recycled materials, Burman cleverly transforms these 'worthless' materials that many consider cheap kitsch into a body of art worthy of serious contemplation.
About Chila Kumari Burman
Burman received her professional Fine Art and Graphic Design training at Leeds Polytechnic and later pursued her Master of Fine Art (Printmaking) at Slade School of Fine Art in London. Burman’s works are globally exhibited at major galleries and museums and comprise important public collections in the UK and abroad including the Victoria and Albert Museum, Birmingham Museum, The British Council in London, Arts Council England, Wellcome Trust in the United Kingdom, as well as the Devi Foundation in New Delhi. Burman currently lives and works in London.
About Blindspot Gallery
Blindspot Gallery is set up to bring contemporary photography, an art form that has entered the blind spot of the Hong Kong art market, to a higher degree of visibility. We feature both established and emerging photographers and artists, mainly from the region but not limited to.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
BRASSAÏ – DUBUFFET
e-Announcement photography-now.com
BRASSAÏ
Graffiti de la Série IX, Images primitives 1933 - 1956
Gelatin silver print 39,5 x 29 cm | 15 ½ x 11 ½ in
Courtesy Galerie Karsten Greve, Cologne
JEAN DUBUFFET
Personnage 1944
Indian ink on paper 26 x 21 cm | 10 1/4 x 8 1/4 in
Courtesy Galerie Karsten Greve, Cologne
BRASSAÏ – DUBUFFET
OCTOBER 28 - DECEMBER 10, 2011
The show will be accompanied by a catalogue
Drususgasse 1-5, 50667 Cologne - Germany
+49 (0)221 257 10 12 galerie.greve@t-online.de
www.galerie-karsten-greve.com
The Karsten Greve Gallery is pleased to pay homage to the artists Brassaï and Jean Dubuffet in the context of an exhibition that reveals a reflection on a theme that connects them in a rather astonishing way - "Graffiti". Brassaï and Dubuffet approach the city as though it were a large prehistoric cave, as spectators of a wild and anarchic society stripped of any kind of aestheticism.
Equipped with his camera, Brassaï (1899 - 1984) captured ordinary traces of the inhabitants of Paris' streets beginning in the 1930's, thus discovering a hidden and unsuspected, though omnipresent expression. Dubuffet (1901-1985) incorporated the materiality and the texture of daily life on his canvasses, on paper and in lithography. In his opinion, the materiality does not show differences between human beings and their urban lifestyle. Human creatures are depicted, preferably in front of walls, detached from the space, stuck vertically "like posters, neither more nor less alive than the graffiti they resemble so much, they could be mistaken for it" (Noël Arnaud, 1961).
Two major post war artists are herein being featured: Brassaï, a less known member, though an important one, of the Surrealist movement, and Dubuffet, who was at the origins of Art Brut. The exhibition will be accompanied by a comprehensive catalogue with texts by Brassaϊ himself and Sophie Webel, Fondation Dubuffet, in English, French and German.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
BRASSAÏ
Graffiti de la Série IX, Images primitives 1933 - 1956
Gelatin silver print 39,5 x 29 cm | 15 ½ x 11 ½ in
Courtesy Galerie Karsten Greve, Cologne
JEAN DUBUFFET
Personnage 1944
Indian ink on paper 26 x 21 cm | 10 1/4 x 8 1/4 in
Courtesy Galerie Karsten Greve, Cologne
BRASSAÏ – DUBUFFET
OCTOBER 28 - DECEMBER 10, 2011
The show will be accompanied by a catalogue
Drususgasse 1-5, 50667 Cologne - Germany
+49 (0)221 257 10 12 galerie.greve@t-online.de
www.galerie-karsten-greve.com
The Karsten Greve Gallery is pleased to pay homage to the artists Brassaï and Jean Dubuffet in the context of an exhibition that reveals a reflection on a theme that connects them in a rather astonishing way - "Graffiti". Brassaï and Dubuffet approach the city as though it were a large prehistoric cave, as spectators of a wild and anarchic society stripped of any kind of aestheticism.
Equipped with his camera, Brassaï (1899 - 1984) captured ordinary traces of the inhabitants of Paris' streets beginning in the 1930's, thus discovering a hidden and unsuspected, though omnipresent expression. Dubuffet (1901-1985) incorporated the materiality and the texture of daily life on his canvasses, on paper and in lithography. In his opinion, the materiality does not show differences between human beings and their urban lifestyle. Human creatures are depicted, preferably in front of walls, detached from the space, stuck vertically "like posters, neither more nor less alive than the graffiti they resemble so much, they could be mistaken for it" (Noël Arnaud, 1961).
Two major post war artists are herein being featured: Brassaï, a less known member, though an important one, of the Surrealist movement, and Dubuffet, who was at the origins of Art Brut. The exhibition will be accompanied by a comprehensive catalogue with texts by Brassaϊ himself and Sophie Webel, Fondation Dubuffet, in English, French and German.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Roger Ballen. ANIMAL ABSTRACTION
e-Announcement photography-now.com
© Roger Ballen, Five Hands
Roger Ballen ANIMAL ABSTRACTION
opening Saturday, November 12 from 5 - 7 pm in the presence of the artist.
exhibition runs from 29 October - 12 December 2011
Galerie Alex Daniels - Reflex Amsterdam, Weteringschans 83 . 1017 RZ Amsterdam
The Netherlands, T: +31 20 4235423, info@reflexamsterdam.com
www.reflexamsterdam.com
Edition/Artists' Books
3 - 6 November 2011, New York City, www.eabfair.com
© Roger Ballen, Slain
R O G E R B A L L E N
ANIMAL ABSTRACTION
Roger Ballen is regarded as one of the world’s foremost practitioner’s of black and white photography. He has been shooting in monochrome for nearly half a century, from his renowned documentary images of South African villagers to his recent extraordinary explorations of the psyche and its aesthetic. Ballen’s work has been exhibited across the globe, and is widely collected by the world’s important art institutions, from Moma in New York, to the Centre Georges Pompidou in Paris to the Stedelijk Museum in Amsterdam.
