FOTOGRAFIE DI MANOLIS CASSIMATIS
3/14/2012
3/13/2012
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 |
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
05 March - 04 April 2012
New works by
Gottfried Jäger | Yotta Kippe | Tor Seidel | Claus Stolz | Eliska Bartek |
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
2/27/2012
Sergey Sonin & Elena Samorodova . Egyptian pack. Part one
Man-elk
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Sergey Sonin & Elena Samorodova
Egyptian Pack. Part one
POBEDA gallery
Red October Chocolate factory - Bolotnaya naberezhnaya 3 b. 4
119072 Moscow - Russia
pobeda@pobedagallery.com www.pobedagallery.com
Man-crane
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Sergey Sonin & Elena Samorodova | Egyptian pack. Part one
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style. Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, however Sonin himself watched it when the work on the first part was about to end. A year ago, Sergey Sonin and Elena Samorodova, who always had a weakness for Mask culture, began to make masks of key players, the "national - romantic mythological hallucinosis» as they call it, or in short, - the living totems. It was necessary to show their impact with land-marks. Actually, «Pack»– is a marked territory.
Owls-sisters
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
«Egyptian pack» contains humor in Kierkegaard's sense of the word. To paraphrase Kierkegaard, the heroes of this shooting are not humorists, but, apparently, they are comedians. Sometimes it's really quite funny, especially if you know who is hiding behind the masks (for example, Man-moose - actor and director Konstantin Murzenko, Man-boar - artist Alexey Belyaev-Gintovt, etc.).
However, it does not stop at laughing. The last project of the creative duo - «Generals of the 70’s», was also devoted to the game with disguises, but there the heroes were, at least, in harmony with their environment. The characters of «Egyptian pack», probably, are in limbo – they are some kind of anthropomorphic incognito, which to the full no longer belong to nature, but are moving somewhere beyond it.
Sonin himself, talking about the exhibition, says more about the lost Russian Gothic and calls his style «guerrilla photorealism.» To my taste, «Egyptian pack» - is rather a fable, in which instead of morality there is a hallucination, as optical experience. Hallucinations of the field artists, rather than the routine of everyday life nonsense. And this hallucinations are more Anglo-Saxon. This is seen especially in the second part of « Egyptian pack», which is now in operation.
However, the imperative hallucinations of artists, in the end, purge from the mind all redundant interpretations, so that we can only confidentially state – saw a man-beast.
Maxim Semelyak, December 2011
Man-badger
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Emmanuelle Bousquet. Illusion
e-Announcement photography-now.com
© Emmanuelle Bousquet Illusion#5
courtesy acte2galerie
Emmanuelle Bousquet | Illusion
February 2 - March 2, 2012
du 2 février au 2 mars 2012
courtesy acte2galerie
Emmanuelle Bousquet . Illusion
“I began my first self-portraits at the age of 10. My maternal grandmother was the spark for this new passion. She was the one who bought me a little red Kodak, even if I remember having to go to great lengths in order to get it. In my first snapshots, I took center stage in front of the camera. I just reproduced what I knew: fashion models. Born to a family of designers, fashion was my only reference point.“
As a teenager, Emmanuelle Bousquet approached photography in a more serious manner, essentially using the medium as a form of expression. She began to photograph the two women closest to her, her mother and her sister, and herself as well. It seemed to her logical to use her own body in the same way that a painter uses his paint.
In so doing, she passed to the other side of the mirror and made her first attempt at a photographic series, in black and white, in which all three women appear.
In 2004, she meet the photographer Antoine d’Agata, who suggested that she dive right into the universe of self-portraiture in a more direct, refined way, with the least amount of references to fashion or society possible. Hence, a timeless style is born; from that point on, the crude underlying realism that emanates from Emmanuelle’s photographs is visible. Taking refuge for several weeks thereafter in places of comfort to the artist, she produced her first true series of self-portraits, entitled “Troubles.”
Subsequently, she has continued to develop this approach, while deepening her work on the femininity seen through the evolutions of her body. Enabled by the introspection acquired with Antoine d'Agata, Emmanuelle cultivated more aesthetic, symbolic concepts in her work, and defined the mise-en-scene that has become the marker of her photographic style.
"Illusion" is her third series of photographic self-portraits. Composing a group of pictorial, mystical, timeless images, they are the fruits of indeth aesthetic and existential study; the product is the worldview of an artist seen through the prism of her own reflection.
