" Ζωγραφιζω εκεινο που δεν μπορει να φωτογραφηθει και φωτογραφιζω εκεινο που δεν επιθυμω να ζωγραφισω...Δεν με ενδιαφερει να γινομαι κατανοητος ως ζωγραφος, ως δημιουργος αντικειμενων ή ως φωτογραφος".... "Δεν ειμαι φωτογραφος της φυσης αλλα της φαντασιας μου ... θα προτιμουσα να φωτογραφισω μια ιδεα παρα ενα αντικειμενο κι ενα ονειρο παρα μια ιδεα" Man Ray (1890-1976)

" Δεν ενδιαφερει να αποδωσει κανεις το ορατο, αλλα να κανει ορατο οτι δεν ειναι" Paul Klee (1879-1940)

9/24/2012

Sally Mann . Upon Reflection

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Untitled (Self-Portrait), 2006-12.
© Sally Mann/Courtesy Edwynn Houk Gallery, New York

























Sally Mann
Upon Reflection
13 September – 3 November 2012
745 Fifth Avenue , NY 10151 New York
info@houkgallery.com http://www.houkgallery.com Opening hours: Tue-Sat 11 am-6 pm

Sally Mann Upon Reflection
Edwynn Houk Gallery, in cooperation with Gagosian Gallery, is pleased to announce an exhibition of new photographic self-portraits by Sally Mann (American, b. 1951) from 13 September through 3 November 2012. An opening reception for the artist will be held on Thursday, 13 September 2012, from 6-8pm.
Most people know Sally Mann as one of the most influential and important photographers working today, but what is far less known is the fact that Sally Mann is also an avid and successful equestrian. On her farm in Lexington, Virginia, Mann fills her pastures with Arabians, a breed known for their spiritedness, loyalty, and for their unyielding courage, a combination of character traits which are essential for endurance riding, Mann’s chosen sport.
Sally Mann’s photography has focused primarily on her immediate surroundings and on those things closest to her; her husband, Larry Mann (the subject of Proud Flesh, 2005-2009), her three children: Emmett, Jessie and Virginia (the subjects of Immediate Family, 1984-1994, and What Remains, 2004); her farm (Mother Land, 1993-1996), the South itself (Deep South, 1998 and Last Measure, 2001-2002) as well as the ephemeral nature of life, inextricably linked to the concept of death, as it relates to all the above (What Remains, 2004).But most recently, it was her relationship with horses, and with one horse-related event in particular, that gave birth to this newest series. On August 11, 2006, we received the following email from Sally Mann:I had a real smash-up on Saturday...my stallion, cantering along way up in the mountains, suddenly staggered, reared back and fell over on me. I was knocked out but my friends say in his struggles to get up, he pummeled my back with his (newly shod that morning, *sigh*) hooves, bouncing me like a ragdoll...anyway, I came to consciousness in time to see him come crashing down next to me, dying. Terrible, indescribable. Walked delirious 4 miles off the mountain and have been flat on my back for 6 days— Damaged everything, ribs, sternum, vertebrae, and black and blue from my eyes to my knees. The doctor who came out said, "You're going to hurt like crap for a long time" and so far he's been right. Sad about the horse, too. I was really crazy about him. Probably an aneurysm killed him. Anyway, if ever I can get vertical and move my arms, beyond typing that is, I will try some printing... That was an optimistic sentiment; it was many months more of recovery and limited activity, a torment for a prolific artist. But Sally Mann found she could take pictures of herself without having to haul the camera around, finding a trove of material within the confines of her own face (Self-Portraits) and her own damaged torso (Omphalos). Mann has continued, now long after her recovery, to make more then 200 new ambrotypes since the accident in 2006. And characteristic of Sally Mann, the artist has created a new technique for this project which is based on 19th century processes but that incorporates a modern sensibility. Each unique image is captured as a wet-plate positive on a large, black glass plate and then is joined with others in groupings of 3, 9, 20, and even up to 75 plates. Two grids of Sally Mann’s Self-Portraits were included in the 2010-2011 exhibition, “Sally Mann: The Flesh and The Spirit,” at the Virginia Museum of Fine Arts, Richmond. In the accompanying book, John B. Ravenal, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art, wrote about the Self-Portraits:…Mann complicates the logic of the flattened geometrical order with references to the antiquated, the irrational, and the horrendous. The repetitive display of degraded images calls to mind discards from a mid-nineteenth-century photo studio – plates flawed by the sitter’s movement or the medium’s unstable actions, of which they present a catalogue: pitting, scarring, scratching, streaking, graininess, blurriness, erosion, fading, haziness, delamination, over-exposure, and under-exposure. For the very first time, the works from the Omphalos series will be on display. In this series, the focus is on the artist’s torso. Akin to the faces, the process is the same, but the grids of Omphalos examine more abstract, sculptural forms. The plates themselves have been treated as such: chiseled, scratched and smoothed until flesh becomes stone. Clearly a departure from one of the earliest and most timeless motifs in art, Omphalos is a title not only referring to the torso, but also to the symbolic continuation of the themes explored in Mann’s previous work: fertility, family, and heredity, recorded in the human form and in the land.
Walked delirious 4 miles off the mountain and have been flat on my back for 6 days— Damaged everything, ribs, sternum, vertebrae, and black and blue from my eyes to my knees. The doctor who came out said, "You're going to hurt like crap for a long time" and so far he's been right. Sad about the horse, too. I was really crazy about him. Probably an aneurysm killed him.
Anyway, if ever I can get vertical and move my arms, beyond typing that is, I will try some printing...
That was an optimistic sentiment; it was many months more of recovery and limited activity, a torment for a prolific artist. But Sally Mann found she could take pictures of herself without having to haul the camera around, finding a trove of material within the confines of her own face (Self-Portraits) and her own damaged torso (Omphalos). Mann has continued, now long after her recovery, to make more then 200 new ambrotypes since the accident in 2006. And characteristic of Sally Mann, the artist has created a new technique for this project which is based on 19th century processes but that incorporates a modern sensibility. Each unique image is captured as a wet-plate positive on a large, black glass plate and then is joined with others in groupings of 3, 9, 20, and even up to 75 plates.
Two grids of Sally Mann’s Self-Portraits were included in the 2010-2011 exhibition, “Sally Mann: The Flesh and The Spirit,” at the Virginia Museum of Fine Arts, Richmond. In the accompanying book, John B. Ravenal, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art, wrote about the Self-Portraits:…Mann complicates the logic of the flattened geometrical order with references to the antiquated, the irrational, and the horrendous. The repetitive display of degraded images calls to mind discards from a mid-nineteenth-century photo studio – plates flawed by the sitter’s movement or the medium’s unstable actions, of which they present a catalogue: pitting, scarring, scratching, streaking, graininess, blurriness, erosion, fading, haziness, delamination, over-exposure, and under-exposure.For the very first time, the works from the Omphalos series will be on display. In this series, the focus is on the artist’s torso. Akin to the faces, the process is the same, but the grids of Omphalos examine more abstract, sculptural forms. The plates themselves have been treated as such: chiseled, scratched and smoothed until flesh becomes stone. Clearly a departure from one of the earliest and most timeless motifs in art, Omphalos is a title not only referring to the torso, but also to the symbolic continuation of the themes explored in Mann’s previous work: fertility, family, and heredity, recorded in the human form and in the land.


Untitled (Self-Portrait), 2006-12.
© Sally Mann/Courtesy Edwynn Houk Gallery, New York




























Untitled (Self-Portrait), 2006-12.
© Sally Mann/Courtesy Edwynn Houk Gallery, New York


























 Sally Mann lives and works in Lexington, Virginia. A Guggenheim fellow, and a three-times recipient of the National Endowment for the Arts fellowship, Mann was named “America’s Best Photographer” by Time magazine in 2001. She has been the subject of two documentaries: Blood Ties (1994) and What Remains (2007), both of which were nominated for Academy Awards, She has been the subject of major exhibitions at the Institute of Contemporary Art, Philadelphia, and the Corcoran Gallery of Art, Washington, D.C.. Her photographs can be found in many public and private collections, including the Metropolitan Museum of Art; the Museum of Modern Art; and the Whitney Museum of American Art. Sally Mann is represented by Gagosian Gallery and Edwynn Houk Gallery.