The Reflex Gallery, Amsterdam, presents a rare opportunity to view a selection of Ballen’s work from over the past 20 years. The exhibition will showcase iconic images from his acclaimed books, Shadow Chamber, Outland, and Boarding House, as well as important photographs that have never been shown before. In their rich complexity and visual daring, the 25 works on display challenge the viewer’s perception of photography and its relation to art - and to life.
These multi-layered photographs illuminate Ballen’s fascination with the animal kingdom and our complicated relationship to animals and birds. He invites us to reconsider that dynamic:
A bird spreading its wings mirrors the concertina of an accordion. A snake slithers across a drawing of a boy whose eyes peer out of a tiger skin stretched across his face. A siamese crouches on a chaise-longue next to a woman wearing a cat mask. Are these playful scenes, or is there a note of menace? Who is in control – us or them?
“I feel an affinity with animals,” Ballen says. “There is something mysterious and beautiful about them that is hard to put your finger on. They don’t give their secrets away.”
Consistently in these works, Ballen insists on obscuring human identity. All we are given are masked figures, or disembodied hands and feet. It is unsettling, ambiguous. The addition of drawing and collage present yet more layers for us to decipher.
Each image invites careful study, providing multiple readings, multiple meanings. Ballen leaves it to the viewer to make his mind up.
“I want, consciously, or unconsciously, to get to the meaning of life.”
Galerie Alex Daniels cordially invites you to the opening of the exhibition on Saturday, November 12th between 5 and 7 pm in the presence of the artist.
On the occasion of the exhibition Reflex Editions has published the book Roger Ballen - Animal Abstraction, a collection of new images as well as other important photographs never shown before. Roger Ballen will be signing copies of the book at the opening. A portfolio in a limited edition with an original print matching the show will be presented at the opening.
Edition/Artists' Books
EAB 2011 booth 32, 2nd floor, 3 - 6 November 2011 New York City
548 West 22nd Street, www.eabfair.com
© Roger Ballen, Complex Ambuigity
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Roger Ballen, Five Hands
Roger Ballen ANIMAL ABSTRACTION
opening Saturday, November 12 from 5 - 7 pm in the presence of the artist.
exhibition runs from 29 October - 12 December 2011
Galerie Alex Daniels - Reflex Amsterdam, Weteringschans 83 . 1017 RZ Amsterdam
The Netherlands, T: +31 20 4235423, info@reflexamsterdam.com
www.reflexamsterdam.com
Edition/Artists' Books
3 - 6 November 2011, New York City, www.eabfair.com
© Roger Ballen, Slain
R O G E R B A L L E N
ANIMAL ABSTRACTION
Roger Ballen is regarded as one of the world’s foremost practitioner’s of black and white photography. He has been shooting in monochrome for nearly half a century, from his renowned documentary images of South African villagers to his recent extraordinary explorations of the psyche and its aesthetic. Ballen’s work has been exhibited across the globe, and is widely collected by the world’s important art institutions, from Moma in New York, to the Centre Georges Pompidou in Paris to the Stedelijk Museum in Amsterdam.
The Reflex Gallery, Amsterdam, presents a rare opportunity to view a selection of Ballen’s work from over the past 20 years. The exhibition will showcase iconic images from his acclaimed books, Shadow Chamber, Outland, and Boarding House, as well as important photographs that have never been shown before. In their rich complexity and visual daring, the 25 works on display challenge the viewer’s perception of photography and its relation to art - and to life.
These multi-layered photographs illuminate Ballen’s fascination with the animal kingdom and our complicated relationship to animals and birds. He invites us to reconsider that dynamic:
A bird spreading its wings mirrors the concertina of an accordion. A snake slithers across a drawing of a boy whose eyes peer out of a tiger skin stretched across his face. A siamese crouches on a chaise-longue next to a woman wearing a cat mask. Are these playful scenes, or is there a note of menace? Who is in control – us or them?
“I feel an affinity with animals,” Ballen says. “There is something mysterious and beautiful about them that is hard to put your finger on. They don’t give their secrets away.”
Consistently in these works, Ballen insists on obscuring human identity. All we are given are masked figures, or disembodied hands and feet. It is unsettling, ambiguous. The addition of drawing and collage present yet more layers for us to decipher.
Each image invites careful study, providing multiple readings, multiple meanings. Ballen leaves it to the viewer to make his mind up.
“I want, consciously, or unconsciously, to get to the meaning of life.”
Galerie Alex Daniels cordially invites you to the opening of the exhibition on Saturday, November 12th between 5 and 7 pm in the presence of the artist.
On the occasion of the exhibition Reflex Editions has published the book Roger Ballen - Animal Abstraction, a collection of new images as well as other important photographs never shown before. Roger Ballen will be signing copies of the book at the opening. A portfolio in a limited edition with an original print matching the show will be presented at the opening.
Edition/Artists' Books
EAB 2011 booth 32, 2nd floor, 3 - 6 November 2011 New York City
548 West 22nd Street, www.eabfair.com
© Roger Ballen, Complex Ambuigity
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Sarah Moon | à propos ...
e-Announcement photography-now.com
© Sarah Moon, Kassia Pysiak 1998
60 x 50 cm, Auflage 20, getonter silbergelatine Print
Sarah Moon | à propos ...
