tag:blogger.com,1999:blog-27283799551373462362024-02-02T10:34:01.680+01:00Hippolyte BayardChi ha inventato la fotografia?Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.comBlogger587125tag:blogger.com,1999:blog-2728379955137346236.post-64157297528001611082013-11-28T18:01:00.000+01:002013-11-28T18:01:06.925+01:00Paris Photo findings #3: Miguel Rothschild<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBOcOxIiR3Iw2aPLZxNQKIyXZdX0OA6ctJI7zN_q71TojYtH4pVia44DMuOB94kv8XyIYW1a0yc2PX712OuEZlyy6MFd95BS3CfEbn8bAG3Aw6FbJefgYhXztBocosiA0CyLUnL3ZGKdNd/s1600/Screen+shot+2013-11-29+at+12.05.57+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBOcOxIiR3Iw2aPLZxNQKIyXZdX0OA6ctJI7zN_q71TojYtH4pVia44DMuOB94kv8XyIYW1a0yc2PX712OuEZlyy6MFd95BS3CfEbn8bAG3Aw6FbJefgYhXztBocosiA0CyLUnL3ZGKdNd/s400/Screen+shot+2013-11-29+at+12.05.57+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from <i><span class="bold12">The Messiah Fights Back</span></i>, 2007</td></tr>
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<i>One thing I noticed at the last Paris Photo was the increased quantity of "mixed technique photography" compared to past editions. By "mixed" I mean photography being altered by non-digital manipulations, like paint and all sorts of materials applied on the surface of the prints. Not that this wasn't previously shown, but I had the feeling that the amount of work experimenting with photographs is growing in numbers. Video was also quite present this year, a confirmation that photography is more and more an idea, rather than a specific kind of object.</i><br />
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<i><b><a href="http://www.miguelrothschild.de/index.html" target="_blank">Miguel Rothschild</a></b> is one of those authors who until the recent past would have been called "an artist who uses photography", rather than a photographic artist. The old distinction has always been used to sort of establish a scale of increasing degrees of freedom in the use of the photographic medium: how much somebody would deviate from a straight photography (meant in the broadest possible sense) and venture into other artistic territories.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixOLl_NSgbRrK3xhOyJfc7HV7o3UJvocDbqes_K0eBeUi-4LibUHRcR9tqeZnxiX9ZI3aU4czBpop7IyRdjZSOaCtsnzNZUagKdh-NTgStbjkTN7hgM4GzqLbzIS88ZVNZHUBAQnhdcTcu/s1600/Gu%CC%88nstiger+als+Gursky+%28Cheaper+than+Gursky%29,+2008.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixOLl_NSgbRrK3xhOyJfc7HV7o3UJvocDbqes_K0eBeUi-4LibUHRcR9tqeZnxiX9ZI3aU4czBpop7IyRdjZSOaCtsnzNZUagKdh-NTgStbjkTN7hgM4GzqLbzIS88ZVNZHUBAQnhdcTcu/s400/Gu%CC%88nstiger+als+Gursky+%28Cheaper+than+Gursky%29,+2008.jpg" width="371" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="bold12">Günstiger als Gursky (Cheaper than Gursky)</span></i>, 2008</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqDiomTWMODu4XVdOroclj1VNL-k2UB0qoRoMdHXlcWqLVG8iT2OBDiW3O9cJlN6y2Y_POq-71gj20o4Ag7AjA3x_7t6SVV3nTYx2imXDRfzSGLNdD6hVYZVc9C1COdJeuzsuewhAGkal/s1600/cheaper+than+gursky+detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqDiomTWMODu4XVdOroclj1VNL-k2UB0qoRoMdHXlcWqLVG8iT2OBDiW3O9cJlN6y2Y_POq-71gj20o4Ag7AjA3x_7t6SVV3nTYx2imXDRfzSGLNdD6hVYZVc9C1COdJeuzsuewhAGkal/s400/cheaper+than+gursky+detail.jpg" width="372" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="bold12">Günstiger als Gursky (Cheaper than Gursky)</span></i>, 2008 (detail)</td></tr>
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<i>This kind of distinction is losing more and more sense in the context of a fair of photographic art, and we can finally start focusing exclusively in appreciating the quality of the work rather than speculate on what can be defined in one way or another. Plus Rothschild's work gives an interesting contribution in understanding how the photographic image behave, bringing us back to the physical essence of photography by making all sorts of material interventions on the image: creating a constellation with hundreds of needles over a C-print, cutting tens of holes in photographs and leaving the resulting confettis lying at the bottom of the images, inside the frame; applying fishing lines, straws or small metal balls.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Zv12zYzjlrREA5x-EmQh2fjUomW983hez0TIh0jPFraVXBEG_IOxEDLeVDJgSnNbeFzdpG1-ENpQ0nvAMpVgygo0Sr6ff06k7T89v1Vx2HH55-0AK387ReHzuLqMXLirrKmuYsn4Fkv6/s1600/The+fault+is+not+in+our+stars,+But+in+ourselves,+that+we+are+underlings.+%28W.+Shakespeare%29,+2012+Pins+and+nails+pinned+onto+a+c-print.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Zv12zYzjlrREA5x-EmQh2fjUomW983hez0TIh0jPFraVXBEG_IOxEDLeVDJgSnNbeFzdpG1-ENpQ0nvAMpVgygo0Sr6ff06k7T89v1Vx2HH55-0AK387ReHzuLqMXLirrKmuYsn4Fkv6/s400/The+fault+is+not+in+our+stars,+But+in+ourselves,+that+we+are+underlings.+%28W.+Shakespeare%29,+2012+Pins+and+nails+pinned+onto+a+c-print.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="bold12">The fault is not in our stars, But in ourselves, that we are underlings (W. Shakespeare)</span></i>, 2012</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVSEMQeO1h6Vf0HMagY8p9BwZIGsR_X8WVjWh2-Gnv1YB4TdQ29iyhpWCzKzAkEIShWR8qUmTjTtMD0DS7MOo9CKozKkXo7QD-zfi7wTG7Wg7VleLFeDoX1scicjYQq8R9cdKu-mhuAtw/s1600/the+fault+detail2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVSEMQeO1h6Vf0HMagY8p9BwZIGsR_X8WVjWh2-Gnv1YB4TdQ29iyhpWCzKzAkEIShWR8qUmTjTtMD0DS7MOo9CKozKkXo7QD-zfi7wTG7Wg7VleLFeDoX1scicjYQq8R9cdKu-mhuAtw/s400/the+fault+detail2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="bold12">The fault is not in our stars, But in ourselves, that we are underlings (W. Shakespeare)</span></i>, 2012 (detail)</td></tr>
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<i>Digital often takes something away from the prints themselves, struggling to gain the same kind of depth that an excellent analog print can deliver: Rothschild's playful hybridisations help us remember the fact that a photograph is first and foremost a real and tangible object.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikE3NZ4NpabG-bZw4u1kahLgtRsUviWKPl-nOCch00KQMbGTUsn33N_D1kkXnt0rE2F4iBRUltg555hSjdzIQ3ETnzt_1wF3zus493udX_0KS26mHczGVhaKnwskBuZ3Pvw4VqOI3neVKH/s1600/Jesus+Saves.+2010+Perforated+c-print,+confetti.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikE3NZ4NpabG-bZw4u1kahLgtRsUviWKPl-nOCch00KQMbGTUsn33N_D1kkXnt0rE2F4iBRUltg555hSjdzIQ3ETnzt_1wF3zus493udX_0KS26mHczGVhaKnwskBuZ3Pvw4VqOI3neVKH/s400/Jesus+Saves.+2010+Perforated+c-print,+confetti.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="bold12">Jesus Saves</span></i>, 2010</td></tr>
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All images © Miguel RothschildFabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-9232952819467691042013-11-27T15:39:00.001+01:002013-12-02T12:17:06.610+01:00Paris Photo findings #2: Tod Papageorge, 'New York Nights' (UPDATED)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6EWbpm3bYxX9l9F7WcCVvJqzYbzL59hRb0Bpnmvm2_SMRF1jmkZemplAF8tP3RwACA17tBPIsw0fp2pmf0egW0ZEBqOSPgBXKdegiwHWEvhWYTA4wi7X2ZwPIq-kSQ6cEFmTIUvrTwo8Y/s1600/Studio+54+with+Balloons,+1978.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6EWbpm3bYxX9l9F7WcCVvJqzYbzL59hRb0Bpnmvm2_SMRF1jmkZemplAF8tP3RwACA17tBPIsw0fp2pmf0egW0ZEBqOSPgBXKdegiwHWEvhWYTA4wi7X2ZwPIq-kSQ6cEFmTIUvrTwo8Y/s400/Studio+54+with+Balloons,+1978.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tod Papageorge, <span class="irc_su" dir="ltr" style="text-align: left;"><i>New Year's Eve at Studio 54</i>, 1978</span></td></tr>
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(Now with more info about the work. Scroll down for the update) <i><br /></i><br />
<i>"My first question, one that many photography people are curious about: what took you so long to publish a book?"</i><br />
<i><br /></i>
<i>"The easy answer is that nobody asked me".</i><br />
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<i>Too bad I did not take some shots myself, because the photographs by <b><a href="http://nymag.com/arts/arts/all/features/29995/" target="_blank">Tod Papageorge</a></b> I have seen at Paris Photo are nowhere to be found on the Internet. On the outside wall of the booth of a gallery I cannot even remember (Pace/McGill? Not many of the exhibitors had Papageorge in their roster, and I had no luck on the fair's website looking for more info) there were perhaps twenty or more gorgeous black and white prints from the author of the 2009 Deutsche Boerse shortlisted </i>Passing Through Eden<i>, a series of pensive scenes of daily life inside Central Park from the late '70s.</i><br />
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<i>During the same years Papageorge was photographing new yorkers chilling out in the green, he was also spending his nights in the exact opposite environment, the crazy parties of rich and spoiled VIP's attending the Studio 54. Those photographs became part of a wider body of work called </i>New York Nights<i>, and the selection at Paris Photo was focused on the famous disco club, with the beautifully flash-lit images arranged in a cloud of prints, showing all sorts of upper class debauchery with the most elegant kind of snapshots you can imagine.</i><br />
<i><br /></i>
<i>Papageorge himself explained <a href="http://bombsite.com/issues/97/articles/2844" target="_blank">in an interview</a> how he tried to merge the 35mm vibe with a higher level of plasticity of the image, inspired by the work of quintessential night-time wanderer Brassaï:</i><br />
<i><br /></i>
<i>"I thought that the prints of his I’d seen at the 1968 MoMA retrospective described a kind of ideal photographic state between the more schematic drawing of the small 35 mm camera and the mechanical, exhaustive descriptiveness of large-format view cameras. It also seemed to me particularly apt for photographing people".</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfVcSdxGZcRB556NGikCdrqCl9IFvGGcJNrHfR0m4HIX8IYuglcv36uMgW72ZVMI0_3SpDrItp3QAC0MgnfptZxd1QEpuAkqBl16rFd0amj19H-CktodLtjkeC8RIpsckABRLiLKUwFo8J/s1600/Studio+54,+1977-78.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfVcSdxGZcRB556NGikCdrqCl9IFvGGcJNrHfR0m4HIX8IYuglcv36uMgW72ZVMI0_3SpDrItp3QAC0MgnfptZxd1QEpuAkqBl16rFd0amj19H-CktodLtjkeC8RIpsckABRLiLKUwFo8J/s400/Studio+54,+1977-78.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tod Papageorge, <i>New York Nights, Studio 54</i>, 1977-78 </td></tr>
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<i><a href="http://alecsothblog.wordpress.com/2007/07/12/papageorge-interview/" target="_blank">In an another interview with Alec Soth</a> Papageorge elaborates more on the subject: </i><br />
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<i>"T. S. Eliot coined the phrase “the disassociation of sensibility” to describe what he understood to be the separation, or even abyss, between feeling and intellect in John Doone’s poetry. What I felt I saw in Brassai’s photographs was a remarkable integration of those two things; in other words, a superb intellect unselfconsciously married to a profoundly sensuous apprehension of the world that expressed itself, in his photographs, as a perfect union of form and (dense literary) content. THAT’s what captivated me about his work, not sex per se, or sex perverse, but his great-hearted/great-minded reading of the physical world. I might add that, after seeing an exhibition of mine in Paris, his wife wrote to me to say that Brassai saw in me a “fils espiritual,” his spiritual son–a remark that I treasure."</i><br />
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<i>There could not be a better way to explain that union of almost paparazzi-approach and richness of details and depth that Papageorge shows in those Studio 54 photographs, where the decadence of all those beautiful and intoxicated bodies looks almost like a dance, filled with grace and at the same time extremely unsettling and ultimately sad. <b><a href="http://nymag.com/thecut/2013/06/larry-fink-the-counter-culture-photographer.html" target="_blank">Larry Fink</a></b> did something similar with his party photographs, also shot with a combination of black and white and flash, but personally I don't think he ever reached the same level of intensity attained by Papageorge with his nights at the Studio 54.</i><br />