© Emmanuelle Bousquet Illusion#15
courtesy acte2galerie
© Emmanuelle Bousquet Illusion#30
courtesy acte2galerie
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Emmanuelle Bousquet Illusion#5
courtesy acte2galerie
Emmanuelle Bousquet | Illusion
February 2 - March 2, 2012
du 2 février au 2 mars 2012
courtesy acte2galerie
Emmanuelle Bousquet . Illusion
“I began my first self-portraits at the age of 10. My maternal grandmother was the spark for this new passion. She was the one who bought me a little red Kodak, even if I remember having to go to great lengths in order to get it. In my first snapshots, I took center stage in front of the camera. I just reproduced what I knew: fashion models. Born to a family of designers, fashion was my only reference point.“
As a teenager, Emmanuelle Bousquet approached photography in a more serious manner, essentially using the medium as a form of expression. She began to photograph the two women closest to her, her mother and her sister, and herself as well. It seemed to her logical to use her own body in the same way that a painter uses his paint.
In so doing, she passed to the other side of the mirror and made her first attempt at a photographic series, in black and white, in which all three women appear.
In 2004, she meet the photographer Antoine d’Agata, who suggested that she dive right into the universe of self-portraiture in a more direct, refined way, with the least amount of references to fashion or society possible. Hence, a timeless style is born; from that point on, the crude underlying realism that emanates from Emmanuelle’s photographs is visible. Taking refuge for several weeks thereafter in places of comfort to the artist, she produced her first true series of self-portraits, entitled “Troubles.”
Subsequently, she has continued to develop this approach, while deepening her work on the femininity seen through the evolutions of her body. Enabled by the introspection acquired with Antoine d'Agata, Emmanuelle cultivated more aesthetic, symbolic concepts in her work, and defined the mise-en-scene that has become the marker of her photographic style.
"Illusion" is her third series of photographic self-portraits. Composing a group of pictorial, mystical, timeless images, they are the fruits of indeth aesthetic and existential study; the product is the worldview of an artist seen through the prism of her own reflection.
© Emmanuelle Bousquet Illusion#15
courtesy acte2galerie
© Emmanuelle Bousquet Illusion#30
courtesy acte2galerie
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
e-Announcement photography-now.com
© Salla Tykkä
State Russian Museum and Exhibition Centre for Photography ROSPHOTO
Artists' Association of Finland (AAF)
Ministry for Culture of the Russian Federation
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Veli Granö | Ilkka Halso | Pekka Jylhä | Tellervo Kalleinen & Oliver Kochta-Kalleinen | Reijo Kela | Erkki Kurenniemi | Tea Mäkipää | Pink Twins | Petri Sirviö/The Screaming Men | Anni Rapinoja | Jari Silomäki | Mika Taanila | Salla Tykkä
3 february 2012 - 1 april 2012
Opening: 2 February 2012 at 18:00
ROSPHOTO Fron Building exhibition hall, 2 floor
ROSPHOTO State Museum and Exhibition Centre for Photography
Ministry for Culture of the Russian Federation
35 Bolshaya Morskaya , 191186 Saint-Petersburg
office@rosphoto.org www.rosphoto.org
© Tea Mäkipää
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Applying cultural clichés as a catalyst, the exhibition focuses on stereotypes, which has given cultural meaning to the specificities of a given region, Finland. Literally speaking Finland does not belong to the Arctic in a geographic sense, but the Finns are – as are, say, the Russians, the French and the English – believed to have specific national characteristics. A cliché often repeated, when discussing Finnish people, is their supposedly close connection with nature.
In fact, the humanity-nature relationship emerges as a sort of connecting thread throughout Arctic Hysteria, bridging generations and boundaries of genre in Finnish contemporary art. The utopian optimism of the 1960s and 1970s concerning technological progress is confronted with an anxiety about the environment and future in the works of younger artists. This reflects a general change that has happened in the world at large during the last four decades: From the science-fiction utopia of a new era, a space age, we have to get back to Earth and acknowledge a reality in which, after centuries of neglect, we have no choice but to take seriously environmental threats such as the climate change.
© Jari Silomäki
Arctic Hysteria is an intriguing review of Finnish contemporary art curated by Alanna Heiss (New York) and Marketta Seppälä (Helsinki). The exhibition is comprised of the works of over 15 contemporary Finnish artists focusing especially on mediums of photo, film, video and sound installation: Veli Granö, Ilkka Halso, Pekka Jylhä, Tellervo Kalleinen & Oliver Kochta-Kalleinen, Reijo Kela, Erkki Kurenniemi, Tea Mäkipää, Pink Twins, Petri Sirviö/The Screaming Men, Anni Rapinoja, Jari Silomäki, Mika Taanila and Salla Tykkä. Curators: Alanna Heiss (USA) and Marketta Haila (Finland).
