" 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)

12/25/2010

Project art theory: Concrete Photography

from http://www.gottfried-jaeger.de/index-en.html

Project art theory: Concrete Photography

Concrete Photography can be regarded as a new genre within Concrete Art. As such it appears alongside other related modes of artistic expression like Concrete Painting, Concrete Music or Concrete Poetry. At the same time, it is a branch of photography.
Overall, we are dealing with a phenomenon for which there is still no conclusive theory or comprehensive description, even though as a discipline in its own right it has produced its own specific kind of picture since the beginning of the twentieth century and, indeed, continues to exert influence. This publication is the first as such to present the history, aesthetics and technique of Concrete Photography, incorporating approx. 150 works by 80 international artists.

Authors:

Gottfried Jäger
Photographer and former Professor for Photography at the University of Applied Sciences, Bielefeld; in the mid-1960s, he developed the theory and practice of Generative Photography as a contribution of Concrete Photography with a systematic constructive approach.

Rolf H. Krauss
Art and Media Scientist; in the 1970s, he built up both his own collection of Art With Photography, focusing in particular on Concept Art and Action Art, and his extensive photographic library - today part of the Graphic Collection of The State Gallery Stuttgart.

Beate Reese
Art Historian; she is the curator of the Peter C. Ruppert Collection - Concrete Art in Europe after 1945 in the Museum im Kulturspeicher Würzburg (Storehouse of Culture Museum, Wurzburg) with its department of Concrete Photography.

New Publication

Concrete Photography / Konkrete Fotografie Gottfried Jäger, Rolf H. Krauss, Beate Reese
Concrete Photography
Konkrete Fotografie

English/German Format 17 x 24 cm 256 pages, ca. 160 Color and Duplex-illustrations. Hardcover
Kerber Verlag Bielefeld März 2005 ISBN 3-936646-74-0
34 Euro / SFR 56.50




The prominent characteristic of photography in general is to generate images of recognisable similarity with their original counterparts. In contrast, concrete photographs do not replicate anything of similarity. They rather concretise that which is photography, thereby making the latter lose its status as a medium, but gain status as an object. Concrete photographs are aesthetic objects of themselves.
Although certain works from the early twentieth century onwards could claim this status, the term ’concrete’ was only later used in the context of aesthetic discourse, namely in the early 1930s. Theo van Doesburg called art ’concrete’ when it depicted nothing but ’itself’. He only considered the self-referential pictorial context to be of significance. Every reference to external reality was to be ignored. Mimesis and symbolism, intrinsic features of image-making as a whole, were to be abolished at the expense of a pure, elementary figurativeness. Only the means inherent to the medium used were to be applied for the construction of images.
With reference to photography this means that autonomous images are produced. Concrete photographs neither replicate nor represent anything. They are what they are: the reality of photography. Free photographic experimentation and conscious creative use of the most innate means and techniques of photography have conjured up, and still do, a self-referential world of images, highly abstract, non-figurative, and of a form never hitherto seen: concrete photography.

March 2005
from http://www.gottfried-jaeger.de/index-en.html

12/24/2010

Fotocreative di Concrete photography.Manolis Kassimatis

una parte dalle mie fotocreative di Concrete photography
- a part of my photocreation of Concrete photography. manolis kasimatis
da sito: http://www.manolokasimatis.gr/
xromocircleshapes 1


















fotocreative:

manolis kasimatis












fotocreative:

manolis kasimatis







fotocreative:
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The negatives have cr
eative ad 1993-1994. The digital negatives have creative ad 2006 and theirs digital elaboration ad 2009-10.


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fotocreative:

manolis kasimatis










fotocreative:
manolis kasimatis





fotocreative:
manolis kasimatis





The negatives have creative ad 1993-1994. The digital negatives have creative ad 2009 and theirs digital elaboration ad 2010




xromoshapes II











fotocreative:

manolis kasimatis












fotocreative:

manolis kasimatis









fotocreative:
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The negatives have creative
ad 1992. The digital negatives have creative ad 2006 and theirs digital elaboration ad 2008.




xromokivism 1













fotocreative:

manolis kasimatis








fotocreative:
manolis kasimatis





The negatives ha
ve creative ad 1993. The digital negatives have creative ad 2007 and theirs digital elaboration ad 2009-10.


xromodropshapes II (surrealistic)















fotocreative:

manolis kasimatis













fotocreative:
manolis kasimatis



The negatives have creative ad 1989-1991. The digital negatives have creative ad 2006-7 and theirs digital elaboration ad 2009-10.

altre foto http://www.manolokasimatis.gr/

11/26/2010

‹abstract› Antonio Azuaga | Richard Caldicott | John Goto | Edward Mapplethorpe | Silvio Wolf

e-Announcement www.photography-now.com
























Richard Caldicott, Chance / Fall #1, 2010

‹abstract›
Antonio Azuaga | Richard Caldicott | John Goto |
Edward Mapplethorpe | Silvio Wolf


Opening, Thursday 25th November 6:30 – 9 pm
Exhibition: 26th November 2010 - 29th January 2011
Galerie f5,6
Nicole Lenz & Florence Baur
Ludwigstr. 7 (Odeonsplatz), 80539 München
Tel: +49 (0)89 28 67 51 67 Fax: +49 (0)89 28 67 52 83
info@f56.net www.f56.net
Tues-Fri 12- 6pm, Sat 11am- 3pm
























Antonio Azuaga, Untitled #07, 2010

‹abstract› Antonio Azuaga / Richard Caldicott / John Goto / Edward Mapplethorpe / Silvio Wolf