November 15, 2011 – February 15, 2012
Bergstr. 11, 20095 Hamburg +49 (0)40 74320520
info@persiehl-heine.de, http://www.persiehl-heine.de
© Sarah Moon
le lendemaine matin 2010, 50 x 60 cm, Auflage 20, getonter silbergelatine Print
à propos... SARAH MOON
Since the seventies, the elegant and memorable photographs of Paris-based artist Sarah Moon (*1941, France) are an inherent part of the international fashion world. Scarcely anybody will be able to elude the particular magic of her works, like those for Dior, Chanel, or Cacharel. Galerie Persiehl & Heine presents an eminent selection of Sarah Moons unique photographs, whose distinctive and intimate pictorial language deploys a powerful poetical vibrancy.
Sarah Moon is an autodidact: She acquired her photographic mastery when she worked as a model after finishing art school. In 1968, she changed from working in front of the camera to working behind it, for good, and instantly succeeded with her unique style: In the same year, she participated in a group show on vanguard fashion photography in Delpire gallery in Paris. With this exhibition, Moons career was launched; soon, her works would be present in all leading fashion magazines, such as „Marie-Claire“, „Elle“, or „Vogue“. Today, Sarah Moon is one of the best-known fashion photographers. However, her poetical, sometimes dream-like imagery is also present in motives she captures beyond the field of fashion, and, since the nineties, in her movies.
© Sarah Moon
Sans titre 1989, 60 x 50 cm, Auflage 20, getonter silbergelatine Print
There is a borderland between fiction and truth which seems to be a permanent feature of Sarah Moons works. Poetic as they may be, they always long to reveal a particular form of reality: the fugitiveness of the moment, the boundary between growth and decay, the magic of a single second. „Photography is the soul of all moments, the soul of the very moment you just saw going by“, Sarah Moon explains, and invites the beholder to witness the magic of these moments in her atmospheric works. By using the camera, she detaches every motive from its historical anchor: Being decoupled from the present, the pictures often appear strangely antique – or even timeless, like visual anachronisms. At the same time, they are highly intimate, giving the viewer the feeling of peeking through a keyhole.
The artist’s fondness for mystification can be witnessed through the occasionally blurred scenery, which gives the motives a fey or even ghostly aura. Something similar can be observed in her colour photographs, as well: Being sceptical towards the use of colour, Sarah Moon only applies it as means of alienation and exaggeration. When the dazzling chromaticity becomes dark, however, the works’ luscious temper becomes slightly melancholic. Occasionally interspersed spots and blurs cause the impression of nostalgic detachment from the world. Bearing this in mind, it may not come as a surprise that it is Lewis Carroll’s „Alice in Wonderland“, Samuel Beckett, and the authors of classical fairytales that are Sarah Moon’s most frequently mentioned inspirational sources.
Paulina Szczesniak
The new edition of Sarah Moons book 12345 is available at the gallery again.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Sarah Moon, Kassia Pysiak 1998
60 x 50 cm, Auflage 20, getonter silbergelatine Print
Sarah Moon | à propos ...
November 15, 2011 – February 15, 2012
Bergstr. 11, 20095 Hamburg +49 (0)40 74320520
info@persiehl-heine.de, http://www.persiehl-heine.de
© Sarah Moon
le lendemaine matin 2010, 50 x 60 cm, Auflage 20, getonter silbergelatine Print
à propos... SARAH MOON
Since the seventies, the elegant and memorable photographs of Paris-based artist Sarah Moon (*1941, France) are an inherent part of the international fashion world. Scarcely anybody will be able to elude the particular magic of her works, like those for Dior, Chanel, or Cacharel. Galerie Persiehl & Heine presents an eminent selection of Sarah Moons unique photographs, whose distinctive and intimate pictorial language deploys a powerful poetical vibrancy.
Sarah Moon is an autodidact: She acquired her photographic mastery when she worked as a model after finishing art school. In 1968, she changed from working in front of the camera to working behind it, for good, and instantly succeeded with her unique style: In the same year, she participated in a group show on vanguard fashion photography in Delpire gallery in Paris. With this exhibition, Moons career was launched; soon, her works would be present in all leading fashion magazines, such as „Marie-Claire“, „Elle“, or „Vogue“. Today, Sarah Moon is one of the best-known fashion photographers. However, her poetical, sometimes dream-like imagery is also present in motives she captures beyond the field of fashion, and, since the nineties, in her movies.
© Sarah Moon
Sans titre 1989, 60 x 50 cm, Auflage 20, getonter silbergelatine Print
There is a borderland between fiction and truth which seems to be a permanent feature of Sarah Moons works. Poetic as they may be, they always long to reveal a particular form of reality: the fugitiveness of the moment, the boundary between growth and decay, the magic of a single second. „Photography is the soul of all moments, the soul of the very moment you just saw going by“, Sarah Moon explains, and invites the beholder to witness the magic of these moments in her atmospheric works. By using the camera, she detaches every motive from its historical anchor: Being decoupled from the present, the pictures often appear strangely antique – or even timeless, like visual anachronisms. At the same time, they are highly intimate, giving the viewer the feeling of peeking through a keyhole.
The artist’s fondness for mystification can be witnessed through the occasionally blurred scenery, which gives the motives a fey or even ghostly aura. Something similar can be observed in her colour photographs, as well: Being sceptical towards the use of colour, Sarah Moon only applies it as means of alienation and exaggeration. When the dazzling chromaticity becomes dark, however, the works’ luscious temper becomes slightly melancholic. Occasionally interspersed spots and blurs cause the impression of nostalgic detachment from the world. Bearing this in mind, it may not come as a surprise that it is Lewis Carroll’s „Alice in Wonderland“, Samuel Beckett, and the authors of classical fairytales that are Sarah Moon’s most frequently mentioned inspirational sources.
