Sunday, January 31, 2010

Life, or art?

© Dash Snow

Funnily enough, somebody was lingering on the same Pola-thoughts I exposed right below, just a few days before me.

Here's the Guardian's look on Dash Snow's posthumous Polaroid book.

Curiosamente qualcuno si stava ponendo gli stessi quesiti 'istantanei' esposti da me qui sotto, giusto alcuni giorni prima.

Il Guardian ci dice la sua sulla monografia postuma dedicata alle Polaroid di Dash Snow.

Front cover of Dash Snow: Polaroids


Friday, January 29, 2010

Is it me or it's really good stuff?

© Mikael Kennedy

I've come to the conclusion that Polaroids mess with my mind, and I kind of like anything done with them (including those by Dash Snow - RIP - sometimes, or my own). That's why whenever I see some Polaroid works I get suspicious and almost suspend my judgement, because i feel like when you see a movie from your favorite director and can't accept the thought he or she came out with a bad thing. Anyway, this is the stupid reason that kept me from posting about Mikael Kennedy before (check out his Polaroid blog too), and it's about time to make amends for this.

© Mikael Kennedy

Sono giunto alla conclusione che le Polaroid mi confondono e che qualsiasi cosa viene fatta con le simpatiche istantanee finisce col piacermi (persino quelle di Dash Snow - RIP - a volte, o addirittura le mie). Proprio per questo ogni volta che vedo un lavoro realizzato in Polaroid mi faccio sospettoso e quasi sospendo il giudizio, per evitare di fare come quando vedi un film del tuo regista preferito e non riesci a accettare che abbia fatto una cosa non bella. Comunque, questa è la ragione per cui sinora mi sono trattenuto dal menzionare il lavoro di Mikael Kennedy (da vedere anche il suo Pola-blog) - è quindi ora di porre rimedio.

© Mikael Kennedy


Thursday, January 28, 2010

Domingo Milella - On landscapes

Acitrezza, Sicilia, 2008

At the end of 2009 I asked Domingo Milella if he was interested in an interview for Hippolyte Bayard, and he immediatìely agreed - even if I forced him to write his answers in English, for which I send him a special thanks. We talked about a lot of things, but especially about why and how young photographers today should embark in a photographic research devoted to an analysis of the landscape, with hundreds having produced so much in the same line over the past decades. It came out that for a photographer sometimes cinema and philosophy can be even stronger influences than most of photography around, and that classicism is still a valid aspiration for a work of art.

Enjoy the read.

Alla fine del 2009 ho chiesto a Domingo Milella se fosse interessato a un intervista per Hippolyte Bayard ed ha subito accettato, anche se l'ho costretto a scrivere in inglese, cosa per cui lo ringrazio ulteriormente. Abbiamo parlato di molte cose, ma in particolare di come (e di perché) un giovane fotografo debba oggi dedicarsi all'analisi del paesaggio, con centinaia di autori che hanno prodotto così tanto sull'argomento nei decenni passati. È venuto fuori che per un fotografo a volte il cinema e la filosofia possono avere maggiore influenza che tanta fotografia intorno a noi, e che un orizzonte classicista può ancora essere una legittima aspirazione per un'opera d'arte.

Buona lettura.

FABIO SEVERO: You graduated from the School of Visual Arts in New York, where Stephen Shore was one of your professors. You also worked as assistant for Massimo Vitali. What was the most important experience for you between the classes and the field, and what did each of them teach you?

DOMINGO MILELLA: I left my hometown, Bari in southern Italy, when I was 18 to move to New York City. I suffered a subtle and long cultural displacement. This gap of time when I was not at home anymore and had not yet ‘arrived’ in America was utterly important to my growth as a person and as an artist. This contrast between the Mediterranean provinciality and the American centrality and emancipation gave me a chance to fine-tune my own cultural identity, to influence it and inform it. The academic environment at the School of Visual Arts, and New York itself, provided total access to contemporary art and photography in the best possible way. Stephen Shore and his book Uncommon Places made a huge impact on me, both as a lesson of visual content and as a formulation of style. The work’s search for a new formulation of individual and cultural identity through the vernacular and the anonymity of the American landscape was an interesting lesson for me. Working with Massimo Vitali has been an experience about discipline and intuition, where the rules need to be broken in order to let your own vision evolve. These encounters and their lessons helped me to develop my own intuitions and recognize the needs that I already had in my heart.