The exhibition ‹abstract› as the definition most simply states is quite simply an „abstract“ and concurrently a small exploration into the possibilites of abstract photography now.
Since 2003 abstract photography has been a central and recurring theme of the gallery programme.
Next to three artists the gallery has worked with since 2003 - Antonio Azuaga (Spain), Richard Caldicott (Great Britain) and John Goto (Great Britain), we have invited Edward Mapplethorpe (USA) and Silvio Wolf (Italy) to show their latest work. From the beginning of photography in the late 19th Century, the medium has often defined itself through the often dramatic rivalry of painting versus photography.
But abstract photography has been a small but fascinating strand, ever since the beginnings, from Henry Fox Talbot’s experiments with photograms of metal gauze and lace to Moholy Nagy, Man Ray to contemporary artists like Adam Fuss, Wolfgang Tillmans or Richard Caldicott.
At first thought the idea of abstract photography seems very simple indeed. On closer inspection, however, it is a far more complex field. In Lambert Wiesing’s essay on abstraction (2000) he distinguishes various forms of abstraction in photography: abstraction in the photographic production process, in the photograph itself, in the view point, to make something specific visible and to create form or art in its own purpose. What brings all these together though is surely the intention of reduction to its most essential, inner form.

Antonio Azuaga (* 1974, lives and works in Barcelona, Spain)
In Antonio Azuaga’s work, light, colour, reflection, and time become one. Large format, almost bizarre colour fields melting into each other, are created. Azuaga’s work continues a dialogue of painting and photography, calling into mind 60’s American Abstraction of Morris Louis or Helen Frankenthaler. The viewer leaves the immediate pictorial plane, diving into a world of focused and unfocused details, which seem to be in constant movement, leaving the viewer to decide what he/she wants to see. General ideas on photography such as time, documentation of reality are approached very differently in Azuaga’s work.

Richard Caldicott (*1962, lives and works in London)
The creation process and and its critical examination is a central theme of Caldicott’s work. Caldicott has been working with abstract photography since the early 1990’s. Art historically speaking, Caldicott’s work is in dialogue with what Donald Judd called the „specific object“- an art object wich is neither painting nor sculpture, evading all forms of categorisation. His latest work Chance/Fall results out of an ongoing interest of the formal mechanical qualities of photography without the hand of the artist, where coicidence becomes precedent. Richard Caldicott studied at the Royal College of Art in London. He has had many solo and group exhibitions in Europe and the US and is represented in the following collections: Art Lab, Tokyo, Collection Ann & Jürgen Wilde, Kunstmuseum Bonn, Merril Lynch, Sir Elton John Collection, BP Amoco.

John Goto (*1949, lives and works in Oxford, UK)
Prompted by the invasion of the Gaza Strip by the IDF (27 December 2008 – 21 January 2009), John Goto made “Mosaic”, a series of apparently abstract images. Access to the conflict was denied to the international press. One common means of censoring digital images is the application of a standard graphics filter called Mosaic. Having mapped a grid across the image, the filter averages the tones and colours within each rectangle. To resolve the problem of relating a visible to an invisible image, Goto created a double-sided print onto a single sheet of paper. The censored image is visible within the frame, but by removing the picture from the wall, the uncensored verso is revealed. The series continues Goto’s investigation into the relationship between modernist abstraction and politics began in his ‘Terezin’ series (1987). The title Mosaic also refers to Moses the Lawgiver. John Goto’s works are in collections such as the Victoria and Albert Museum, London, the National Portrait Gallery, London or the Deutsche Bank Sammlung, London.















John Goto, Mosaic #01, 2008/09


Edward Mapplethorpe (* 1960, lives and works in New York, USA)
Edward Mapplethorpe is interested in the photographic production process in itself and thereby its abstraction possibilities. His works are created without a camera in the dark room in the tradition of the photogramme. Edward Mapplethorpe draws geometrical compositions with the use of light the result being between painting and a drawing in all possible grey tonalities. In 2004 Mapplethorpe received an award of the renowned Henry Buhl Foundation in New York.
























Edward Mapplethorpe, Untitled No. 8972, 2006


Silvio Wolf (* 1952, lives and works in Milano, Italy)
Silvio Wolf does not influence the creation process of his work any longer, as his work is the image before the image is created in the camera. The series on show are essentially images created by the automatic exposure to light when film is inserted into the camera. „Each Horizon reveals a threshold, the clear limit between light and darkness, between matter and language. Through this series I develop the concept of photography before the picture. The Horizons are visible forms of light echoes.“ (Silvio Wolf)
