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Editor: Claudia Stein
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9/22/2012

Heinz Hajek-Halke.Late Photo-Graphics

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Das Schifffahrtszeichen, c. 1960
C print, 27,7 x 38,6 cm
Photo: Heinz Hajek-Halke
Sammlung Michael Ruetz / Nachlass Heinz Hajek-Halke
The Alchimist
Heinz Hajek-Halke
Late Photo-Graphics
8 September – 4 November 2012
Akademie der Künste Pariser Platz 4, 10117 Berlin
+49 (0)30 200 57 - 1000 info@adk.de
http://www.adk.de   http://www.facebook.com/akademiederkuenste

Untitled, c. 1956
Gelatin silver print, 39,7 x 29,8 cm
Photo: Heinz Hajek-Halke
Sammlung Michael Ruetz / Nachlass Heinz Hajek-Halke
 The Alchimist

Heinz Hajek-Halke
Late Photo-Graphics
What László Moholy-Nagy did for the photography of the Bauhaus and of the 1920s, Heinz Hajek-Halke accomplished for the 1950s and Abstract Art. Hajek-Halke (1898-1983) was an artist who worked in a genuinely photographic manner: what he achieved in the darkroom in terms of physical-chemical work could well be called alchemy; even today, no software program is able to achieve the same effects.
Among the photographic artists of the twentieth century, Heinz Hajek-Halke was a maverick who did not belong to any school and nonetheless influenced many others. Already famous as a poster artist in the early 1930s, he reached artistic maturity in the 1950s. He is one of the great abstract artists and also one of the first artists in photography.
The Akademie der Künste has over 200 photographic works from his later years, which is being presented comprehensively for the first time in the exhibition on Pariser Platz. The exhibition offers one of the few rediscoveries that can still be made in twentieth-century art photography.
The exhibition will be accompanied by a catalogue (German/English) published by Steidl.
Within the context of the European Month of Photography Berlin, www.mdf-berlin.de, and the Berlin Art Week, www.berlinartweek.de
Gläsernes Monument, c. 1955
Gelatin silver print, 29,3 x 23,9 cm
Photo: Heinz Hajek-Halke
Sammlung Michael Ruetz / Nachlass Heinz Hajek-Halke
 [Biography]
Heinz Hajek-Halke was born in Berlin in 1898. He spent his childhood in Buenos Aires and returned in 1910 to Berlin where he attended school and art college. He served as a soldier for two years during the First World War. From 1918 to 1920, he studied at the School of Arts and Crafts in Berlin where Emil Orlik taught him, among others. He then worked as a commercial graphic artist. His interest in photography began in 1924. During the years ahead he created a wide range of works including posters, advertisements, compositions and press photographs, collaborating partly with photographers like Yva and Martha Astfalck-Vietz. From 1934 to 1946, Heinz Hajek-Halke lived in Kressbronn, Lake Constance, where he bred small animals and continued his photographic work. During the early 1950s, he lived in Ehrenbreitstein near Koblenz and exclusively concentrated on experimental and abstract photography. His works were exhibited alongside other examples of “subjective photography”. In 1955, Karl Hofer appointed him as Lecturer in Photographics at the Hochschule der Bildenden Künste, (now the Berlin University of the Arts) where he lectured until 1967. When photography became an established artform in about 1965, Heinz Hajek-Halke, too, earned wider acclaim: by the late 1970s, he had successfully curated several solo exhibitions. He was also represented in numerous group shows and awarded several photography and art prizes. During this period, however, his health deteriorated. In 1973, he sold all his pictures and materials to the photographer Michael Ruetz. In spring 1983, Heinz Hajek-Halke died in Berlin.
[Introduction]
Alchemists are solitary individuals who experiment in a grey area between art and science and Heinz Hajek-Halke was an individualist par excellence among 20th century photo artists. He was not an affiliate of any school in particular, although he taught and influenced many others. Already established as a poster artist, photographer and photo collagist in the early 1930s, he started afresh and created entirely new groups of works in the 1950s. These made Heinz Hajek-Halke’s name as the first genuinely abstract photo artist. No exhibition of this era was complete without his pictures. Thanks to a foundation set up by the owner of the artist’s estate, Michael Ruetz, the Academy of Arts, Berlin has a collection of over two hundred light graphics – a term coined by the art critic, Franz Roh – that date from Heinz Hajek-Halke’s late work. These clearly chart his development from surrealist and often ironic over-exaggeration of the existing pictorial world to a formally stringent, but surprisingly rich cosmos of the individual imagination. Yet there is no particular chronological order. Time and again, his previous solutions were reviewed to decide whether or not they could support further experiments. Throughout this process Heinz Hajek-Halke always remained a photographer, even if many pictures were the result of his preliminary sketches. His preparatory work transformed his photographic prints into pictures in their own right; he thus relied on a modern, alchemist’s practice

Untitled / Hansaviertel, c. 1957
Gelatin silver print, 29,5 x 37,6
Photo: Heinz Hajek-Halke
Sammlung Michael Ruetz / Nachlass Heinz Hajek-Halke
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Editor: Claudia Stein
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Christopher Bucklow . Anima

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Tetrarch, 9.53 am, 2nd July, 2011, Unique Cibachrome print. © Christopher Bucklow
Christopher Bucklow . Anima
6 September - 27 October 2012
Stockerstr. 33, CH-8002 Zurich  Switzerland  zuerich@houkgallery.com 
www.houkgallery.com   Opening hours: Tues-Fri 11am-6pm, Sat 11am-5pm

Galerie Edwynn Houk is pleased to announce an exhibition of recent photographic work by the British artist Christopher Bucklow (b 1957). This will be Bucklow’s first exhibition with the gallery, and his first in Switzerland.
“Anima” will showcase new pictures from Bucklow’s longstanding series of Guests and Tetrarchs. Each unique work is a cross between a photograph and a drawing, created using his own adaptation of a pinhole camera, a photographic process popular in the 19th Century. Bucklow begins each work by delineating a human silhouette on a metallic sheet, then puncturing it with thousands of holes. Photographic paper is placed at the bottom of a light-sealed box, with the punctured sheet above the paper. Then sunlight is allowed to filter though the holes, every one of them acting as an aperture. And so a photographic image of the sun-lit human body made of thousands of small suns is captured on the photographic paper below. There is no negative, no enlargement. Each picture is one-of-a-kind; its appearance is dependent upon the time of day, the intensity of the sunlight at that time, and the length of the exposure.