Cuautepec, 2004

FS: Your work does not evolve in series but seems to grow one image after the other. How did you get to choose this line of work, what made you feel your own way was to create one image at a time?

DM: It’s a question of personality, maybe... I remember very well during the early stages of my first projects with photography that I did not really know what would be the right way to go for me.
A typology like the Bechers? A collection of variables like Gursky’s early work or Struth’s evolution? I found that there is not a better approach than emulating the models that inspire you and to look for yourself, to search for your own way, elaborate and reformulate… From this I naturally came to make a small series about small ideas, black and white vistas of the suburbs of Bari, my home and a subject I felt drawn to portray. Soon after, I naturally departed from that order. Somehow I do still work in a series format, it’s just that I do not show everything in a serial way. Every project and every trip has a serial approach. Many images may resemble each other, yet the dialectics between the differences and similarities draws a narrative. I would say that I primarily make images of vedutas from a vantage point, but sometimes I am also shooting at the ground level, including people as well. I think it’s impossible to not work in series. Some people work within disordered repetition and others ‘order their own order’.

Naucalpan Poniente, 2007

FS: You often said your focus is on the border areas where suburban and rural world meet, those grey areas where none of the two develop fully and architecture often does not exist to be admired, but simply as a series of almost casual volumes meant to be inhabited. Informal landscape, it comes to my mind. I also remember you once described the landscape as a symptom. Which are the symptoms that a landscape can express and how can photography depict them?

DM: I grew up in an area filled with big apartment buildings, at the edge of the port of Bari.
My playgrounds were fields of olive trees next to piles of industrial garbage overlooking the Adriatic Sea. Near my house there were also bunkers from World War II, and some nomads camped every now and then near an abandoned country house. I think my language began developing there.
A landscape and its own architecture often represent a vocabulary of human facts, dreams and illusions. I am mostly interested in the clear edge between the manufactured landscape and natural space. Consider the engravings of Saint Peter Basilica in Rome after its completion, for example. You can see a monumental piece of human history built right above the uncared soil, dirt, bushes and forgotten rocks. I am utterly fascinated by this contrast between cultural and natural, when architecture grows out of the earth. There is a sentence from the Italian philosopher Giorgio Agamben that I would like to quote in this regard:

“Only for an instant, like dolphins, human language puts its head out of the semiotic sea of nature. Yet, the human is properly nothing else but this passage from pure language to discourse; this transition, this instant is history.”

I am interested in architecture that comes from the landscape, that comes out of necessity and mirrors its makers and inhabitants. Necessity is a very important factor for me in choosing the landscapes I photograph. To me, the 'human struggle' seems to be a very archaic yet contemporary subject matter. I am very concerned with the idea of community as an ancient order perhaps fading with modernity. Its social nature is becoming virtual and in the end this archaic network is mutating under the pressures of capitalism and technology. The vernacular and the anonymous are like a fortification protecting the values and needs of a community and its collective struggle. This idea of a common social base seems to be fragile in front of the praised individualism of consumerism. The fear of poverty has blinded our cultural roots leaving the economic project to design new rules for newer desires.

Uchisar, 2007

FS: The layers of natural and urban landscape have been explored by many photographers and are still the core of many photographic works: how do you challenge yourself to keep finding your own path through this subject matter?

