IMAGINARY, ESTETICA DEL VIRTUALE E PERCEZIONE DEL REALE

PRIMO PIANO LIVINGALLERY
PRESENTA
IMAGINARY
ESTETICA DEL VIRTUALE E PERCEZIONE DEL REALE
21 FEBBRAIO  - 19 MARZO 2014
Inaugurazione VENERDI’ 21 FEBBRAIO ORE 19:30
A cura di Dores Sacquegna
La mostra “IMMAGINARIA: Estetica del virtuale e percezione del reale”, intende misurarsi con alcune importanti questioni che riguardano il rapporto tra reale e virtuale, le tecnologie digitali, i new media e le varie forme espressive artistiche, attraverso una selezione di opere, realizzate da artisti diversi per generazione e background.
Il progetto pone l’accento sull’idea di “transito” in cui i classici concetti di luoghi, identità, storia e natura si incontrano e si scontrano con dimensioni dettate dall’idea di flusso, simultaneità, interattività e globalità, sia nell’ambito “materiale” che “immateriale”.
La tecnologia digitale, infatti, prospetta vere e proprie trasformazioni nel campo percettivo, cognitivo, comunicativo ed estetico. L’arte contemporanea, del resto,  si trova spesso ad esplorare nuovi territori, nuove “realtà”,  in quella dimensione del sublime che Kant poneva al centro della sua riflessione estetica.
In questa selezione di opere di video arte in  2D e 3D, stereoscopiche visioni, avatar virtuali e paesaggi immaginari, l’arte gioca sullo spiazzamento della percezione del reale, con una attenzione alle dinamiche interattive.
Artisti in mostra:
HUGO ARCIER (Francia), CLARA AROZARENA(Francia), 
CLAUDIA ASOLI(Masiera di Bagnacavallo, Ravenna), SOFI BASSEGHI (Australia), 
NUNO BENAVENTE (Portogallo), PAOLO CAMIZ (Roma), 
MARILENA DE STEFANO(Messina), ORONZO DE STRADIS (Torre Santa Susanna, Brindisi), STEFANIE KETTEL(Germania), JENNA RENEE MAURICE(Usa), ALAIN NAHUM (Francia), JAN JANI (Austria ), MIKE STEPHEN (Usa).

Primo Piano LivinGallery,  Viale G. Marconi 4   Lecce, Italy 73100
Tel/fax: 0832.30 40 14   primopianopressrelease@gmail.com
www.primopianogallery.com

JUSTINE VARGA Sounding Silence

JUSTINE VARGA
Sounding Silence
Exhibition 19 February to 22 March 2014

Stills Gallery
36 Gosbell Street . Paddington NSW 2021, Sydney - Australia
info@stillsgallery.com.au,   www.stillsgallery.com.au  

Evening, 2014  from Sounding Silence
Type C print   47 x 38.5cm, edition of 6 + 2 AP

  

Morning, 2014  from Sounding Silence
Type C print    77 x 61cm, edition of 6 + 2 AP

 JUSTINE VARGA
Justine Varga’s images contain silence, space and peace, bringing a sense of the sublime inside, to the minutiae of the everyday. They aren’t simply made in her studios, so much as made with them. The ephemera that accumulates in her workspace, the surfaces, textures and temperaments that seem to change with the daily cycles of natural light, provide both the setting and subject for her images.
Sounding Silence reduces these elements to the very periphery of recognition, described by Varga as “playing at the edge of vision”. The works, like individual exercises in restraint, use only the most understated of objects, the barest essentials of light and form, and ask only the most fundamental of questions—how fine is that line which distinguishes something and nothing; how much sound do we need to appreciate the silence?
While her compositions reveal themselves in the everyday—a crumpled tax receipt, a discarded piece of bubble wrap, an area of light that happens across a wall—these are only the starting points in a process of painstaking refinement, framing, revisiting, sometimes over days, sometimes over weeks. Her works tease out those moments when simple things become so much more than their makings. Scratching away her own wall markings, for instance, to find the cusp of them being there and not there, or, capturing those seconds when the thinnest slice of sticky tape is dappled by light filtering through the trees outside.
Varga reminds us to allow for fleeting moments of quiet, to notice the understated beauty before, around, in the gaps, of the image and information cluttered world that tends to envelop us.