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<i>So no chance to see them on the Internet, we were saying. Well there is one way: the <a href="http://www.harvardartmuseums.org/art/search?field_artist_search=Tod%20Papageorge" target="_blank">Harvard Art Museums has a good selection</a> of those photographs available for purchase or study, although the website only offers small thumbnails for preview. I haven't tried the procedure yet, but it is definitely worth going through filling some forms to try and have them sent to you to be able appreciate them, even if just on a computer screen. </i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHlawPlQFRtcKbbUxQXXdc8w8EPNw-52IBKH0z5T4JcPuBBTYa52mX9ObONUvvtxQ6oNKMaQhc1enlc0CWp_1PS2uvGiecBRGRl3SW_5lsDhOCo_9wc2T9Hakd0xRTbOB2YjSp4HGuG5l5/s1600/Metropolitan+Museum+of+Art+Opening,+1977.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHlawPlQFRtcKbbUxQXXdc8w8EPNw-52IBKH0z5T4JcPuBBTYa52mX9ObONUvvtxQ6oNKMaQhc1enlc0CWp_1PS2uvGiecBRGRl3SW_5lsDhOCo_9wc2T9Hakd0xRTbOB2YjSp4HGuG5l5/s400/Metropolitan+Museum+of+Art+Opening,+1977.jpg" width="278" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
Tod Papageorge, <i>Metropolitan Museum of Art Opening</i>, 1977 </div>
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<i>UPDATE - The gallery which showed Papageorge's Studio 54 installation at Paris Photo contacted me to provide some information about the work: Köln-based <b><a href="http://www.galeriezander.com/de/home" target="_blank">Galerie Thomas Zander</a></b> presented an installation of 39 never-before-shown photographs made by Papageorge between 1978 and 1980 at Studio 54, which you can see in the photograph below as it was shown in Paris:</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlkoXti-T27PZ-C6OgknOPym1rhplEkrsNSz6_fItUds_MfYRQbuABNQyJjEVpd_6MmI-W0VOnJ6CnQjh6bqMrjN1QT5jeUPKNtuHLtK_uABceeLL6tB0vKHPK4RSO6ryXFx0naSoFMCeW/s1600/Papageorge_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlkoXti-T27PZ-C6OgknOPym1rhplEkrsNSz6_fItUds_MfYRQbuABNQyJjEVpd_6MmI-W0VOnJ6CnQjh6bqMrjN1QT5jeUPKNtuHLtK_uABceeLL6tB0vKHPK4RSO6ryXFx0naSoFMCeW/s400/Papageorge_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tod Papageorge, <i>Studio 54, New York</i>, 1978-80<br />
(installation by Galerie Thomas Zander at Paris Photo 2013)<br />
© Tod Papageorge, courtesy Galerie Thomas Zander, Cologne</td><td class="tr-caption" style="text-align: center;"></td></tr>
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<i>From Papageorge's accompanying notes:</i><br />
<i><br /></i>
<i>"Perhaps only photographers would be interested in this, but I think it’s relevant to note that all of this work was made with medium-format 6 X 9 cm cameras (which produce a 2 ¼” x 3 1/4“ negative), most of them with an early version of a machine that the manufacturer, Fujica, later developed into a popular model. This beta model, however, was relatively heavy in comparison to the later version and, even worse, had an extremely inaccurate viewfinder. That, along with the heavy flash that I attached to it to make these pictures, resulted in a process in which the odds seemed stacked against actually making good pictures... I wasn’t interested in using my smaller 35mm Leicas for this work, having been inspired ten years earlier by a retrospective exhibition of Brassai’s 1930s photographs—made with an early (Voitlander) version of a 6 X 9 cm camera—that I’d seen at the Museum of Modern Art. I hoped to capture in my own photographs something of the actuality of flesh and sweat and desire that I recognized in Brassai’s, and felt that this odd Japanese camera, for all of its problems, would be the best way that I could do it."</i><br />
<i><br /></i>
<i>"</i>Flesh and sweat and desire<i>"</i><br />
<i><br /></i>
<i>The more I learn about Papageorge, the more I like his work and his persona.</i><br />
<i><br /></i>
<i>After all, he is the one who a few years ago said: “If your pictures are not good enough, you aren’t reading enough.” (<a href="http://www.aphotostudent.com/james-pomerantz/2010/02/18/unconcerned-but-not-indifferent-adam-broomberg-oliver-chanarin/" target="_blank">via</a>)</i>Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-67128304580073759902013-11-26T12:27:00.000+01:002013-11-26T12:29:01.284+01:00An interview with Joachim Schmid<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJc7rL1bNuFvSXrxXcH-ggz2ADlMcyM1RQY-jNGmj4TyyznHqYE-PdUDCyh5kOoBKfOpeDJjbbILGCb92eYjB5gWMvOdyIXxuaRstvrKHCHYXGzf-cB_sL2160quzXRuuvJHjCEsB_XFM/s1600/Archiv%23073.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJc7rL1bNuFvSXrxXcH-ggz2ADlMcyM1RQY-jNGmj4TyyznHqYE-PdUDCyh5kOoBKfOpeDJjbbILGCb92eYjB5gWMvOdyIXxuaRstvrKHCHYXGzf-cB_sL2160quzXRuuvJHjCEsB_XFM/s400/Archiv%23073.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joachim Schmid, <i>Archiv #73</i></td></tr>
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<i>"I’m pretty much finished with the publishing world, because I don’t have any respect for those people. It’s really sad how the publishing world changed during the past 20-30 years. Most publishers are not publishers anymore, they are money-collecting agents. They make books which are financed by museums or galleries or sometimes even by the artists themselves. Their curatorial or editorial authority is extremely questionable. It’s a completely corrupt world." </i><br />
<br />
<i>It's always refreshing to speak with found photography godfather <b><a href="http://schmid.wordpress.com/" target="_blank">Joachim Schmid</a></b>: clear ideas, outspoken, genuine.</i><br />
<br />
<i>I had a pleasure to have a long conversation with him last September during this year's SI Fest, <b><a href="http://www.klatmagazine.com/interviews/joachim-schmid-interview/10886" target="_blank">you can read it all on Klat magazine</a></b> (scroll down for the English version).</i><br />
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<i>Enjoy!</i>Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-59683808337087144602013-11-25T13:35:00.001+01:002013-11-25T13:36:47.193+01:00Paris Photo findings #1: Humberto Rivas<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Lpg2gsKqAcTLKqjfXZj3DQddN074m9RnWjZxB_InkMky7Zz35bTp3tzkaE6a4LLG3E54n2DKpXZYEB8BfkaJtmRBso_qyzxxSvI602QAjmZdfcqvZVaKl2je1bW8aCtEAguHY6cJI1fW/s1600/Londres1978.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Lpg2gsKqAcTLKqjfXZj3DQddN074m9RnWjZxB_InkMky7Zz35bTp3tzkaE6a4LLG3E54n2DKpXZYEB8BfkaJtmRBso_qyzxxSvI602QAjmZdfcqvZVaKl2je1bW8aCtEAguHY6cJI1fW/s400/Londres1978.jpg" width="397" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Londres</i>, 1978</td></tr>
</tbody></table>
<i> "I decided to quit painting, and it was a decision I took in one day. I burnt all my paintings."</i><br />
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<i>Argentinian-born <b><a href="http://www.humbertorivas.com/index.php" target="_blank">Humberto Rivas</a> </b>devoted himself entirely to photography in the mid-'70's, at the same time he left his native country fallen in a state terrorism regime to relocate in Spain, living in Barcelona until his death in 2009.</i><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRL92_-c7asiiL9D3nxwYbzLS3yT-rciif55rb0uABf0RU1GkzBBBmw14HwJdpjCG01CVj7xqTZ-_LG_W0KpjsdFTHuaRxhyphenhyphenE7VBHqER2JHtQGi9V9KGSTpqY4l4SZ29C7HNudcm2avsdy/s1600/Coimbra1994.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRL92_-c7asiiL9D3nxwYbzLS3yT-rciif55rb0uABf0RU1GkzBBBmw14HwJdpjCG01CVj7xqTZ-_LG_W0KpjsdFTHuaRxhyphenhyphenE7VBHqER2JHtQGi9V9KGSTpqY4l4SZ29C7HNudcm2avsdy/s400/Coimbra1994.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Coimbra</i>, 1994</td></tr>
</tbody></table>
<i>Rivas is mostly known for his intense black and white portraiture: he used to define portrait photography as a "battle" between the photographer and the model, the struggle to try to go beyond the mask people try to present and reach something beyond their intentions. But Rivas also created a remarkable body of work made of landscapes and interiors, where an excellent use of both light and darkness create eerie sceneries which anticipate the work of atmospheric artists like <a href="http://www.fillesducalvaire.com/en/21/Gilbert-Fastenaekens/works" target="_blank">Gilbert Fastenaekens</a> and <a href="http://www.awoiska.nl/pages/index.htm" target="_blank">Awoiska Van der Molen</a>.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HDKXMx4L55HbllbFJaDEE07FI8dK6_aDvcDPsbL7ftBjWzdPVUlH-94lY-WBNNztIIbj8QxG-XgzUdp-qTcf01KOM5saRvSrv1JcM8-qQxGwhkUnTklDjf3g1Pyaxfp881lwcQR-7K0Y/s1600/Barcelona1982.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HDKXMx4L55HbllbFJaDEE07FI8dK6_aDvcDPsbL7ftBjWzdPVUlH-94lY-WBNNztIIbj8QxG-XgzUdp-qTcf01KOM5saRvSrv1JcM8-qQxGwhkUnTklDjf3g1Pyaxfp881lwcQR-7K0Y/s400/Barcelona1982.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Barcelona</i>, 1982</td></tr>
</tbody></table>
<i>Rivas died in Barcelona on November 7, 2009, two days after receiving a Gold Medal for the Arts. You can read a long interview with the artist <a href="http://francisconavamuel.net/asangreblog/2012/11/07/a-humberto-rivas-1937-2009/" target="_blank">here</a> (Spanish language).</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOWY5VeCA0wOzG3w14jGfkImVgeAT3wTlVFJSgiNvTqZbo66S7_DTxsJhRej9GGqhyphenhyphenacyuzaihRrcItaKiB72fxDFbtp6y6bAZIJk5_R1W4U9o7zzOzYOsjNbnJWl2tZ77KGwDGoph2PK/s1600/SantiagodeCompostela1999.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOWY5VeCA0wOzG3w14jGfkImVgeAT3wTlVFJSgiNvTqZbo66S7_DTxsJhRej9GGqhyphenhyphenacyuzaihRrcItaKiB72fxDFbtp6y6bAZIJk5_R1W4U9o7zzOzYOsjNbnJWl2tZ77KGwDGoph2PK/s400/SantiagodeCompostela1999.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Santiago de Compostela</i>, 1999</td></tr>
</tbody></table>
<br />Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-19736806729331368522013-11-21T16:41:00.001+01:002013-11-21T16:56:05.474+01:00Six years after, and nothing has changed<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDs1FjyVmhbx3nc1Jd-ZIdcTIT9jwX7n1JJV09fLz_NGo6oP3xFnJpLIYbq-G3ZmxSEuK6tSVnu4eBFhEno3Vv08kvXgEwAlTJoB8XIrgMA66V9oP-sjYvkViEjMf5x_fg8pThyphenhyphen-qaHEKn/s1600/Thomas+Ruff,+Portra%CC%88t+(S.+Weirauch),+1988.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDs1FjyVmhbx3nc1Jd-ZIdcTIT9jwX7n1JJV09fLz_NGo6oP3xFnJpLIYbq-G3ZmxSEuK6tSVnu4eBFhEno3Vv08kvXgEwAlTJoB8XIrgMA66V9oP-sjYvkViEjMf5x_fg8pThyphenhyphen-qaHEKn/s400/Thomas+Ruff,+Portra%CC%88t+(S.+Weirauch),+1988.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thomas Ruff, <i>Portrait (S. Weirauch)</i>, 1988</td></tr>
</tbody></table>
<i>Two articles six-years apart talk about the same thing: people in contemporary photography don't smile, they just present a blank stare <span style="font-size: small;">to</span> the camera, often standing up doing nothing, in a slightly uncomfortable and somehow passive pose. Nothing changed in between? Is sadness still the best way to make portraiture a valuable candidate to decorate the collector's walls?</i><br />
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<b><a href="http://www.boston.com/news/globe/living/articles/2007/11/04/heres_looking_at_you/?page=full" target="_blank"><span style="font-size: small;"><span style="font-weight: normal;"><b>Here's looking at you. </b></span></span></a></b><span style="font-size: small;"><span style="font-weight: normal;"><b><a href="http://www.boston.com/news/globe/living/articles/2007/11/04/heres_looking_at_you/?page=full" target="_blank">Engaging yet ambiguous, deadpan photography provides a refuge from emotion in a time of worry</a></b>, <i>The Boston Globe, November 4, 2007.</i></span></span><br />
<h1 class="entry-title">
<span style="font-size: small;"><span style="font-weight: normal;"><b><a href="http://www.featureshoot.com/2013/11/dont-say-cheese-why-do-the-people-in-contemporary-art-photographs-look-so-blank/" target="_blank">Don’t Say Cheese: Why Do the People in Contemporary Art Photographs Look So Blank?</a></b> <i>Feature Shoot, November 14, 2013.</i></span></span></h1>