Tetrarch, 9.53 am, 2nd July, 2011, Unique Cibachrome print. © Christopher Bucklow



















Initially, the Guests and Tetrarchs were based on portraits of his friends and family, yet, for Bucklow, they have come to represent a self-portrait, a response to the vitality he believes resides within himself as much as every other living being. The exhibition’s title, “Anima,” refers to the Jungian argument that certain archetypes define the unconscious: every male harbors a female archetype; every female, a male. We only ever encounter our inner archetype in our dreams. For Bucklow, each Guest and Tetrarch is a rendering-in-light of those figures haunting and animating his unconscious. Bucklow began his career as a curator at the Victoria Camp; Albert Museum, London. He has exhibited extensively in Europe and abroad, and his paintings and photographs are included in numerous public collections including the Museum of Modern Art, New York, the Guggenheim Museum, New York, the High Museum, Atlanta and the Museum of Fine Arts, Boston. Recent publications include “If This Be Not I,” a collection of his writings, drawings and paintings. He is the author of an iconographical study of Philip Guston’s late paintings entitled “What is in the Dwat, The Universe of Philip Guston’s Final Decade.” Bucklow lives and works in Southwest England.
Tetrarch 11.46 am, 16th April, 2012, Unique Cibachrome print. © Christopher Bucklow


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10115 Berlin
Editor: Claudia Stein

9/03/2012

Andreas Gefeller | Blank

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Andreas Gefeller: CS 02, 2010, 150 x 200 cm, Pigmentprint




















Andreas Gefeller | Blank
8 September – 13 October 2012
Opening reception: Friday, 7 September 2012, 6–9pm
Thomas Rehbein Galerie
Aachener Str. 5, 50674 Cologne Germany
art@rehbein-galerie.de    www.rehbein-galerie.de
Tues-Fri 11am-1pm + 2-6pm . Sat 11am-4pm

Andreas Gefeller’s fourth solo show in the Thomas Rehbein Gallery is presenting his most recent series Blank. Again the photographer focuses his attention to urban and industrial areas, aspects of our contemporary life. Similar to his previous work The Japan Series Gefeller’s youngest photographs bear a perceptible resemblance to drawings or watercolours and oscillate between documentation and construction. Photography’s objectivity and its claim to depict reality are poetically and subtly undermined by Andreas Gefeller.

Andreas Gefeller: SV 05, 2012, 32 x 32 cm, Pigmentprint




















Using modified satellite images of urban agglomerations Gefeller is offering a view on earth from the orbital perspective. Reminiscent of cartographic elements in his Supervisions series, these images give an impression of the colonization of our planet. Brightly illuminated, they enable us to define city centres and lit streets. The speckled spreading and tentacle-like structure of the urban areas underline the apparently unstoppable increase in urban growth. The deep black surrounding the cities turns the two-dimensional surface of the earth into an endless space, where primeval microorganisms seem to float.

In his large-sized pictures, which were also taken by night, Gefeller zooms straight into the hearts of civilization. Excessively overexposed photographs of building façades, motorway intersections, container terminals and refineries reveal vast faded areas. The normal purpose of artificial light to make things visible is manipulated to achieve the opposite effect. Instead of light, the darkness reveals its secret: What existed before is fading away. Only the unlit and darkest areas could resist the long exposure, remaining as fragments to provide indications of the erased reality. Merely preserved as a silhouette-like, totally white—just blank—negative.
Andreas Gefeller: CS 13, 2011, 160 x 149 cm, Pigmentprint
























The contour-like effect awakens the need for reconstruction and completion of the blank spaces. In the truest sense of the word the photographs leave space for interpretations. Pictures of a chemical industry park resemble architectural exploded view drawings, the series of windows on a building façade seems to enclose a coded message, and stacked containers look like data packets. Almost reduced to structural patterns, the portrayed places symbolize the dissolution of postmodernism. Confronted with a flood of information which provides more information than people are able to handle or comprehend. The blinding light of civilisation allows the series Blank to become an allegory of today’s fast-moving and over stimulated society. The artist combines multiple images into one surgically precise photograph that unveil an intimate silence. His specific photographic approach to the world is a philosophical, analytical, intrinsic desire for deceleration.

Miriam Walgate

Andreas Gefeller: IP 12, 2012, 117 x 174 cm, Pigmentprint

















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6/14/2012

Irving Penn . Cigarettes

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Cigarette 37, New York, 1972, Four platinum/palladium prints © Irving Penn Foundation









































Irving Penn | Cigarettes
21st June – 17th August 2012
Hamiltons Gallery   13 Carlos Place, London W1K 2EU
Tel: +44 (0)20 74999493  art@hamiltonsgallery.com
www.hamiltonsgallery.com
Tues – Fri, 10am – 6pm, Sat 11am - 4pm

IRVING PENN
Cigarettes

For the first and possibly only time ever, Irving Penn’s masterful ‘Cigarettes’ series will be exhibited in its entirety at Hamiltons Gallery. ‘Cigarettes’ quickly became part of the lore of 20th century art when a selection from the series was first presented by John Szarkowski at the Museum of Modern Art in New York in 1975, just weeks after he saw some of the prints in Penn’s studio. On the spot, Szarkowski offered Penn an exclusive exhibition.
Marking a quarter-century as the UK representative of Mr Penn’s studio, Hamiltons has the unique privilege of being able to present the complete series of 23 images, accompanied by a fully illustrated, hardbound catalogue.
Penn’s approach to the still life evolved over decades; from the 1930s onwards, he arranged everyday objects to create assemblages that transcended their origins and original purpose to become conceptual works of art.
In the case of ‘Cigarettes’ however, Penn literally found his subjects on the street. By bringing them into his studio and carefully creating these minimalist compositions, he transformed one of the most widely consumed and discarded products of consumer society from that of pure detritus into a symbolic representation of contemporary culture. This transformative act resulted in one of the most elegant yet direct expressions of post-modern artistic practice.
By printing the ‘Cigarettes’ in the platinum/palladium process, Penn also elevated each image to the status of a rare object; many of his most important pictures were printed in platinum, which is the most difficult and demanding of all photographic techniques. The soft, broad tonal ranges and gentle contrasts accentuate the nature of the original objects, further emphasizing their material characteristics. Irving Penn (1917 - 2009) studied at the Philadelphia Museum School of Industrial Art under the tutelage of Alexey Brodovitch who would later become famous for his work at Harper’s, and one of the most influential editors of his era. In the late 1930’s Penn worked as art director of the department store Saks Fifth Avenue and spent a year painting in Mexico before joining the staff of Vogue in 1943 where, on the suggestion of its art director, Alexander Lieberman, he started working as a photographer. The following year he joined the American Service on ambulance duty, and served with the British Army in Italy and India.
After the war Penn returned to Vogue and by 1953 he had established his own studio. He worked with a wide range of subjects including fashion, portraits of the great and good, ethnographic subjects, various forms of still life, and many seminal series such as the ‘Small Trades’ (1950-51). As one of the world’s most important photographers, Penn exhibited internationally throughout the later decades of his career and published over 25 books including Moments Preserved (1960); Worlds in a Small Room (1974); Passage (1991); and A Notebook at Random (2004). His work is held in the permanent collections at the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; Art Institute of Chicago; J.P. Morgan Library, New York; Smithsonian American Art Museum, Washington, D.C.; National Gallery of Art, Washington, D.C.; National Portrait Gallery, London; and the Moderna Museet, Stockholm, amongst others.

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4/29/2012

Γιάννης Σκουλάς «Εκτός πλαισίου χορού»

ΕΚΘΕΣΗ ΦΩΤΟΓΡΑΦΙΑΣ
Γιάννης Σκουλάς «Εκτός πλαισίου χορού»
Διάρκεια:  Πέμπτη 26 Απριλίου έως Τρίτη 15 Μαΐου 2012
Ώρα: 18:00 - 22:00
Επίσημα Εγκαίνια: Πέμπτη 3 Μαΐου 2012, στις 21:30
Πληροφορίες  210 3418579, Δευ – Παρ 11:00 – 14:00
Αίθουσα: Foyer Ισογείου ΕΙΣΟΔΟΣ ΕΛΕΥΘΕΡΗ