The exhibition is organized in St. Petersburg by State Museum and Exhibition Centre ROSPHOTO and the Artists’ Association of Finland with the support of FRAME Finnish Fund for Art Exchange.The exhibition is made possible by the Ministry of Education and Culture Finland, Gerda and Salomo Wuorio Foundation, Alfred Kordelin Foundation, Finnish Cultural Foundation, Finnish Film Foundation, Arts Council of Finland, AVEK (The Promotion Centre for Audiovisual Culture), and Finnish Cultural Institute in St. Petersburg.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Salla Tykkä
State Russian Museum and Exhibition Centre for Photography ROSPHOTO
Artists' Association of Finland (AAF)
Ministry for Culture of the Russian Federation
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Veli Granö | Ilkka Halso | Pekka Jylhä | Tellervo Kalleinen & Oliver Kochta-Kalleinen | Reijo Kela | Erkki Kurenniemi | Tea Mäkipää | Pink Twins | Petri Sirviö/The Screaming Men | Anni Rapinoja | Jari Silomäki | Mika Taanila | Salla Tykkä
3 february 2012 - 1 april 2012
Opening: 2 February 2012 at 18:00
ROSPHOTO Fron Building exhibition hall, 2 floor
ROSPHOTO State Museum and Exhibition Centre for Photography
Ministry for Culture of the Russian Federation
35 Bolshaya Morskaya , 191186 Saint-Petersburg
office@rosphoto.org www.rosphoto.org
© Tea Mäkipää
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Applying cultural clichés as a catalyst, the exhibition focuses on stereotypes, which has given cultural meaning to the specificities of a given region, Finland. Literally speaking Finland does not belong to the Arctic in a geographic sense, but the Finns are – as are, say, the Russians, the French and the English – believed to have specific national characteristics. A cliché often repeated, when discussing Finnish people, is their supposedly close connection with nature.
In fact, the humanity-nature relationship emerges as a sort of connecting thread throughout Arctic Hysteria, bridging generations and boundaries of genre in Finnish contemporary art. The utopian optimism of the 1960s and 1970s concerning technological progress is confronted with an anxiety about the environment and future in the works of younger artists. This reflects a general change that has happened in the world at large during the last four decades: From the science-fiction utopia of a new era, a space age, we have to get back to Earth and acknowledge a reality in which, after centuries of neglect, we have no choice but to take seriously environmental threats such as the climate change.
© Jari Silomäki
Arctic Hysteria is an intriguing review of Finnish contemporary art curated by Alanna Heiss (New York) and Marketta Seppälä (Helsinki). The exhibition is comprised of the works of over 15 contemporary Finnish artists focusing especially on mediums of photo, film, video and sound installation: Veli Granö, Ilkka Halso, Pekka Jylhä, Tellervo Kalleinen & Oliver Kochta-Kalleinen, Reijo Kela, Erkki Kurenniemi, Tea Mäkipää, Pink Twins, Petri Sirviö/The Screaming Men, Anni Rapinoja, Jari Silomäki, Mika Taanila and Salla Tykkä. Curators: Alanna Heiss (USA) and Marketta Haila (Finland).
The exhibition is organized in St. Petersburg by State Museum and Exhibition Centre ROSPHOTO and the Artists’ Association of Finland with the support of FRAME Finnish Fund for Art Exchange.The exhibition is made possible by the Ministry of Education and Culture Finland, Gerda and Salomo Wuorio Foundation, Alfred Kordelin Foundation, Finnish Cultural Foundation, Finnish Film Foundation, Arts Council of Finland, AVEK (The Promotion Centre for Audiovisual Culture), and Finnish Cultural Institute in St. Petersburg.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Lynn Davis.theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001)
e-Announcement photography-now.com
Iceberg IV, Disko Bay, Greenland, 2004.
Gold toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
2 February – 19 May 2012
Vernissage | Thursday | 2 February | 6 – 8 pm
Stockerstr. 33, CH-8022 Zurich Switzerland
+41 (0)44 202 69 25 zuerich@houkgallery.com http://www.houkgallery.com
Opening hours: Tues-Fri 11am-6pm, Sat 11am-5pm
Evening/Northumberland Strait XI, 1994.