<h1>
<span style="font-size: small;"><span style="font-weight: normal;"><i> </i></span></span></h1>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-32466994994061989952013-09-18T12:35:00.001+02:002013-09-18T12:36:25.658+02:00Guillaume Simoneau, 'Love and War'<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNtM7G2Wz4alOhU26kyEV60R-OJSFJTzEDhHsVmVwZDtKxsmEK5IsHXG2ERahoOEX1jvVrb9wIxQ4Bq5x6T8n46u0yYsyA96hYy66gVkWX9xeRY3ijTAzHbr3-BzNgntIuX43rvW8Y3GQi/s1600/Love+and+War_COVER.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNtM7G2Wz4alOhU26kyEV60R-OJSFJTzEDhHsVmVwZDtKxsmEK5IsHXG2ERahoOEX1jvVrb9wIxQ4Bq5x6T8n46u0yYsyA96hYy66gVkWX9xeRY3ijTAzHbr3-BzNgntIuX43rvW8Y3GQi/s400/Love+and+War_COVER.JPG" width="282" /></a></div>
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<i>Pubblicato su Linkiesta l'11/9/2013</i><br />
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Con il termine <i>confessional art</i> si intendono quelle forme dell'arte contemporanea che mettono al centro una dimensione eminentemente biografica. Categoria molto trasversale che attraversa la scultura, l'arte concettuale e tocca anche la fotografia, la sua origine viene attribuita a Louise Bourgeois, la scultrice francese famosa per le sue opere che trasfigurano luoghi e momenti della sua vita privata. Sue eredi più o meno ufficiali sono Tracey Emin e Sarah Lucas, che hanno fatto una bandiera della messa a nudo dei recessi dell'identità femminile e della critica alla cultura patriarcale. In ambito fotografico poi in prima linea ci sono i cahiers di archeologia sentimentale di Sophie Calle e l'opera di Nan Goldin, la sua cronistoria senza filtri della propria esistenza quotidiana, un reportage intimo portato avanti per decenni.<br />
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Per quanto la confessione artistica venga considerata un territorio prevalentemente femminile, esistono anche casi di elaborazione estetica di un vissuto personale fatti da uomini, e il libro <b><i>Love & War</i></b> del fotografo <b><a href="http://www.simoneauguillaume.com/" target="_blank">Guillaume Simoneau</a></b> è uno degli esempi più recenti. Pubblicato dall'editore inglese <b><a href="http://www.dewilewispublishing.com/" target="_blank">Dewi Lewis</a></b>, il libro si presenta come una raccolta di frammenti fotografici di una storia d'amore, quella tra il fotografo e Caroline Annandale, una ragazza conosciuta da Simoneau durante un workshop di fotografia nel 2000. Le immagini ci portano avanti e indietro nel tempo tra il 2000 e il 2009, senza darci modo di comporre un quadro completo. Quello che sappiamo è che qualche tempo dopo l'11 settembre 2001 Caroline va in Iraq con l'esercito americano, la loro relazione si interrompe e in qualche modo ricomincia, anche se scopriamo che Caroline nel frattempo si è sposata con un altro uomo. Lo stesso Simoneau si limita a descrivere il lavoro come “una documentazione istintiva e sporadica della complessità della vita sentimentale di una giovane sergente dell'esercito americano, prima e dopo essere stata in Iraq".<br />
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<div style="text-align: center;">
<b><a href="http://www.linkiesta.it/love-war" target="_blank">Continua a leggere su Linkiesta</a></b> </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fN_XLUE0q0UFUqpAvldFbTGdCvE3SS42IuXTimblzr4GEKlj7qKPFCaH_b8NuPudnpErnBZaui6ZuFNkuJ3NKVVECxvxnBpvZCIWfN6U2OXhBhXHeHjMm-usnQBVE1BkvIo-SiGyQ8gM/s1600/34+Wearing+army+uniform+for+me,+Kennesaw,+Georgia,+2008.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fN_XLUE0q0UFUqpAvldFbTGdCvE3SS42IuXTimblzr4GEKlj7qKPFCaH_b8NuPudnpErnBZaui6ZuFNkuJ3NKVVECxvxnBpvZCIWfN6U2OXhBhXHeHjMm-usnQBVE1BkvIo-SiGyQ8gM/s400/34+Wearing+army+uniform+for+me,+Kennesaw,+Georgia,+2008.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Guillaume Simoneau, <i>Wearing army uniform for me, Kennesaw, Georgia</i>, 2008</td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-59691761167751745352013-09-12T10:34:00.000+02:002013-09-12T10:34:50.748+02:00SI Fest #22 - Giorgio Di Noto<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSlIfl7H2arpu3xny1vd_R0IIcBiQBck-mG4FM3PzAgrYUF51BhKNdz7Iy8QYFT8KaBEp8ou4luycMNyJTHu5KBvW4BI0BvmJfgLC2PclOPxPNIv-vT_higYuL8gtkHigtgjtI49d53enE/s1600/giorgio-di-noto-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSlIfl7H2arpu3xny1vd_R0IIcBiQBck-mG4FM3PzAgrYUF51BhKNdz7Iy8QYFT8KaBEp8ou4luycMNyJTHu5KBvW4BI0BvmJfgLC2PclOPxPNIv-vT_higYuL8gtkHigtgjtI49d53enE/s400/giorgio-di-noto-01.jpg" width="330" /></a></div>
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<b><a href="http://giorgiodinoto23.wix.com/website#%21the-arab-revolt/c16py" target="_blank">The Arab Revolt</a></b><i> by <b><a href="http://giorgiodinoto23.wix.com/website" target="_blank">Giorgio di Noto</a></b> is a series of images made from screenshots of videos documenting the revolts from 2011 in Tunisia, Libya and Egypt, taken with instant film. <b><a href="http://sifest.net/photographers/giorgio-di-noto/" target="_blank">This year at SI Fest</a></b> he will present those images together with a new installation, </i><a href="http://vimeo.com/73387683#" target="_blank"><b>Tunisi 8.06.2013</b></a><i>. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMocS3DgOdFat8Bqv5mvLiXBKUULeHJn_XstEBqwR70xnODlOWp0i50IVjTismU7f9HBguZtof28Vy5iuihi26DoyFqkw4Xw1dxw9g-FVi5PBfC4_ujzjjtPVhVaDkKEbmgo26U-Hroiqp/s1600/18TheArabRevoltGiorgioDiNoto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMocS3DgOdFat8Bqv5mvLiXBKUULeHJn_XstEBqwR70xnODlOWp0i50IVjTismU7f9HBguZtof28Vy5iuihi26DoyFqkw4Xw1dxw9g-FVi5PBfC4_ujzjjtPVhVaDkKEbmgo26U-Hroiqp/s400/18TheArabRevoltGiorgioDiNoto.jpg" width="326" /></a></div>
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While
in <i>The Arab Revolt</i> those distant places were photographed using digital
traces like stills from video, but recording them on the analog surface
of the instant film, with this new chapter of the work Di Noto went to
Tunis, and created a composition of images from the smart phones of
people who took part to those revolts, projecting their LCD screens on a
roll of direct positive photograhic paper. This way they created a
mosaic of digital images on a sheet of paper: something like reproducing
the latest imaging technology with <a href="http://en.wikipedia.org/wiki/Hippolyte_Bayard" target="_blank">the first photographic process ever invented</a>, in a few words. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmYiALvo2IHWE-REq1RieY6i2Rsa4T7xDcvuHq7PbT9tRK1et97BK7HjOBzJ5f51LAFF8frofDkJGQSWYiFHcYFzv5DKA6rPRHVqjn4VH7ZDQkGofBrb5qRObazeOH-GyWyyHAdx9iwzSE/s1600/Screen+shot+2013-09-12+at+9.49.49+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmYiALvo2IHWE-REq1RieY6i2Rsa4T7xDcvuHq7PbT9tRK1et97BK7HjOBzJ5f51LAFF8frofDkJGQSWYiFHcYFzv5DKA6rPRHVqjn4VH7ZDQkGofBrb5qRObazeOH-GyWyyHAdx9iwzSE/s400/Screen+shot+2013-09-12+at+9.49.49+AM.png" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5tJr9X7dFbhQjH4c8x_oxCozpDfe494RMggm4JbBajXL6TakwaPvMbdPlVw_zDopvFhY3hF53Hyc9U1JL8hCMp7J95LnjeETeHxDYS5g8yDaEXJmM_wcSz-Eamu60UG7So0jXrBNkjIsC/s1600/Screen+shot+2013-09-12+at+9.51.31+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5tJr9X7dFbhQjH4c8x_oxCozpDfe494RMggm4JbBajXL6TakwaPvMbdPlVw_zDopvFhY3hF53Hyc9U1JL8hCMp7J95LnjeETeHxDYS5g8yDaEXJmM_wcSz-Eamu60UG7So0jXrBNkjIsC/s400/Screen+shot+2013-09-12+at+9.51.31+AM.png" width="400" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2QYPJ5NBWyNTbQ3YJLV4qqQqWUAgRNxHXuaMamjWAvzGooEQmhfivTEaTHIAjag28Pg5ykgfZeiKFi5RBJjFO8i0HB9Z9on4wv9XiroeZA-6EPUro1QwDpZ7U0Ja0YH_kgru84ks2DYo/s1600/Screen+shot+2013-09-12+at+9.51.46+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2QYPJ5NBWyNTbQ3YJLV4qqQqWUAgRNxHXuaMamjWAvzGooEQmhfivTEaTHIAjag28Pg5ykgfZeiKFi5RBJjFO8i0HB9Z9on4wv9XiroeZA-6EPUro1QwDpZ7U0Ja0YH_kgru84ks2DYo/s400/Screen+shot+2013-09-12+at+9.51.46+AM.png" width="400" /></a><b><i><a href="http://giorgiodinoto23.wix.com/website#!the-arab-revolt/c16py" target="_blank">The Arab Revolt</a></i> </b>di <b><a href="http://giorgiodinoto23.wix.com/website" target="_blank">Giorgio di Noto</a> </b>è una serie di immagini fatte a partire da screenshots di video che documentano le rivolte del 2011 in Tunisia, Egitto e Libia, realizzate con pellicola istantanea. <b><a href="http://sifest.net/photographers/giorgio-di-noto/" target="_blank">Quest'anno al SI Fest</a></b> presenterà queste immagini insieme a una nuova installazione, <b><i><a href="http://vimeo.com/73387683#" target="_blank">Tunisi 8.06.2013</a></i></b>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7JU4SuMbX2O0GUo7O7wnlDBDQVa9JSx3I2zD7MuwIjiURkaBwhJ6-NCZDpVROFgQNaulSFuGmfis2lHYY690TS5ju97hu3pFUU9AmCBKWhVl_b5zVxT8l7TAQvNEarik4Q-lhCSk28Tw/s1600/schermata-09-2456199-alle-10-02-46.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7JU4SuMbX2O0GUo7O7wnlDBDQVa9JSx3I2zD7MuwIjiURkaBwhJ6-NCZDpVROFgQNaulSFuGmfis2lHYY690TS5ju97hu3pFUU9AmCBKWhVl_b5zVxT8l7TAQvNEarik4Q-lhCSk28Tw/s400/schermata-09-2456199-alle-10-02-46.png" width="330" /></a></div>
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Mentre in<i> The Arab Revolt</i> quei luoghi erano fotografati da lontano, usando tracce digitali registrate su un supporto analogico, questa volta Di Noto è andato a Tunisi e ha creato una composizione di immagini prese dagli smart phone di persone che hanno preso parte alle rivolte, proiettando le foto sugli schermi dei loro telefonini su un rotolo di carta fotografica positiva. In questo modo insieme hanno creato un mosaico di immagini digitali impressionate sulla superficie fotografica, combinando la più recente tecnologia di produzione delle immagini con <a href="http://it.wikipedia.org/wiki/Hippolyte_Bayard" target="_blank">il primo procedimento fotografico mai messo a punto</a>, in poche parole.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjBjv7vhKJuLtyL11nuQT6ec_7sYrgpkh3kGrSI0Sbv2IzPEcJmLiQCmcyY7aPDMYKtOWBCKCCn6OG1Z9OiZ667thwj2kq94U3-IdFS-r70xC6dwdCNLyYLANs_7BYiYrF0r50suJNyTP0/s1600/Screen+shot+2013-08-30+at+12.08.31+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjBjv7vhKJuLtyL11nuQT6ec_7sYrgpkh3kGrSI0Sbv2IzPEcJmLiQCmcyY7aPDMYKtOWBCKCCn6OG1Z9OiZ667thwj2kq94U3-IdFS-r70xC6dwdCNLyYLANs_7BYiYrF0r50suJNyTP0/s400/Screen+shot+2013-08-30+at+12.08.31+PM.png" width="400" /></a> Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-80208397152496710152013-09-05T12:28:00.000+02:002013-09-05T12:32:55.874+02:00SI Fest #22 - Max Pam, 'Supertourist'<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkkU00JgL6tTBXth5Vb_9DSJEAHsANTPNpdixi5bhyphenhyphen-Lk3G9GvDYdEp13qbrYLAIIY_9m8ifajZ3Ruv7ND0rCsETqKlbgXJhFWlqXqEHsFmhAsKcYnrzxdD5l8ExuoDT6i_NF4BUesO4O/s1600/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkkU00JgL6tTBXth5Vb_9DSJEAHsANTPNpdixi5bhyphenhyphen-Lk3G9GvDYdEp13qbrYLAIIY_9m8ifajZ3Ruv7ND0rCsETqKlbgXJhFWlqXqEHsFmhAsKcYnrzxdD5l8ExuoDT6i_NF4BUesO4O/s400/01.jpg" width="322" /></a></div>
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<i>Australian photographer <b><a href="http://www.maxpam.com/" target="_blank">Max Pam</a></b> often deals with ideas such as space, distance and journey, creating photographic journals where he mixes different kinds of pictures and writing. <b>SI Fest</b> will show his latest work </i><b><a href="http://sifest.net/photographers/max-pam/" target="_blank">Supertourist</a></b><i> (also a <a href="http://www.editionsbessard.com/" target="_blank">book</a>), a journey "covering the four corners of the planet" where Pam blends sacred and profane, beauty and misery, a travel chronicle where every image could easily be the document of a real place or a real person as well as the hallucination of Pam's larger-than-life touring around the world.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPLrqqajLIWmM58WGDqTX1Wb9IKupYIxTbSKAWw0iZCIkBGxwcYt_8NU4lNS8QHRKGfROw4T3z6vyJuEyaA76JfB1LqsKT2nhIqJlBjidJdakCJ3pso_Q3GuUBphhIPgkhyphenhyphenBPVX-pvm24d/s1600/04.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPLrqqajLIWmM58WGDqTX1Wb9IKupYIxTbSKAWw0iZCIkBGxwcYt_8NU4lNS8QHRKGfROw4T3z6vyJuEyaA76JfB1LqsKT2nhIqJlBjidJdakCJ3pso_Q3GuUBphhIPgkhyphenhyphenBPVX-pvm24d/s400/04.jpg" width="399" /></a>I lavori del fotografo australiano <a href="http://www.maxpam.com/" target="_blank"><b>Max Pam</b> </a>parlano di spazi, viaggi e distanze, diari per immagini dove utilizza diversi stili fotografici, spesso insieme alla parola scritta. <b>SI Fest</b> presenterà in anteprima italiana la mostra