Silvio Wolf, Horizon 16 - Chance 03, 2002

photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

11/25/2010

Ugo Mulas. Un libro di Elio Grazioli

Ugo Mulas. Un libro di Elio Grazioli di Alessandra Ronetti © CultFrame 12/2010

elio_grazioli-ugo_mulas

Considerato uno dei fotografi italiani più significativi del secondo dopoguerra, Ugo Mulas (Pozzolengo 1928- Milano 1973) è indubbiamente un autore dalla personalità sfaccettata. La monografia di Elio Grazioli, studioso di arte contemporanea e fotografia, ci fornisce una ricostruzione completa del percorso compiuto dal fotografo, illustrandone con chiarezza e semplicità quasi manualistica i vari passaggi. Grazioli propone di interpretare l’intera vicenda artistica di Mulas (dagli inizi neorealisti nel contesto milanese sino agli esiti concettuali delle Verifiche) come un percorso da leggere in senso unitario attraverso la capacità di Mulas di aggiornare costantemente la propria ricerca, nonché la necessità morale di indagare la verità mediante un confronto con la realtà. A Milano, nel 1951, Mulas decide di abbandonare gli studi di Giurisprudenza e comincia a frequentare il corso serale di nudo all’Accademia di Brera, incontrando quel gruppo di artisti e intellettuali che si radunavano al bar Jamaica. Questi anni giovanili sono segnati per il Mulas fotografo autodidatta dall’attenzione al fotogiornalismo e dal rapporto con il cinema neorealista. Il tema della visione – come nota Grazioli – è per Mulas vissuto sin da subito in chiave esistenziale “nel senso di una scelta che vuole intrecciare la vita, l’etica e l’estetica, dunque la verità e il comportamento fin dentro la peculiarità del mezzo e del linguaggio che il fotografo usa […]”. Il primo lavoro in cui Mulas si cimenta è un reportage della Biennale di Venezia del 1954, nel quale cattura locali, ristoranti, caffè, dimostrando una certa attrazione verso il rito collettivo della festa. Con questo primo reportage diventa già evidente come Mulas prediliga, più della ricerca autobiografica, l’osservazione degli artisti e come lo sviluppo della sua creatività avvenga attraverso un rapporto con la creatività altrui. Mulas sarà anche un grande fotografo di moda, gioielli, teatro e architettura. La collaborazione con il mondo della moda gli offrirà un altro mezzo di sperimentazione, infatti lungi dal cedere all’idea diffusa di una fotografia di moda atta a costruire un immaginario di sogno, accorderà le foto di moda alle proprie istanze di ricerca artistica, contestualizzando gli abiti in scenari reali. Negli anni sessanta, in un clima diverso, sceglierà ambientazioni metafisiche piuttosto che neorealiste per gli abiti, degni per Mulas di essere fotografati in quanto simboli del lavoro intellettivo dello stilista-artista. In tal senso, nel 1969, Mulas realizza gli scatti che ritraggono i gioielli di Arnaldo Pomodoro e, nel 1970, instaura un sodalizio creativo con la stilista Mila Schön. Il lavoro per il teatro comincia invece nel 1960, quando Mulas realizza un servizio in Russia, in seguito alla collaborazione con il Piccolo Teatro di Milano. ......

continua a sitohttp://www.cultframe.com/2010/12/ugo-mulas-libro-elio-grazioli/

CREDITI Titolo: Ugo Mulas / Autore: Elio Grazioli/Editore: Bruno Mondadori, 2010 / Collana: Testi e pretesti / 215 pagine / Prezzo: 19.00 euro / ISBN: 978-88-6159-473-9.

LINK

http://www.ugomulas.org
CULTFRAME. Ugo Mulas – Maestri della fotografia
CULTFRAME. United artists of Italy. Artisti nell’obiettivo dei grandi fotografi
Bruno Mondadori


11/23/2010

Cedric Delsaux: The Dark Lens

e-Announcement www.photography-now.com

Cedric Delsaux: The Dark Lens


















15 November 2010 - 2 January 2011
Galerie ACTE 2 41 rue d'Artois, 75008 Paris
+33(0)1 42 895 005 acte2galerie@orange.fr
www.acte2photo.com
Opening hours: Mon-Fri 10am-7pm . Sat 12-6pm


















Cedric Delsaux: The Dark Lens



















Cedric Delsaux: The Dark Lens
The recent photo works of Cedric Delsaux, the final installment of his Dark Lens trilogy dealing with the fact and fiction of modern urban space, can be viewed as an attempt to approach this enigmatic, emblematic city, using cinematic futurism as a tool to get a grasp on the present. Cedric describes the feeling he had as if walking around in a gigantic set for a science fiction film: "I instantly knew that all the characters from the Star Wars galaxies would be at home here." Seen through his Dark Lens, Dubai appears to be finally welcoming the guests it has been built for from the beginning.
Delsaux collapses the realm of fiction and the realm of the real onto a single image plane: film characters are inserted into photographs of existing locations that often appear less real than the iconic crew and vehicles of the Star Wars films, whose adventures we have witnessed with our own eyes on screens around the globe. What the artist aims for is not a photographic rendering of the raw reality of Paris, Lille, and now Dubai, but an exploration of the dream potential these cities hold within. He feels we are unable to truly see the world that surrounds us; we can only ever have a perception of it, filtered through the prism of our own culture, history, our sensitivity. Cedric explains: "Since I cannot convey reality, I'll show the perception, the fiction, I have of it." Simultaneously facetious game, dark joke and mise en abyme, Cedric Delsaux has developed what he calls "an aesthetic of the in-between", inextricably interweaving fantasy with real objects. This new world, accurate, swarming with objective details, is absolutely false, yet totally truthful in so far as it reveals the essentially retro-futuristic characteristic of modern urban spaces, which are simultaneously too early and far too late.
However tempting, the work of Delsaux ought not be reduced to a mere game of digital manipulations that tap into the visual language of commercial advertising and myth-making film history. Despite moving in the territory shared by both film and advertising, Cedric Delsaux's work remains firmly rooted in contemporary landscape photography. The starting point of his Star Wars trilogy was a project exploring the nature of urban architecture, called La Vitrine des Choses, set in the north of France. Cedric recounts: "I photographed ordinary places, warehouses, harbours and houses that I tried to render extraordinary by setting them in a particular frame and experimenting with lighting. I continued this project in the suburbs of Paris, but realized there was something missing, since the images no longer seemed that extraordinary. It was at this point that I decided to introduce sci-fi characters. Star Wars was a part of my childhood like many kids my age, but I wasn't a fan. It wasn't necessarily my chosen genre - nevertheless, the power of Star War films overtakes the sci-fi genre by a mile."
The insertion of sci-fi characters was to be the key to a hidden door of perception, transforming our quotidian surroundings into places where anything might happen. For instance, travelling around Dubai after seeing this exhibition will never be the same again. One day you may find yourself looking up at the sky, expecting to see speeder bikes chasing each other around the Burj Tower, only to realize you were fooled for a second by the sound of traffic around you. Rejoice and shiver, imagination has invaded everything.
