Selenium toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
Galerie Edwynn Houk Zurich is pleased to announce an exhibition of important photographs by Lynn Davis (American, b. 1944). The show takes place from 2 February to 19 May 2012 and draws from three series that span the artist’s prolific career and are based around the theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001).
Water in its various forms and spectacular manifestations around the globe has been a recurring subject and source of inspiration for Lynn Davis. She approaches every place intuitively and photographs each with a minimalist sensibility, stripping it bare of content and meaning in an attempt to capture its essence. She meticulously extracts basic geometric compositions that in return link one site with another, one body of work with the next. Davis transforms her negatives into luminous and exquisite black-and-white prints, painstakingly toning each with gold or selenium in order to achieve an even richer, more detailed photograph.
When Davis was first learning to make photographs together with her close friend and co-conspirator, Robert Mapplethorpe, her work focused on the nude form. These formative works were made with the same visual style and formal rigor that ultimately became Davis’ hallmark, which suited her perfectly when she eventually abandoned the studio in favor of the world at large.
After Davis’ first trip to Greenland in 1986, her work changed dramatically in response to finding a sense of placidity in the forms and illuminations of icebergs. Subsequently, Davis has travelled to more than 70 countries and sought out some of the most remote monuments—both, natural and human-made—on a quest to portray these timeless places “of all cultures in every country.” However, over time her journeys to a world of wonders became less about exhaustive documentation than the search for an inner, almost spiritual connection with the universality of their basic forms.
In 2005, the American Academy of Arts and Letters awarded Davis an Academy Award in Art, making her the first photographer ever to earn such an honor. Her photographs have been exhibited internationally and collected widely. Her work appears in the collections of the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the Houston Museum of Fine Arts, and the J. Paul Getty Museum in Los Angeles, which held an important exhibition of Davis’ photographs in 1999.
Iceberg VI, Disko Bay, Greenland, 2004.
Selenium toned gelatin silver enlargement print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Iceberg IV, Disko Bay, Greenland, 2004.
Gold toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
2 February – 19 May 2012
Vernissage | Thursday | 2 February | 6 – 8 pm
Stockerstr. 33, CH-8022 Zurich Switzerland
+41 (0)44 202 69 25 zuerich@houkgallery.com http://www.houkgallery.com
Opening hours: Tues-Fri 11am-6pm, Sat 11am-5pm
Evening/Northumberland Strait XI, 1994.
Selenium toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
Galerie Edwynn Houk Zurich is pleased to announce an exhibition of important photographs by Lynn Davis (American, b. 1944). The show takes place from 2 February to 19 May 2012 and draws from three series that span the artist’s prolific career and are based around the theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001).
Water in its various forms and spectacular manifestations around the globe has been a recurring subject and source of inspiration for Lynn Davis. She approaches every place intuitively and photographs each with a minimalist sensibility, stripping it bare of content and meaning in an attempt to capture its essence. She meticulously extracts basic geometric compositions that in return link one site with another, one body of work with the next. Davis transforms her negatives into luminous and exquisite black-and-white prints, painstakingly toning each with gold or selenium in order to achieve an even richer, more detailed photograph.
When Davis was first learning to make photographs together with her close friend and co-conspirator, Robert Mapplethorpe, her work focused on the nude form. These formative works were made with the same visual style and formal rigor that ultimately became Davis’ hallmark, which suited her perfectly when she eventually abandoned the studio in favor of the world at large.
After Davis’ first trip to Greenland in 1986, her work changed dramatically in response to finding a sense of placidity in the forms and illuminations of icebergs. Subsequently, Davis has travelled to more than 70 countries and sought out some of the most remote monuments—both, natural and human-made—on a quest to portray these timeless places “of all cultures in every country.” However, over time her journeys to a world of wonders became less about exhaustive documentation than the search for an inner, almost spiritual connection with the universality of their basic forms.
In 2005, the American Academy of Arts and Letters awarded Davis an Academy Award in Art, making her the first photographer ever to earn such an honor. Her photographs have been exhibited internationally and collected widely. Her work appears in the collections of the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the Houston Museum of Fine Arts, and the J. Paul Getty Museum in Los Angeles, which held an important exhibition of Davis’ photographs in 1999.
Iceberg VI, Disko Bay, Greenland, 2004.