Ο Γιάννης Σκουλάς προτείνει μια επιλογή από την 24χρονη φωτογραφική του πορεία σχετικά με το χορό, και το Ίδρυμα Μιχάλης Κακογιάννης παρουσιάζει τις καλύτερες φωτογραφίες του.
Με το φακό του, ο φωτογράφος αποδρά από το καθιερωμένο πλαίσιο αποτύπωσης του χορού, επιχειρώντας την υπέρβαση για να αποδώσει την αίσθηση της αέναης κίνησης σωμάτων και ψυχών.
Στην έκθεση προβάλλονται μεγάλα ονόματα της διεθνούς σκηνής του χορού, μπαλέτα, χοροθέατρα και κάθε είδους χορευτικά σχήματα, όπως Pina Bausch, Momix, Alvin Ailey, Tango por Dos, αλλά και τα μπαλέτα της Αγίας Πετρούπολης, της Λυόν και του Μόντε Κάρλο, καθώς και ελληνικές ομάδες.
Οι φωτογραφίες του είναι αναλογικές και δεν έχουν υποστεί καμία επεξεργασία
Συγκεκριμένα, ο Γιάννης Σκουλάς σημειώνει:
"...Πώς συλλαμβάνονται οι στιγμές πριν τη στιγμή; Πώς μεταφέρεται το πάθος όσο αυτό φουντώνει; Πώς αναδεικνύεται η μαγεία πριν τελειώσει το μαγικό; Πώς γίνεται μια φωτογραφία χορευτική;
...Ως θεατής συνηθίζω να μισοκλείνω τα βλέφαρα και να αφήνομαι να αποθαυμάζω ό, τι καταφέρνει να τρυπώσει. Μ' αρέσει να κοιτώ αλλού, και να εγκαταλείπομαι σε ό, τι η περιφερειακή όραση χαρίζει.
...Στα χρόνια που φωτογράφιζα μπαλέτα, χοροθέατρα και χορευτικές ομάδες, ήμουν και εγώ στη σκηνή, αν και κάτω απ’ αυτήν.
...Κι' έτσι είδα, πως είναι παντού μέσα στην τέχνη του χορού μια αποφασιστική στιγμή. Κι ίσως να είναι κι αυτός ο τρόπος που μια φωτογραφία γίνεται χορευτική, γίνεται κινούμενη χωρίς να' ναι κουνημένη".


Λίγα λόγια για την Έκθεση
Ο Χορός είναι κίνηση, συντονισμός και αίσθηση. Είναι απογείωση, απώλεια της βαρύτητας, φαντασμαγορία και συναίσθημα. Η φωτογραφία είναι απεικόνιση στατική. Μονοδιάστατη, αιχμαλωτίζει μια στιγμή και της προσφέρει αιωνιότητα.
Και εάν η φωτογραφία αποφασίσει να απαθανατίσει το χορό, τότε ποιά είναι η δική του αποφασιστική στιγμή; Μόλις ο χορευτής ολοκληρώσει τη χορευτική του παραλλαγή; Όταν το σύμπλεγμα βρίσκεται στο απόγειο της κίνησής του; Στο κρεσέντο ενός pas des deux;  Αλλά οι χορευτές, χορεύουν και πριν από αυτό το αποφασιστικό δευτερόλεπτο και οι θεατές, απολαμβάνουν την πορεία της κίνησης μέχρι την ολοκλήρωσή της. Να το κάνω ξεκάθαρο δεν με αφορά, ούτε σκοπός μου είναι η τελειότητα. Συγκινούμαι όμως απεριόριστα από το δρόμο για την απόκτηση της, από την προσπάθεια για την επίτευξή της. Φωτογράφιζα με το ένα μάτι γυμνό να βλέπει το όλον και το άλλο να συνυπάρχει με τα μέλη της ομάδας μέσω του φακού, συγχορευτής και θεατής ταυτόχρονα. Δε διαφωνώ πως έτσι χάνονται πολλά από την τελειότητα των κινήσεων, από το συγχρονισμό των σωμάτων ή την ακρίβεια των εκφράσεων μα, ότι εισχωρεί είναι καθαρό συναίσθημα. Και δουλειά της Τέχνης είναι πάνω απ' όλα να κεντρίζει την ψυχή.    Γιάννης Σκουλάς

http://www.mcf.gr/el/whats_on/?ev=ektos_plaisioi_horoi_ekthesi_fotocrafias_toi_cianni_skoila

4/28/2012

Έκθεση κολάζ του Τζώρτζη Ταταύλαλη Junk Food

Έκθεση κολάζ του Τζώρτζη Ταταύλαλη
Junk Food



«Ίδρυμα Μιχάλης Κακογιάννης»
Διεύθυνση: Πειραιώς 206, (ύψος Χαμοστέρνας), Ταύρος, Τ.Κ. 177 78
Τηλ.: 210 341 8550  Φαξ: 210 341 8570
 E-mail: info@mcf.gr  http://www.mcf.gr/el/whats_on/?ev=607












Flyer, διαφημιστικά, φωτογραφίες είναι τα υλικά που χρησιμοποίησε ο Τζώρτζης Ταταύλαλης για να φτιάξει τις φιγούρες που περιλαμβάνει η έκθεση. Η ενασχόληση αυτή ξεκίνησε ως παιχνίδι και από την απλή περιέργεια του πού μπορεί να καταλήξει, τι αποτέλεσμα θα είχε. Ένα αποτέλεσμα που ξάφνιασε ευχάριστα τον δημιουργό και το οποίο σας καλούμε να απολαύσετε και εσείς.




ΤΟ ΚΟΛΛΑΖ ΚΑΙ Ο ΤΖΩΡΤΖΗΣ
Το κολλάζ είναι μια μάλλον ασυνήθιστη και γι αυτό εκτός σειράς καλλιτεχνική έκφραση που απαιτεί μεγάλη τεχνική δεξιότητα, ευαισθησία και τολμηρή –έως αχαλίνωτη- φαντασία. Το πρωταρχικό υλικό που μεταχειρίζεται ο δημιουργός του, είναι συνήθως ποιοτικά ανόμοιο, κάποτε ευτελές, χωρίς αισθητικές αξιώσεις και μάλιστα «από δεύτερο χέρι». Ωστόσο η αναζήτηση και η σύνθεση μέσω του κολλάζ είναι που δίνει σ αυτό το μωσαϊκό των άπειρων διαφορετικών ψηφίδων, την καινούργια αισθητική του διάσταση, την καλλιτεχνική του αυτονομία. Που όμως δεν είναι ούτε ζωγραφική, ούτε γραφικές τέχνες, ούτε απεικόνιση. Είναι κολλάζ. Φωτογραφίες, αφίσες, σχέδια, διαφημιστικά φυλλάδια, έντυπα, σελίδες από περιοδικά, εικόνες από βιβλία κι εφημερίδες, αναπαραγωγές επώνυμων η ανώνυμων έργων, ακόμα και απρόβλεπτο διακοσμητικό υλικό όπως συσκευασίες και φειγ- βολάν, όλα, αποτελούν για τον δημιουργό πρόκληση και μαζί αφορμή για έναν περαιτέρω διάλογο, για μια καινούργια πρόταση για ένα μια νέα διάσταση. Χάρη στην πλοκή και την διαφορετικότητα του υλικού του, το κολλάζ απελευθερώνει με έναν εντελώς διαφορετικό τρόπο όχι μόνο την φαντασία του καλλιτέχνη, αλλά και τα συναισθήματα που αυτός και το έργο του εκπέμπουν: Νοσταλγία, ρομαντισμό, ποίηση, βιαιότητα, χιούμορ, αυτοσαρκασμό, παιχνίδισμα, καταγγελία…

Με το κολλάζ δεν ασχολήθηκαν πολλοί στην Ελλάδα. Γνωστότερος όλων παραμένει ασφαλώς ο Οδυσσέας Ελύτης. Ο Τζώρτζης ασχολείται επαγγελματικά και μη, με πολλά ιδιαίτερα αισθητικά πεδία: Ρούχο, συνθέσεις, διακοσμητική, κολλάζ. Ασχολείται εντατικά, δημιουργικά αλλά διακριτικά. Οι κολλάζ πίνακές του απεικονίζουν ένα μέρος μόνο των δεξιοτήτων του. Εκθέτουν επίσης τον οίστρο της φαντασίας και το άγχος των συναισθημάτων του. Ο ίδιος λέει ότι «όλα άρχισαν σαν παιχνίδι». Τελικά το παιχνίδι, έγινε στα χέρια του, μια πολύ σοβαρή, πολύ στιβαρή υπόθεση.
ΧΡΙΣΤΟΣ Κ. ΧΡΙΣΤΟΔΟΥΛΟΥ   Δημοσιογράφος-Συγγραφέας