DM: In the beginning of photography, the object photographed and the way it was photographed collided, metaphor and subject were on the same level. The purity of the grade of representation was very high. This is a fundamental aspect in using the medium. An aspect so rare in most of the photography made today. Yet, the legacy of artists who have worked within this path is what I want to respect, inform, and challenge. I hope that what I photograph and the way I choose to do it will be helpful for this tradition, and also for a new approach at the same time. Technology and digitalization allow many languages to proliferate and over-express themselves. I think that this abundance encourages a tendency for superficial formality. The priority of objects changes as well as the perception of values. There is growing attention on 'how' to do things instead of 'what' to do. What to express, and what to change has become secondary…But what are we talking about then?

FS: You tend to avoid any kind of frontality or symmetry in your images, often used by other photographers as tools to dominate the landscape in front of the lens. Instead, you seem to prefer viewpoints that reveal the unbalanced, unresolved or otherwise articulated nature of the landscape, rather than summing it in absolute views. Is it something you aim at consciously?

DM: Not really. I always see my images as so tight and formal. My vision comes from a desire to pay attention to things, places, times that would be otherwise lost or left unseen. The abstract art of Cy Towmbly or Blinky Palermo, as well as Italian postcards from the 70’s have been substantial elements in my visual passions. Yet, most of my primary visual guidelines come from German photography, historical and present. I was sure to be working in that direction, until I met Thomas Struth. I was struck by the fact that all of his remarks about my early works were about a lack of precision, as if my compositions were full of obstacles, and my message was not as clear as it could have been. It was hard to accept his opinion at first, but my composition of space was not as clear and as frontal as I belived. In a way his sharp annotations helped me to understand that my peculiar idea of formality, based on complex and often contradictory surfaces, needed to work in accordance with my subject matter and content. Classicism is, in a way, nothing other than the perfect balance of shape and content. A German as well as an Italian can agree on that.

Cheope Chefren, 2009

FS: Do you feel yourself as part of some kind of tradition? In a way, both biographically and photographically, you are somehow between different world: the US from one side and Europe and Southern Italy from the other, Stephen Shore and the American landscape in color, the Dusseldorf legacy but at the same time the Italian landscape photography, from Gabriele Basilico and Massimo Vitali to Francesco Jodice and Marco Zanta, to name a few. Is there any dialogue inside your work among these different traditions and roots?

DM: Photography is not the most interesting ghetto if taken only in itself.
Before photography, my strongest influences came from poetry, literature and movies. I started to make photographs because I liked neorealist movies. I just wanted to be able to connect with something I could see in those black and white images of a graceful Italy; a kind, humble, and elegant country during that time. Pasolini came onto the scene with his persona, ideology and beliefs. His work virtually took me hand-in-hand to thinking about my language and researching my own ideas. I watched this brief documentary a few years ago and it remains a seminal milestone for me.

FS: Photography in Italy is often seen as struggling against all sorts of difficulties: lack of schools, lack of gallery and museums, of money, of magazines. What do you think of this diffused pessimism, and do you consider yourself an ‘Italian’ photographer, in terms of where your work is mainly diffused, whether it is among collectors, galleries or else?

DM: I am Italian, and this is my cultural identity and environment.
Italy as I like to say, is the last country of the 1st world and the first of the 3rd…making it the second world. The land in-between. I think that photography is an industrial language of modern history. Is Italy a mature modern state? Is Italy a country of innovation and research? We lack a social sense of nation. The civic education of the industrial western world in Italy is only formal, and is not truly rooted. What saves us is the esthetic nature of our land and tradition, not our present condition. The problem of photography in Italy is the same problem we have in any field of our culture today. We might be losing a legacy of education, awareness and grace.

Polignano, 2009

FS: But what is your perception of contemporary Italian photography? Which are the most interesting photographers and tendencies from your point of view?"

DM: A few nights ago I watched again after a few years the movie by Luchino Visconti Rocco and his brothers, 1960.
I was deeply moved by its dramatic simplicity and the strength of the story, as well as the film’s visual clarity, elegance and classicism. The rooted quality of those images gave me a true example for comparison in today’s visual desert. I do not see any unified contemporary cultural expression, author or movement for visual language in Italy today.
It seems as if a choir of confused and broad voices makes mostly entertainment and not art.