Selenium toned gelatin silver enlargement print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Chris Engman. The Artist as an Explorer
e-Announcement photography-now.com
The Haul, 2006
© Chris Engman /Courtesy Galerie Clair
Chris Engman
The Artist as an Explorer
January 26 - February 25 2012
Opening: Thursday, January 26 2012, 7 pm
Franz-Joseph-Str. 10, 80801 Munichm +49 (0)89 38 66 74 42
info@clair.me http://www.clair.me
The Audience, 2004
© Chris Engman /Courtesy Galerie Clair
Chris Engman | The Artist as an Explorer
"My work calls attention to our misperceptions: the gulf that exists between how we see and how we think we see, how we think and how we think we think, and the inconstant and constructed nature of memory. My photographs are documentations of sculptures and installations but also records of actions and elaborate processes. They are acts of reverence and participation in a deep and reassuring natural order much larger than myself. " Chris Engman
Chris Engman's images are not quite what they seem. They make use of the language of landscape photography to create a feeling of familiarity on first glance. A second look suggests that not all is as it should be. By intervening in the natural landscape to create installations for the camera, Engman makes photographs that challenge the dichotomy between the natural and the artificial and are a subtle commentary on the act of taking a photograph.
The Meeting, 2004
© Chris Engman /Courtesy Galerie Clair
Based in Seattle, Engman uses the vast empty landscapes of eastern Washington as both the backdrop and the focus of his images. Although his medium is photography, his artistic process is quite different from that of the 'traditional' landscape photographer. Rather than taking his camera out to respond to the environment around him, Engman's images begin with an idea. "I write about it, turn it over in my mind, and gradually the requirements for a site take shape." He does not look to sublimate the beauty of the natural landscape or to document or comment on its transformation. Instead Engman uses the landscape as his toolbox, as the raw material with which to give form to his ideas.
In some ways his approach could be considered anti-photographic. Rather than using the camera to record or document reality, he manipulates the physical world to create an image specifically for the camera. Self-described as "a sculptor or installation artist who uses photography as a tool", Engman's approach is closer to that of Land artists such as Robert Smithson or Richard Long than to much of contemporary landscape photography.
[ ... ] Whereas most manipulation in photography today is camouflaged or hidden, Engman's interventions are designed to remind us of the fact that photography—and perhaps even the act of looking itself—is inherently a process of visual manipulation. He uses the basic tools of the medium (perspective, framing, light and shadow) not as a comment on the authenticity of analog photography versus the fabrication of digital, but rather as a reminder that photography can never be an objective or truthful medium.
Marc Feustel, Author and Curator, Paris
Variations, 2010
© Chris Engman /Courtesy Galerie Clair
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
The Haul, 2006
© Chris Engman /Courtesy Galerie Clair
Chris Engman
The Artist as an Explorer
January 26 - February 25 2012
Opening: Thursday, January 26 2012, 7 pm
Franz-Joseph-Str. 10, 80801 Munichm +49 (0)89 38 66 74 42
info@clair.me http://www.clair.me
The Audience, 2004
© Chris Engman /Courtesy Galerie Clair
Chris Engman | The Artist as an Explorer
"My work calls attention to our misperceptions: the gulf that exists between how we see and how we think we see, how we think and how we think we think, and the inconstant and constructed nature of memory. My photographs are documentations of sculptures and installations but also records of actions and elaborate processes. They are acts of reverence and participation in a deep and reassuring natural order much larger than myself. " Chris Engman
Chris Engman's images are not quite what they seem. They make use of the language of landscape photography to create a feeling of familiarity on first glance. A second look suggests that not all is as it should be. By intervening in the natural landscape to create installations for the camera, Engman makes photographs that challenge the dichotomy between the natural and the artificial and are a subtle commentary on the act of taking a photograph.
The Meeting, 2004
© Chris Engman /Courtesy Galerie Clair
Based in Seattle, Engman uses the vast empty landscapes of eastern Washington as both the backdrop and the focus of his images. Although his medium is photography, his artistic process is quite different from that of the 'traditional' landscape photographer. Rather than taking his camera out to respond to the environment around him, Engman's images begin with an idea. "I write about it, turn it over in my mind, and gradually the requirements for a site take shape." He does not look to sublimate the beauty of the natural landscape or to document or comment on its transformation. Instead Engman uses the landscape as his toolbox, as the raw material with which to give form to his ideas.
In some ways his approach could be considered anti-photographic. Rather than using the camera to record or document reality, he manipulates the physical world to create an image specifically for the camera. Self-described as "a sculptor or installation artist who uses photography as a tool", Engman's approach is closer to that of Land artists such as Robert Smithson or Richard Long than to much of contemporary landscape photography.