4/25/2012

Jay Mark Johnson | No such Place

e-Announcement    photography-now.com

Jay Mark Johnson
Carbon Dating #1, Hazard, Kentucky 2008 (Detail)
Durst lambda, film, aluminum
110 x 528 cm    Edition of 3
courtesy the artist and Boutwell Draper Gallery, Sydney





















Jay Mark Johnson | No such Place
Opening Thursday 26 April 6-8 pm
Exhibition Dates 26 April - 23 June 2012
The exhibition is part of the Head On Festival, Sydney, May 2012
Boutwell Draper Gallery
82-84 George Street . Redfern, Sydney NSW 2016 Australia
info@boutwelldraper.com.au  http://www.boutwelldraper.com.au
Wednesday - Saturday 11am - 5pm
Jay Mark Johnson
Swept Away #3, Belgrade, Serbia 2008 (Detail)
Durst lambda, film, aluminum
110 x 264 cm   Edition of 3
courtesy the artist and Boutwell Draper Gallery, Sydney




















Jay Mark Johnson
No such Place

Jay Mark Johnson’s current ‘Spacetime’ photographic series began with rudimentary experiments in 2005. Over the course of this project he increasingly applies the full range of his experiences, from visual arts and cinema to studies in the anthropological and cognitive sciences.

In order to understand the large-format photographs of American artist Jay Mark Johnson (*1955) it is crucial to grasp their underlying paradox: while the images are created purely photographically, without digital manipulation or staging of a scene, and therefore depict actual events, they still create a perfectly illusory pictorial world. Johnson employs a modified camera which over a set period of time keeps recording the same narrow vertical strip in front of the camera lens and combines the successive photographs into an uninterrupted image that flows evenly from left to right.

Jay Mark Johnson was educated at the Institute for Architecture and Urban Studies and has worked as an assistant to Peter Eisenman, as well as for Rem Koolhaas and Aldo Rossi. Works of his are in the permanent collections of the MOMA in New York, the Smithsonian Institution in Washington, D.C., the Art Institute of Chicago, as well as the Collection Frederick R. Weisman, Los Angeles and the Langen Foundation, Hombroich, Germany. Johnson's varied and prolific career spans theatre and performance art, photography, live musical performance, and journalism.
He co-founded three different alternative television collectives first in Manhattan, and then in Mexico and El Salvador during the eighties at the height of political repression and unrest in those countries. After his return from Latin America he started working in the movie industry and is now a film director with broad experience in visual effects production, having supervised, directed or otherwise contributed to the computer generated imagery for nearly a dozen major studio films and television series, such as Outbreak, Matrix, Titanic, Tank Girl, Moulin Rouge, White Oleander, and music videos for the Red Hot Chili Peppers and others. Jay Mark Johnson lives and works in Los Angeles, USA.

Jay Mark Johnson
El Anarquista y el Tren, Valencia, Spain 2008 (Detail)
Durst Lambda, film, aluminum
110 x 518 cm
Edition of 3
courtesy the artist and Boutwell Draper Gallery, Sydney


















NO SUCH PLACE, an exhibition of ‘Spacetime’ cityscapes and landscapes will be shown at Boutwell Draper Gallery, Sydney starting on Thursday 26 April through to June 23, 2012. The exhibition presents a selection of the artist's large format color photographs from Prague, Belgrade, Hong Kong, Hazard (Kentucky) and Valencia (Spain). The artworks offer a playful and critically engaging look at the industrialization of the landscape - on the street, in train yards and in open pit coalmines.

A selection of ocean wave timelines produced along the coasts of Mexico and California will also be on show.

Jay Mark Johnson
Velvet Locomotion 1-4, Prague, Czech Republik, 2011 (Detail)
Durst Lambda, film, aluminum
110 x 508 cm  Edition of 3
courtesy the artist and Boutwell Draper Gallery, Sydney

4/16/2012

Το Μανιφέστο του Μεταφουτουρισμού

Το Μανιφέστο του Μεταφουτουρισμού

100 χρόνια μετά τη δημοσίευση στην Le Figaro στις 20 Φεβρουαρίου 1009 του Μανιφέστου του Φουτουρισμού του Filippo Tommaso Marinetti, ο Franco Berardi (Bifo) κι η παρέα του γράφουν το Μανιφέστο του Μεταφουτουρισμού:
ΤΟ ΜΑΝΙΦΕΣΤΟ ΤΟΥ ΜΕΤΑΦΟΥΤΟΥΡΙΣΜΟΥ

1. Θέλουμε να τραγουδήσουμε τον κίνδυνο του έρωτα, την καθημερινή δημιουργία μιας γλυκιάς ενέργειας που ποτέ δεν σκορπά.

2. Η ειρωνεία, η τρυφερότητα κι η εξέγερση θα είναι τα ουσιαστικά στοιχεία της ποίησής μας.

3. Η ιδεολογία κι η διαφήμιση έχουν εξυμνήσει τη μόνιμη κινητοποίηση της παραγωγικής και της νευρώδους ενέργειας της ανθρωπότητας για το κέρδος και τον πόλεμο, αλλά εμείς θέλουμε να εξυμνήσουμε την αβρότητα, τη νωχέλεια και την έκσταση, την αυτοσυγκράτηση των αναγκών μας και την ευχαρίστηση των αισθήσεων.

4. Δηλώνουμε ότι το μεγαλείο του κόσμου έχει εμπλουτιστεί με μια νέα ομορφιά: την ομορφιά της αυτονομίας. Όλοι έχουν το ρυθμό τους και κανένας δεν πρέπει να αναγκάζεται να βαδίζει με ομοιόμορφο βήμα. Τα αυτοκίνητα έχουν χάσει τη γοητεία της σπανιότητας και, πάνω απ’ όλα, δεν μπορούν να επιτελέσουν το έργο, για το οποίο είχαν εφευρεθεί. Η ταχύτητα έχει επιβραδυνθεί. Τα αυτοκίνητα έγιναν ακίνητα σαν ανόητες χελώνες μέσα στην κυκλοφοριακή κίνηση της πόλης.

5. Θέλουμε να τραγουδήσουμε τον άντρα και τη γυναίκα, που θωπεύονται για να γνωρισθούν καλύτερα μεταξύ τους και για να γνωρίσουν καλύτερα τον κόσμο.

6. Ο ποιητής πρέπει να προσφέρει την έμπνευση για οίστρο κι ασωτία για να αυξήσει τη δύναμη της συλλογικής νόησης και να ελαττώσει το χρόνο της μισθωτής εργασίας.

7. Δεν υπάρχει κάλλος παρά μέσα στην αυτονομία. Κανένα έργο που δεν εκφράζει τη νοημοσύνη του δυνατού δεν μπορεί να είναι αριστούργημα. Η ποίηση είναι μια γέφυρα που ρίχνεται πάνω στην άβυσσο του τίποτε για να επιτρέψει την κοινή μοιρασιά των ποικίλων φαντασιών και για να απελευθερώσει την ενικότητα.

8. Βρισκόμαστε στο απώτατο ακρωτήρι των αιώνων.. Οφείλουμε απολύτως να κοιτάμε πίσω μας για να θυμόμαστε την άβυσσο της βίας και του τρόμου, τις οποίες η στρατιωτική επιθετικότητα κι η εθνικιστική άγνοια κατόρθωσαν να υποδαυλίζουν κάθε στιγμή. Ζούμε για πολύ καιρό μέσα στην θρησκεία του στάσιμου χρόνου. Η πανταχού παρούσα αιώνια ταχύτητα είναι ήδη πίσω μας, στο Ίντερνετ, και γι’ αυτό μπορούμε τώρα να την ξεχάσουμε για να βρούμε το δικό μας ξεχωριστό ρυθμό.