Cedric Delsaux: The Dark Lens
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

11/17/2010

Βορτισισμός ή Βορτικισμός (Vorticism)

Από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια

Ο Βορτισισμός ή Βορτικισμός (Vorticism) αποτέλεσε καλλιτεχνικό κίνημα στις αρχές του 20ου αιώνα. Αν και διήρκησε για ένα σύντομο χρονικό διάστημα, περίπου την τριετία 1912-1915, θεωρείται ένα από τα σημαντικότερα οργανωμένα ρεύματα αφηρημένης τέχνης που αναπτύχθηκαν στην Αγγλία και συγγενεύει με τα κινήματα του κυβισμού και του φουτουρισμού.
Ο όρος βορτισισμός αποδίδεται στον ποιητή Έζρα Πάουντ, ο οποίος τον χρησιμοποίησε το 1913. Κυρίαρχη φυσιογνωμία του κινήματος αποτέλεσε ο ζωγράφος και λογοτέχνης Wyndham Lewis. Ανάμεσα στους υπόλοιπους εκπροσώπους του ανήκουν οι ζωγράφοι William Roberts, Edward Wadsworth, David Bomberg, Jessica Dismorr, Frederick Etchells, Cuthbert Hamilton, Lawrence Atkinson, CRW Nevinson, οι γλύπτες Jacob Epstein και Henri Gaudier-Brzeska καθώς και οι συγγραφείς Έζρα Πάουντ και T. E. Hume.
Το 1914, τα μέλη του βορτισισμού δημοσίευσαν το πρώτο τεύχος του περιοδικού BLAST, στο οποίο αποτυπώνονται δείγματα της αισθητικής του βορτισισμού ενώ ακολούθησε και μια τελευταία δεύτερη κυκλοφορία το 1915.
Το κίνημα αναπτύχθηκε κατά κύριο λόγο στο χώρο της ζωγραφικής και της γλυπτικής -- με έντονες επιρροές και δάνεια από τα κινήματα του κυβισμού και του φουτουρισμού -- καθώς επίσης και στη λογοτεχνία κυρίως λόγω της σημαντικής παρουσίας τoυ Έζρα Πάουντ. Αξιοσημείωτη είναι και η επίδρασή του στη φωτογραφία, καθώς ο βορτισιστής
Alvin Langdon Coburn επινόησε την πρώτη αμιγώς αφηρημένη φωτογραφία το 1917, η οποία και ονομάστηκε Vortograph. Οι φωτογραφίες αυτού του είδους απεικόνιζαν έναν αντικείμενο με τη βοήθεια καθρεφτών -- τριγωνικής συνήθως διάταξης -- και είχαν την μορφή ενός καλειδοσκοπίου.

Στην ιστορία του κινήματος καταγράφεται μόνο μία έκθεση, το 1915 στην Γκαλερί Doré. Το επόμενο διάστημα, κυρίως λόγω της έναρξης του Α' Παγκοσμίου πολέμου το κίνημα του βορτισισμού διαλύθηκε. Την περίοδο του 1920 προσπάθειες για την αναβίωσή του μέσω της καλλιτεχνικής ομάδας Group X απέτυχαν. Το 1956, η Tate Gallery φιλοξένησε επίσης έκθεση για τον βορτισισμό.
Αν και ως καλλιτεχνικό ρεύμα δεν κατατάσσεται στις κυρίαρχες τάσεις της μοντέρνας τέχνης, θεωρείται πως συνέβαλε γενικά στην διαμόρφωση των μεταγενέστερων κινημάτων της αφηρημένης τέχνης.

http://www.vorticism.co.uk/
























The Manifesto

The manifesto is primarily a long list of things to be 'Blessed' or 'Blasted'. It starts:
1. Beyond Action and Reaction we would establish ourselves.
2. We start from opposite statements of a chosen world. Set up violent structure of adolescent clearness between two extremes.
3. We discharge ourselves on both sides.
4. We fight first on one side, then on the other, but always for the SAME cause, which is neither side or both sides and ours.
5. Mercenaries were always the best troops.
6. We are primitive Mercenaries in the Modern World.
7. Our Cause is NO-MAN'S.
8. We set Humour at Humour's throat. Stir up Civil War among peaceful apes.
9. We only want Humour if it has fought like Tragedy.
10. We only want Tragedy if it can clench its side-muscles like hands on its belly, and bring to the surface a laugh like a bomb.

11/12/2010

Who Am I? Transgressions Gordon Clark and Leon Botha

e-Announcement photography-now.com



















"WHO AM I?" - Lightjet C-Print on photo paper laminated on aluminium, 2009, 145 x 120 cm

Gordon Clark and Leon Botha
WHO AM I? - Transgressions

10 October - 26 November 2010
ARTCO Galerie
Ferdinand-Schmetz-Platz 2, 52134 Herzogenrath Germany
+49 (0)2406 6666948 info@artco-ac.de
http://www.artco-ac.de




















"ADAM AND EVA" - Lightjet C-Print on photo paper laminated on aluminium, 2009, 145 x 120 cm

Who Am I? Transgressions
Gordon Clark and Leon Botha
"Who Am I? - Transgressions" is the title of a series of photo-works by South African photographer Gordon Clark and artist Leon Botha.
"Who Am I?" The question is posed by revealing the finitude of flesh without inhibition or reserve, hence the transgression. In the process, transgressed also are conventional notions of beauty, strength and frailty, the notions of the eternal and the ephemeral.
Each photograph is an autonomous fictional narrative, a world unto itself, with Leon Botha, both protagonist and collaborator, at its center. The aesthetic that these images articulate is a product of their collective meaning.
Clark's work has appeared in many of the world's leading galleries and museums, including in an exhibition titled "Great Photographers of the World" coordinated by The Directors' Guild of America. After working in Hollywood for more than two decades, he is back in South Africa, and lives and works in Cape Town.
Also a native of South Africa, Botha, aged 25, is one of the world's oldest living persons with progeria, a rare genetic condition that causes rapid aging. His physiological condition has not, however, hindered his journey as an artist—he is not only a painter but has also been an acclaimed musician. Third Eye Gallery of Cape Town hosted his exhibitions "Liquid Swords" and "Slices of Lemon" in 2007 and 2009 respectively.
"Who Am I?" is a collaborative journey of these two artists seeking to define what it means to be "the other" and experience difference, and in the process affording ironic glimpses into contemporary society and its value system.










