" 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)

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

www.photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com

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

photography-now.com

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

10/11/2010

Microphotography - Beauty beyond the Visible World

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Manfred Kage: Charismon, flüssige Kristalle. 2003 © Kage-Mikrofotografie

Microphotography - Beauty beyond the Visible World
Heinrich Heidersberger | Claudia Fährenkemper | Manfred Kage | Alfred Ehrhardt | Ernst Redenz | Andreas Ritter | Johann Dietrich Möller | Carl Strüwe | Hans-Ulrich Danzebrink | ...

1 October 2010 - 9 January 2011






Kunstbibliothek
Sammlung Fotografie
im Museum für Fotografie
Jebensstr. 2, 10623 Berlin
Tel: +49 (0)30 3186 4825
mf@smb.spk-berlin.de
www.smb.museum/mf
Tues-Sun 10 am - 6 pm, Thu 10 am - 10 pm




















Hans Hauswaldt
Aragonit
um 1910, Glänzendes Kollodiumpapier
© Albertina, Wien

Microphotography
Beauty beyond the Visible World
The exhibition offers a comprehensive overview over a genre of photography oscillating like none other between the sciences and the arts. Inspired by the biologist Ernst Haeckel and his epochal work Artforms of Nature (Kunstformen der Natur, 1899-1904), the microscopic image became the most important medium of an aesthetic movement supported by the natural sciences, which powerfully brought to attention the exemplary function nature had for art in particular in the German-speaking countries. The exhibition centres around works in which a new, experimental visual aesthetics develops from the world of shapes of the microcosm. Likewise, the focus is directed at photographs made for purely natural scientific purposes and all the same captivating the eye by their high artistic quality – many of these pictures were created long before the photographic avant-garde discovered microphotography as an experimental field. Thus, the exhibition‘s panoramic range spans from one of the earliest microphotographs ever – Andreas Ritter von Ettingshausen‘s daguerreotype from 1840 with the cross-section through the stem of a clematis –, over Robert Koch‘s pictures of bacteria, Johann Diedrich Möller‘s diatom specimen samples and studies by Alfred Ehrhardt or Carl Strüwe, to the scanning electron microscopy photographs by the Becher student Claudia Fährenkemper and the atomic force microscopy images by Hans-Ulrich Danzebrink.

Katalog
Mikrofotografie. Schönheit jenseits des Sichtbaren
Edited by Ludger Derenthal und Christiane Stahl
texts by Olaf Breidbach, Franziska Brons, Annett Burzlaff, Ludger Derenthal, Gottfried Jäger, Herbert W. Franke und Christiane Stahl German
2010. c. 224 pp., ca. 200 color ills. 24,00 x 29,50 cm
hardcover pub. date: October 2010
Hatje Cantz Verlag, ISBN: 978-3-7757-2678-8
35 € (Museum), 39,80 € (Buchhandel)





www.hatjecantz.de















Robert Koch (Umkreis)
Köpfchenschimmel
o.D., Albuminpapier
© Robert Koch Institut, Berlin













Στοίχιση  αριστερά






Ernst Redenz
Kopfhaut
Tangentialschnitt
um 1930, Silbergelatinepapier
© Sammlung Fotografie, Kunstbibliothek,
Staatliche Museen zu Berlin

Willy Kessels 1930-1960

Willy Kessels 1930-1960



Photo Museum Antwerp
Waalsekaai 47, 2000 Antwerpen
Belgium +32(0)3 2429300
info@fotografie.provant.be
www.fotomuseum.be
Opening hours: Tues-Sun 10am-6pm