9. Θέλουμε να γελοιοποιήσουμε τους βλάκες που υποστηρίζουν το λόγο του πόλεμου: τους φανατικούς των ανταγωνισμών, τους φανατικούς του γενειοφόρου θεού που προτρέπει τις σφαγές, τους τρομοκρατημένους φανατικούς από την αφοπλιστική θηλυκότητα που υπάρχει σ’ όλους μας.

10. Απαιτούμε να γίνει η τέχνη δύναμη αλλαγής μέσα στη ζωή, απαιτούμε να καταργήσουμε το διαχωρισμό μεταξύ ποίησης και μαζικής επικοινωνίας, απαιτούμε να λυτρώσουμε τα μήντια από την εξουσία των έμπορων για να τα ξαναδώσουμε στους ειδήμονες και τους ποιητές.

11. Θα τραγουδήσουμε για το πλήθος των ανθρώπων που μπορούν επιτέλους να απελευθερωθούν από το ζυγό της έμμισθης εργασίας, θα τραγουδήσουμε για την αλληλεγγύη και για τον ξεσηκωμό κατά της εκμετάλλευσης. Θα τραγουδήσουμε για το άπειρο δίκτυο της γνώσης και της επινόησης, για την άυλη τεχνολογία που μας απελευθερώνει από τον φυσικό μόχθο. Θα τραγουδήσουμε για το επαναστατημένο κογκνεταριάτο (το προλεταριάτο της γνωσιακής εργασίας) που μας συνδέει με το ίδιο το σώμα. Θα τραγουδήσουμε για το άπειρο του παρόντος και δεν θα έχουμε πια ανάγκη του μέλλοντος.

αναδημοσιευση απο http://mazemata.blogspot.com/

Φουτουριστικο Μανιφεστο του 21ου αιωνα

IL MANIFESTO FUTURISTA DEL SECOLO XXI

Ci siamo spezzettati e persi in mille rivoli,
come onde di desiderio,
che non incontrano il loro cuore.
L’UNICO,
anima e fuoco delle nostre notti insonni,
sembra ormai abbandonarci,
non tollerando menti tanto eccelse
da concentrarsi solo su se stesse.
Mentre un millennio, orfano di segni e senso,
muove i primi passi nell’infinito del tempo,
i Futuristi si ergono
dal proprio sonno centenario
e proclamano:
OLTRE i bassi orizzonti del contingente assumiamo e superiamo la modernità,
nel segno simultaneo dell’acciaio e della pietra, della luce e dei suoi colori,
dei Gigabytes e dei pixels.
REINVENTIAMO la realtà attraverso il segno creativo, il dialogo dei tempi e delle ere.
SIAMO contemporaneamente qui ed altrove, ma SIAMO nel rifiuto dell’effimero.
LIBERI dalla massa incolta, dall’effimera dittatura del numero noi celebriamo la libertà creativa, tendiamo all’Assoluto, rivendichiamo l’Arte Eterna.
CONSAPEVOLI della crisi delle vecchie appartenenze, auspichiamo le nuove sintesi creative.
NON TEORIZZIAMO ma sperimentiamo sul corpo vivo della società gli innesti di una nuova speranza.
IL FUTURO è il mito permanente che ci lancia OLTRE i bassi orizzonti ...
Agosto 2008
Mario Bozzi Sentieri e Angelo Cacciola Donati

3/15/2012

FUTURISMO 1909-2009

Italy Celebrates the 100th Anniversary of the Birth of Futurism with Several Exhibitions

The First Art Newspaper on the Net Established in 1996




Italy ignited its motors at full speed to celebrate the 100th anniversary of Futurism, the most important artistic movement that the country has created and which gave the world a new beauty, that of speed. In this image, a work that is part of audiovisual exhibition "Presentism, time and space in the long now" created by British musician Brian Eno to commemorate the 100th anniversary of the birth of Futurism and which can be seen at Palacio Ruspoli in Rome. Photo: EFE.

ROME.- Several exhibitions and artistic performances that started this Friday prove that Italian culture still has in mind that artistic movement that was born on February 20, 1909 with the publishing of the Futurist Manifesto by Filippo Tommaso, which he published in the French daily newspaper Le Figaro.
“We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed”, says the fourth point in that Manifesto that bets on the “courage, audacity, and revolt that will be essential elements of our poetry” that arises from artistic inspiration.
With all of these and other fundaments in mind- eleven in total included in the Futurist Manifesto- Italians vindicate today that, even though the founding of this movement was set up in Paris, it is still an artistic movement that has the Italian seal.
That is why, and after the city of Marinetti, Milan, started a few days ago the celebrations in honor of the movement, it is the capital city which has now become the center of the celebrations of the anniversary of Futurism. A party named "Futuroma".
One of the main exhibitions that Rome opened this week is an audiovisual composition by British musician Brian Eno, who has produced Coldplay and was a member of Roxy Music, which is now on view at Memmo Foundation, at the Ruspoli Palace, and is titled "Presentism, time and space in the long now".
"I call it 'Presentism' because in today’s history we cannot separate the future from the present. What we do today, what we destroy, determines our future. There is no longer a difference between present and future. What could once be called Futurism, today is Presentism", said Eno in a recent interview published in " La Repubblica ".
"A great part of what I do is linked more to painting, because my first instinct has always been to make music that could stand the test of time like paintings do", he added.
Masterpieces of Futurism at the Peggy Guggenheim Collection presents key paintings of the movement such as Materia and Dynamism of a Cyclist by Boccioni, Mercury Passing Before the Sun by Balla, The Galleria of Milan by Carrà, Blue Dancer by Severini, three works from Peggy Guggenheim’s collection (Severini’s Sea = Dancer, Balla’s Abstract Speed + Sound, and Boccioni’s sculpture Dynamism of a Speeding Horse + Houses), as well as loans from private collections by Balla, Boccioni, Carrà and Sironi. This will also be the debut of a recent gift to the Solomon R. Guggenheim Foundation, Sironi’s early masterpiece The Cyclist (1916). The exhibition includes three of Boccioni’s four extant sculptures: in addition to the mixed media Dynamism of a Speeding Horse + Houses, bronze cast of his celebrated Development of a Bottle in Space and Unique Forms of Continuity in Space.
An introductory section of paintings, sculptures and drawings contextualizes the Futurist movement with works of other historical avant-gardes, such as Divisionism, Cubism, Orphism and Vorticism. Jean Metzinger and Raymond Duchamp-Villon explored notions of movement and the mechanical dynamism of modern life, while the London Vorticist Edward Wadsworth, who was inspired by the rhetoric of Marinetti, is represented with two woodcuts, Street Singers and Top of the Town, each of them recent gifts to the Solomon R. Guggenheim Foundation, and now on exhibition for the first time.

L'OBBIETTIVO FUTURISTA FOTODINAMISMO E FOTOGRAFIA

L'OBBIETTIVO FUTURISTA FOTODINAMISMO E FOTOGRAFIA

CATALOGO DELLA MOSTRA ITNERANTE PER IL CENTENARIO DEL FUTURISMO
PAGG. 168 CON CENTINAIA DI FOTOGRAFIE

MASOERO, THAYAHT, TATO, LUXARDO, MARINETTI, WULZ, MAZZONI, RIDENTI, RAM, PARISIO, PEDROTTI, BRAGAGLIA,

TESTI, MANIFESTI.