[ ... ] Whereas most manipulation in photography today is camouflaged or hidden, Engman's interventions are designed to remind us of the fact that photography—and perhaps even the act of looking itself—is inherently a process of visual manipulation. He uses the basic tools of the medium (perspective, framing, light and shadow) not as a comment on the authenticity of analog photography versus the fabrication of digital, but rather as a reminder that photography can never be an objective or truthful medium.
Marc Feustel, Author and Curator, Paris
Variations, 2010
© Chris Engman /Courtesy Galerie Clair
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
2/16/2012
manolis Kassimatis: fotografando musicante P.J. Harvey
μανολης κασιματης: φωτογραφιζοντας την μουσικο P. J. HARVEY
1/21/2012
Christina Z. Anderson.The Experimental Photography Workbook, 6th edition
The Experimental Photography Workbook,
6th edition, is a completely revised and updated version, professionally published, now with full-color images from over 100 photographers illustrating all processes. Inside you will find succinct how-to’s on photograms, clichés-verres, lumenprints, chemigrams, photo-chemigrams, collage, photomontage, photo transfers, pinhole, zoneplate, holga, paper negatives, sabattier, chromoskedasic printing, painting with light, lith printing, liquid emulsion, modern tintype, mordançage, dye mordanting, bleachout, toning, applied color, abrasion tone, bromoil, encaustic, distressing film, etc. The Workbook is the perfect “short & sweet” manual to put play back into the analog black & white darkroom, and will be a perfect impetus to increased creativity for students and professionals alike. What’s in it for me?
Table of contents
Preface to the 6th Edition
Supply List
Section 1: (Mostly) Camera-less Experimentation
Chapter 1 Photograms and Clichés-Verre
Chapter 2 Lumenprints
Chapter 3 Collage and Photomontage
Chapter 4 Photo Transfers
Section 2: Camera and Film Experimentation
Chapter 5 Pinhole and Zoneplate
Pinhole Exposure Tables
Chapter 6 The Holga
Chapter 7 In-Camera Tips
After Dark Chart
Chapter 8 Film Experimentation
Chapter 9 Paper Negatives
Section 3: Darkroom Experimentation
Chapter 10 Sabattier/alias Solarization
Chapter 11 Lith Printing
Chapter 12 Liquid Emulsion
Chapter 13 Modern Tintype
Chapter 14 Miscellaneous Darkroom Techniques
Section 4: Colorful Monochrome
Chapter 15 The Chemigram
Chapter 16 The Photo + Chemigram
Chapter 17 Toning, Traditional & Experimental
Chapter 18 Abrasion Tone
Chapter 19 Applied Color
Chapter 20 Dye Mordanting
Section 5: Finished Print Experimentation
Chapter 21 Mordançage
Chapter 22 Bleaching and Bleachout
Chapter 23 Bromoil
Chapter 24 Encaustic
Appendix
Time/Temperature Chart
F-Stop Printing Chart
Print Exposure Change Table
Chemical Weights (g to tsp)
Conversion Table, Quick and Easy
Units of Measurement
Sample Syllabus
Sources for Supplies
Recommended Reading
Index
Details
260 pages with 276 photographs
ISBN no: 978-0-9846816-0-0 Published by Z Photo Press 2012
English Softcover: 8.5 x 10.75 x .53 inches
About Christina
Christina Z. Anderson is Assistant Professor of Photography and Photo Option Coordinator at Montana State University, Bozeman, where she specializes in alternative and experimental process photography. She has authored three books: Tutti Nudi, Reflections on the Reemergence of the Nude during the Italian Renaissance, The Experimental Photography Workbook, and Alternative Processes, Condensed. In the works is a comprehensive book on the history and practice of gum printing. Anderson’s alternative process works have been published in The Book of Alternative Photographic Processes, 2nd Edition, Photographic Possibilities, 3rd Edition, PhotoTechnique Magazine, the British Journal of Photography, and Silvershotz and exhibited in over 65 shows in 22 states as well as Puerto Rico, China, Belgium, England, and New Zealand.