Sounding Silence #2, 2014 from Sounding Silence
Type C print  96.5 x 76cm, edition of 6 + 2 AP

Sounding Silence #5, 2014 from Sounding Silence
Type C print  96.5 x 76cm, edition of 6 + 2 AP

Sounding Silence #7, 2014 from Sounding Silence
Type C print  96.5 x 76cm, edition of 6 + 2 AP

Justine Varga has achieved impressive recognition since graduating with Honours from the National Art School, Sydney in 2007. This year she has been awarded the Australia Council for the Arts London Studio Residency. In 2013, she was joint winner of the Josephine Ulrick & Win Shubert Photography Award, and was a Finalist in both the Bowness Photography Prize and the NSW Visual Arts Fellowship for Emerging Artists. In 2012, she was selected for Primavera, MCA Australia, a prestigious exhibition showcasing key Australian artists under 35, and featured in Flatlands, Art Gallery of NSW and in The Lookout, National Art School Gallery. Her work is held in numerous private and public collections, including the Art Gallery of NSW, Macquarie University and Artbank.

Fred Cray’s UNIQUE PHOTOGRAPHS

Janet Borden
Please join us Wednesday, 8 January, from 6—8 pm

 for the opening of Fred Cray’s UNIQUE PHOTOGRAPHS.
These are indeed unique photographs, so come early to get the best selection.
The exhibition runs 8 JANUARY—15 FEBRUARY 2014 

These pieces feature the accidental and unexpected connections of an almost aleatoric process. In these experiments, Cray formalizes the coincidental by emphasizing the conscious process of composition. Cray s multiple layers imply movement, both of time and image, which set sacadence that is both visually rigorous and seductively intimate. The results present a new development in Cray’s ongoing interest in visual labyrinths. Two separate limited edition books, UNIQUE PHOTOGRAPHS and CHANGING THE GUARD are available. Each copy comes with three unique photographs enclosed.

FRED CRAY (American, b. 1957) is a graduate of Middlebury College, and Yale Graduate School of Painting. His work is included in many collections, such as The Museum of the City of New York; Brooklyn Museum of Art; California Museum of Photography. He currently lives in Brooklyn

Janet Borden
560 Broadway, New York NY 10012 | TEL 212 431 0166 | FAX 212 274 1679

CONCRETE - FEROZ Galerie

CONCRETE
 A. Aubrey Bodine , Marcel Broodthaers , Chargesheimer , Sean Hemmerle , Jory Hull , Peter Keetman , Adolf Lazi , Herbert List , Lisette Model , Andrew Phelps , Albert Renger-Patzsch , August Sander , Elfriede Stegemeyer , Claude Tolmer , Barbara Wüllenweber , 