NUOVA EDIZIONE
Informazioni sul venditore professionale Massimiliano Vittori
Email: novecento@micso.net

ΦΩΤΟΔΥΝΑΜΙΣΜΟΣ / Fotodinamismo Futurista - Anton Giulio Bragaglia

futurist photodynamism by anton giulio bragaglia

futurist photodynamism
by anton giulio bragaglia
1st july 1913
To begin with, Photodynamism cannot be interpreted as an innovation applicable to photography in the way that chronophotography was. Photodynamism is a creation that aims to achieve ideals that are quite contrary to the objectives of all the representational means of today. If it can be associated at all with photography, cinematography and chronophotography, this is only by virtue of the fact that, like them, it has its origins in the wide field of photographic science, the technical means forming common ground. All are based on the physical properties of the camera.
We are certainly not concerned with the aims and characteristics of cinematography and chronophotography. We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved only in the area of movement which produces sensation, the memory of which still palpitates in our awareness.
We despise the precise, mechanical, glacial reproduction of reality, and take the utmost care to avoid it. For us this is a harmful and negative element, whereas for cinematography and chronophotography it is the very essence. They in their turn overlook the trajectory, which for us is the essential value.
The question of cinematography in relation to us is absolutely idiotic, and can only be raised by a superficial and imbecilic mentality motivated by the most crass ignorance of our argument.
Cinematography does not trace the shape of movement. It subdivides it, without rules, with mechanical arbitrariness, disintegrating and shattering it without any kind of aesthetic concern for rhythm. It is not within its coldly mechanical power to satisfy such concerns.
Besides which, cinematography never analyses movement. It shatters it in the frames of the film strip, quite unlike the action of Photodynamism, which analyses movement precisely in its details. And cinematography never synthesises movement, either. It merely reconstructs fragments of reality, already coldly broken up, in the same way as the hand of a chronometer deals with time even though this flows in a continuous and constant stream.
Photography too is a quite distinct area; useful in the perfect anatomical reproduction of reality; necessary and precious therefore for aims that are absolutely contrary to ours, which are artistic in themselves, scientific in their researches, but nevertheless always directed towards art.
And so both photography and Photodynamism possess their own singular qualities, clearly divided, and are very different in their importance, their usefulness and their aims.
Marey's chronophotography, too, being a form of cinematography carried out on a single plate or on a continuous strip of film, even if it does not use frames to divide movement which is already scanned and broken up into instantaneous shots, still shatters the action. The instantaneous images are even further apart, fewer and more autonomous than those of cinematography, so that this too cannot be called analysis.
In actual fact, Marey's system is used, for example, in the teaching of gymnastics. And out of the hundred images that trace a man's jump the few that are registered are just sufficient to describe and to teach to the young the principal stages of a jump.
But although this may be all very well for the old Marey system, for gymnastics and other such applications, it is not enough for us. With about five extremely rigid instantaneous shots we cannot obtain even the reconstruction of movement, let alone the sensation. Given that chronophotography certainly does not reconstruct movement, or give the sensation of it, any further discussion of the subject would be idle, except that the point is worth stressing, as there are those who, with a certain degree of elegant malice, would identify Photodynamism with chronophotography, just as others insisted on confusing it with cinematography.
Marey's system, then, seizes and freezes the action in its principal stages, those which best serve its purpose. It thus describes a theory that could be equally deduced from a series of instantaneous photographs. They could similarly be said to belong to different subjects, since, if a fraction of a stage is removed, no link unites and unifies the various images. They are photographic, contemporaneous, and appear to belong to more than one subject. To put it crudely, chronophotography could be compared with a clock on the face of which only the quarter-hours are marked, cinematography to one on which the minutes too are indicated, and Photodynamism to a third on which are marked not only the seconds, but also the intermovemental fractions existing in the passages between seconds. This becomes an almost infinitesimal calculation of movement.
In fact it is only through our researches that it is possible to obtain a vision that is proportionate, in terms of the strength of the images, to the very tempo of their existence, and to the speed with which they have lived in a space and in us.
The greater the speed of an action, the less intense and broad win be its trace when registered with Photodynamism. It follows that the slower it moves, the less it will be dematerialised and distorted. The more the image is distorted, the less real it will be. It will be more ideal and lyrical, further extracted from its personality and closer to type, with the same evolutionary effect of distortion as was followed by the Greeks in their search for their type of beauty.
There is an obvious difference between the photographic mechanicality of chronophotography -embryonic and rudimentary cinematography - and the tendency of Photodynamism to move away from that mechanicality, following its own ideal, and completely opposed to the aims of all that went before (although we do propose to undertake our own scientific researches into movement).
Photodynamism, then, analyses and synthesises movement at will, and to great effect. This is because it does not have to resort to disintegration for observation, but possesses the power to record the continuity of an action in space, to trace in a face, for instance, not only the expression of passing states of mind, as photography and cinematography have never been able to, but also the immediate shifting of volumes that results in the immediate transformation of expression.
A shout, a tragical pause, a gesture of terror, the entire scene, the complete external unfolding of the intimate drama, can be expressed in one single work. And this applies not only to the point of departure or that of arrival - nor merely to the intermediary stage, as in chronophotography - but continuously, from beginning to end, because in this way, as we have already said, the intermovemental stages of a movement can also be invoked.
In fact, where scientific research into the evolution and modelling of movement are concerned, we declare Photodynarnism to be exhaustive and essential, given that no precise means of analysing a movement exists (we have already partly examined the rudimentary work of chronophotography).
And so - just as the study of anatomy has always been essential for an artist - now a knowledge of the paths traced by bodies in action and of their transformation in motion will be indispensable for the painter of movement.
In the composition of a painting, the optical effects observed by the artist are not enough. A precise analytical knowledge of the essential properties of the effect, and of its causes, are essential. The artist may know how to synthesise such analyses, but within such a synthesis the skeleton, the precise and almost invisible analytical elements, must exist. These can only be rendered visible by the scientific aspects of Photodynamism.
In fact, every vibration is the rhythm of infinite minor vibrations, since every rhythm is built up of an infinite quantity of vibrations. In so far as human knowledge has hitherto conceived and considered movement in its general rhythm, it has fabricated, so to speak, an algebra of movement. This has been considered simple and finite (cf. Spencer: First Principles - The Rhythm of Motion). But Photodynamism has revealed and represented it as complex, raising it to the level of an infinitesimal calculation of movement (see our latest works, e.g. The Carpenter, The Bow, Changing Positions).
Indeed, we represent the movement of a pendulum, for example, by relating its speed and its tempo to two orthogonal axes.
We will obtain a continuous and infinite sinusoidal curve.
But this applies to a theoretical pendulum, an immaterial one. The representation we will obtain from a material pendulum will differ from the theoretical one in that, after a longer or shorter (but always finite) period, it will stop.
It should be clear that in both cases the lines representing such movement are continuous, and do not portray the reality of the phenomenon. In reality, these lines should be composed of an infinite number of minor vibrations, introduced by the resistance of the point of union. This does not move with smooth continuity but in a jerky way caused by infinite coefficients. Now, a synthetic representation is more effective, even when its essence envelops an analytically divisionist value, than a synthetic impressionist one (meaning divisionism and impressionism in the philosophical sense). In the same way the representation of realistic movement will be much more effective in synthesis - containing in its essence an analytical divisionist value (e.g. The Carpenter, The Bow, etc.), than in analysis of a superficial nature, that is, when it is not minutely interstatic but expresses itself only in successive static states (e.g. The Typist).
Therefore, just as in Seurat's painting the essential question of chromatic divisionism (synthesis of effect and analysis of means) had been suggested by the scientific enquiries of Rood, so today the need for movemental divisionism, that is, synthesis of effect and analysis of means in the painting of movement, is indicated by Photodynamism. But - and this should be carefully noted - this analysis is infinite, profound and sensitive, rather than immediately perceptible.
This question has already been raised by demonstrating that, just as anatomy is essential in static reproduction, so the anatomy of an action - intimate analysis - is indispensable in the representation of movement. This will not resort to thirty images of the same object to represent an object in movement, but will render it infinitely multiplied and extended, whilst the figure present will appear diminished.
Photodynamism, then, can establish results from positive data in the construction of moving reality, just as photography obtains its own positive results in the sphere of static reality.
The artist, in search of the forms and combinations that characterise whatever state of reality interests him, can, by means of Photodynamism, establish a foundation of experience that will facilitate his researches and his intuition when it comes to the dynamic representation of reality. After all, the steady and essential relationships which link the development of any real action with artistic conception are indisputable, and are affirmed independently of formal analogies with reality.
Once this essential affinity has been established, not only between artistic conception and the representation of reality, but also between artistic conception and application, it is easy to realise how much information dynamic representation can offer to the artist who is engaged in a profound search for it.
In this way fight and movement in general, light acting as movement, and hence the movement of light, are revealed in Photodynamism. Given the transcendental nature of the phenomenon of movement, it is only by means of Photodynamism that the painter can know what happens in the intermovemental states, and become acquainted with the volumes of individual motions. He will be able to analyse these in minute detail, and will come to know the increase in aesthetic value of a flying figure, or its diminution, relative to light and to the dematerialization consequent upon motion. Only with Photodynamism can the artist be in possession of the elements necessary for the construction of a work of art embodying the desired-for synthesis.
With reference to this the sculptor Roberto Melli wrote to me explaining that, in his opinion, Photodynamism 'must, in the course of these new researches into movement which are beginning to make a lively impression on the artist's consciousness, take the place which has until now been occupied by drawing, a physical and mechanical phenomenon very different from the physical transcendentalism of Photodynamism. Photodynamism is to drawing what the new aesthetic currents are to the art of the past.' . . .
Now, with cinematography and Marey's equivalent system the viewer moves abruptly from one state to another, and thus is limited to the states that compose the movement, without concern for the intermovemental states of the action; and with photography he sees only one state. But with Photodynamism, remembering what took place between one stage and another, a work is presented that transcends the human condition, becoming a transcendental photograph of movement. For this end we have also envisaged a machine which will render actions visible, more effectively than is now today possible with actions traced from one point, but at the same time keeping them related to the time in which they were made. They will remain idealised by the distortion and by the destruction imposed by the motion and light which translate themselves into trajectories.
So it follows that when you tell us that the images contained in our Photodynamic works are unsure and difficult to distinguish, you are merely noting a pure characteristic of Photodynamism. For Photodynamism, it is desirable and correct to record the images in a distorted state, since images themselves are inevitably transformed in movement. Besides this, our aim is to make a determined move away from reality, since cinematography, photography and chronophotography already exist to deal with mechanically precise and cold reproduction.
We seek the interior essence of things: pure movement; and we prefer to see everything in motion, since as things are dematerialised in motion they become idealised, while still retaining, deep down, a strong skeleton of truth.
This is our aim, and it is by these means that we are attempting to raise photography to the heights which today it strives impotently to attain, being deprived of the elements essential for such an elevation because of the criteria of order that make it conform with the precise reproduction of reality. And then, of course, it is also dominated by that ridiculous and brutal negative element, the instantaneous exposure, which has been presented as a great scientific strength when in fact it is a laughable absurdity.
But where the scientific analysis of movement is concerned - that is, in the multiplication of reality for the study of its deformation in motion - we possess not merely one but a whole scale of values applied to an action. We repeat the idea, we insist, we impose and return to it without hesitation and untiringly, until we can affirm it absolutely with the obsessive demonstration of exterior and internal quality which is essential for us.
And it is beyond doubt that by way of such multiplication of entities we will achieve a multiplication of values, capable of enriching any fact with a more imposing personality.
In this way, if we repeat the principal states of the action, the figure of a dancer - moving a foot, in mid-air, pirouetting - will even when not possessing its own trajectory or offering a dynamic sensation, be much more like a dancer, and much more like dancing, than would a single figure frozen in just one of the states that build up a movement.
The picture therefore can be invaded and pervaded by the essence of the subject. It can be obsessed by the subject to the extent that it energetically invades and obsesses the public with its own values. It will not exist as a passive object over which an unconcerned public can take control for its own enjoyment. It will be an active thing that imposes its own extremely free essence on the public, though this will not be graspable with the insipid facility common to all images that are too faithful to ordinary reality.
To further this study of reality multiplied in its volumes, and the multiplication of the lyrical plastic sensation of these, we have conceived a method of research, highly original in its mechanical means, which we have already made known to some of our friends.
But in any case, at the moment we are studying the trajectory, the synthesis of action, that which exerts a fascination over our senses, the vertiginous lyrical expression of life, the lively invoker of the magnificent dynamic feeling with which the universe incessantly vibrates.
We will endeavour to extract not only the aesthetic expression of the motives, but also the inner, sensorial, cerebral and psychic emotions that we feel when an action leaves its superb, unbroken trace.This is in order to offer to others the necessary factors for the reproduction of the desired feeling.And it is on our current researches into the interior of an action that all the emotive artistic values existing in Photodynamism are based.
To those who believe that there is no need for such researches to be conducted with photographic means, given that painting exists, we would point out that, although avoiding competing with painting, and working in totally different fields, the means of photographic science are so swift, so fertile, and so powerful in asserting themselves as much more forward looking and much more in sympathy with the evolution of life than all other old means of representation.

