"The open works of this exhibition Places have no entrances or exits, but imaginary zones for shifting and changing direction, for slippage in the imaginary. Carcasses of abandoned architecture are presented to be forgotten against a signscape of vertical pinnacles, horizontal stretching, slipping into the void."
- Viana Conti
Seven Sister, UK
You could start exploring the work of Stefania Beretta from many different entry points, choosing between dyptics of troubled urban views, Sicilian caves, burnt woods, interior of rooms, sketches of India, collage: I chose the knitted landscapes, you might want to start from something else, just take your time to go through everything, there is a lot to see.
Seven Sister, UK
All images taken from Places, 2006 © Stefania Beretta
Thursday, September 30, 2010
baselitz © beierle + keijser
..."reblogging is welcomed", says Mrs Deane, and here I am, happy to spread the word about a charity auction where you can buy work from the magic Dutch duo as well as from other great artists and by doing so give your help to the victims of the flood in Pakistan.
Tuesday, September 28, 2010
- Trying to keep up with the general trend
The wind of photobooks, photomagazines and most of all self-publishing is blowing strong, we all know that. It is hard to resist, and every time a parcel knocks at my door hiding a treasure I feel happy as a child, eager to feel the consistency and the smell of the paper. I also want to thank all those who gave me the fruits of their labour as a gift, as there is hardly such a special thing as receiving a book from the hands of those who worked hard to make it real. Sometimes I receive one as a thank you for something I have written, for having tried to promote it maybe, and I always feel a disproportion in that, which inevitably makes me accept it with an embarrassed smile, often after having made some clumsy attempts to pay for it anyway.
Following is a list of titles I recently put my hands on, and more will come soon.
On the other side of the mountains, multi-functional newspaper-cum-exhibition, The Sochi Project-Rob Hornstra/Arnold van Bruggen
Visions and Documents, by Documentary Platform, 10 books in a box, edition of 150
Villaggio Olimpico Roma, by [nove] photography, Postcart Ed.
Conditions, by Andrés Marroquín Winkelmann, edition of 300, Meier und Müller
Indian Photographs, by Massimo Sordi, edition of 1000
NATURAE, exhibition catalogue, curated by Steve Bisson, published by Urbanautica
720 - (Two times around), by Andrew Phelps, edition of 100, SOLD OUT
Coliseum, by Robert Parkinson, edition of 50, Preston is my Paris Publishing
Thank you for travelling with Northern Rail, by Adam Murray, edition of 50, Preston is my Paris Publishing
Teller Magazine #1, published by Trolley Books
Various issues of Fw:, published by Fw: Photography
Various issues of L'heliotrope, by Frédéric Iovino & Pierre Rogeaux
Monday, September 27, 2010
- Mirko Martin, LA Crash
“On foot or by car, Martin kept moving along the streets, from Venice Beach to the Hollywood Hills, from downtown to East L.A., creating a portrait of the city that has become a hologram of the film industry. Martin’s photo series, L.A. Crash, cryptically subverts the established clichés and images streaming out of the flood of media: panoramas of burning high-rises, uniformed cops handcuffing African-American gangsters, graffiti-covered courtyards, or lethargic homeless people on the sidewalk.
He mixes shots of actual streets with motifs from film productions (including costumed actors and staged disasters), which he happens to come across in public. However, the question of what is authentic and what is constructed always remains open. This blurs the line between documentary and staged photography.”
Taken from Sarah Frost, Where is the Cinema?, in: Hilke Wagner, Kunstverein Braunschweig (Ed.), Mirko Martin - Marginal Stories, Exhibition catalogue, Remise of the Kunstverein Braunschweig, Germany 2009.
Now on show within the exhibition Bumpy Ride, curated by Paul Wombell, Fotografia Festival, Rome, Italy, September 24 - October 24, 2010.