Paulina Szczesniak
The new edition of Sarah Moons book 12345 is available at the gallery again.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Martin Klimas. Foulard
e-Announcement photography-now.com
courtesy COSAR HMT
Martin Klimas | Foulard
November 4th to December 16th 2011
c/o Haus Maria Theresia Flurstr. 57, 40235 Düsseldorf
Tel.: +49 (0)211 329735, mail@cosarhmt.com, www.cosarhmt.com
© Martin Klimas
courtesy COSAR HMT
MARTIN KLIMAS | FOULARD
High-quality silk scarves from establishments like Dior, YSL, Hermes or Louis Vuitton provide the thematic background for the new photo series ‘Foulard’ by Martin Klimas.
Their nature oddly ambivalent between two- and three-dimensionality, these scarves are themselves subject to an identity crisis situated between object and picture. They are strange hybrids that are perceived as images and serve as objects.
It is in fact the pictorial character of these fashion accessories that specifically interests Martin Klimas in his current works. The silk scarves on display here not only hold a mirror up to the last 50 years of fashion—Klimas deploys scarves from the 1960s up to the present day—in their own way they also stylistically reflect the art of the time. As fashion, they are more Zeitgeist than avant-garde, do not shape style so much as quote artistic trends such as Abstract Expressionism, Op and Pop Art and make us think of artists like Rothko, Vasarely or Lichtenstein.
This reference is what Martin Klimas highlights in his current works, giving yester year ’s motifs back their autonomous character. To the viewer, Klimas’ photos look like large-scale paintings caught between figuration and abstraction.
Expressively luminous color spaces encounter minimalist geometric patterns that completely take over the picture plane; each fall of the folds becomes an orchestrating gesture modulated by the reflection of the light on the metallically shimmering silk. In association with the patterns, complex perspectival constructions result, opening up intriguing pictorial expanses whose visual power is absolutely bewitching. Martin Klimas’ photographic series ‘Foulard’ testifies, on the one hand, to half a century of fashion history, while at the same time, via the most advanced camera technique, lends the scarves a visual presence they never before enjoyed.
courtesy COSAR HMT
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
courtesy COSAR HMT
Martin Klimas | Foulard
November 4th to December 16th 2011
c/o Haus Maria Theresia Flurstr. 57, 40235 Düsseldorf
Tel.: +49 (0)211 329735, mail@cosarhmt.com, www.cosarhmt.com
© Martin Klimas
courtesy COSAR HMT
MARTIN KLIMAS | FOULARD
High-quality silk scarves from establishments like Dior, YSL, Hermes or Louis Vuitton provide the thematic background for the new photo series ‘Foulard’ by Martin Klimas.
Their nature oddly ambivalent between two- and three-dimensionality, these scarves are themselves subject to an identity crisis situated between object and picture. They are strange hybrids that are perceived as images and serve as objects.
It is in fact the pictorial character of these fashion accessories that specifically interests Martin Klimas in his current works. The silk scarves on display here not only hold a mirror up to the last 50 years of fashion—Klimas deploys scarves from the 1960s up to the present day—in their own way they also stylistically reflect the art of the time. As fashion, they are more Zeitgeist than avant-garde, do not shape style so much as quote artistic trends such as Abstract Expressionism, Op and Pop Art and make us think of artists like Rothko, Vasarely or Lichtenstein.
This reference is what Martin Klimas highlights in his current works, giving yester year ’s motifs back their autonomous character. To the viewer, Klimas’ photos look like large-scale paintings caught between figuration and abstraction.
Expressively luminous color spaces encounter minimalist geometric patterns that completely take over the picture plane; each fall of the folds becomes an orchestrating gesture modulated by the reflection of the light on the metallically shimmering silk. In association with the patterns, complex perspectival constructions result, opening up intriguing pictorial expanses whose visual power is absolutely bewitching. Martin Klimas’ photographic series ‘Foulard’ testifies, on the one hand, to half a century of fashion history, while at the same time, via the most advanced camera technique, lends the scarves a visual presence they never before enjoyed.
courtesy COSAR HMT
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
11/02/2011
εκθεση πειραματικης φωτογραφιας. Λαρισα Νοεμβρης 2011
Περιοδικο http://www.fmag.gr
Με μεγάλη επιτυχία πραγματοποιήθηκαν την Πέμπτη 3 Νοεμβρίου 2011 τα εγκαίνια της έκθεσης φωτογραφίας με τίτλο “Πειραματική φωτογραφία” που φιλοξενείται στον εκθεσιακό χώρο της Φωτογραφικής Λέσχης Λάρισας....
συνεχεια http://www.fmag.gr/node/2013
φωτογραφιες: Ανδρεας Κατσακος
10/28/2011
Στην εκθεση πειραματικης φωτογραφιας, Φωτογραφική Λέσχη Λάρισας, 3 -10 Νοεμβρίου 2011
έκθεση φωτογραφίας, με τίτλο “Πειραματική φωτογραφία”. Στην έκθεση παρουσιάζουν την φωτογραφική τους δουλειά οι παρακάτω 6 συμμετέχοντες του σεμιναρίου:
Βάιος Καλαγιάς
Βάσω Μέκρα
Ανέστης Μωυσίδης
Θανάσης Σπανιάς
Θανάσης Τουφεξίδης
Στέλιος Χαρίσης
Φωτογραφική Λέσχη Λάρισας,
Πνευματικό Κέντρο Σωτηρίου Ζιαζιά, Ροδόπης 48,
3 έως 10 Νοεμβρίου 2011.