"GATES TO INFINITY" - Lightjet C-Print on photo paper laminated on aluminium, 2009, 113 x 220 cm

This is Gordon Clark's first ever exhibition in Germany. Before ARTCO Gallery, "Who Am I? - Transgressions" was shown in João Ferreira Gallery, Cape Town and Torch Gallery, Amsterdam.
Following encouraging audience response, the exhibition (originally due to close on November 5) has been extended to 26th November.
www.gordonclark.co.za/
www.flickr.com
www.mg.co.za
















"I'M A MAN" - Lightjet C-Print on photo paper laminated on aluminium, 2009, 120 x 145 cm

photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

Massimiliano Camellini Laboratory obsession - from science to dream

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Alessandro Bertolazzi, Bagno a Ripoli 2003

Massimiliano Camellini
Laboratory obsession - from science to dream

03 November 2010 - 04 December 2010
Vernissage Wednesday 3 November 2010 at 7.00 p.m.
Mandeep Photography and beyond
viale Scalo san Lorenzo, 55, 00185 Roma
+39 0643419054
info@mandeep.it
http://www.mandeep.it

Massimiliano Camellini
www.massimilianocamellini.org

In cooperation with













Plastikart, Cesena 2007

Laboratory obsession
from science to dream
Photographs by
Massimiliano Camellini

"Risonanza" of International Festival of Film in Rome
Massimiliano Camellini immortalazes the artworks created by the SFX masters working for the cinema, transforming themselves in new Doctor Frankensteins: they mould bodies giving them a soul. Artists who are able to create a life being a copy, a reproduction, an effort to transfer the anatomy towards the drama expression.
Eyes, hands, teeth, limbs, all scattered in order to achieve a humanity sometimes painful, sometimes upsetting, often enigmatic, they represent the “laboratory” where Massimiliano Camellini has operated finding out a physical appearance which becomes a story out of the time. Anatomical spare parts made of synthetic material who, through the chemical photographic process, stun for their ostentation, to be put inside the cognitive process that is the basis of each aesthetic project. The Massimiliano Camellini's photographs give evidences of an expert use of the light, in a magic and dark playing of shadows, leading necessarily to the cinema language.













Creafx, Scandicci 2007

Friday 3 December, at 7.00 p.m., the workshop "Creation experiences”
with Danilo del Monte, SFX artist.
Thursday 4 November at 7.00 p.m., book signing: LABORATORY OBSESSION by Massimiliano Camellini, 5 Continents Editions 2010.




















Sergio Stivaletti, Roma 2007

Mark Klett and Byron Wolfe.Workshop with Mark Klett: Working across Time: Rephotographing Images of Place

e-Announcement photography-now.com











Mark Klett and Byron Wolfe, 2007. One hundred and five years of photographs and seventeen million years of landscapes; Panorama from Yavapai Point on the Grand Canyon connecting photographs by Ansel Adams, Alvin Langdon Coburn, and the Detroit Publishing Company.

Workshop with Mark Klett:
Working across Time: Rephotographing Images of Place

Workshop dates: November, 12-13-14 2010, 10am-7pm.
Where:The theoretical contents and the treatment of the photographs will take place at the installations of the Arxiu Fotogràfic of Barcelona, while the fieldwork will be held in the surrounding city areas.
Application prerequisites:Applications are accepted from photographers with creative and technique motivations, as well as from artists, historians and investigators, whose research encompasses the field of photography, the arts, social sciences and environmental management.
Workshop language: English Places: 15-20 persons with a heterogeneous profile.
Price:400 € Application submission deadline:Friday, November 5, 2010

Contact:info@arqueologiadelpuntdevista.org
Arxiu Fotogràfic of Barcelona Pl. Pons i Clerch, 2, 2n, 08003 Barcelona
+34 (0)932563420 arxiufotografic@bcn.cat
www.bcn.cat/arxiu/fotografic








© Mark Klett and Byron Wolfe, 2007. Details from the view at Point Sublime on the north rim of the Grand Canyon, based on the panoramic drawing by William Holmes (1882). Background: William Henry Holmes, 1882. Sheets XV, XVI, XVII. Panorama of Point Sublime. From Clarence Dutton, Atlas to Accompany the Monograph on the Tertiary History of the Grand Canyon District. (Courtesy of the Library of Congress).

The Arxiu Fotogràfic de Barcelona and Arqueología del Punt de Vista are pleased to announce Working across Time: Rephotographing Images of Place, a triple teaching activity, held by US photographer Mark Klett. Working across Time will take place in November 2010 and will consist of a two-part workshop, a conference and a demonstration.
The activity is the premiere of AfterFoto, a cycle of activities related with the production, management and circulation of photographic legacy. The activities scheduled by AfterFoto call for a reflection on photographs as part of our cultural and historical patrimony: stories, techniques, authorships, practices, preservation, accessibility, diffusion, archives; photographs as documents, as vestiges of history, as our legacy. How do we remember? How do we aspire to be remembered? This joined initiative of the Arxiu Fotogràfic of Barcelona and Arqueología del Punt de Vista is born with the objective to bring the photographic legacy closer to the people of Barcelona, while creating links between the Archive and diverse groups related with photography in and outside the city. The programme of AfterFoto is based on the photographic production the society generates and we in turn preserve. Conceived as periodical events of a singular character, the majority of its activities will take place at the installations of the Arxiu Fotogràfic de Barcelona, with guests a series of acclaimed international contributors.
Contents
With photographic material from the rich collection of the Arxiu Fotogràfic and with the city of Barcelona as the setting for their fieldwork, the participants in this workshop directed by Mark Klett will have the opportunity to practice and explore the methodology of rephotography, while adjusting it to their own actual interests. The workshop is composed of two parts: a three-day workshop where physical attendance is required, and a second six-week distant-learning part coordinated online. The participants will start the realization of their own rephotography projects on site, during the three-day workshop, and will complete them later during the six-week period, under the supervision of Mark Klett and the coordination of APV.