All images © Mirko Martin
"These large-scale photographs, entitled Blow Up, depict elaborate floral arrangements, based upon a 19th Century still-life painting by Henri Fantin-Latour, captured in the moment of exploding. This visual occurrence, that is too fast for the human eye to process and can only be perceived with the aid of photography, is what Walter Benjamin called the ‘optical unconsciousness’ in his seminal essay ‘A Short History of Photography’."
- Ori Gersht
All images © Ori Gersht
Sunday, September 26, 2010
Evidence is the latest project by Angela Strassheim, "a group of photographs taken at homes where familial homicides have occurred. Long after the struggles have ended in these spaces, despite the cleaning, repainting and subsequent re-habitation of these homes, the “Blue Star” solution activates the physical memory of blood through its contact with the remaining DNA proteins on the walls."
Of all the theories we grew up with concerning the photographic sign, the referent, or the trace recorded by the photographic image, it is hard to find a more elegantly dreadful example of what a camera can capture and preserve from the past.
Evidence è l'ultimo progetto di Angela Strassheim, "una serie di fotografie realizzate dentro abitazioni in cui sono stati commessi omicidi in famiglia. Molto tempo dopo che queste colluttazioni sono accadute, il composto 'Blue Star' attiva la memoria fisica del sangue tramite il contatto con i residui di proteine del DNA rimasti sulle pareti."
Di tutte le teorie sul segno fotografico, il referente e la traccia registrata dall'immagine fotografica con cui siamo cresciuti, è difficile trovare un esempio più elegantemente terrificante di quello che un apparecchio può catturare e conservare del passato.
(via Women in Photography)
All images © Angela Strassheim
Friday, September 24, 2010
Richard Mosse, La Vie En Rose, North Kivu, Eastern Congo, 2010
"The subject of my work in Congo is the conflict’s intangibility, the irruption of the real beneath the generic conventions - it is a problem of representation. The word ‘infra’ means below, what is beneath. A dialogue about form and representation is one of the work’s objectives, so I don’t think it’s a bad thing if people get hung up on the way Congo has been depicted, rather than what is being depicted. That’s the point, really."
Spectacular interview with Richard Mosse on Conscientious, where the artist shows how not only he is one of those who are shaping today's photography, but that he can also give us beauty through words.
Wednesday, September 22, 2010
I personally could live without the flash presentation making everything look artificial and slick, but underneath the futuristic look of his website Kim Høltermand's Icelands might even be a delicate and sophisticated work.
Or at least he gave me the chance to imagine one.
O perlomeno mi ha dato l'occasione di immaginarlo.
All images taken from Icelands, 2010 © Kim Høltermand
Tuesday, September 21, 2010
public tracks, 02, 2010
All images © Hubert Blanz
Wednesday, September 15, 2010
Geoffrey H. Short, Untitled Explosion#9LF, 2007
Geoffrey H. Short, Untitled Explosion #2CP, 2007
Short is included in reGeneration 2, a selection of 80 emerging photographers selected by curators from The Musée de l’Elysée in Lausanne.
Michael Light, 021 CLIMAX/61 kilotons/Nevada/1953
Naoya Hatakeyama, Blast #8316
Geoffrey H. Short, Untitled Explosion #X18CF, 2007
Monday, September 13, 2010
Last weekend at SI Fest I learnt (among other things) that:
- Roger Ballen can be as (amusingly) freaky as his own images.
Installation view of Roger Ballen's Boarding House
- Chiara Tocci won the Marco Pesaresi award with a beautiful portfolio about Albanian immigrants.
- Independent publishing is up and running in Italy as well, just go and check what Postcart, Trolley Books (well, he lives in London, but he's Italian) and 3/3 do.
The endless journey through Joakim Eskildsen's The Roma Journeys exhibition
Installation view of the exhibition Naturae, curated by Steve Bisson
Naturae exhibition catalogue resting on a golden pillow
- Massimo Sordi, photographer and one of the main curators of the festival, just published a new book, Indian Photographs.
Installation view of The edge of the spiral, by Andrew Phelps
Installation views from the Global Photography exhibition of works by Igor Starkov, Mårten Lange and Karin Apollonia Müller
© Mark Steinmetz