Manifesti del Futurismo

Carmelo Bene - Manifesti del Futurismo



1-Noi vogliamo cantare l'amor del pericolo, l'abitudine all'energia e alla temerità.
2-Il coraggio, l'audacia, la ribellione, saranno elementi essenziali della nostra poesia.
3-La letteratura esaltò fino ad oggi l'immobilità penosa, l'estasi ed il sonno. Noi vogliamo esaltare il movimento aggressivo, l'insonnia febbrile, il passo di corsa, il salto mortale, lo schiaffo ed il pugno.
4-Noi affermiamo che la magnificenza del mondo si è arricchita di una bellezza nuova: la bellezza della velocità
5-Noi vogliamo inneggiare all'uomo che tiene il volante, la cui asta attraversa la Terra, lanciata a corsa, essa pure, sul circuito della sua orbita.
6-Bisogna che il poeta si prodighi con ardore, sfarzo e magnificenza, per aumentare l'entusiastico fervore degli elementi primordiali.
7-Non vi è più bellezza se non nella lotta. Nessuna opera che non abbia un carattere aggressivo può essere un capolavoro.
8-Noi siamo sul patrimonio estremo dei secoli! poiché abbiamo già creata l'eterna velocità onnipresente.
9-Noi vogliamo glorificare la guerra-sola igiene del mondo-il militarismo, il patriottismo, il gesto distruttore
10-Noi vogliamo distruggere i musei, le biblioteche, le accademie d'ogni specie e combattere contro il moralismo, il femminismo e contro ogni viltà opportunistica o utilitaria
11-Noi canteremo le locomotive dall'ampio petto, il volo scivolante degli aeroplani. È dall'Italia che lanciamo questo manifesto di violenza travolgente e incendiaria col quale fondiamo oggi il Futurismo

3/09/2012

GROUPSHOW - NEW EDITIONS / PHOTO EDITION BERLIN

GROUPSHOW - NEW EDITIONS
05 March - 04 April 2012
New works by
Gottfried Jäger | Yotta Kippe | Tor Seidel | Claus Stolz | Eliska Bartek |Σύνδεσμος Frank Hülsbömer | Manfred Paul | Klaus Dietrich | Jeremy Lynch | Detlev Schneider





















Eliška Bartek: CV04 - Cliché Verre, 30 x 40cm, 2011












Tor Seidel, Portrait 6.11.11 (Tryptich), 2012

PHOTO EDITION BERLIN
gallery for contemporary photography
Ystaderstr.14a, D - 10437 Berlin
+49 (0)30 41717831
+49 (0)157 71419616
www.photo-edition-berlin.com













Claus Stolz:Sun 180A, 180E, Heliographie, 80 x 80cm, 2011

PHOTO EDITION BERLIN | Baden-Baden
Nikolaus von Wolff
Büttenstr.7, D - 76530 Baden-Baden
Tel: +49 (0) 152 2635 0944
bb@photo-edition-berlin.com
www.photoeditionberlin.com