Willy Kessels, Nude Cathedral, ca. 1966 © Willy Kessels

Willy Kessels 1930-1960
Willy Kessels (1898-1974) is considered as one of the most important representatives in Belgium of a new, ‘modernistic’ photography which came to the foreground from the end of the 1920’s onward. His body of works is particularly illustrative of the practise of the professional photographer in the 1930’s. He was active in many diverse fields: reportage and publicity, fashion and portrait, architecture and industry, nude studies, collages, and abstract experiments… In 1932, Kessels was involved in the organisation of the first “Internationale Tentoonstelling voor Fotografie en Cinematografie” (International Exhibition of Photography and Cinematography) in the Palace of Fine Arts in Brussels. In 1933 he produced set photos of the communist-inspired documentary movie “Misère au Borinage” by Joris Ivens and Henri Storck. A mere two years later, in 1935, he made friends with Joris Van Severen en produced photo and film reportages for the Verdinaso. During the war, Kessels was involved in the founding of the artists’ association “De Meivisch” in Bornem, and photographed the Scheldt countryside and its inhabitants intensively. Kessels was tried as a passive collaborator after the war.
In the 1950’s he resumed his commercial activities. During this period he mainly published photobooks. In these works Kessels seems to have abandoned modernism, although he kept on experimenting with abstractions and unorthodox printing techniques in the seclusion of his studio.




















Willy Kessels, Self-portrait,
backlit, cover image exposition internationale de la photographie,
Palais de Beaux-Arts, Bruxelles, juillet 1932
© Willy Kessels

You are here André Lichtenberg | Tim Hall | Alex FaKso

You are here André Lichtenberg | Tim Hall | Alex FaKso

12 Oct - 12 Nov 2010
221, Brompton Road, London SW3 2EJ Flaere Gallery
Flaere Gallery London +44(0)20 7193 5715
info@flaere.com
http://www.flaere.com

Three little words and a red dot that place us on the map. Three artists, André Lichtenberg, Tim Hall and Alex FaKso, take this red dot and flip it up into the gods of Canary Wharf; fling it far out into stormy oceans; and bury it deep in the graffitied bowels of an underground world. They show us where we are, but in a way that we have never seen.













Red dot © André Lichtenberg
André Lichtenberg’s Vertigo takes us up to the dizzy heights of Canary Wharf’s skyscrapers. We gaze down on the anatomy of a global premier financial hub - a metallic machine whose perfect lines and beautiful perspectives are as intimidating and inscrutable as the inner workings within.



















Rhossilli I © Tim Hall
Tim Hall’s majestic Mountain and Seascapes inspire serenity and calmness. They breathe for us. They articulate the power and presence of the natural world – one that re-establishes the primacy of nature over man and puts us back in our place. Nature, they tell us, is the real master of the universe.













Zuek Udine #1 © Alex FaKso
Descend then into the tunnelled belly of Europe’s metropolitan subways. Alex FaKso’s Heavy Metal shoots the covert mission of graffiti artists in action, ghostly figures against an array of colour - an unexpected vibrancy amidst the dark motionless machinery of the city.
‘You are here’ - three extraordinary different takes: each so distinct from the other but all portraying our one world. We can stand there rolling the red dot in the ball of our hand, and wonder what connection we have to each of them and they have between each other.
Each to their own.

Also showing: Flaere artists: Pia Elizondo and Alejandro Pintado. FlaereScope, the emerging arm of the gallery that seeks out and promotes promising talent will be showing Jenni Fergie, Alexander James, Margherita Lazzati, Jean-Paul Loyer, and Hidemi Takagi.
Based in London and Paris, Flaere Gallery specialises in limited edition 20th century and Στοίχιση  αριστεράcontemporary photography.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

Stefania Beretta - In Memoriam

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© Stefania Beretta
Stefania Beretta - In Memoriam

2 October - 20 November 2010
Opening: 2 October 6.30pm – midnight
The artist will be present.



Associazione Culturale
Via Trieste, 42 b, 25121 Brescia BS
Italy T +39 030 5031093
galleria@maurerzilioli.com
www.maurerzilioli.com
Tues-Sat 10am-12.30am + 3.30-7:30pm and by appointment




