FS: The editorial market is often chosen by young photographers as the starting point to begin some kind of career into photography: agencies, photoeditors, assignments, etc. You seem to have skipped this route and went straight to making images aimed at galleries and books. How did you make this choice?

DM: I think I never made that choice, for me art is art and photography is photography. There is a grammar and a language for everything. Sometimes I work on assignments, but I have established an interest in a certain idea, a certain tread, style, theme, concept…this set of rules is my artistic integrity. I never wanted to have an agency or a website, because I think that a concept’s core should not become too easy to be accessed. Total freedom can make certain values decay instead of reinforcing them.

FS: What are you currently working on? Is there any new project you will release in the near future?

DM: I expect changes to emerge within the pictures themselves, because I know that my own thinking pretends to understand too much, anticipating processes that can really only develop naturally.
Southern Italy has been the core of my interest for the last three years, and I would like to continue working on this dense theme. Lately it feels uneasy for me to rush into new travels, new intuitions, and ‘exceptional things’. The possibility of communicating and expressing oneself so concisely and easily turns into an excuse to say anything and everything, in movies as well as in photography, in art and architecture. Not to mention Facebook, Twitter or Myspace.
The editing of meaning is disappearing. The physical and abstract size of the world seems to keep shrinking in this era of fast consumption of languages and distances. Yet the specificity of cultural and geographical values still exists. The superficiality of globalization seems to be deeply illusionary. I would rather walk or go by car to remote places in the future. I am working on a more quiet approach, waiting for the desire for innovation and renewal to come from a true need.

Cairo Copta, 2009

All images © Domingo Milella (represented by Brancolini Grimaldi and Tracy Williams, Ltd.)


Tuesday, January 26, 2010

Two million homes (and counting)

Two Million Homes for Mexico © Livia Corona

The studio of Mexican photographer Livia Corona sent word about her latest project, Two Million Homes for Mexico, about the spreading of low-income public housing launched by the Mexican government in 2001. Grids of apartments invade the landscapes, while the interiors seem to have shrunk around the inhabitants and functionality takes the place of any concept of urban tissue.

"What exactly happens in these two million homes? How do they change over time? How are tens of thousands of lives played out against a confined, singular cultural backdrop?"

Perhaps photography is one way to try to not leave this questions unanswered.

Two Million Homes for Mexico © Livia Corona

Lo studio della fotografa messicana Livia Corona mi ha scritto per segnalare il suo ultimo progetto, Two Million Homes for Mexico, dedicato al piano di edilizia popolare lanciato dal governo messicano nel 2001. Griglie di appartamenti invadono il paesaggio, mentre gli interni sembrano come essersi lentamente ristretti attorno ai loro abitanti in un trionfo di pura funzionalità che cancella ogni concetto di tessuto urbano.

"Che cosa succede dentro questi due milioni di case? Come cambiano nel tempo? In quale modo decine di migliaia di vite possono essere vissute all'interno di un modello unico e in qualche modo segregato?"

La fotografia può essere un modo per non lasciare queste domande senza risposta.

Two Million Homes for Mexico © Livia Corona


Wednesday, January 20, 2010


Abraum (Kegel) © Nils Klinger

Typologies from a mute and transfigurated nature and multiple exposures of human bodies populate the art of Nils Klinger, who deepens the mystery about his photographs with his German-only website, following an established tradition that is perfectly expressed by the monolingual website of Gursky/Struth/etc (somebody once called them the Strutskys) school, Die Kunstakademie Düsseldorf.

Abraum (Stern) © Nils Klinger

Tipologie di un mondo naturale muto e trasfigurato ed esposizioni multiple di corpi umani popolano l'opera di Nils Klinger, che infittisce il mistero attorno alle sue immagini con l'uso della sola lingua tedesca sul suo sito, nel solco di una tradizione incarnata dal sito monolingua della scuola degli Struth/Gursky/etc (qualcuno una volta li ha chiamati gli Strutsky), Die Kunstakademie Düsseldorf.