Friday, 6 December 2013—Friday, 17 January 2014
Feroz Galerie    Prinz-Albert-Str. 12, D-53113 Bonn
 galerie@feroz.tv     www.feroz.tv   
FEROZ Galerie is pleased to present the photography exhibition, CONCRETE. The title of this exhibition as a word represents both a mental position to view and think about the works as well as a designation of a physical material. Julian Sander, the owner of FEROZ Galerie uses the anxious spectrum of this word in the broadest sense as a concept for curating this exhibition.
The fact is that we live in a world of media, and we are constantly surrounded by contextualized visual information. The information presented to us in various contexts requires constant interpretation. As a result, only a part of the information is determined by the information itself. The rest of the meaning is produced by our own perceptions, and our ability to conceive hints, even if they are not very concrete.
This observation is both fascinating and terrifying at the same time. In the worst case, we are a society of information overload, and with such tools can be easily controlled. In order to keep things in perspective, it is important to keep a certain amount of distance. In a positive sense, these same contexts precisely highlight easily overlooked details that might otherwise be lost.
It is these facts that have encouraged Julian Sander to make CONCRETE, as a series of visual hurdles. The selections of individual works for the exhibition, and their placements have been chosen to deliberately push the attention of the viewer. Not necessarily to represent a different truth, but rather to draw attention to the possibilities presented by contextualization.
The great grandfather of the Galerist, the German photographer August Sander wrote the following in a photo album that he gave to his grandson Gerd Sander (Julian’s father) as a child:
    Gott gibt uns die Nüsse, aber er bricht sie nicht auf – God gives us the nuts but does not crack them.
This quote from his great grandfather and its underlying request for us to think about things for ourselves has driven Julian Sander to realize his concept of CONCRETE. This exhibition includes work by the following artists; Barbara Wüllenweber, Andrew Phelps, Sean Hemmerle, Adolf Lazi, Lisette Model, August Sander, Herbert List, Chargesheimer, Aubrey Bodine, Jory Hull, and Claude Tolmer. Among other things, CONCRETE will be an encounter that prompts the viewer to relate their position in practice.

Barbara Wüllenweber
Backside Grab, Skatepark Liege, Belgium, 1989
Vintage gelatin silver print
28 x 20,2 cm
© Barbara Wüllenweber, courtesy of Feroz Galerie

Adolf Lazi
Ball-Bearings, ca. 1936
Vintage gelatin silver print
22,9 x 16,8 cm
©Estate of Adolf Lazi, courtesy of Feroz Galerie

Dennis Oppenheim
Mindtwist: A Portfolio of Burnt Out Thoughts:
Branded Mountain (1969)/Burnt Grass/Hillside Near Martinez, California, 1977
Chromogenic print
76,2 x 101,6 cm
©Estate of Dennis Oppenheim, courtesy of Feroz Galerie

Peter Keetman
Nebel Lauf, 1956
Vintage gelatin silver print
17,1 x 23,2 cm
©Estate of Peter Keetman, courtesy of Feroz Galerie

Alvin Booth, Come to Your Senses

photography-now.com                    eNews         

Alvin Booth
Come to Your Senses

© Alvin Booth

November 14, 2013 – January 11, 2014
 acte2galerie   41 rue d'Artois . 75008 Paris
acte2galerie@orange.fr     www.acte2galerie.com   
Mon-Fri 10am-7pm . Sat 1-6pm    
Galerie ACTE 2   

© Alvin Booth

 

© Alvin Booth

 Come to Your Senses
 When asked in an early interview about the photographers who had influenced him the most, Booth listed three sculptors: Rodin, Aristide Maillol, and Gaston Lachaise. As a photographer, Booth finds his focus through the body, a constant that is apparent in his directional shift from photography to sculpture. 
While still a raw celebration of the human form at its vital peak,the current work of Come To Your Senses  introduces a simmering suggestion of loss. In hyperbolic huddles of ears, noses, fingers, and lips, Booth finds humor in the disconnect between the realistic divorced from the real, the essential divorced from its molded replica. Booth’s expired hearing aid batteries form bold multiplicities that speak to the singularly human capacity for invention and adaptation. No longer external components furtively inserted into the body to shore up a diminished sensory capacity, the silvery studs become an idealized female nude. Their collective imperfection transcends limitation for as long as the eye can maintain its unblinking gaze.
 Come To Your Senses  also includes a large collection of spongy silicone, glowing fingers that beckon from their metal frame. Booth’s own scarred thumb, nearly severed in a recent accident, appears several times. In celebrating beginnings and acknowledging endings, Booth’s wry commentary notes the escalation of desire that accompanies the risk of life lived long.

photography-now.com
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photography-now.com