Her web address is http://christinazanderson.com
6th edition, is a completely revised and updated version, professionally published, now with full-color images from over 100 photographers illustrating all processes. Inside you will find succinct how-to’s on photograms, clichés-verres, lumenprints, chemigrams, photo-chemigrams, collage, photomontage, photo transfers, pinhole, zoneplate, holga, paper negatives, sabattier, chromoskedasic printing, painting with light, lith printing, liquid emulsion, modern tintype, mordançage, dye mordanting, bleachout, toning, applied color, abrasion tone, bromoil, encaustic, distressing film, etc. The Workbook is the perfect “short & sweet” manual to put play back into the analog black & white darkroom, and will be a perfect impetus to increased creativity for students and professionals alike. What’s in it for me?
Table of contents
Preface to the 6th Edition
Supply List
Section 1: (Mostly) Camera-less Experimentation
Chapter 1 Photograms and Clichés-Verre
Chapter 2 Lumenprints
Chapter 3 Collage and Photomontage
Chapter 4 Photo Transfers
Section 2: Camera and Film Experimentation
Chapter 5 Pinhole and Zoneplate
Pinhole Exposure Tables
Chapter 6 The Holga
Chapter 7 In-Camera Tips
After Dark Chart
Chapter 8 Film Experimentation
Chapter 9 Paper Negatives
Section 3: Darkroom Experimentation
Chapter 10 Sabattier/alias Solarization
Chapter 11 Lith Printing
Chapter 12 Liquid Emulsion
Chapter 13 Modern Tintype
Chapter 14 Miscellaneous Darkroom Techniques
Section 4: Colorful Monochrome
Chapter 15 The Chemigram
Chapter 16 The Photo + Chemigram
Chapter 17 Toning, Traditional & Experimental
Chapter 18 Abrasion Tone
Chapter 19 Applied Color
Chapter 20 Dye Mordanting
Section 5: Finished Print Experimentation
Chapter 21 Mordançage
Chapter 22 Bleaching and Bleachout
Chapter 23 Bromoil
Chapter 24 Encaustic
Appendix
Time/Temperature Chart
F-Stop Printing Chart
Print Exposure Change Table
Chemical Weights (g to tsp)
Conversion Table, Quick and Easy
Units of Measurement
Sample Syllabus
Sources for Supplies
Recommended Reading
Index
Details
260 pages with 276 photographs
ISBN no: 978-0-9846816-0-0 Published by Z Photo Press 2012
English Softcover: 8.5 x 10.75 x .53 inches
About Christina
Christina Z. Anderson is Assistant Professor of Photography and Photo Option Coordinator at Montana State University, Bozeman, where she specializes in alternative and experimental process photography. She has authored three books: Tutti Nudi, Reflections on the Reemergence of the Nude during the Italian Renaissance, The Experimental Photography Workbook, and Alternative Processes, Condensed. In the works is a comprehensive book on the history and practice of gum printing. Anderson’s alternative process works have been published in The Book of Alternative Photographic Processes, 2nd Edition, Photographic Possibilities, 3rd Edition, PhotoTechnique Magazine, the British Journal of Photography, and Silvershotz and exhibited in over 65 shows in 22 states as well as Puerto Rico, China, Belgium, England, and New Zealand.
Her web address is http://christinazanderson.com
1/15/2012
Η Φωτογραφική Λέσχη Λιβαδειάς φιλοξενεί το Χρήστο Λαμπριανίδη.Σάββατο 21 Ιανουαρίου 2012
Η Φωτογραφική Λέσχη Λιβαδειάς φιλοξενεί το Χρήστο Λαμπριανίδη το Σάββατο 21 Ιανουαρίου 2012 και ώρα 7.00 μ.μ. Χώρος: Αίθουσα Φωτογραφικής Λέσχης Λιβαδειάς - Μπουφίδου 32 - 34 Ώρα:7.00 μ.μ. Είσοδος Ελεύθερη O Χρήστος Λαμπριανίδης παρουσιάζει τη δική του προσέγγιση στην Εννοιολογική φωτογραφία. Από τον Φειδία στον Καραβάτσιο και από τον Κόπολα στο Photoshop. Μια διαδρομή που ξεκινά από τη γλυπτική της αρχαιότητας περνά στη ζωγραφική και τον κινηματογράφο και καταλήγει στα πιο σύγχρονα εργαλεία επεξεργασίας φωτογραφίας.