Abraum (Kegel) © Nils Klinger


Tuesday, January 19, 2010

Sochi in Rome

The Sochi Project by Rob Hornstra and Arnold van Bruggen will land in Rome, Italy, on January 29 with an exhibition curated by the friends from 3/3 at (and produced by) Mandeep - Photography and Beyond.

This slow journalism effort aimed at exploring the 5 years leading to the 2014 winter Olympics that will take place in the town of Sochi, Russia, will be presented (and supported) on this occasion with a set of 5 images printed on posters in limited edition, developed in collaboration with the designers studio Kummer & Herrman.
Rob Hornstra will also join the event to illustrate the work.

In a teasing lead-up to the event, these days the walls of some Roman neighbourhoods are embellished with images and excerpts of texts from The Sochi project.

Below some 'installation views' for all those who cannot enjoy live these actions of 'street photography' (could be a nice way of rethinking the concept, after all).

See you there on the 29!

© Rob Hornstra | Flatland Gallery NL / Paris, Yossi Milo NY

The Sochi Project di Rob Hornstra e Arnold van Bruggen sbarcherà a Roma il 29 gennaio con un evento curato dalle amiche di 3/3 e che avrà luogo (ed è stato prodotto da) Mandeep - Photography and Beyond.

Definito dagli autori stessi come un'opera di slow journalism, il Sochi Project ha l'obiettivo di seguire i 5 anni che porteranno all'apertura dei Giochi Olimpici invernali del 2014 nella città di Sochi in Russia, e verrà presentato (e supportato) con un set di cinque fotografie stampate su poster in edizione limitata, realizzati in collaborazione con lo studio grafico di Kummer & Herrman.
Rob Hornstra sarà presente per raccontare il progetto.

Nel frattempo le mura di alcuni quartieri romani sono state popolate da immagini e parole tratte dal Sochi - qui sotto alcune installation views per coloro che non potranno apprezzare dal vivo questa azione di street photography (ridefiniamo il concetto, dai).

Ci vediamo il 29!

© 3/3 (do you like my hood?)


Stop-motion delight

Wes Anderson's acceptance speech for the Special Filmmaking Achievement Award from the National Board of Review for the film Fantastic Mr. Fox, January 11, 2010.

Why do I love this clip so much? Is it for the analog tenderness soaking from every frame, or for how the mole shows up and look in the camera, or for the lady rabbit escorting the host at the end?

Does that make me a hipster?


Tuesday, January 12, 2010

Eastern platforms

"On the 31st of August I had to photograph the traffic jam. I came to the place, but there was no jam. To get the picture I had a possiblity to throw a brick on the highway or to choose the less painful way - to go home and make the photo in peace. (The most crucial issues for the newspaper "Denik" are traffic jams, dirty streets and parks, homeless, foreigners and the weather.)"

My Newspaper © Ivars Gravlejs

Here's a platform worth of some time spent surfing the net (as if most of us don't do that already enough, our poor eyes...):

" is a web based project aimed at discovering and presenting young artists from Central and Eastern Europe working with video & photography."

Some random finds? Try Ivars Gravlejs' My Newspaper or Szymon Roginski's night scenes, to start.

Ecco una piattaforma che merita un bel po' di tempo da spendere navigando in rete (come se molti di noi già non lo facessero, poveri i nostri occhi...):

" è un progetto on line volto a scoprire e a presentare giovani artisti dell'Europa centrale e orientale che lavorano con il video e la fotografia."

Qualche anticipazione un po' a casaccio: provate My Newspaper di Ivars Gravlejs o i notturni di Szymon Roginski, per cominciare.

Szymon Roginski, PROJEKT UFO #18


Sunday, January 10, 2010

Place studies

Sansibar © Peter Wildanger

Peter Wildanger uses photography to explore and analyse space, both questioning how places are constructed and how we perceive them. His images really looks to me like essays in form of images, rich of layers, shapes and proportions: looking at them is something quite close to physically read photographs, line by line, rather than just viewing them.