del suo ultimo lavoro <i><b><a href="http://sifest.net/photographers/max-pam/" target="_blank">Supertourist</a></b></i> (anche un <a href="http://www.editionsbessard.com/" target="_blank">libro</a>), un viaggio "ai
quattro angoli del mondo" dove Pam mescola il sacro e il profano, la
bellezza e lo squallore, dove ogni immagine potrebbe esssere il
documento di un luogo reale e di una persona reale, oppure rivelarsi
un'allucinazione nata dal turismo iperbolico di Pam.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGarQFfzvoV2p9Sfy6sFCe370-qT7Z4BeB83hyphenhyphenmLarKgQLoE2xvCMnGTBY5w6ToURg5pYPt9ncxhO1Z_-z_h_UTBgXEApsp0sYK4fqHI66qv7BJ2-xnO8L_fwWA63MH826aby-VUIsG6kB/s1600/03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGarQFfzvoV2p9Sfy6sFCe370-qT7Z4BeB83hyphenhyphenmLarKgQLoE2xvCMnGTBY5w6ToURg5pYPt9ncxhO1Z_-z_h_UTBgXEApsp0sYK4fqHI66qv7BJ2-xnO8L_fwWA63MH826aby-VUIsG6kB/s400/03.jpg" width="400" /></a></div>
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All images © Max Pam<span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><br />
<span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_45rZTWtSMxF8msNZC9Z_MKj_YOFF3mxGZWACSAukseP0qoZM1m2tYhd1HtgE2kj-3TLGVzkXLABYbK4z1mTYWV_FaJXA2q596CihiCilHh7ki15YPKcd_LJPsht6ejl1GOFzwff21ioB/s1600/Screen+shot+2013-08-30+at+12.08.31+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_45rZTWtSMxF8msNZC9Z_MKj_YOFF3mxGZWACSAukseP0qoZM1m2tYhd1HtgE2kj-3TLGVzkXLABYbK4z1mTYWV_FaJXA2q596CihiCilHh7ki15YPKcd_LJPsht6ejl1GOFzwff21ioB/s400/Screen+shot+2013-08-30+at+12.08.31+PM.png" width="400" /></a><br />
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<a href="http://sifest.net/" target="_blank"><span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;">SI Fest #22 - Species of Spaces </span></span></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_45rZTWtSMxF8msNZC9Z_MKj_YOFF3mxGZWACSAukseP0qoZM1m2tYhd1HtgE2kj-3TLGVzkXLABYbK4z1mTYWV_FaJXA2q596CihiCilHh7ki15YPKcd_LJPsht6ejl1GOFzwff21ioB/s1600/Screen+shot+2013-08-30+at+12.08.31+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-7769629823959597092013-09-03T11:03:00.000+02:002013-09-03T11:03:37.220+02:00The One Percent<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin122PIv850dGOfGzLYHY11udx-ZXWcytnH2BIkcb5GzbMZGH3LUKq8RJL1L2m1E_5OmxnsVkDoJ1OtwJZhOSYdc_yO-ypNEmN73JCE4aF0I7bLgJeOlmt5ekPn77zRRDogVAoNwlf5rf0/s1600/Screen+shot+2013-09-02+at+6.37.48+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin122PIv850dGOfGzLYHY11udx-ZXWcytnH2BIkcb5GzbMZGH3LUKq8RJL1L2m1E_5OmxnsVkDoJ1OtwJZhOSYdc_yO-ypNEmN73JCE4aF0I7bLgJeOlmt5ekPn77zRRDogVAoNwlf5rf0/s400/Screen+shot+2013-09-02+at+6.37.48+PM.png" width="400" /></a><i>The <b><a href="http://www.noorderlicht.com/en/" target="_blank">Noorderlicht Photofestival</a></b> just opened its 2013 edition in Groningen, with six photographic shows among which shines the group exhibition </i><b><a href="http://www.noorderlicht.com/en/photofestival/photofestival-2013/exhibitions/to-have-and-have-not/" target="_blank">To Have and Have Not</a></b><i>. Curated by Wim Melis, the show addresses the issue of money and power, with a selection of 21 artists focusing on the many faces of the infamous 1 percent of the population possessing most of the aforementioned. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh512EeFYZat8dnKp_fGNAC2ZD_UJtXsl_k2k0-igGEweEmdeVLFcJ9OGyaTE9myMeiOFVZM0qYcxwecKbBOs30fGsV5BUPmw6E_z7Hvaer3FlnfpTMVaQ4IEXyLBtlL6PUFcZzwQ98FmFS/s1600/1186208_214544302003300_1226232556_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh512EeFYZat8dnKp_fGNAC2ZD_UJtXsl_k2k0-igGEweEmdeVLFcJ9OGyaTE9myMeiOFVZM0qYcxwecKbBOs30fGsV5BUPmw6E_z7Hvaer3FlnfpTMVaQ4IEXyLBtlL6PUFcZzwQ98FmFS/s400/1186208_214544302003300_1226232556_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Installation view of <i>To Have and Have Not</i> - Image credit Jan Stradtmann</td></tr>
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<i>Last spring I proposed something with a similar concept for the </i><i>Landscape Stories<b> </b></i><b><a href="http://www.landscapestories.net/issue-11?lang=en" target="_blank">Wealth</a></b><i>, and expanding the research with a series of posts on this blog, with <b><a href="http://www.hippolytebayard.com/search?q=spin-off&x=0&y=0" target="_blank">spin-offs</a></b> inspired by the same theme. Since there are some names showing both in my picks and in the Noorderlicht shows and at the same time several different artists in each of the two respectively, you can have an extended look at the story by comparing the two groups from here and there.</i> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYCpXZWvY6bA-Q9FxL5T4vztGTla70cjUXV9k73uEtnRPfo2klcTrVWrJGbvtUUelQbSgfXSd0Mpyjb1ww1W33uvyeQrAvuRdcR4wDrcQ2NsWrEp6GoyXMDSXWcfDlH7T58LMCOgCqy_z/s1600/LANDSCAPE+STORIES_LS.11_20130902-190621.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYCpXZWvY6bA-Q9FxL5T4vztGTla70cjUXV9k73uEtnRPfo2klcTrVWrJGbvtUUelQbSgfXSd0Mpyjb1ww1W33uvyeQrAvuRdcR4wDrcQ2NsWrEp6GoyXMDSXWcfDlH7T58LMCOgCqy_z/s400/LANDSCAPE+STORIES_LS.11_20130902-190621.jpg" width="400" /></a>Il <b><a href="http://www.noorderlicht.com/en/" target="_blank">Noorderlicht Photofestival</a></b> ha appena inaugurato la sua edizione 2013 a Groningen, con sei mostre tra cui spicca la collettiva <i><b><a href="http://www.noorderlicht.com/en/photofestival/photofestival-2013/exhibitions/to-have-and-have-not/" target="_blank">To Have and Have Not</a></b></i>: curata da Wim Melis, l'esposizione affronta il tema del denaro e del potere con una selezione di 21 artisti, ognuno dei quali indaga un aspetto di quel famigerato 1% della popolazione che li possiede in larga maggioranza.<br />
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La scorsa primavera ho lavorato a qualcosa di simile con il numero di Landscape Stories<b><a href="http://www.landscapestories.net/issue-11?lang=en" target="_blank"> Wealth</a></b>, e poi continuando con una serie di post su questo sito dedicati a <b><a href="http://www.hippolytebayard.com/search?q=spin-off&x=0&y=0" target="_blank">spin-off</a></b> ispirati allo stesso tema. Poiché ci sono alcuni artisti che compaiono sia nella mia selezione che in quella del festival, accanto a molti diversi tra i due line-up rispettivi, guardare i due gruppi tra qui e lì crea una sorta di selezione allargata sul tema.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3Qz2Bzb_QlTSpbDbzYQUzlVFOffXlQfHyuiyQaFOkK_eroPw22In6b6UBDvOs5yAdbv7IjludzWP2MnRNqz1N7H-9hoURFZyyVg6LciaUKjmutQOM9_zLNVSfvos_F2dteuUZuJQj3MM/s1600/bastashevski.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3Qz2Bzb_QlTSpbDbzYQUzlVFOffXlQfHyuiyQaFOkK_eroPw22In6b6UBDvOs5yAdbv7IjludzWP2MnRNqz1N7H-9hoURFZyyVg6LciaUKjmutQOM9_zLNVSfvos_F2dteuUZuJQj3MM/s400/bastashevski.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mari Bastashevski, <i>State Business</i>, 2012</td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-85335499150184230812013-09-02T10:35:00.001+02:002013-09-15T09:07:16.013+02:00SI Fest #22 - Joachim Schmid<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj8JpmSqjV1PS34a9Sxus6ljMNd6FeA1WxwZMDImFkemBvGuWOZIKT9vQQpewEHs2SH39WwI4Cs_JbrqKBz3hZ-UGSSE_GBc30KPhaGSGVERotMfNsxXf6wp8cVSWc5kn9fJ_9HSJwUPV2/s1600/Archiv%23001.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj8JpmSqjV1PS34a9Sxus6ljMNd6FeA1WxwZMDImFkemBvGuWOZIKT9vQQpewEHs2SH39WwI4Cs_JbrqKBz3hZ-UGSSE_GBc30KPhaGSGVERotMfNsxXf6wp8cVSWc5kn9fJ_9HSJwUPV2/s400/Archiv%23001.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Archiv#001</i></td></tr>
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<i>"Photography itself is most frequently nothing but the reproduction of the image that a group produces of its own integration." (Pierre Bourdieu, </i><a href="http://books.google.it/books?id=Lsy-Kd_BmgwC&printsec=frontcover&hl=it#v=onepage&q&f=false" target="_blank">Photography: A Middle-Brow Art</a><i>, 1965)</i><br />
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<i>"What I would suggest to a lot of young people who want to become photographers in a post-modern world is that they can become photographers of images. They are the ones who frame what is important on Flickr. They can say that these 50 images need to be looked at today so that we are not swamped by thousands or millions of images to look at. That is a new kind of job definition: a picture editor or curator in a Web 2.0 world who would filter the imagery as a service to the public. [...] Photography has been considered not to be an intellectual field by many people. The writers are supposed to be more intelligent, which I think is a mistake. They both have to be intelligent." (<a href="http://www.americansuburbx.com/2013/06/interview-fred-ritchin-the-best-and-worst-of-times-2008.html" target="_blank">Fred Ritchin, 2008</a>)</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleiulWUKqMCkfZU4BPKwb2z9K5RqZu9PAMO_zZtKZtcGID6P0DPtWwrH-kV-JSq2R594Tbh4L8CNAeJyS3Lr0GNEe3A-PlaUOL7EKNwEoian4lUEAvKZpD-p0wYpwL5W5J9nR6vpd4zxV/s1600/Archiv%23073.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleiulWUKqMCkfZU4BPKwb2z9K5RqZu9PAMO_zZtKZtcGID6P0DPtWwrH-kV-JSq2R594Tbh4L8CNAeJyS3Lr0GNEe3A-PlaUOL7EKNwEoian4lUEAvKZpD-p0wYpwL5W5J9nR6vpd4zxV/s400/Archiv%23073.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Archiv#73</i></td></tr>
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<i>What <b><a href="http://schmid.wordpress.com/" target="_blank">Joachim Schmid</a></b> has been doing with photographs for the last 25 years or so could be easily described as something in between the above quotes: the endless creation and recreation of a universal archive of found photography, some sort of atlas of how we make images for our own private pleasure, duties, accidents.</i><br />
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<tr><td style="text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIy6XPzwny95RRWmBd3vf5o81nlsIenZEQ-RvdJKLGm237zZoEIH7PcYaXQZ4WQ_uPE6ZvN9rrtCTGXZfFeSOZwHw_hV-JGEolsqdRD6367SFSkOFClBxtqRCgEF_kfw_wwRS_fXuke5-/s1600/Archiv%23122.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIy6XPzwny95RRWmBd3vf5o81nlsIenZEQ-RvdJKLGm237zZoEIH7PcYaXQZ4WQ_uPE6ZvN9rrtCTGXZfFeSOZwHw_hV-JGEolsqdRD6367SFSkOFClBxtqRCgEF_kfw_wwRS_fXuke5-/s400/Archiv%23122.jpg" width="400" /></a></i></b></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i>Archiv#122</i></b></td><td class="tr-caption" style="text-align: center;"><b><i><br /></i></b></td></tr>
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<i><b><a href="http://sifest.net/photographers/joachim-schmid/" target="_blank">SI Fest</a></b> this year will show two different bodies of work by Schmid: </i><b><a href="http://schmid.wordpress.com/works/1986-1999-archiv/" target="_blank">Archiv (1986-1999)</a></b><i> and </i><b><a href="http://schmid.wordpress.com/works/1982-bilder-von-der-strase/" target="_blank">Bilder von der Straße (1982–2012)</a></b><i>. The first one is long sequence of panels on which Schmid has collected different images gathered on the basis of analogies of subjects, composition and technique, what he defined as <span style="color: black;">an “ironic taxonomy of popular photography”. The second one, which means "Pictures from the Street, is the fruit of Schmid's 20-year-long collection of photos found on the street around the world. As he found his 1000th, the work was finally complete. </span></i><span style="color: black;">Archiv</span><i><span style="color: black;"> will be shown with a wide selection out of the 726 panels composing the work, and </span></i>Bilder von der Straße<i> will be presented as a video installation.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Di9hPlAooTdjIp0OcD4CMSJP2bLLh8wGJd0oI-x44AYxcXSXDHEo4-zsmbsmcNPi6oY-3t0k3jKPmwVzHf_r4uMmCsBBEsNmr2Z7bVfm_XQFot2seJg2dvxkdUGCFJEkYYlf7ED3mkBk/s1600/Screen+shot+2013-08-30+at+12.08.31+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Di9hPlAooTdjIp0OcD4CMSJP2bLLh8wGJd0oI-x44AYxcXSXDHEo4-zsmbsmcNPi6oY-3t0k3jKPmwVzHf_r4uMmCsBBEsNmr2Z7bVfm_XQFot2seJg2dvxkdUGCFJEkYYlf7ED3mkBk/s400/Screen+shot+2013-08-30+at+12.08.31+PM.png" width="400" /></a>"La fotografia stessa, sovente, non è altro che la riproduzione dell'immagine che il gruppo offre della sua integrazione." (Pierre Bourdieu, <a href="http://books.google.it/books?id=GIEgHlZTL34C&printsec=frontcover&hl=it#v=onepage&q&f=false" target="_blank"><i>La fotografia. Usi e funzioni sociali di un'arte media</i></a>, 1965)<br />