Βιογραφικό: Ο Χρήστος Λαμπριανίδης ζει μόνιμα στην Κοζάνη. Το επάγγελμά του είναι καθηγητής Πληροφορικής. Ασχολείται με τη φωτογραφία από το 2006. Δίδαξε Photoshop στο Φωτογραφικό Εργαστήρι του Δήμου Κοζάνης, στη Φωτογραφική Λέσχη Κοζάνης καθώς και στη Φωτογραφική Ομάδα του Τ.Ε.Ι. Δυτικής Μακεδονίας. Συμμετείχε σε 7 ομαδικές εκθέσεις καθώς και σε ένα λεύκωμα με δύο άλλους φωτογράφους. Δουλειές του έχουν επιλεγεί και παρουσιαστεί στον έντυπο και ηλεκτρονικό τύπο της Ελλάδας και του εξωτερικού (Fuctart, Point of Simplicity Digital Photos κ.α.). Συνεντεύξεις και δουλειά του έχουν δημοσιευτεί σε εφημερίδες και ένθετα. (Ελευθεροτυπία, Βήμαγκαζίνο, Ποντίκι, Καθημερινή κ.α) όπως επίσης και σε τηλεοπτικά μέσα (ΣΚΑΙ - Γυρίσματα) Φωτογραφίες του έχουν διακριθεί και βραβευτεί σε διαγωνισμούς τόσο στην Ελλάδα όσο και στο εξωτερικό. Επίσης έχουν γίνει εξώφυλλα σε audio CD στην Ελλάδα, στις Η.Π.Α και Μεγάλη Βρετανία καθώς και σε βιβλία της Ελλάδας και του εξωτερικού. Είναι βραβευμένος με το μετάλλιο της PSA (Photographic Society of America)
Ιστοσελίδα www.christos-lamprianidis.gr
1/03/2012
Παρουσίαση της φωτογραφικής δουλείας της Έυας Βουτσάκη στη ΛΕ.Φ.ΚΙ.
Η Λέσχη Φωτογραφίας και Κινηματογράφου Χανίων υποδέχεται με χαρά την καταξιωμένη χανιώτισα φωτογράφο σε Ελλάδα και εξωτερικό Έυα Βουτσάκη η οποία θα παρουσιάσει μέρος της δουλειάς της. Η παρουσίαση θα γίνει την Τετάρτη 4 Ιανουαρίου 2012, ώρα 6:30 μ.μ. στο Καφενείο Άσωτος Υιός στο Κουμ Καπί, στα Χανιά.
Η Ευαγγελία Βουτσάκη γεννήθηκε το 1978 στα Χανιά. Απο το 1997 εως το 2006 έζησε στη Θεσσαλονίκη και στην Κωνσταντινούπολη όπου σπούδασε Νομικη (ΑΠΘ) και Τούρκικα (ΙΜΧΑ και TOMER). Τη μαγεία του σκοτεινού θαλάμου την έζησε ως μέλος του Φωτογραφικού Ομίλου ΑΠΘ (ΦΟΑΠΘ). Το 2008 πήρε την υποτροφία του ΙΚΥ για μεταπτυχιακές/διδακτορικες σπουδές στη φωτογραφία. Απο τότε ζεί στην Αγγλία και ασχολείται με την έννοια της προσωπικής φωτογραφιας, τους μύθους και τις αναμνήσεις, τα όνειρα και τις αφηγήσεις. Στην πορεία παρακολούθησε ένα 4μηνο σεμινάριο για τη Θεραπεία μέσω Τέχνης απο το BAAT του Λονδίνου και ένα εντατικό μηνιαίο σεμινάριο Φωτογραφίας Κινηματογράφου απο τα Ealing Studios.
H σειρά της Ίχνη Εντός έχει διακριθεί στους διαγωνισμούς Prix de la Photographie Paris 2008-9, Festival Voies Off, Foto8 Summer awards και έχει εκτεθεί μεταξύ άλλων στο Μουσείο Μοντέρνας Τέχνης της Ρώμης, Gallery HOST, OPEN’09 PhotoFringe, Arles Festival, γκαλερύ ΒΟΜ της Σεούλ, γκαλερύ Μελάνυθρος στην Αθήνα, γκαλερύ Μενιέρ στο Λονδίνο και Ινστιτούτο Γκαίτε της Λετονίας.
Προς το παρόν διδάσκει στο Friends Centre του Μπράιτον Υποκειμενική φωτογραφία/προσωπική αφήγηση και δημιουργία φωτογραφικού βιβλίου.
Τέλη του 2012 τα Ιχνη Εντός θα εκδοθούν απο το Editorial RM και το Crowdbooks.
http://www.evavoutsaki.com
http://evavoutsaki.blogspot.com/
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
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