© Mark Klett and Byron Wolfe, 2008, Panorama of Hopi Point based on the horizon line from west to east. Inset (L to R): Mark Klett and Byron Wolfe, 2007. South rim edge looking west at sunrise. Mark Klett, 1983. Picnic on the edge of the rim.

Mark Klett is a photographer living in Tempe, Arizona where he is a Regents Professor of Art at Arizona State University. Klett is interested in the intersection of cultures, landscapes and time and his background includes working as a geologist before turning to photography in the seventies. In 1984, Klett published Second View, a vast project that consisted of revisiting the sceneries of the American west where renowned photographers, such as Timothy O’Sullivan, registered with their cameras during the first photographic surveys commissioned by the Federal government in the second half of the 19th century. With this project, Klett established three paramount elements in his perspective: the methodology necessary for developing the rigorous photographic genre of rephotography, the necessary human resources to cover the ambitious purposes of his projects, and a discourse on the construction of the collective imagery. At the end of the nineties, Klett took up the same work and finally published his acclaimed monography Third Views, Second Sights, which gathers together the original 19th century photographs alongside the first rephotographs of the 1970s and those of the late nineties. Mark Klett’s work has been exhibited and published both in the United States and internationally for over thirty years, and his photographs are held in over eighty museum collections worldwide. Klett is the author of thirteen books including the recently released Saguaros (Radius Press and DAP, 2007), After the Ruins (University of California Press 2006), Yosemite in Time (Trinity University Press, 2005), and Third Views, Second Sights (Museum of New Mexico Press 2004).
Arxiu Fotogràfic de Barcelona (www.bcn.cat/arxiu/fotografic/): Founded in 1931 and situated at the second floor of the ancient quarter of Sant Agustí, the Arxiu conserves two million photographs with subject the city of Barcelona, dating from 1839 to the present day. The Arxiu installations include a print room, various work rooms, laboratories, seven deposits designed for the protection and preservation of photographs and a new exhibition room, which hosts regular exhibitions from the permanent collection.
Arqueología del Punt de Vista (www.arqueologiadelpuntdevista.org) develops theoretical and audiovisual projects, dealing with the analysis of the actual perception through the study and recovery of resources, documents and technologies that represent visually previous eras.
AfterFoto is organized by: Arxiu Fotogràfic de Barcelona and Arqueología del Punt de Vista
The project is directed and elaborated by: Arqueología del Punt de Vista
With the support of: Institut de Cultura del Ajuntament de Barcelona
















© Mark Klett and Byron Wolfe, 2008. Combined record of Ansel Adams' photographs made over the course of an entire day, Yavapai Point. Inset (all): Ansel Adams, 1941. Grand Canyon National Park, Arizona. (Courtesy of the Center for Creative Photography, Tucson, AZ and the National Archives, Washington, DC)
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Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

10/16/2010

Marc Grümmert - Urlaub in Saig

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Marc Grümmert - Urlaub in Saig

17 September - 09 November 2010
Opening reception: Friday 17 September 2010 19:00h

zone B
Brunnenstraße 149 (U8, Bernauer Str.) 10115 Berlin
Tel: +49 (0)170 4630953 oder 0173 5914750
kwm@zone-b.info
www.zone-b.info
Opening hours: Sat 11:00 - 18:00 and by appointment




















© Marc Grümmert, C-Print, 90 x 90 cm, 2009


“Urlaub in Saig” by Marc Grümmert (*1977)

Marc Grümmert’s current work “Urlaub in Saig” (Holidays in Saig) deals with transformed imagery. Their origin lies in a set of anonymous negatives from the Black Forest from 1977. Due to improper storage, microbial and chemical processes have transformed the layers of colour, so that the images are now nothing more than preserved fragments of memory. Viewers are left with a sense of their aura – a kind of independent projection screen on which they can reconstruct missing elements with the aid of their imagination.
Through the facility of the artist’s over-all adaptation these photographs refresh our collective memory. The colourful interpretation of their intangible pictorial elements creates a new world that condenses the past and future while cancelling the idea of a supposed reality.
If one could visualize dreams, this work could be their intoxicated, coloured transcription. This way Marc Grümmert designs a completely subjective artificial paradise, which involves conscious and the unconscious. Being clear about how Vanitas brings about new forms and colours, and new beauty, the artist creates his own uncompromising new reality that draws us into the maelstrom of vanity. This results in a kind of Brave New World.
Marc Grümmert studied at the Heiligendamm FAK and the University of Wismar, where he graduated in 2003 with a diploma in photography. He presented his visions in a national and international context as part of the extensive exhibition “ABSAGE AN DIE WIRKLICHKEIT”, which was on tour to over 16 places and to which Kerber Verlag published a comprehensive catalogue. In the group exhibition, “HAUPTSTROM – WHEN THE CLOCK STRIKES TWENTY”, his work was shown with the works of Gosbert Adler, Eva Bertram, Antje Dorn, Erich vom Endt, André Grossmann, Dolorès Marat, Jitka Hanzlova, Volker Heinze, Klaus Küster, Kenneth van Sickle among others.


