Τα εγκαίνια της έκθεσης θα πραγματοποιηθούν την Πέμπτη 3 Νοεμβρίου 2011 στις 20:00.
Μετά το πέρας των εγκαινίων ο επιμελητής της έκθεσης θα κάνει τον απολογισμό του σεμιναρίου. Αμέσως μετά θα ακολουθήσει βιντεοπροβολή στην οποία θα παρουσιαστούν φωτογραφίες από το σεμινάριο. Στο τέλος της παρουσίασης θα γίνει η παράδοση των βεβαιώσεων παρακολούθησης σε όλους τους συμμετέχοντες του σεμιναρίου.
Επιμέλεια έκθεσης: Μανόλης Κασιμάτης
http://www.fll.gr/ Φωτογραφική Λέσχη Λάρισας
http://fmag.gr/node/1982 fmag - διαδικτυακό περιοδικό/fanzine
http://letteradaatene.blogspot.com/2011/10/fotografia-sperimentale-larissa-con-la.html
10/27/2011
Απο το Workshop Πειραματικής Φωτογραφίας Φωτογραφικη λεσχη Λαρισσας στις 4-5/6/2011
"workshop πειραματικής φωτογραφίας με τον Μανόλη Κασιμάτη στη Φ.Λ.Λάρισας"
Το Workshop Θα πραγματοποιηθεί το Σάββατο 4 και την Κυριακή 5 Ιουνίου 2011, στον χώρο της Φωτογραφικής Λέσχης Λάρισας, Πνευματικό Κέντρο Σωτηρίου Ζιαζιά, Ροδόπης 48, στη Λάρισα.
Στο Workshop θα εξερευνηθεί η δυνατότητα δημιουργίας φωτογραφικών εικόνων διαμέσου ιδιόμορφων τεχνικών, έχοντας σαν στόχο να αποδειχθεί ότι ο φωτογράφος μπορεί αλλά και πρέπει να πειραματίζεται.
Έτσι θα μπορέσει να προωθήσει τον ορίζοντα των εικαστικών αναζητήσεων του και όχι μόνο.
Στην εποχή των υπολογιστών και της ψηφιακής επεξεργασίας το μάτι του φωτογράφου μπορεί ακόμα να ψάχνει και να δημιουργεί χωρίς απαραίτητα την χρήση τους. Οι υπολογιστές και τα εργαλεία τους από μόνα τους δεν μπορούν να βοηθήσουν όσους δεν έχουν μάθει να ψάχνουν ολοκληρωμένα και συγκροτημένα στο πεδίο της έκφρασης.
Η διαδρομή ενός δημιουργού φωτογράφου στην εξερεύνηση διαφόρων εκφραστικών μέσων είναι αναγκαία για να μπορέσει να πετύχει αξιόλογα αποτελέσματα σε πολλαπλά επίπεδα. Σημαντική βοήθεια προσφέρει η γνώση των διαφόρων εργαλείων και εξαρτημάτων.
Στο Workshop θα γίνει αναλυτική παρουσίαση στα εξαρτήματα και συσκευές που θα χρησιμοποιηθούν και οι συμμετέχοντες θα έχουν την ευκαιρία να γνωρίσουν αλλά και να δημιουργήσουν το δικό τους portfolio με διαφορές τεχνικές λήψης όπως, καρέ φωτο-δυναμισμού, υδατοχρωμάτων, φωτοελαστικότητας, σαπουνάδας, συνεχούς ζουμαρίσματος, υφών κρυστάλλων, μικροσκοπίου, λήψης-επεξεργασίας polaroid, κολάζ, pin hole, διπλοέκθεση, συνδυασμό φωτογραφιών (σάντουιτς), fototv art κ.λ.π.
Παράλληλα την Παρασκευή 3 Ιουνίου 2011, 19:30 – 23:00, θα πραγματοποιηθεί στον χώρο της Φωτογραφικής Λέσχης Λάρισας ανοιχτή ομιλία από τον Μανόλη Κασιμάτη με θέμα : “Διαδρομές στην πειραματική φωτογραφία”. Στην ομιλία θα γίνει αναφορά πάνω στην ιστορία της πειραματικής φωτογραφίας, στις τεχνικές της και θα παρουσιαστεί ένα ολοκληρωμένο δείγμα δουλείας από φωτογράφους που εκφραστήκαν διαμέσου της πειραματικής φωτογραφίας.
Πληροφορίες:
Ημερομηνία διεξαγωγής: 4 - 5 Ιουνίου 2011
Ώρες/Διάρκεια: 16 ώρες/2 ημέρες (10:00 – 14:00 & 18:00 - 22:00)
Τόπος διεξαγωγής: Φωτογραφική Λέσχη Λάρισας, Πνευματικό Κέντρο Σωτηρίου Ζιαζιά, Ροδόπης 48, Λάρισα
Αριθμός συμμετεχόντων: 12 άτομα
η Φ.Λ.Λάρισας χορήγει την συμμετοχή στα μέλη της που επιθυμούν να συμμετέχουν
Προθεσμία εγγραφής: Έως 31 Μαΐου 2011
Συντονισμός: Κατσάκος Ανδρέας Τ: 6944241177, Ε: katsakos@gmail.com
Οργάνωση: Φωτογραφική Λέσχη Λάρισας, Διαδικτυακό Φωτογραφικό Περιοδικό fmag
Στο τέλος του Workshop θα παραδοθεί σε όλους τους συμμετέχοντες βεβαίωση παρακολούθησης.