© Stefania Beretta

photography-now.com STEFANIA BERETTA In Memoriam
In this series of photographs entitled In Memoriam, Stefania Beretta (b. in Vacallo, Switzerland, in 1957) from Ticino has devoted herself to regions in Italy, France and Ticino that have been devastated by forest fires. An exhibition showing this group of works has already been presented, in 2009, at the Museo Cantonale d’Arte in Lugano, which provided an opportunity for a first presentation in Brescia.
The photographer approaches her subject matter from a Conceptual angle. Each group of works has been meticulously prepared in preliminary studies and in on-site ‘field research’. Only then are ‘portrayals’ of selected places and motifs printed in a 120 x 120 format, occasionally in pairs forming a diptych to reinforce and intensify their impact or they are confronted with, and supplemented by, a monochrome picture field. The author is not concerned with narrative or objective documentation of a specific geographic locality but rather with memorably capturing a state of being and the conditions specific to it. Traces left by what has taken place bear witness to it, developing a poetic, still-life-like and melancholy aesthetic of their own, which Beretta heightens through deliberate choice of detail, through working over her negatives, subjecting their material to deliberate ‘arson’, through blurring and interventions in the composition. This atmosphere is the focus of her attention.
No wonder that the photographer always feels such a strong commitment, and this goes for other projects as well, to those things that happen without being recorded (‘... che accadono senza essere ricordate.’), casually noted facts that are subsequently deleted one after the other from one’s consciousness. Regardless of whether commissioned work is concerned, such as the Il Gottardo project (1997: for Fondazione Galleria Gottardo di Lugano) and Cave – marble quarries in Sicily (2006: commissioned by Fondazione Credito Valtellinese) or free photo studies such as Holy Places and Trop, the focus is always on achieving the greatest possible concentration in the individual work as well as conceptually circling about a motif in a series. Thus a subject is lent dignity and permanence both in the detail and as a whole: In Memoriam.

The exhibition is accompanied by a catalogue: In Memoriam, Trans Photographic Press, Paris 2006 (Text Maria Will)










© Stefania Beretta
photography-now.com STEFANIA BERETTA In Memoriam
2 ottobre – 20 novembre 2010
Inaugurazione: 2 ottobre, ore 18.30 – 24
L’artista sara' presente
La fotografa ticinese Stefania Beretta (nata nel 1957 a Vacallo, Svizzera) si dedica in questa serie di opere con il titolo In Memoriam a luoghi e zone devastati dalle fiamme degli incendi in Italia, Francia e nel Ticino, un progetto presentato nel 2009 al Museo Cantonale d’Arte di Lugano, uno stimolo per la nostra mostra a Brescia.

di carattere poetico-melanconico, che la fotografa mette in evidenza con accurata scelta del particolare, con cancellazioni e accorgimenti voluti e „incendi colposi“ provocati sul negativo. L’atmosfera sta nel focus della sua attenzione e intuizione.L’autrice si avvicina al suo soggetto concettualmente. Ogni gruppo di opere e' preparato e meditato metodologicamente con studi e ricerche sul campo. Solo dopo nascono i „ritratti“ singolari di posizioni e motivi selezionati nella dimensione di 120 x 120 cm, che si accop- piano talvolta in forma di dittico per rafforzare e intensificare il mesaggio, e a volte si confrontano con tavole monocrome che aggiungono un elemento pittorico al discorso. Non e' intenzione dell’artista produrre una rapporto narrativo o documentario sulle vicende di una situazione geografica, ma descrivere e afferrare insistentemente una realta', un’atmos- fera e una condizione d’esistenza. Le tracce dell’avvenimento passato ne testimoniano la storia e provocano un’estetica autonoma. Non e' un caso, che Beretta si senta condizionata e vincolata da cose, „... che accadono senza essere ricordate“, faccende e notizie, di cui prendiamo distrattamente atto, per poi abolirli dalla memoria. Una caratteristica che da l’impronta particolare al procedere dell’artista indipendentemente dal fatto se siano progetti su ordinazione come „Il Gottardo“ (1997, per la Fondazione Galleria Gottardo di Lugano) e „Cave“ – in Sicilia (2006, su incarico della Fondazione Credito Valtellinese) o se siano delle ricerche del tutto personali quali „Holy Places“ e „Trop“. Nel baricentro dell’intenzione artistica la massima concentrazione per l’opera singolare e l’approfodimento del discorso con sistematica concettualita' nella serie, nel concatenamento delle fotografie che in ogni caso mettono in luce la dignita' e la permanenza del motivo: In Memoriam.











© Stefania Beretta

Catalogo in galleria: In Memoriam, Trans Photographic Press, Parigi 2006 (testo Maria Will)
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

Klaus Merkel Trees like Stones

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© Klaus Merkel
Klaus Merkel Trees like Stones

Oct. 9th until Nov. 14th 2010
Opening reception: Saturday, Oct. 9th 2010, 5 p.m.