© Marc Grümmert, C-Print, 90 x 90 cm, 2009







© Marc Grümmert, C-Print, 90 x 90 cm, 2009

David Lachapelle, VEE SPEERS. SHOW OFF - PARIS

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© David LaChapelle

SHOW OFF - PARIS
David Lachapelle, VEE SPEERS
21 - 24 October 2010
Opening: Wednesday, 20 October 2010 7:00 pm
www.showoffparis.fr
Galerie ACTE 2
41 rue d'Artois, 75008 Paris +33(0)1 42 895 005
acte2galerie@orange.fr
www.acte2photo.com
Opening hours: Mon-Fri 10am-7pm . Sat 12-6pm
For its fifth édition, SHOW OFF 2010 becomes the SOLO SHOW art fair of Paris.
SHOW OFF will take place October 21-24, 2010 during Paris’s Contemporary art week and will be set in a luminous, élégant tent in the heart of Paris, a few steps away from the Grand Palais and the banks of the Champs Elysees. Painting, photography, drawing, sculpture, vidéo, and installation; all media will be presented en a unique format highly favorable to participating artists.
«Amidst the overwhelming profusion of autumn art fairs in the heart of this outpouring of art which sometimes remindsus of what it’s outpouring of art which sometimes reminds us of what it’s like to stroll through a busy bazar, I look forward to the breath of fresh air that SHOW OFF promises, because art is no guaranteed luxury. The challenge of the One Man Show i s a bold one!»
Jérôme Ladiray, Ladiray gallery.

DAVID LACHAPELLE



















© David LaChapelle

David LaChapelle
" I am presenting a selection of works that best portray the consistent themes I have been exploring throughout my career - from some of my earliest works that were shown during the 1980's in New York galleries, on through the 15 years I spent while working for magazines.
This time my objective was to document America's obsessions and compulsions using publications as a means to reach the broadest possible audience. I was employing "pop" in the broadest sense of the word. I was photographing the most popular people in the world to the marginalized always attempting to communicate to the public in an explicit and understandable way. The images were always meant to attract, not alienate. Inclusion has always been the goal when making these pictures, and continues on in the newest works that will be exhibited.
The difference between the works I did as a photographer for hire and the most recent is that I'm freed from the constraints of magazines. The work has not only been liberated from the limitations of glossy pages, but has also emerged from the white frame, engaging the viewer with the exploration of three-dimensional tableaux.
I feel that we are living in a very precarious time, with environmental devastation, economic instability, religious wars waged, and excessive consumption amidst extreme poverty. I have always used photography as a means to try to understand the world and the paradox that is my life.There is the feeling that we are living at a precipice. My hope is that through the narratives told in my images, I will engage people and connect with them addressing the same ideas or questions that possibly challenge them. My latest pictures are a reflection of my earliest pictures. I reintroduce my personal ideas of transfiguration, regaining paradise, and the notion of life after death."
David LaChapelle's photography career began in the 1980's in New York City galleries. After attending the North Carolina School of Arts, he moved to New York where he enrolled at both the Art Students League and the School of Visual Arts. With shows at 303 Gallery, Trabia McAffee and others, his work caught the eye of his hero Andy Warhol and the editors of Interview Magazine, who offered him his first professional photography job.
Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times.
Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil' Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hillary Clinton, Muhammad Ali, and Britney Spears, to name just a small selection. After establishing himself as a fixture amongst contemporary photography, LaChapelle expanded his work to include direction of music videos, live theatrical events, and documentary film. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Britney Spears, The Vines and No Doubt.
His stage work includes Elton John's The Red Piano, the Caesar's Palace spectacular he designed and directed in 2004, which just recently ended its five year run in Las Vegas. His burgeoning interest in film led him to make the short documentary Krumped, an award-winner at Sundance from which he developed RIZE, the feature film acquired for worldwide distribution by Lions Gate Films. The film was released in the US and internationally in the Summer of 2005 to huge critical acclaim, and was chosen to open the 2005 Tribeca Film Festival in New York City.
Recent years have brought LaChapelle back to where he started, with some of the world's most prestigious galleries and museums exhibiting his works. Galleries such as the Tony Shafrazi Gallery in New York, Jablonka Galerie in Berlin, the Robilant + Voena Gallery in London; and Maruani & Noirhomme in Belgium have housed his works as well as Institutions such as the Palazzo delle Esposizioni and Palazzo Reale in Italy; the Barbican in London, and The Helmut Newton Foundation in Berlin.In 2009, exhibitions in Mexico City at the Museo del Antiguo Colegio de San Ildefonso, in Paris at the Musee de La Monnaie, and in Guadalajara at the Museo de Las Artes all broke attendance records. These shows presented his latest series of works with which LaChapelle has broken out of the frame, presenting three-dimensional sculptural murals.

VEE SPEERS














© Vee Speers, from the series Immortal, 2010

© Vee Speers, from the series Immortal, 2010

Vee Speers was born in Australia and has been living in Paris since 1990. Her portraits have been exhibited and published world-wide. Her first book «Bordello» with a forward by Karl Lagerfeld, constructs elaborated filmic interiors of fantasy inspired by the lavish Parisian bordellos of the 1920’s.
Speers’s most récent work «The Birthday Party» is a series of short stories linked by the thème of an imaginary birthday party. In a conceptual and technical departure from her previous work, it is partly a self portrait, sometimes woven with threads from her own childhood.
Her last work IMMORTAL is presented for the first time at acte2galerie for Show Off.

Floris Neusüss. Shadow Catcher: Camera-less Photography

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Floris Neusüss: Korperbilder (KOR 42) 1967, Vintage Unique Silver Gelatin Photogram

Floris Neusüss
15 October - 27 November 2010
ATLAS Gallery
49 Dorset Street, London W1U 7NF +44 (0)20 722 441 92
info@atlasgallery.com
www.atlasgallery.com
Mon - Fri 10am - 6pm . Sat 11am - 5pm


















Floris Neusüss: Korperbilder (KOR B27) 1963, Vintage Unique Silver Gelatin Photogram

Atlas Gallery is pleased to announce an exhibition of work by the acclaimed German photogram artist, Floris Neusüss, to coincide with the exhibition Shadow Catcher: Camera-less Photography at the Victoria & Albert Museum, London (13 October 2010 - 20 February 2011), which features the work of Floris Neusüss, Adam Fuss, Gary Fabian Miller, Susan Derges and Pierre Cordier. A pioneer of photography, Floris Neusüss has dedicated his whole career to the practice, study and teaching of the photogram, exploring its technical and visual possibilities and pushing the boundaries of the medium. Neusüss was inspired by the Constructivist camera-less photography of Làszló Moholy-Nagy and by Man Ray’s Surrealist photograms or “Rayographs”.