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"Quello che suggerirei a molti giovani che vogliono diventare fotografi nel mondo postmoderno è che potrebbero diventare dei fotografi di immagini. In fondo sono loro a decidere quello merita attenzione su Flickr, potrebbereo essere quindi loro a dirci 'queste sono le 50 immagini da vedere oggi', così non verremmo indondati da migliaia o milioni di immagini. Avremmo un nuovo tipo di figura professionale: un photoeditor o un curatore per il mondo del web 2.0 che filtri e selezioni le immagini come un servizio per il pubblico. [...] Da molti la fotografia non viene considerata una pratica intellettuale, solo di chi scrive si pensa che debba essere intelligente, ed è un errore". (<a href="http://www.americansuburbx.com/2013/06/interview-fred-ritchin-the-best-and-worst-of-times-2008.html" target="_blank">Fred Ritchin, 2008</a>)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzo1zZeX7-1X7rAvPR-J2FLdzb-KucRv1y24AwTgq5CJXURRgjYymnLjzBiqNMo7Zi7cr7rnHekPZ-bizBPJ0yXhnqwmeu-iBnrT8ejSHDGkxeaHVVV6JzXEI1i5i7RRORz2KqZ32kRCr/s1600/No.629,+Berlin,+November+1999.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzo1zZeX7-1X7rAvPR-J2FLdzb-KucRv1y24AwTgq5CJXURRgjYymnLjzBiqNMo7Zi7cr7rnHekPZ-bizBPJ0yXhnqwmeu-iBnrT8ejSHDGkxeaHVVV6JzXEI1i5i7RRORz2KqZ32kRCr/s400/No.629,+Berlin,+November+1999.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>No.629, Berlin, November 1999</i></td></tr>
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Negli ultimi 25 anni <b><a href="http://schmid.wordpress.com/" target="_blank">Joachim Schmid</a></b> ha portato avanti una ricerca sulla fotografia vernacolare che si situa a metà strada tra le riflessioni citate qui sopra: l'infinita costruzione di un archivio universale di istantanee trovate, come un atlante dei tanti modi in cui privatamente facciamo fotografie per il nostro piacere, necessità, dovere, oppure casualità.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYxptcyXi2JMoM6-ID1tdig7cL1BHzYhd2QbUVMLibglcAa8v_-FpFHLJp9hx_U7cPWR4w_GhsulGxYXrrGqOGUdOTDKylxERpWLe1TjiSed1FvPwQP_KCL_jixhKfxpHEVYGnRQvqcE3/s1600/No.1000,+Gallipoli,+March+2012.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYxptcyXi2JMoM6-ID1tdig7cL1BHzYhd2QbUVMLibglcAa8v_-FpFHLJp9hx_U7cPWR4w_GhsulGxYXrrGqOGUdOTDKylxERpWLe1TjiSed1FvPwQP_KCL_jixhKfxpHEVYGnRQvqcE3/s400/No.1000,+Gallipoli,+March+2012.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>No.1000, Gallipoli, March 2012</i></td></tr>
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Il <b><a href="http://sifest.net/photographers/joachim-schmid/" target="_blank">SI Fest</a></b> quest'anno presenterà due diversi progetti di Schmid:
<b><i><a href="http://schmid.wordpress.com/works/1986-1999-archiv/" target="_blank">Archiv (1986-1999)</a></i></b> e <b><i><a href="http://schmid.wordpress.com/works/1982-bilder-von-der-strase/" target="_blank">Bilder von der Straße (1982–2012)</a></i></b>. Il primo è una lunga sequenza di pannelli in cui Schmid ha raccolto fotografie affini per soggetti, composizione e tecnica, generando quella che lui ha definito "una tassonomia ironica della fotografia popolare"<span style="color: black;">. Il secondo, il cui titolo significa "Fotografie dalla strada", è il frutto di vent'anni di fotografie raccolte per strada da Schmid on giro per il mondo, e concludendo il lavoro alla millesima foto trovata. Di <i>Archiv</i> sarà esposta una selezione delle 726 tavole che compongono il lavoro, mentre </span><i>Bilder von der Straße</i> verrà presentato come una video installazione.<br />
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<a href="http://sifest.net/" target="_blank"><span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;">SI Fest #22 - Species of Spaces </span></span></a></div>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-50048369481449011492013-08-30T12:20:00.000+02:002013-08-30T12:20:42.128+02:00 SI Fest #22 - Specie di Spazi<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkukNPf9ZZ4YRCyx_gHsCU83v-br7Sf9myEpGEXONOhy867Nse4GDhovm1M1SVF59hWp05LSiYi1740pI_5zP0iqIPm-oGJJGBzbrj7VslU5JIcAM1Dvt4doi72xTWH9zkJVCVSWFMLcM/s1600/image-241411-galleryV9-uyft.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkukNPf9ZZ4YRCyx_gHsCU83v-br7Sf9myEpGEXONOhy867Nse4GDhovm1M1SVF59hWp05LSiYi1740pI_5zP0iqIPm-oGJJGBzbrj7VslU5JIcAM1Dvt4doi72xTWH9zkJVCVSWFMLcM/s400/image-241411-galleryV9-uyft.jpg" width="400" /></a> <i>The 22nd edition of <b><a href="http://sifest.net/" target="_blank">SI Fest - Savignano Immagini Festival</a></b> will open in two weeks (September 13 - 15, 2013), with a wide selection of exhibitions curated by Massimo Sordi and Stefania Rössl, inspired by this year's theme </i><b>Species of Spaces</b><i>. </i><br />
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<i>The various selected artists explore the idea of space in many directions: both as natural and artificial landscapes, but also looking at space as a private world; ultimately they also interrogate space as the element in which photographs can exist, as exhibitions, books and archives. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRECOwRGqBmWUx5WdReJ-8OenHR-dTHxLEiGX2wxE0_LdLeCVFPNd1nrvQlSm_mbEByfKl_47JF-Jw0BChiciUB3exoOuVpDJ9SDHN4AFbcaaX57MkvEhov4x4zxi_iHW5-0ZXiX2Ej2z/s1600/image-241412-galleryV9-uevi.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRECOwRGqBmWUx5WdReJ-8OenHR-dTHxLEiGX2wxE0_LdLeCVFPNd1nrvQlSm_mbEByfKl_47JF-Jw0BChiciUB3exoOuVpDJ9SDHN4AFbcaaX57MkvEhov4x4zxi_iHW5-0ZXiX2Ej2z/s400/image-241412-galleryV9-uevi.jpg" width="400" /></a> <i>During the following weeks I will go through some of the artists involved in this year's edition, looking at the different ways they deal with the concept of space in their work. Lets start from one of the most imposing and problematic Species of Spaces presented in the festival, the urban landscapes of <b><a href="http://www.fh-bielefeld.de/fb1/bezjak" target="_blank">Roman Bezjak</a></b>'s </i><b><a href="http://www.spiegel.de/fotostrecke/photo-gallery-glories-of-socialist-architecture-fotostrecke-70849.html" target="_blank">Socialist Modernism – Archeology of an Era</a></b><i> (book <a href="http://www.hatjecantz.de/roman-bezjak-2970-1.html" target="_blank">here</a>) Made thanks to years of trips to several Eastern Europe countries, the work explores how socialist architecture still exist in their cities, buildings which are often marked by a strict functionalism and yet were conceived as monuments to an ideology. Bezjak's photographs often show them as objects fallen from the sky, disconnected by the urban landscape they dominate. </i><br />
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<i>Bezjak's view reveal how the passing of time (and history) affected those buildings and how the surrounding space mutated around them through the decades. Socialist Modernism should be seen together with another recent work devoted to regime architecture, </i><b><a href="http://www.jankempenaers.info/works/1/" target="_blank">Spomenik</a></b><i> by Jan Kempenaers, a documentation of the futuristic monuments in former Yugoslavia commissioned by Josip Tito to commemorate those fallen in World War II. The two projects seem like the two faces of the same utopia: monuments lost in space in one case, surreal shapes conceived with no physical constraints, while on the other hand we have buildings with a similar monumental ambition, but shaped by the space around them. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7-sbaFJ-7oS-YxSlfjUpntgXiWYKW5fC09cRA3YWgDxCrn4IG2KMYWNZz8lcVtzCrMPENIS7QyeG_EpBWJAwSiIKzUcc8zPktA465R0vn4WFqu3Wz9y93gJSy1MNaSSDzJOo1pyblNqMC/s1600/image-241415-galleryV9-tmmt.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7-sbaFJ-7oS-YxSlfjUpntgXiWYKW5fC09cRA3YWgDxCrn4IG2KMYWNZz8lcVtzCrMPENIS7QyeG_EpBWJAwSiIKzUcc8zPktA465R0vn4WFqu3Wz9y93gJSy1MNaSSDzJOo1pyblNqMC/s400/image-241415-galleryV9-tmmt.jpg" width="400" /></a> Tra due settimane verrà inaugurata la ventiduesima edizione del <b><a href="http://sifest.net/" target="_blank">SI Fest - Savignano Immagini Festival</a></b> (13 - 15 settembre 2013), con un'ampio programma di mostre curato da Massimo Sordi e Stefania Rössl che declinano il tema generale scelto per quest'anno, <b><i>Specie di Spazi</i></b>. <br />
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I diversi artisti selezionati esplorano il concetto di spazio in molte direzioni, a partire dai luoghi fisici che vengono indagati attraverso le fotografie intesi come paesaggi naturali o artificiali, ma anche elaborando lo spazio come costruzione di una dimensione privata, esistenziale; per arrivare poi a riflettere sugli spazi stessi in cui le fotografie possono esistere, dal libro alla galleria, passando per gli archivi.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lvgLIksyB2WGhl1vD_M89goIsLamWFCSh1iDoM6rYlnjv0rUM6PBqSIaViGIscd-7FGftkctz4NzmXd175A41jWxfeJesB6azKhfxQ8c5hUuak0fK_YdBKIGoixUbhmew2qofz-VBLws/s1600/image-241417-galleryV9-qaxr.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lvgLIksyB2WGhl1vD_M89goIsLamWFCSh1iDoM6rYlnjv0rUM6PBqSIaViGIscd-7FGftkctz4NzmXd175A41jWxfeJesB6azKhfxQ8c5hUuak0fK_YdBKIGoixUbhmew2qofz-VBLws/s400/image-241417-galleryV9-qaxr.jpg" width="400" /></a> Nei prossimi giorni da qui all'inizio del festival passeremo in rassegna diversi tra gli autori coinvolti, provando a riflettere brevemente sull'idea di spazio che le loro immagini propongono. Cominciamo da una delle forme di spazio più imponenti e problematiche tra quelle proposte, quella dei paesaggi urbani di <b><a href="http://www.fh-bielefeld.de/fb1/bezjak" target="_blank">Roman Bezjak</a></b> con il lavoro <i><b><a href="http://www.spiegel.de/fotostrecke/photo-gallery-glories-of-socialist-architecture-fotostrecke-70849.html" target="_blank">Socialist Modernism – Archeology of an Era</a></b> </i>(<a href="http://www.hatjecantz.de/roman-bezjak-2970-1.html" target="_blank">qui</a> il libro)<i>. </i>Frutto di anni di viaggi in diversi paesi dell'Europa Orientale, il lavoro indaga la sopravvivenza di queste architetture sospese tra un funzionalismo puro e la celebrazione dell'ideologia socialista, espressione di un'austerità monumentale che spesso occupa le strade delle città come oggetti alieni calati dall'alto, slegati dal resto del tessuto urbano di cui hanno preso possesso.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizK-OJOHkNYoZF1F-45KiNNaQyKl3O3qInvjku-EHJZLxhIAQtz2xHBQoX_C-r0QPvJjnSQVdS3I0v1fACEIrl3PbQrLNVqdvy4bIxmtb2vupwLp6mjR6npDhCMl5K3aMnOUbBeWVXjueo/s1600/image-241421-galleryV9-ydmt.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizK-OJOHkNYoZF1F-45KiNNaQyKl3O3qInvjku-EHJZLxhIAQtz2xHBQoX_C-r0QPvJjnSQVdS3I0v1fACEIrl3PbQrLNVqdvy4bIxmtb2vupwLp6mjR6npDhCMl5K3aMnOUbBeWVXjueo/s400/image-241421-galleryV9-ydmt.jpg" width="400" /></a> Le diverse vedute create da Roman Bezjak ci mostrano i diversi effetti dello scorrere del tempo (e della storia) su questi edifici, i modi in cui si è cercato di integrarli con le mutazioni dello spazio circostante, i cambi di destinazione d'uso, l'usura del tempo etc. Socialist Modernism andrebbe visto in parallelo con un altro lavoro recente dedicato all'archiettura di regime, <i><b><a href="http://www.jankempenaers.info/works/1/" target="_blank">Spomenik</a></b></i> di Jan Kempenaers, una documentazione dei monumenti futuristici fatti costruire da Tito nell'ex Jugoslavia per commemorare i caduti della II guerra mondiale. I due lavori compongono insieme un quadro a due facce di un'analoga utopia architettonica: da una parte i monumenti persi nel vuoto, forme surreali concepite senza alcun freno dettato da costrizioni spaziali, dall'altra una serie di edifici spesso con intenzioni altrettanto monumentali, ma modellati dal rapporto con l'ambiente circostante.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii-YETVkhC1Jbe1kGS3v9KTgP-dxHktynTgX0EmldCJDcaZnFTUmvRuDLvnNHCxjpZn3sYe0lJo_rRZ7jZtJFd7nqPqG0OY9OBL8KcbtVuPwp5PLVV8kuYcpuydWUsrC-JTf236F_H9XnY/s1600/Screen+shot+2013-08-30+at+12.08.31+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii-YETVkhC1Jbe1kGS3v9KTgP-dxHktynTgX0EmldCJDcaZnFTUmvRuDLvnNHCxjpZn3sYe0lJo_rRZ7jZtJFd7nqPqG0OY9OBL8KcbtVuPwp5PLVV8kuYcpuydWUsrC-JTf236F_H9XnY/s400/Screen+shot+2013-08-30+at+12.08.31+PM.png" width="400" /></a>