10/18/2011
9/25/2011
Scarlett Hooft Graafland | Soft Horizons
e-Announcement photography-now.com
Polar bear
From the series: Iglooik, Canada, 2007
Courtesy Michael Hoppen, London / Londen Courtesy Vous Etes Ici, Amsterdam
© Scarlett Hooft Graafland
Scarlett Hooft Graafland | Soft Horizons
PERFORMANCES, INSTALLATIONS AND A CAMERA
nstallations as playful as they are succinct
Surreal images with intriguing messages
Miraculous combinations of intention and accident
10 September - 11 December 2011
The exhibition will be opened by Dutch fellow 'travelling' artist Joost Conijn
between 5pm and 7pm on 10 September 2011.
Huis Marseille, Museum for Photography Keizersgracht 401, 1016 EK Amsterdam
info@huismarseille.nl, http://www.huismarseille.nl
Scarlett Hooft Graafland / Soft Horizons
Scarlett Hooft Graafland is drawn to extraordinary and majestic landscapes. To the vast salt fields of Bolivia, for instance, gleaming an iridescent white under a baking sun, whose harddried edges are broken like a natural crackleglaze. Or sweeping Arctic plains, so cold that the surrounding water gradually loses its fluidity. Or an immense lake whose distant horizon mirrors a mountainous landscape to create the bewildering illusion of a new, as yet undiscovered place.
The exhibition Soft Horizons, hosted by Huis Marseille from 10 September to 20 November 2011, shows photographs she took in a wide variety of such places: in China, Bolivia, Northern Canada and Iceland. Soft Horizons is an appropriate description of surfaces that could just as easily be water, ice, salt, or air, or even a mirage. Scarlett Hooft Graafland captures images in which nature itself seems the artist, and then subtly underlines its unique characteristics using ordinary, everyday materials: nets rope, fishing line, spice and lemonade. Animals and people, both real and unreal, are often seen participating in these images. Her understated props do not alter the landscape in any permanent way, and do nothing at all to detract from the impact of these powerful landscapes, but in Scarlett Hooft Graafland's interpretation they create images that are as playful as they are succinct.
An explorer with a Mamiya
Scarlett Hooft Graafland is a driven artist and her inspiration arises from her artistic passion: “Sometimes I just get an idea, and if I think it's really good then I have to make it happen, whatever it takes.” The photographs are a direct expression of her interest in the people who live in these landscapes, people whose daily lives and cultures she shares for long periods at a time. For instance, she spent weeks sledding across sea ice with the Inuit, passing freezing nights in a small tent, and days when there was nothing at all to eat because nobody had caught a seal – of which the Inuit eat everything except for the tail, the muzzle, and the intestines. On a misty day with no hunting, she used these bloodied intestines to shape a palm tree on the snowy ground.
Scarlett Hooft Graafland bought a Mamiya 7 II with which to document her performances. She wanted a medium format camera which was fairly lightweight and easy to use, and which would fit in her backpack. In this hyper-modern age it is a rather old-fashioned choice 2/3 of camera, and her methods also call to mind the explorers of a century ago. The technology yields uncertainty in a digital age because the results cannot be immediately reviewed; they are revealed only after the analogue film has been developed. These working methods and technologies contribute to the unique character of her work.
Surreal images, social engagement
Scarlett Hooft Graafland's work brings about a sense of surrealism by unexpectedly combining different elements. Two bare legs stick out from under a polar bear skin in the Arctic, curl around the prickly trunk of a huge Bolivian cactus, or drape over the roof ridge of a tiny house in the middle of an Icelandic lava field. Magical effects are achieved through working with colour: an igloo is a lollipop orange-red colour, and a carpet of spice appears on the sweeping salt fields. Some of the works make subtle references to art history: Bolivian bowler hats suspended along a fishing line above a geyser evoke Magritte, balloons floating on water are a featherweight remake of Spiral Jetty, and a snow pyramid circled with rope is almost Arte Povera. More frequently, though, her images seem to arise from her social engagement and her concern for the natural environment. She solves the problem of communication by using drawings and sign language to direct local people in performances of the core values of their existence, as if they were actors in their own lives.
Balloon Line
Bolivia 2007 © Scarlett Hooft Graafland
In brief
Scarlett Hooft Graafland (Maarn, NL 1973) graduated from the Royal Academy of Art in The Hague in 1999 in the Autonomous Textiles monumental arts programme. She did postgraduate studies in Belzalel, Jerusalem and a Master's in sculpture in Parsons, New York. Hooft Graafland was not trained as a photographer, but she discovered that this was the best medium for recording her performances and installations. She has since become an internationally acclaimed photographer with numerous exhibitions, prizes and nominations to her name.
Exhibition
The exhibition will show about 42 large photographs made in locations including Bolivia, China, Igloolik, the Himalayas, Iceland and the Netherlands. It will also include a 5m x 7m carpet specially made for this exhibition in Bolivia, whose design is linked to one of the photographic series in the exhibition. Short films by IJsbrand van Veelen accompany the exhibition and give impressions of Scarlett Hooft Graafland's working methods in creating her installations and the resulting exhibition photographs.
Tours
Scarlett Hooft Graafland will be giving personal tours of the exhibition on a number of Sundays in September and October, inviting a special guest to accompany each tour. These tours form the run-up to a large round-table conversation on Museum Night on 5 November, which all the special guests will join. For more information and the exact dates, see www.huismarseille.nl.
Museum Night 2011
During Museum Night on 5 November a special programme of activities will be organised around 'Soft Horizons' and Scarlett Hooft Graafland will be staging a special 'event'.
Publication Soft Horizons, with texts by Els Barents and Sue Steward, published by Kehrer Verlag 2011. ISBN: 978-3-86828-223-8. Price: about €35.