Together with recently mentioned Rivkah Young he founded the art-project Fernfeld, a collective work involving artists from different disciplines, each of them focusing on a different place.

Raumzeit © Peter Wildanger

Peter Wildanger usa la fotografia per esplorare e analizzare lo spazio, interrogando sia le modalità in cui i luoghi vengono costruiti sia i modi in cui sono percepiti. Le sue immagini sono come dei saggi in forma di immagini, un insieme di strati, forme e proporzioni: è una visione che dà quasi la sensazione di stare leggendo delle fotografie, linea dopo linea, piuttosto che semplicemente guardarle.

Wildanger, insieme a Rivkah Young - qui citata recentemente - è il fondatore di Fernfeld, un progetto collettivo e multidisciplinare dove diversi artisti lavorano singolarmente seguendo la traccia di un luogo specifico da loro scelto.

Fernfeld © Peter Wildanger


Saturday, January 9, 2010

Persecutory objects

Objects © Agnieszka Polska

Agnieszka Polska's Objects are one further example of the importance of Sultan (RIP) and Mandel's 'seminal book' (couldn't help using that expression at least once myself, too) Evidence. Her images are random (n. 1 requirement to echo the American pair's work) photographs from the the '50s and '60s, showing "artificial objects that could be works of art, created with Photoshop". Now, this statement clearly says how Polska is an artist using photography among other mediums (mostly video), otherwise she would never have used such a trivial expression to illustrate her technique: a 'pure' photographer would have surely said something fancier, probably 'digitally assembled' or 'reconstructed', at least.

Filled with mystery and dark humour, her works are like postcards from an eerie cartoon past, vintage x-files, animations at times slightly disturbing or slightly satyrical and a touch of twisted psychoanalysis.

(More images

Objects © Agnieszka Polska

Gli Objects di Agnieszka Polska sono un altro esempio dell'importanza di Evidence di Larry Sultan (RIP) and Mike Mandel. Le sue immagini sono realizzate con foto ritrovate (primo requisito per seguire la scia del duo americano) degli anni 50 e 60, e mostrano "creazioni che potrebbero sembrare opere d'arte, ricreate utilizzando Photoshop".
Ora, questa descrizione mostra chiaramente come Agnieszka Polska sia un'artista che usa la fotografia insieme a diversi altri linguaggi (soprattutto il video), altrimenti non avrebbe mai usato un'espressione così triviale per descrivere il suo processo creativo: un fotografo 'puro' avrebbe detto qualcosa di più sfizioso, come 'ricomposti digitalmente', oppure 'riassemblati', perlomeno.

Pieni di mistero e di umor nero, i suoi lavori sono come cartoline da un passato inquietante e caricaturale, con x-files d'annata, animazioni satiriche e stranianti e un tocco di psicanalisi torbida.

(Altre immagini qui)

Objects © Agnieszka Polska


Thursday, January 7, 2010

The Independent Photo Book

Old Corner Bookstore, first brick building in Boston,
Detroit Publishing Company, 8x10 glass negative.
Boston, Massachusetts, circa 1900.

You don't want to miss that: Mrs Deane and Jörg M. Colberg has teamed up to create The Independent Photo Book, a blog that will gather announces of "independently published and/or produced photography books or zines, which are not available via Amazon or other standard outlets". Looks like it's the place to start an affordable and (possibly) extremely rewarding collection of sweet objects made with love and dedication.

Da non perdere: Mrs Deane e Jörg M. Colberg si sono uniti per dare vita a The Independent Photo Book, un blog dedicato a segnalare "libri e riviste fotografiche pubblicati e/o prodotti in modo indipendente, non disponibili su Amazon o altri rivenditori di massa".

Il posto giusto da cui cominciare una collezione accessibile e (chissà) estremamente remunerativa di gustosi oggetti fatti con amore e dedizione.