All images © Roman BezjakFabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-76400623564298568142013-06-14T13:05:00.000+02:002013-06-14T13:15:09.874+02:00The shape of things<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ7X8Adv6WqGGlULdS3H7SBi1RCFwHsWmbQEspy2Wy_QS2bkgcrtNt5FNEAIVGr-RXqZLrN_wyGkQpLyLX82_qdqRSsAC-P2V0JkJFoT9DNzS1KEzlt6a7tIpGnhpoLV58gGDvzKtefXL9/s1600/StefanoGraziani+Cristallo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ7X8Adv6WqGGlULdS3H7SBi1RCFwHsWmbQEspy2Wy_QS2bkgcrtNt5FNEAIVGr-RXqZLrN_wyGkQpLyLX82_qdqRSsAC-P2V0JkJFoT9DNzS1KEzlt6a7tIpGnhpoLV58gGDvzKtefXL9/s400/StefanoGraziani+Cristallo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stefano Graziani, <i>Senza titolo (cristallo)</i>, 2012, Courtesy Galleria Mazzoli Modena</td></tr>
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<i>The captions present us with a sequence of "Untitled", each followed by a noun in direct reference with what the images show. So </i>Untitled (mask)<i> is the image of an unspecified tribal mask, </i>Untitled (sea)<i> consists of a close-up view of a small portion of agitated sea, or </i>Untitled (spark)<i> is a dark surface striped by the scintillating lines of what looks like a firework.</i><br />
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<i>Looking at <b><a href="http://www.stefanograziani.com/" target="_blank">Stefano Graziani</a></b>'s photographs is always an exercise in trying to look at something for the first time, trying to forget about our own memory of things, our symbols and ideas, to learn to reimagine the shapes and the surfaces his images show us, turning the obvious and the self-evident into something unkown.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg68D_ap2856EURdDYcFLwBD3lfAbTyhmY_pC7BX0teUBZzJ9BLAhrVqqXIaVtPxDtaxhEytwnmheH1-UNjegOPNYvxwYjevTg2ztVkutkVm5wZJD4L6ExYPgSBhY2b8rApUwC9jv_yCAfW/s1600/StefanoGraziani+Scintilla.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg68D_ap2856EURdDYcFLwBD3lfAbTyhmY_pC7BX0teUBZzJ9BLAhrVqqXIaVtPxDtaxhEytwnmheH1-UNjegOPNYvxwYjevTg2ztVkutkVm5wZJD4L6ExYPgSBhY2b8rApUwC9jv_yCAfW/s400/StefanoGraziani+Scintilla.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stefano Graziani, <i>Senza titolo (scintilla)</i>, 2011, Courtesy Galleria Mazzoli Modena</td></tr>
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<b><a href="http://news.pastificiocerere.com/newsletters/stefano-graziani-conversazioni-notturne-late-night-conversations-18-giugno-ore-19-test1/?lang=en" target="_blank">Conversazioni notturne / Late night conversations</a></b><i> is his latest exhibition, curated by <a href="http://www.dandinidesylva.com/" target="_blank">Alessandro Dandini de Sylva</a>, and it will be on show in Rome from June 19 to July 26, 2013.</i><br />
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<i>From the press release: "We cannot explore his images as other than mirrors, unceasingly investigating them as difference. The title of the exhibition suggests a strong link to the unconscious: a time of doubt, of wonder, of phantasms, dreams and strange occurrences. </i>Conversazioni notturne<i>
uncovers a different history of photography, here understood as self-analysis, as an instrument that
allows us to view ourselves.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9SEwP_r6mjFBj80SLbMVCyR4VrI3McQQ8p5dTqSVCO1RX5jsFzuOMYNzlNxShfXCX9UqwocApvUoUZUFCVBqGmDOauhAPGNTwplb5tvrYrwOGIiDDOioIhhNL0th31mU-FwtOags4MTCO/s1600/StefanoGraziani+Egitto.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9SEwP_r6mjFBj80SLbMVCyR4VrI3McQQ8p5dTqSVCO1RX5jsFzuOMYNzlNxShfXCX9UqwocApvUoUZUFCVBqGmDOauhAPGNTwplb5tvrYrwOGIiDDOioIhhNL0th31mU-FwtOags4MTCO/s400/StefanoGraziani+Egitto.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stefano Graziani, <i>Senza titolo (Egitto)</i>, 2012, Courtesy Galleria Mazzoli Modena</td></tr>
</tbody></table>
Le didascalie ci presentano una sequenza di "senza titolo" seguiti da una parola tra parentesi, sempre in riferimento diretto a ciò che vediamo. <i>Senza titolo (maschera)</i> ad esempio è l'immagine di quella che sembra essere appunto una maschera tribale, <i>Senza titolo (mare)</i> è la veduta ravvicinata di una piccola porzione di mare agitato, <i>Senza titolo (scintilla)</i> è una superficie nera striata da lunghi segni luminosi che ricordano un fuoco d'artificio.<br />
<br />
Guardare le fotografie di <b><a href="http://www.stefanograziani.com/" target="_blank">Stefano Graziani</a></b> è sempre un esercizio nel provare a osservare qualcosa come fosse la prima volta, provando a dimenticare la nostra memoria delle cose, i nostri simboli e idee, per provare e reimmaginare le forme e le superfici che le immagini ci mostrano, trasformando l'ovvio e l'evidente in qualcosa di sconosciuto.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18_6CZNTxxQnMU4PQAXj8vNTlzxt8v4GKYIRxLikAZ452HplRZCG9-Wx86803zhnH8tlLLOO1tftdjw9Yki39dEnjWUYlu-0130c7-joNBaNjLa9yQrR2esSsp0VjBXL9Xq6UeLT2ZZsa/s1600/StefanoGraziani+Maschera.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18_6CZNTxxQnMU4PQAXj8vNTlzxt8v4GKYIRxLikAZ452HplRZCG9-Wx86803zhnH8tlLLOO1tftdjw9Yki39dEnjWUYlu-0130c7-joNBaNjLa9yQrR2esSsp0VjBXL9Xq6UeLT2ZZsa/s400/StefanoGraziani+Maschera.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stefano Graziani, <i>Senza titolo (maschera)</i>, 2011, Courtesy Galleria Mazzoli Modena</td></tr>
</tbody></table>
<b><a href="http://news.pastificiocerere.com/newsletters/stefano-graziani-conversazioni-notturne-late-night-conversations-18-giugno-ore-19-test1/?lang=en" target="_blank"><i>Conversazioni notturne / Late night conversations</i></a></b> presenta opere recenti di Graziani in una mostra a cura di <a href="http://www.dandinidesylva.com/" target="_blank">Alessandro Dandini de Sylva</a>, alla Fondazione Pastificio Cerere di Roma dal 19 giugno al 26 luglio 2013.<br />
<br />
Dal comunicato stampa: "Non possiamo esplorare ogni sua immagine se non in quanto specchio, e indagarla
incessantemente come differenza. Il titolo del lavoro suggerisce questo forte legame con il
subconscio; un momento di dubbio, di meraviglia, di fantasmi, sogni e strani accadimenti.
<i>Conversazioni notturne / Late night conversations</i> scopre una diversa storia della fotografia come
autoanalisi, come strumento per poterci guardare".<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd-nYKLAwN-3RqcJyrmNP47LL7H0C7TIqFbXGF6CJz1yn7gpW3bu3Y86AHsmOY2Io4b6IOpNixcDask-uI_1rXFPB6KR7KHvFoxIXIl1GToCyExnHvzdw_X5BzDLEYMYb24rk0a47AfB5R/s1600/StefanoGraziani+Mare.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd-nYKLAwN-3RqcJyrmNP47LL7H0C7TIqFbXGF6CJz1yn7gpW3bu3Y86AHsmOY2Io4b6IOpNixcDask-uI_1rXFPB6KR7KHvFoxIXIl1GToCyExnHvzdw_X5BzDLEYMYb24rk0a47AfB5R/s400/StefanoGraziani+Mare.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stefano Graziani, <i>Senza titolo (mare)</i>, 2012, Courtesy Galleria Mazzoli Modena</td></tr>
</tbody></table>
<b>Stefano Graziani<i>, Conversazioni notturne / Late night conversations</i> </b><br />
<b>Curated by Alessandro Dandini de Sylva </b><br />
<b>June 19 - July 26, 2013 </b><br />
<b>Fondazione Pastificio Cerere, Via degli Ausoni 7, Rome</b>Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-86289178162994150062013-06-12T17:35:00.001+02:002013-06-12T17:41:54.685+02:00The river flows<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvrY3OiRcW7YBa-fPm5DZ8LdI6Ck9WfjhUCaeIWeoI_OQLgP8o4CDpdsgg0oIJX2zr4jlisP4YhyphenhyphenNOJWd0vPj8zr5jt4Qt5GZcsE3gkNa2Of-r_dGBcq_meWj7Rcg-ofTNe_zPxCdIBnr/s1600/21_2121muge45.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvrY3OiRcW7YBa-fPm5DZ8LdI6Ck9WfjhUCaeIWeoI_OQLgP8o4CDpdsgg0oIJX2zr4jlisP4YhyphenhyphenNOJWd0vPj8zr5jt4Qt5GZcsE3gkNa2Of-r_dGBcq_meWj7Rcg-ofTNe_zPxCdIBnr/s400/21_2121muge45.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Muge, <i>Going Home</i></td></tr>
</tbody></table>
<i> My issue as a special guest of Landscape Stories <a href="http://www.landscapestories.net/issue-11?lang=it" target="_blank">'Wealth'</a> made space a few days ago to the brand new selection made by the always excellent team running the magazine: <b><a href="http://www.landscapestories.net/" target="_blank">River</a></b> is the title of issue 12, and it features the work of 34 artists from all over the world who chose to look at that streaming water, the life growing around it, the hidden beauty, the paradise lost, the isolation and everything else caught in its flow.</i><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupt3Sr977EPbb8N192BjCBEF9TdO_lsP1g40FjSw3qXxiCzuo2Q4vzaqfp-Nb0HJcUgjkRh4VlnqiWeHihuSgebKnoQih6nWhWQB_ZJtuv8y5GjYokAjZUf_SXmsMS9YuAqS-oqSAdkZI/s1600/4_CamiloEchavarriaAndinoNiebla(Web)_v2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupt3Sr977EPbb8N192BjCBEF9TdO_lsP1g40FjSw3qXxiCzuo2Q4vzaqfp-Nb0HJcUgjkRh4VlnqiWeHihuSgebKnoQih6nWhWQB_ZJtuv8y5GjYokAjZUf_SXmsMS9YuAqS-oqSAdkZI/s400/4_CamiloEchavarriaAndinoNiebla(Web)_v2.jpg" width="400" /></a></i></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Camillo Echavarrìa, Paisajes Illustrados</i></td></tr>
</tbody></table>
<i>Of all the remarkable work presented, three artists stand out among the many more I never heard of and some usual suspects whose photographs is always a pleasure to look at:</i><br />
<i><br /></i>
<i>- <b><a href="http://mugephoto.com/" target="_blank">Muge</a></b> (China) made probably <b><a href="http://mugephoto.com/muge/going-home-/" target="_blank">the most romantic trip</a></b> along the Yangtze river I have ever seen.</i><br />
<i><br /></i>
<i>- <b><a href="http://lucasfoglia.com/" target="_blank">Lucas Foglia</a></b>'s (USA) </i><b><a href="http://lucasfoglia.com/a-natural-order/" target="_blank">A Natural Order</a></b><i> about self-sufficient communities across the United States is an amazing example of participant observation applied to photography</i><br />
<i><br /></i>
<i>- <b><a href="http://www.camiloechavarria.com/" target="_blank">Camillo Echavarrìa</a>'</b>s (Colombia) majestic </i><b><a href="http://www.camiloechavarria.com/proyectos/paisajes-ilustrados/" target="_blank">Paisajes Illustrados</a></b><i> are like a thesis made of images about the conflict involving nature, representation and history in how we look at the world around us.</i><br />
<i><br /></i>
<i>But there's also much more to look at, so just give yourself some time and enjoy all the projects included </i>in this issue.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBynqHyM848UMYXTpVdXj586jMRSO_tNo0WoGVDNvvezaTnEE9WHmCP06uMba2a6j6G9LP17ag7VELEQR8-Kmwzw5VAHTMh7A8S_QnA4kMIkJOxuq7Ycy82-HIJ8PcxmRL-Dk7qgPBNCc/s1600/LucasFoglia_ANaturalOrder_19.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBynqHyM848UMYXTpVdXj586jMRSO_tNo0WoGVDNvvezaTnEE9WHmCP06uMba2a6j6G9LP17ag7VELEQR8-Kmwzw5VAHTMh7A8S_QnA4kMIkJOxuq7Ycy82-HIJ8PcxmRL-Dk7qgPBNCc/s400/LucasFoglia_ANaturalOrder_19.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lucas Foglia, <i>A Natural Order</i></td></tr>
</tbody></table>
<br />
<br />