Fotogalerie Karin Schneider-Henn
Schmidzeile 12, 83512 Wasserburg Germany
Tel: +49 172 8054810
galerie@fotogalerie-ksh.de
www.fotogalerie-ksh.com
Sat and Sun 2 - 6 p.m.



















© Klaus Merkel

Klaus Merkel “Trees like Stones”
black & white photographs
From Oct. 9th until Nov. 14th 2010

In his internationally renowned photographic series and illustrated books “The Reading of Time in the Text of Nature“ (1997), “Album of Stones“ (2005) and “Trees like Stones“ the artist Klaus Merkel makes us aware of the amazing correlation between animate and inanimate objects, between natural and man-made forms.
For over thirty three years Klaus Merkel has photographed nothing but stones and rocky landscapes or trees, which he then juxtaposes with sacred or profane stone constructions. When he takes pictures of sediments that the elements form into monuments, or of temples that decay into marble reefs, he is capturing the erosive traces of time. “Time is the link that joins together the images made by man and by nature; Time is the unpredictable sculptor responsible for the increasing similarity of trees and stones“
(Klaus Merkel).
www.photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

LIESJE REYSKENS - Blush

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Liesje Reyskens
Fairytopia : 100x70 cm lambda/diasec ed. 8
LIESJE REYSKENS - Blush

18 September to 16 October 2010

Galerie Van der Planken
Riemstraat 12, 2000 Antwerpen
Belgium +32 (0)3 233 54 58
info@galerievdp.be
www.galerievdp.be
Opening hours: Wed-Sat 1-6pm
Toronto International Art Fair
28 October - 1 November 2010
PAN Amsterdam 20 - 28 November 2010



















Liesje Reyskens
Fairytopia : 100x70 cm lambda/diasec ed. 8

Liesje Reyskens (b. 1984, lives and works in Belgium)
Exhibition “Blush” at Galerie Van Der Planken

Colour, contrast, originality, sensuality and innocence characterize the work of this talented young photographer.
Liesje Reyskens is a graduate of the Media and Design Academy KHLIM in Genk, Belgium. She completed her studies in 2007 with great distinction based on her autonomous photography project.
Liesje participated in the Canvas Collection competition twice, with positive results.
Interest in her photography grew and resulted in exhibitions at galleries in Holland. She has completed several assignments for glossy magazines, the City of Genk, design platform Limburg and Z33 Centre for Contemporary Art and Design.

















Liesje Reyskens
Fairytopia : 200x240 cm lambda/diasec ed. 3

Liesje Reyskens profiles herself as a contemporary photographer with an international style. Her pictures are often an intriguing mix of realism and fantasy. For a long time she predominantly worked with non-professional models but that is changing. She continues to look for young, quite inexperienced models. Liesje aims for a naive, fairy-tale look in her images. She blends the model's youthful innocence with an enchanting appearance, yet there is a "hitch". It is as if this fairy tale has a dark side. She often does the makeup and styling herself. Liesje seeks out unusual and image-reinforcing décors.
Her contemporary work has attracted the attention of a growing number of fans and followers.



















Liesje Reyskens
Fairytopia : 100x70 cm lambda/diasec ed. 8
www.photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80

Popi Tsoukatou - In Motion2

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Movement, Athens, 2009
60x90cm
edition of 6
digital print

Popi Tsoukatou - In Motion2
21 September - 9 October 2010

Gallery Kaplanon
5, Kaplanon & Massalias, 10680 Athina Greece
+30 210 . 3390946
info@kaplanon5.gr
www.kaplanon5.gr

Popi Tsoukatou: www.popitsoukatou.com




















Stairs, Megaro Hypatia, Athens, 2010
60x90cm
edition of 6
digital print

Tsoukatou moved beyond the limitation of the camera to render images of time flowing through her images. Photos reveal the movement and rhythm of life, the fleeting details and mysteries unfolding in common places and chance moments. The subtle gestures, the furtive glances, the darkness that illuminates are recurring symbols which help us recognize ourselves in the unguarded moments of our own lives.



















Lines, Athens, 2009
60x90cm
edition of 6
digital print

www.photography-now.com