Vanishing Traces
From the series: Soft Horizons, Bolivia, 2006
Courtesy Michael Hoppen, London / Londen
Courtesy Vous Etes Ici, Amsterdam
© Scarlett Hooft Graafland
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Polar bear
From the series: Iglooik, Canada, 2007
Courtesy Michael Hoppen, London / Londen Courtesy Vous Etes Ici, Amsterdam
© Scarlett Hooft Graafland
Scarlett Hooft Graafland | Soft Horizons
PERFORMANCES, INSTALLATIONS AND A CAMERA
nstallations as playful as they are succinct
Surreal images with intriguing messages
Miraculous combinations of intention and accident
10 September - 11 December 2011
The exhibition will be opened by Dutch fellow 'travelling' artist Joost Conijn
between 5pm and 7pm on 10 September 2011.
Huis Marseille, Museum for Photography Keizersgracht 401, 1016 EK Amsterdam
info@huismarseille.nl, http://www.huismarseille.nl
Scarlett Hooft Graafland / Soft Horizons
Scarlett Hooft Graafland is drawn to extraordinary and majestic landscapes. To the vast salt fields of Bolivia, for instance, gleaming an iridescent white under a baking sun, whose harddried edges are broken like a natural crackleglaze. Or sweeping Arctic plains, so cold that the surrounding water gradually loses its fluidity. Or an immense lake whose distant horizon mirrors a mountainous landscape to create the bewildering illusion of a new, as yet undiscovered place.
The exhibition Soft Horizons, hosted by Huis Marseille from 10 September to 20 November 2011, shows photographs she took in a wide variety of such places: in China, Bolivia, Northern Canada and Iceland. Soft Horizons is an appropriate description of surfaces that could just as easily be water, ice, salt, or air, or even a mirage. Scarlett Hooft Graafland captures images in which nature itself seems the artist, and then subtly underlines its unique characteristics using ordinary, everyday materials: nets rope, fishing line, spice and lemonade. Animals and people, both real and unreal, are often seen participating in these images. Her understated props do not alter the landscape in any permanent way, and do nothing at all to detract from the impact of these powerful landscapes, but in Scarlett Hooft Graafland's interpretation they create images that are as playful as they are succinct.
An explorer with a Mamiya
Scarlett Hooft Graafland is a driven artist and her inspiration arises from her artistic passion: “Sometimes I just get an idea, and if I think it's really good then I have to make it happen, whatever it takes.” The photographs are a direct expression of her interest in the people who live in these landscapes, people whose daily lives and cultures she shares for long periods at a time. For instance, she spent weeks sledding across sea ice with the Inuit, passing freezing nights in a small tent, and days when there was nothing at all to eat because nobody had caught a seal – of which the Inuit eat everything except for the tail, the muzzle, and the intestines. On a misty day with no hunting, she used these bloodied intestines to shape a palm tree on the snowy ground.
Scarlett Hooft Graafland bought a Mamiya 7 II with which to document her performances. She wanted a medium format camera which was fairly lightweight and easy to use, and which would fit in her backpack. In this hyper-modern age it is a rather old-fashioned choice 2/3 of camera, and her methods also call to mind the explorers of a century ago. The technology yields uncertainty in a digital age because the results cannot be immediately reviewed; they are revealed only after the analogue film has been developed. These working methods and technologies contribute to the unique character of her work.
Surreal images, social engagement
Scarlett Hooft Graafland's work brings about a sense of surrealism by unexpectedly combining different elements. Two bare legs stick out from under a polar bear skin in the Arctic, curl around the prickly trunk of a huge Bolivian cactus, or drape over the roof ridge of a tiny house in the middle of an Icelandic lava field. Magical effects are achieved through working with colour: an igloo is a lollipop orange-red colour, and a carpet of spice appears on the sweeping salt fields. Some of the works make subtle references to art history: Bolivian bowler hats suspended along a fishing line above a geyser evoke Magritte, balloons floating on water are a featherweight remake of Spiral Jetty, and a snow pyramid circled with rope is almost Arte Povera. More frequently, though, her images seem to arise from her social engagement and her concern for the natural environment. She solves the problem of communication by using drawings and sign language to direct local people in performances of the core values of their existence, as if they were actors in their own lives.
Balloon Line
Bolivia 2007 © Scarlett Hooft Graafland
In brief
Scarlett Hooft Graafland (Maarn, NL 1973) graduated from the Royal Academy of Art in The Hague in 1999 in the Autonomous Textiles monumental arts programme. She did postgraduate studies in Belzalel, Jerusalem and a Master's in sculpture in Parsons, New York. Hooft Graafland was not trained as a photographer, but she discovered that this was the best medium for recording her performances and installations. She has since become an internationally acclaimed photographer with numerous exhibitions, prizes and nominations to her name.
Exhibition
The exhibition will show about 42 large photographs made in locations including Bolivia, China, Igloolik, the Himalayas, Iceland and the Netherlands. It will also include a 5m x 7m carpet specially made for this exhibition in Bolivia, whose design is linked to one of the photographic series in the exhibition. Short films by IJsbrand van Veelen accompany the exhibition and give impressions of Scarlett Hooft Graafland's working methods in creating her installations and the resulting exhibition photographs.
Tours
Scarlett Hooft Graafland will be giving personal tours of the exhibition on a number of Sundays in September and October, inviting a special guest to accompany each tour. These tours form the run-up to a large round-table conversation on Museum Night on 5 November, which all the special guests will join. For more information and the exact dates, see www.huismarseille.nl.
Museum Night 2011
During Museum Night on 5 November a special programme of activities will be organised around 'Soft Horizons' and Scarlett Hooft Graafland will be staging a special 'event'.
Publication Soft Horizons, with texts by Els Barents and Sue Steward, published by Kehrer Verlag 2011. ISBN: 978-3-86828-223-8. Price: about €35.