Il mio numero di Landscape Stories sul tema della ricchezza (<a href="http://www.landscapestories.net/issue-11?lang=it" target="_blank">Wealth - #11</a>) ha lasciato il posto qualche giorno fa alla nuova selezione curata dall'eccellente team editoriale della rivista: <b><a href="http://www.landscapestories.net/" target="_blank">River</a> </b>è il titolo del numero 12, un percorso attraverso 34 diversi fotografi da tutto il mondo lungo l'acqua che scorre, la vita che vi cresce attorno, la bellezza nascosta, il paradiso perduto, l'isolamento e tutto quanto finisce dentro lo scorrere del fiume.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCY73sVDHRR6FOLIFjJDaZss548Edzc7_NqorKPw-NiHzHR7wtEwZP-vPWWFLpIFMb9sZMXCyyY3opjju00MAzC7nEauj9UIQQwLwEtJzJwmRAJKzG7dk1m8b72bHDtQJTNY-5dHdw8i6r/s1600/LucasFoglia_ANaturalOrder_37.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCY73sVDHRR6FOLIFjJDaZss548Edzc7_NqorKPw-NiHzHR7wtEwZP-vPWWFLpIFMb9sZMXCyyY3opjju00MAzC7nEauj9UIQQwLwEtJzJwmRAJKzG7dk1m8b72bHDtQJTNY-5dHdw8i6r/s400/LucasFoglia_ANaturalOrder_37.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lucas Foglia, <i>A Natural Order</i></td></tr>
</tbody></table>
<br />
<br />
Dei tanti lavori presentati, tre mi hanno colpito in modo particolare, tra molte altre belle scoperte e qualche vecchia conoscenza di cui fa sempre vedere qualche immagine:<br />
<br />
- <b><a href="http://mugephoto.com/" target="_blank">Muge</a></b> (Cina) ha realizzato forse <b><a href="http://mugephoto.com/muge/going-home-/" target="_blank">il viaggio più romantico</a></b> mai visto lungo il fiume Yangtze.<br />
<br />
- <b><i><a href="http://lucasfoglia.com/a-natural-order/" target="_blank">A Natural Order</a></i></b> di <a href="http://lucasfoglia.com/" target="_blank"><b>Lucas Foglia</b> </a>(USA) raccoglie momenti della vita di diverse comunità autosufficienti negli Stati Uniti, un esempio davvero notevole di osservazione partecipata attrerso l'immagine fotografica.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DFiMaKmgDUhsJOgBUTB7MqKl9UAKWHnwANJ3ART4mLA3TOm6Q0yDiA2sHVaHjdiKSPGJiHKWk-egzYGu5oa9ORkOqBhWMfDDOVJJIDZsz6wyoyU5w4FHL0p71RjwFsbWHxv1Z9DSffEu/s1600/4_CamiloEchavarriaLagunaPurace(Web)_v2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DFiMaKmgDUhsJOgBUTB7MqKl9UAKWHnwANJ3ART4mLA3TOm6Q0yDiA2sHVaHjdiKSPGJiHKWk-egzYGu5oa9ORkOqBhWMfDDOVJJIDZsz6wyoyU5w4FHL0p71RjwFsbWHxv1Z9DSffEu/s400/4_CamiloEchavarriaLagunaPurace(Web)_v2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Camillo Echavarrìa, <i>Paisajes Illustrados</i></td></tr>
</tbody></table>
<br />
<br />
- Le vedute maestose di <i><b><a href="http://www.camiloechavarria.com/proyectos/paisajes-ilustrados/" target="_blank">Paisajes Illustrados</a></b></i> di <b><a href="http://www.camiloechavarria.com/" target="_blank">Camillo Echavarrìa</a></b> (Colombia) sono come un trattato per immagini sul conflitto tra natura, rappresentazione e storia nel modo in cui guardiamo il mondo attorno a noi.<br />
<br />
C'è anche molto altro da guardare, prendetevi un po' di tempo per apprezzare tutti i progetti inclusi in questo numero.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwtetxh9KCvBhjAlfSmcdVD-M-_NpEu1S6EwN1QDgRvJvKflhYu0DVasj1weLQosxrRI19LvZ98KUo3uKqT0vRC0IagOnceKt3jCbo1rghfVr76BD1Wuk81YRXj9pHHx7sD2EsfwoQIZ6/s1600/21_2119.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwtetxh9KCvBhjAlfSmcdVD-M-_NpEu1S6EwN1QDgRvJvKflhYu0DVasj1weLQosxrRI19LvZ98KUo3uKqT0vRC0IagOnceKt3jCbo1rghfVr76BD1Wuk81YRXj9pHHx7sD2EsfwoQIZ6/s400/21_2119.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Muge, <i>Going Home</i></td></tr>
</tbody></table>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-85192152720486777442013-05-06T14:16:00.002+02:002013-05-06T14:17:46.615+02:00WEALTH Spin-off #7 | Chris Jordan<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_mcBnzT4TvUDrLSJsCWl084-tthcyJA8d98F5v-hQaL1vNWHyrsBi4Vrrm2YaIU03AxR4gjlB6UzNzcxA-G2cVQnh2sC96BanBYLDaPeiwLOF2WjWFNAYv0Lj8GMWHPRemLta8DauPH3/s1600/Screen+Shot+2013-03-08+at+10.34.50+AM.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_mcBnzT4TvUDrLSJsCWl084-tthcyJA8d98F5v-hQaL1vNWHyrsBi4Vrrm2YaIU03AxR4gjlB6UzNzcxA-G2cVQnh2sC96BanBYLDaPeiwLOF2WjWFNAYv0Lj8GMWHPRemLta8DauPH3/s400/Screen+Shot+2013-03-08+at+10.34.50+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chris Jordan, <i>Unsinkable</i>, 2013</td></tr>
</tbody></table>
<i>One of the most effective ways to represent the idea of wealth in western countries, with all its consequences, side effects and by-products, is probably <b><a href="http://www.chrisjordan.com/gallery/rtn/#unsinkable" target="_blank">Chris Jordan</a></b>'s ongoing project </i>Running the Numbers: An American Self-Portrait<i>, which he started in 2006. Every image is a gigantic mosaic often showing pretty ordinary pictures, sometimes familiar to all of us; the two most recent, from 2013, respectively show the sinking of the Titanic and a wall of building blocks.</i><br />
<i><br /></i>
<i>But the more you look into those pictures, the more they reveal the fabric they are made of: the picture of the infamous ocean liner is in fact made of photographs of 67.000 mushroom clouds, "equal to the number of metric tons of ultra-radioactive
uranium/plutonium waste being stored in temporary pools at the 104
nuclear power plants across the U.S", as Jordan informs us. The second is a composition of 1.2 million children’s building blocks, equal to the number of students
who drop out of high school every year in the U.S. This averages about
7000 students per school day".</i><br />
<i><br /></i>
<i>"Statistics can feel abstract and anesthetizing, making it difficult to
connect with and make meaning of 3.6 million SUV sales in one year, for
example, or 2.3 million Americans in prison, or 32,000 breast
augmentation surgeries in the U.S. every month", writes Jordan. "Employing themes such as the near versus the
far, and the one versus the many, I hope to raise some questions about
the roles and responsibilities we each play as individuals in a
collective that is increasingly enormous, incomprehensible, and
overwhelming".</i><br />
<br />
<div style="text-align: center;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span> </div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLFM6Pg2-G67DK9fNebfWvLdo_V0zEhDZb29LzGbLJMk6-5RCZK7z-VUw0yhcH7IB29VvhQ8Dovluuof6qDQ_o8n6FUtScR-o5qUHj8bXbKtbWUlDVKxFtNI_y1_KD6a5hxuvAEx9jRUJ/s1600/480552_10151271067547881_389679567_n.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLFM6Pg2-G67DK9fNebfWvLdo_V0zEhDZb29LzGbLJMk6-5RCZK7z-VUw0yhcH7IB29VvhQ8Dovluuof6qDQ_o8n6FUtScR-o5qUHj8bXbKtbWUlDVKxFtNI_y1_KD6a5hxuvAEx9jRUJ/s400/480552_10151271067547881_389679567_n.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chris Jordan, <i>Unsinkable</i>, 2013 (detail)</td></tr>
</tbody></table>
Uno dei modi più efficaci per esprimere l'idea di ricchezza così come si manifesta nelle società occidentali, con tutto il suo corredo di effetti collaterali, conseguenze e sottoprodotti, è probabilmente <i>Running the Numbers: An American Self-Portrait</i>, un progetto iniziato nel 2006 da <b><a href="http://www.chrisjordan.com/gallery/rtn/#unsinkable" target="_blank">Chris Jordan</a></b>. Ogni opera si presenta come un gigantesco mosaico di immagini spesso banali o conosciute; due delle più recenti mostrano ad esempio rispettivamente il naufragio del Titanic e una parete di mattoncini per bambini.<br />
<br />
Ma più si entra nelle immagini e più emerge la trama reale di cui sono composte: il Titanic è in realtà una composizione di 67000 fotografie di funghi atomici, "l'equivalente del numero di tonnellate di uranio e plutonio ultraradioattivi stoccate nelle 104 centrali nucleari degli Stati Uniti", come ci informa Jordan. La seconda è una composizione di 1.200.000 mattoncini, "corrispondenti al numero di studenti che abbandonano la scuola superiore ogni anno negli Stati Uniti, una media di 7000 studenti al giorno".<br />
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<tr><td class="tr-caption" style="text-align: center;">Chris Jordan, <i>Building Blocks</i>, 2013</td></tr>
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"Le statistiche possono risultare astratte o anestetizzanti, rendendo difficile il provare a comprendere il senso di 3,6 milioni di SUV venduti ogni anno, o 2,3 milioni di americani rinchiusi in carcere, o 32.000 chirurgie plastiche al seno ogni mese", scrive Jordan. "Utilizzando concetti come il lontano e il vicino, e il singolo rispetto alla moltitudine, spero di sollevare alcune questioni sul ruolo e la responsabilità che abbiamo tutti in quanto individui di una collettività che è sempre più grande, incomprensibile e schiacciante".<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7tl2sFAxsJhiJlTvfNebnwcybctdWG7CoAwrGgBipr0OcbS0fvK1cqESuxI0hU9KIlUSZ2gm5p5Hd67m5P7ehVpibGbwKH7Ixnjh8lXEO_vtblObwwC1ZEoJ9lCnup19jLd25-xgMVdP/s1600/Screen+shot+2013-05-06+at+2.05.07+PM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7tl2sFAxsJhiJlTvfNebnwcybctdWG7CoAwrGgBipr0OcbS0fvK1cqESuxI0hU9KIlUSZ2gm5p5Hd67m5P7ehVpibGbwKH7Ixnjh8lXEO_vtblObwwC1ZEoJ9lCnup19jLd25-xgMVdP/s400/Screen+shot+2013-05-06+at+2.05.07+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chris Jordan, <i>Building Blocks</i>, 2013 (detail)</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span></div>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-25802975241479198452013-04-29T10:14:00.002+02:002013-04-29T10:16:19.347+02:00WEALTH Spin-off #6 | Paolo Verzone<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOKeC9G7xp9bH9XFyRw5fYWsN-BzTictAZjWPR1HeSwf34WprLfV6-HX_-_X9JoTlZ18lkbBxE7FPJxJx8YLqIX1QB0X9WyXPHkTyVwr-IfYlMRN0jTI0DvPDC1YrpdtacI579HwmElRvp/s1600/Screen+shot+2013-04-28+at+11.51.26+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOKeC9G7xp9bH9XFyRw5fYWsN-BzTictAZjWPR1HeSwf34WprLfV6-HX_-_X9JoTlZ18lkbBxE7FPJxJx8YLqIX1QB0X9WyXPHkTyVwr-IfYlMRN0jTI0DvPDC1YrpdtacI579HwmElRvp/s400/Screen+shot+2013-04-28+at+11.51.26+PM.png" width="400" /></a></div>
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<i>Wealth can also be read as one of the direct manifestations of power, as the consequence of somebody's role in this world. It can be shown by the things people do, the places they go to, even by their own faces and bodies. Such is the case with UEFA president <b><a href="http://www.agencevu.com/stories/index.php?id=402&p=95" target="_blank">Michel Platini</a></b>, followed by <b><a href="http://www.agencevu.com/photographers/photographer.php?id=95" target="_blank">Paolo Verzone</a></b> in 2008 during official visits to Russia and to the European Council in Strasbourg.</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSSNzKheoHdqsr25c8EtNAO3b1cwVx8Va67QcGHxXL-JuwIl_FoIYJ6OGoLXYDhMoHYyf0sldOovdYeW68Q8m8RH1jOcMR1fhP8-O9r1kJJChC_m8If871gyBdf2KYePSuexnEfw7n_BSA/s1600/Screen+shot+2013-04-28+at+11.51.07+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSSNzKheoHdqsr25c8EtNAO3b1cwVx8Va67QcGHxXL-JuwIl_FoIYJ6OGoLXYDhMoHYyf0sldOovdYeW68Q8m8RH1jOcMR1fhP8-O9r1kJJChC_m8If871gyBdf2KYePSuexnEfw7n_BSA/s400/Screen+shot+2013-04-28+at+11.51.07+PM.png" width="400" /></a> </div>
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<i>Managing a budget of more than 800 million Euros a year, the former French football champion is one of the most powerful sports men in the world: his own physical transformation from the slim football artist to the heavy lord of international football is a testimony to his conversion to politics and machiavellic international relations. Verzone does a great job in showing all the daily oddities of Platini's life from one official occasion to the other, his enigmatic stare, sometimes veering towards plain boredom; his images managed to remain suspended on that thin line where Platini as a public persona and as a private individual subtly collide, each of them revealing something of the other.</i></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span><i> </i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7TmoqQDqsS4jK5CUOlXho4jmH16uzmYib117AfCR1moTMqjeu7FEZo0x9Jgg1tRYcB-9qzp9HQ78zAtibsufnctEwwoSTATQTdTpSMIf8nGCvvrnCQurX1Stp6iIG50H_KHdZHVwbULhE/s1600/Screen+shot+2013-04-28+at+11.51.37+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7TmoqQDqsS4jK5CUOlXho4jmH16uzmYib117AfCR1moTMqjeu7FEZo0x9Jgg1tRYcB-9qzp9HQ78zAtibsufnctEwwoSTATQTdTpSMIf8nGCvvrnCQurX1Stp6iIG50H_KHdZHVwbULhE/s400/Screen+shot+2013-04-28+at+11.51.37+PM.png" width="400" /></a> </div>