Photograms are created by the placement of objects on light-sensitive paper or film, and once exposed to light, the shape of the object is revealed. The proximity of the object to the paper creates sharper or softer outlines and the intensity of the tones is dependent on the transparency of the objects and the amount of light used. The process is akin to “painting” with light, resulting in a ghostly silhouetted ‘negative’ image. Neusüss further departs from the conventional photogram by occasionally wiping a brush, sponge, or rag dipped into developer or fixer solution across the surface of the paper to produce controlled, painterly gestures. Sometimes he does not fix his prints, allowing the works to constantly change over the years and the photographic process to continue beyond the darkroom.
Amongst Neusüss’ best known works are his Körperfotogramms (also known as Nudogramms), life-size silhouettes of nude bodies exposed on photographic paper in a variety of expressive poses. Often suggesting rapid motion, the figures are caught in space and in an ethereal dream-like state. Neusüss comments: “In the photogram...man is not depicted, but the picture of him comes into being by an act of imagination”. He worked on this series throughout the 1960s and early 1970s, initially using standard silver bromide paper to show white figures on a black background and later using auto-reversal paper to make black figures on white backgrounds.
The exhibition at Atlas will feature a wide cross-section of works from the early 1960s to 2010, including the “Nudogramms” (from the early 1960s), “Tellerbilders” (or “Plate” pictures, from 1968), circular forms created with dinner plates on both black and white and colour photographic papers in vertical arrangements; “Faltbilders” (“Folded” pictures, from 1964), in which the photographic paper is folded, exposed to light, and unfolded to reveal the patterns and symmetries created; “Knitterbilders” created by crumpling small pieces of unexposed photographic paper, flattened, exposed to light and processed; “Artificial Landscapes”, produced by dipping unexposed photographic paper into chemicals normally used to process black and white photographic prints. The exhibition will also include one example from Neusüss’ most recent body of work, commissioned by the V&A, in the form of a photograph printed on acetate of the Oriel Window at Lacock Abbey in Wiltshire. This is taken from his life-size photogram of the window, “Homage to Wiliam Henry Fox Talbot: his ‘Latticed Window’ in Lacock Abbey”, which is included in the V&A ‘Shadow Catchers’ exhibition. The window at Lacock Abbey was the subject of Fox Talbot’s first photographic negative, created in 1835, and this is among a series of pieces paying tribute to nineteenth century pioneers of photography.
Born in 1937, Neusüss studied printmaking before turning to photography. He was an influential teacher in Germany and recently retired as Professor in Experimental Photography at the University of Kassel, a post he had held since 1971.




















Floris Neusüss: Knitterbild, 1983, Vin
tage Unique Silver Gelatin Photogram













Floris Neusüss: Chemical Landscape 1984, Vintage print, Unique

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Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
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10/13/2010

Andreas Gefeller The Japan Series

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Poles 07, 2010, Inkjetprint, 150 x 150 cm

Andreas Gefeller The Japan Series

16 October 2010 - 23 November 2010
Opening reception: Friday 15 October 2010 6-10pm
Thomas Rehbein Galerie
Aachener Str. 5, 50674 Cologne
Germany+49 (0)221 3101000
art@rehbein-galerie.de www.rehbein-galerie.de
Tues-Fri 11am-1pm + 2-6pm . Sat 11am-4pm


















Poles 31, 2010, Inkjetprint, 100 x 100 cm

Andreas Gefeller
The Japan Series
Art changes one's view upon reality. To heighten awareness and expand our perception of a supposedly well-known reality is the central aspiration of the works by Düsseldorf-based photographer Andreas Gefeller. „The Japan Series“ is his youngest series following „Supervisions“ and originated on the occasion of the project „European Eyes on Japan“, in which European photographers are invited annually to work in this Far Eastern country.

The series' focus lies on the „Poles“. Gefeller photographs electricity posts in at least two single upward views from a perpendicular position. In the subsequent digital assemblage the pole disappears and innummerable cables and current transformers are converted into an autonomous and abstract composition that spreads in front of a monochrome background. The absence of points of reference and orientation opens up a new perspective on familiar situations. Thus, the „Poles“ transcend their original context in order to awaken associations of underground railway plans, autoroute intersections or night photographs of a city's pulsating traffic arteries.

Other photographs depict plants, which assume distinct forms owing to human intervention, their branches winding around rectangular wire nets or wooden grates. Formally equal to „Poles“, they too become dissociated from their immediate situative context by means of a surprising and disorientating view from below to become abstract compositions.

Gefeller's most recent photo works have become increasingly formal and structural, attesting to striking pictorial qualities. Correspondencies to drawing-related concepts such as calligraphy are not merely coincidental, but are supported by the artist's choice of the printing technique and paper. With his works, Gefeller questions the objectivity of the photographic medium and explores its limitations. Terms such as truth and estrangement are being contested and the relationship between nature and human being as well as the latter's desire to subject his surroundings to a system is being reflected in a new light.
More than ever, Gefeller engages in the field of tension between nature and urbanity, reality and fiction as well as order and chaos.

Text: Miriam Walgate



















Untitled (Pear Tree), 2010, Inkjetprint, 150 x 150 cm



















Poles 45, 2010, Inkjetprint, 100 x 100 cm

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Torstr. 218
| 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com
| T +49.30.24 34 27 80