Vanishing Traces
From the series: Soft Horizons, Bolivia, 2006
Courtesy Michael Hoppen, London / Londen
Courtesy Vous Etes Ici, Amsterdam
© Scarlett Hooft Graafland
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Chinese Spring #1
 |
| CHEN Man |
 |
| CHEN Man & Dawei |
Chinese Spring #1
LIU Dawei | CHEN Man | 223
23rd September - 30th October 2011 Opening: 22nd September 2011, 7.30 pm
Stieglitz19 | Dries Roelens Klapdorp 2 2000 Antwerpen - Belgium
Tel.: +32 495 515777 info@stieglitz19.be
www.stieglitz19.be
LIU Dawei | CHEN Man | 223
The exposition “Chinese Spring # 1” is the first show that shows an overview of the vibrant artistic Photography scene in present Beijing. These 3 Photographers, grown up in the Eighties are the role models for a complete new generation of young adolescents and artists of this New China in transformation.
LIU Dawei | CHEN Man | 223
23rd September - 30th October 2011 Opening: 22nd September 2011, 7.30 pm
Stieglitz19 | Dries Roelens Klapdorp 2 2000 Antwerpen - Belgium
Tel.: +32 495 515777 info@stieglitz19.be
www.stieglitz19.be
LIU Dawei | CHEN Man | 223
The exposition “Chinese Spring # 1” is the first show that shows an overview of the vibrant artistic Photography scene in present Beijing. These 3 Photographers, grown up in the Eighties are the role models for a complete new generation of young adolescents and artists of this New China in transformation.
 |
| 223 |
223 shows works of his series “My private Broadway”, a publication he made in Guangzhou that shows a very individualistic approach of the daily life of this new generation of consumers, artists and young students in the suburbs of Shanghai , Guangzhou and Beijing. His blog is the most viewed blog on photography in China and is a platform on which many new artists have shown their works for the first time.
Chen Man is a Beijing based young woman , who has developped her own unique style : the transformation of models into fantasy figures in a idealistic world.
Dawei presents his series “cottons” , an interaction between his landscapes with portraits of Chen Man.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
7/08/2011
Thomas Ruff
e-Announcement photography-now.com
Thomas Ruff was born in Zell am Harmersbach in 1958. He studied photography with Bernd and Hilla Becher at the Kunstakademie Düsseldorf (Düsseldorf Art Academy) from 1977 to 1985. In 1993 he was a scholar at Villa Massimo in Rome. From 2000 to 2005 Ruff taught Photography at the Kunstakademie Düsseldorf. His work is inspired by photographers like Walker Evans, Eugene Atget, Karl Blossfeld, Stephen Shore and William Eggleston. He lives and works in Düsseldorf.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
 |
| Nudes lk28, 2000,155 x 110 cm, AP 2/2 © Thomas Ruf |
Thomas Ruff
July 8 - December 31, 2011 Am Park 1, 77736 Zell a.H., Germany +49 (0)7835 549987
villa-haiss-museum@t-online.de
Opening hours: Wed, Fri, Sat 12 am-5 pm, Thurs 6-10 pm, Sun 1-6 pm
 |
| Substrat28II, 2006, 132 x 194 cm, 4/5 © Thomas Ruff Thomas Ruff The Museum Villa Haiss shows an extraordinary exhibition of works by the famous internationally renowned photographer Thomas Ruff. The exhibition is a cross-section through his oeuvre, which contains diverse series, based on a conceptual manner. Main works are the night-images of exteriors and buildings, produced using the same night vision infrared technology developed for use, both military and in broadcast television, during the Gulf War. The series of Portraits is present in the exhibition as well as the series of cosmologic phenomenons. His most recent works like cassini are taken from NASA-captures of Saturn. Further on you will be expected by earlier images of buildings and machines. |
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| Maschine 3503, 2003, 144 x 113 cm, 4/5 © Thomas Ruff |
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| Nacht 9II, 1992,45 x 46 cm AP 1/3 © Thomas Ruff |
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
6/28/2011
Cuore di cane - Oleg Kulik. Cagliari 2011
Cuore di cane
Artista radicale che attinge all’ambito socio-culturale della Russia sovietica e post-sovietica, Oleg Kulik si pone in antitesi all’antropocentrismo. Per un dialogo tra uomo e animale. In mostra la serie “The Russian”, tratta dalle sue disarmanti performance. A Cagliari, fino al 30 giugno.
Oleg Kulik - Eclipse - 1999
Dissacrante provocatore al limite dell’assurdo, autore di performance estreme tra show e shock, censurato a Parigi nel 2008 e presente alla 54. Biennale all’interno del progetto Glasstress, Oleg Kulik (Kiev, 1962) approda a Cagliari per inaugurare il nuovo spazio espositivo 18diviasulis. Dieci serigrafie tratte dalle sue performance indagano il lato animale dell’umanità, nel tentativo di ricondurre l’uomo a uno stato primordiale, alla ricerca dell’istinto più viscerale scevro da valori antropologici. Influenzato dal Concettualismo moscovita, reagisce alla cultura imperialista e al conflitto fra natura e progresso nell’epoca della civilizzazione attraverso il suo alter-ego, il fedele Quilty. Il bulldog onnipresente in ogni frame della serie, dove riferimenti a icone come la piazza Rossa, il Mausoleo e la Biblioteca di Lenin fanno da sfondo a scene surreali cariche di dettagli nonché metafore. Teatrini grotteschi dell’esistenza.
Roberta Vanali
Oleg Kulik – The Russian (Primadellabiennale)
a cura di Cristiana Giglio
http://www.artribune.com/2011/06/cuore-di-cane/
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