Still photography

Tina Hage, Dream Start, close-up, 2008

I have always been fascinated by the use of photography to restage, recreate, reinvent its own iconography, enlarging details of the photographic language and clean it from imperfections and accidents to better expose its peculiarities. One good example of this approach could be Tina Hage's huge prints: they show digitally assembled reenactements of excerpts from the most common mediatic imagery, such as tv crews scrumming around somebody or snapshots of figures resembling political leaders or celebrities, with the artist impersonating every person depicted in the images. There might be something too slick and polished - almost abstract - in those images for me, but maybe, once again, the problem is viewing them on a little computer screen rather than as a mural inside a gallery.

Tina Hage, Universal Pattern IV, center image, 2009

Mi ha sempre affascinato l'idea di usare la fotografia per ricreare, reinventare la sua iconografia, ingrandendo dettagli del suo stesso linguaggio, pulirli da imperfezioni e accidenti per meglio illustrarne le peculiarità. Un buon esempio potrebbero essere le grandi stampe di Tina Hage: sono ricomposizioni digitali tratte dal più comune immaginario mediatico, come troupe televisive ammassate intorno a qualcuno oppure istantanee di figure che ricordano leader politici o altre celebrità, con l'artista ad impersonare ogni individuo rappresentato. Ho comunque l'impressione che le immagini siano per me sin troppo levigate e depurate - quasi astratte - ma forse, un'altra volta, il problema è in primo luogo la visione su un piccolo schermo di computer, piuttosto che avere di fronte una gigantografia sul muro di una galleria.

Tina Hage, Loop II, 2009

Tina Hage, installation view of Universal Pattern I, 2008


Tuesday, January 5, 2010

Places of the mind

Delos © Rivkah Young

Rivkah Young's work unfolds along four different moments: artificial outdoor spaces, views of TV studios, her personal exploration of the town of Paris and a private album spanning over two decades. Considering all the implications of digressing on manufactured vs natural spaces, urban topography vs private journey, personal biography vs true/false in photography, etc etc, I refrain from any further consideration and just leave you with the images.

Colorium © Rivkah Young

I lavori di Rivkah Young disegnano un intersessante percorso fatto di quattro momenti: luoghi artificiali, studi televisivi, la sua personale esplorazione attraverso Parigi e un album familiare che si estende lungo due decenni. Considerando tutte le implicazioni del dissertare su paesaggi costruiti vs paesaggi naturali, topografia urbana vs percorsi privati, biografia vs vero/falso in fotografia etc etc, mi astengo da ulteriori considerazioni e vi lascio alle immagini.

Me © Rivkah Young


Monday, January 4, 2010

'Lulled into believing'

The Island © Noemie Goudal

"Tarte Tatin is a curatorial project conceived in order to promote visual artists’ works. Tarte Tatin mission is to intermediate between the artists and their chances."

Esther Teichmann, Untitled from Mythologies, 2009

The artists represented are only a handful so far, but enough to provide an excellent variety of fine art photography. Some have already been mentioned here, others were for me a pleasant discovery, especially the dreamy set-ups of Noemie Goudal and the beautiful hybrids by Esther Teichmann, where photography, painting and installations merge in fascinating tableaux.

(Thanks to
Luca Andreoni)

Escapade © Noemie Goudal

"Tarte Tatin è un progetto curatoriale pensato per promuovere il lavoro di artisti visivi. L'obiettivo di Tarte Tatin è di fare da tramite tra gli artisti e le loro opportunità."

Gli autori rappresentati sono per ora poco più di una manciata, ma sufficienti a esprimere un'ottima varietà di espressioni di fotografia di ricerca. Alcuni sono stati già menzionati qui, altri sono per me una piacevole scoperta, specialmente gli allestimenti onirici di Noemie Goudal e gli ibridi di Esther Teichmann, dove fotografia, pittura e istallazioni si fondono in affascinanti tableaux.

(Grazie a Luca Andreoni)

Esther Teichmann, Untitled from Mythologies, 2008