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La ricchezza può essere vista come una manifestazione diretta del potere, la semplice conseguenza del ruolo che si ha nel mondo. Può essere espressa da quello che le persone fanno, dai luoghi in cui vanno, persino dai loro volti e dai loro corpi. È il caso del presidente dell'UEFA <b><a href="http://www.agencevu.com/stories/index.php?id=402&p=95" target="_blank">Michel Platini</a></b>, seguito da <b><a href="http://www.agencevu.com/photographers/photographer.php?id=95" target="_blank">Paolo Verzone</a></b> nel 2008 durante una visita ufficiale in Russia e al Consiglio Europeo di Strasburgo. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0VqslByQqIV4l2Bsb6AmJgIRTyCt6YraXvYmXyQpWu1lgaPiYkJ8ACm9NoqnnyEVbX0AwdrAzf-_relbnTuMuhMcc9k8kRch2Xv3sk9ZB0tfN_BAh8OVi4_i-1jtU4xlS0QKyTntYqEs-/s1600/Screen+shot+2013-04-28+at+11.51.12+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0VqslByQqIV4l2Bsb6AmJgIRTyCt6YraXvYmXyQpWu1lgaPiYkJ8ACm9NoqnnyEVbX0AwdrAzf-_relbnTuMuhMcc9k8kRch2Xv3sk9ZB0tfN_BAh8OVi4_i-1jtU4xlS0QKyTntYqEs-/s400/Screen+shot+2013-04-28+at+11.51.12+PM.png" width="400" /></a> </div>
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Con un budget di più di 800 milioni di euro l'anno, l'ex campione francese è uno degli uomini di sport più potenti al mondo: la sua stessa trasformazione fisica da agile artista del calcio in pesante sovrano della politica sportiva è la testimonianza della sua conversione al potere e al machiavellismo delle relazioni internazionali. Verzone ci mostra le tante stranezze della vita quotidiana di Platini, tra un evento ufficiale e l'altro: il suo sguardo spesso indecifrabile, altre volte semplicemente annoiato, la sua stessa immagine, sospesa tra il personaggio pubblico e l'individuo privato, di cui Verzone ci racconta il punto in cui le due facce si scontrano e rivelano ognuna qualcosa dell'altro.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj6YGjYWjgISob7lXXU_U7rjRfo30HvQqNh0GEVhPvidBndfjoKvLB9fxkGGfexjYoBBk7dDuv_NJrX_7j08fj62zOIIOCE6Wldv7i5c8IQbv-E9kSTcL8Ji3ZG4THR43AhIR2u2PKCFiG/s1600/Screen+shot+2013-04-28+at+11.51.17+PM.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj6YGjYWjgISob7lXXU_U7rjRfo30HvQqNh0GEVhPvidBndfjoKvLB9fxkGGfexjYoBBk7dDuv_NJrX_7j08fj62zOIIOCE6Wldv7i5c8IQbv-E9kSTcL8Ji3ZG4THR43AhIR2u2PKCFiG/s400/Screen+shot+2013-04-28+at+11.51.17+PM.png" width="400" /></a> All images © Paolo Verzone/Agence VU</div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span></div>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-50126196262001215272013-04-27T12:20:00.000+02:002013-04-27T12:33:49.014+02:00Press review <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx12a1FepMDslchoJxQgXft4XALaRjDrrbn97Ll0dprTp-mwN-gXLZmNlWnDpRaQntKfHPcZ6OfDNVUKg7Wl9GJpXIpz88fAKI_Ezti2d0ZhyphenhyphenFupf4h_Splj9Tj7ToQXojoyyQCSODsY8b/s1600/BALLEN-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx12a1FepMDslchoJxQgXft4XALaRjDrrbn97Ll0dprTp-mwN-gXLZmNlWnDpRaQntKfHPcZ6OfDNVUKg7Wl9GJpXIpz88fAKI_Ezti2d0ZhyphenhyphenFupf4h_Splj9Tj7ToQXojoyyQCSODsY8b/s400/BALLEN-01.jpg" width="393" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roger Ballen, <i>Ethereal</i>, 2011</td></tr>
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<i>Some reads for the weekend:</i><br />
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<i>- Jörg Colberg reviews <b><a href="http://jmcolberg.com/weblog/2013/04/review_kiev_by_the_sochi_project/" target="_blank">Kiev</a></b>, the latest publication by The Sochi Project</i><br />
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<i>- Blake Andrews <b><a href="http://blakeandrews.blogspot.it/2013/04/tintin-and-batman-consider-kawauchi-and.html" target="_blank">asks Batman and Tin Tin</a></b> what they think about Rinko Kawauchi</i><br />
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<i>- The New Yorker has a sneak peek at Roger Ballen's latest book, <b><a href="http://www.newyorker.com/online/blogs/photobooth/2013/04/slide-show-roger-ballens-asylum-of-the-birds.html#slide_ss_0=1" target="_blank">Asylum of the Birds</a></b></i><br />
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<i>- The winners of the <b><a href="http://www.guardian.co.uk/artanddesign/gallery/2013/apr/25/sony-world-photography-award-winners-pictures#/?picture=407786012&index=0" target="_blank">Sony World Photography award</a></b></i><br />
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<i>- By the skin of his teeth: <b><a href="http://www.slate.com/blogs/behold/2013/04/25/justin_quinnell_taking_pinhole_photography_pictures_from_inside_a_mouth.html" target="_blank">Slate</a></b> features an article about pinhole maniac Justin Quinnel</i><br />
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<i>- A review of Thomas Ruff's </i>photograms<i> and </i>ma.r.s.<i> exhibition on <b><a href="http://www.americansuburbx.com/2013/04/exhibition-review-nyc-thomas-ruff-photograms-and-ma-r-s-2013.html" target="_blank">American Suburb X</a></b></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYojhNTvn3zi_0UGAOEf7vMEJ1pjqdJqKmg6vmnW8Eha46B_k51_vN39ISDE0UfVjHewYFypVT2xctwAGZrN2q8zdJk9Zv_df4rpJwP0yyzn8onsWOXfwZ4APAerHi1x4WVq-uT2575Qd8/s1600/Luigi-Ghirri-Bastia-1976.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYojhNTvn3zi_0UGAOEf7vMEJ1pjqdJqKmg6vmnW8Eha46B_k51_vN39ISDE0UfVjHewYFypVT2xctwAGZrN2q8zdJk9Zv_df4rpJwP0yyzn8onsWOXfwZ4APAerHi1x4WVq-uT2575Qd8/s400/Luigi-Ghirri-Bastia-1976.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luigi Ghirri, <i>Bastia</i>, 1976</td></tr>
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<i> </i>Alcune cose che ho scritto altrove di recente:<br />
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- Su <b><a href="http://www.rivistastudio.com/" target="_blank">Studio</a></b>, dove parlo dei diversi modi di fotografare il <b><a href="http://www.rivistastudio.com/editoriali/arte/fotografare-fukushima/" target="_blank">disastro di Fukushima</a></b> e del <b><a href="http://www.rivistastudio.com/editoriali/arte/diverse-fotografie/" target="_blank">Deutsche Börse Photography Prize 2013</a></b><br />
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- Su <b><a href="http://www.minimaetmoralia.it/wp/" target="_blank">minima & moralia</a></b>, dove parlo di <b><a href="http://www.minimaetmoralia.it/wp/luigi-ghirri/" target="_blank">Luigi Ghirri</a></b> in occasione della <b><a href="http://www.fondazionemaxxi.it/2012/12/14/luigi-ghirri-pensare-per-immagini/" target="_blank">mostra appena inaugurata al MAXXI di Roma</a></b><br />
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- Sempre su m&m, riflessioni sul mondo mediatico che gira attorno al Vaticano (<b><a href="http://www.minimaetmoralia.it/wp/media-vaticano/" target="_blank">prima</a></b> e <b><a href="http://www.minimaetmoralia.it/wp/media-vaticano-2/" target="_blank">seconda</a></b> parte)Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-45598121051550021052013-04-26T11:10:00.000+02:002013-04-26T11:24:11.577+02:00WEALTH Spin-off #5 | Andreas Gursky, Stock Exchanges<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVs9jcEc8l8CMsCXsGlCRL3sOd1FbbAXG8zzxm3oELsucJngeAa7Vz4IZN2wybq_yDea0eb3eI185ezYZr7BYF9HDQ0B4-HXAMpwrz8Gz-3bJu5ba50PpEPYsvn67xDKwPcCNsO-UsafJ/s1600/andreas-gursky-kuwait-stock-exchange2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVs9jcEc8l8CMsCXsGlCRL3sOd1FbbAXG8zzxm3oELsucJngeAa7Vz4IZN2wybq_yDea0eb3eI185ezYZr7BYF9HDQ0B4-HXAMpwrz8Gz-3bJu5ba50PpEPYsvn67xDKwPcCNsO-UsafJ/s400/andreas-gursky-kuwait-stock-exchange2.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><a href="http://www.sfp.asso.fr/vitevu/index.php/2008/10/07/268-dusseldorf-des-vestiges-au-prestige" target="_blank">Source</a></b></td></tr>
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<i>Financial markets have been on Andreas Gursky's mind for decades, as he began photographing the interior of stock exchanges at the beginning of the 90's, with his most recent images realised around 2007-2008. This group of photographs almost form an independent body of work, even if Gursky never considered his images divided in different series, showing the evolution in time of both their own subject matter and of the artist's practice. </i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVd32evbv9kusmqYvdxuxzjZOXkg_d04ke5oprO8VwYlPY2uyi5UiBzOlv6_CjGp6bs9OB-nasozIPNqe5hKJUoNrjtvvvYyeSdc0Yk_8FvSZ3n6KwOz9VnIKS7vpdwyv8FkeZVZsk8dq/s1600/Tokio+Stock+Exchange,+1990.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVd32evbv9kusmqYvdxuxzjZOXkg_d04ke5oprO8VwYlPY2uyi5UiBzOlv6_CjGp6bs9OB-nasozIPNqe5hKJUoNrjtvvvYyeSdc0Yk_8FvSZ3n6KwOz9VnIKS7vpdwyv8FkeZVZsk8dq/s400/Tokio+Stock+Exchange,+1990.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Tokio Stock Exchange</i>, 1990</td></tr>
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<i>His early photographs are relatively simple wide shots of the interiors of the stock exchanges, and year after year his vision becomes more complex, more ambitious, less dependent on the framing and the shooting of one single exposure at a time, embracing the digital composition of different photographs. Same as for the rooms themselves, which we see turning from relatively small environments, with cathode ray tube monitors and men in white shirts and ties, to massive spaces constantly bombarded with datas flowing from lcd screens, and filled with hundreds and hundreds of people.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDtfXNcADcy2vEzusfFjcbdQKNS5KUFj8wKxWsJBaOS0t6boMnuf9_HYmGbdKGmsOLUu5zH5IeGGSh4BWB4KtckAeWQ2JEmM7m5gW_QRdTmwpMJL7A_ffrWAwfZV178Io3OZuqhXOyUxr/s1600/New+York+Stock+Exchange,+1991.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDtfXNcADcy2vEzusfFjcbdQKNS5KUFj8wKxWsJBaOS0t6boMnuf9_HYmGbdKGmsOLUu5zH5IeGGSh4BWB4KtckAeWQ2JEmM7m5gW_QRdTmwpMJL7A_ffrWAwfZV178Io3OZuqhXOyUxr/s400/New+York+Stock+Exchange,+1991.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>New York Stock Exchange</i>, 1991</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<i>Both Gursky's photographs and the stock exchanges themselves over the years turn from ordinary working spaces to incomprehensible masses of colours and volumes. The human presence not only gets smaller in the photographs, it also becomes impossible to understand the meaning of the gestures and the interactions. The meaning of it all seems to be somewhere else, in a place we can't see or reach.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7ZlFqgtKOpP9tM-MTxgPfLj2qm4mrxN0V249NG5BogjC-9fxrD21wGoDHdaY1kXSMBKig9RD96NAv1oFEHBdVl8-lI9EK9bCiRpFUQYFY7CSw4ziLl_RBikwnmPDzMNhWg2O9OBdue61/s1600/finance014.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7ZlFqgtKOpP9tM-MTxgPfLj2qm4mrxN0V249NG5BogjC-9fxrD21wGoDHdaY1kXSMBKig9RD96NAv1oFEHBdVl8-lI9EK9bCiRpFUQYFY7CSw4ziLl_RBikwnmPDzMNhWg2O9OBdue61/s400/finance014.jpg" width="400" /></a> </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpq2E8CROOLyAHeiNs7ObqkvqqFE2Q9PHC8yu63Fha2B0ymT_sy7cg-xUVve2uOWvKxwfIRALbxs56eQZTaGhr7i2F5w9GmAIDVAh0-A8u_1a98jcBgFTH3Uv9dJCtOSc0g-j_QXqeVgB0/s1600/Hong+Kong+Stock+Exchange,+%28Diptych%29,+1994.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpq2E8CROOLyAHeiNs7ObqkvqqFE2Q9PHC8yu63Fha2B0ymT_sy7cg-xUVve2uOWvKxwfIRALbxs56eQZTaGhr7i2F5w9GmAIDVAh0-A8u_1a98jcBgFTH3Uv9dJCtOSc0g-j_QXqeVgB0/s400/Hong+Kong+Stock+Exchange,+%28Diptych%29,+1994.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> <i>Hong Kong Stock Exchange</i>, (Diptych), 1994</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<i>"Even with that last picture there is no doubt that I did it with photography... Yes, I did some of it without a camera, but because there are realistic elements in this picture you read it as a photograph", Gursky said in an interview with <a href="http://www.foto8.com/new/online/blog/903-andreas-gursky-interviewed" target="_blank">Foto8</a>. "Now I have a big archive where I collect images and after a while I lay everything down in the studio and I think about which subject is worth researching. Whereas in the past, in the 80’s when I did the landscapes, I researched more by travelling and discovering the world visually, now I am much more focused on reproductions, the internet and TV".</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAspyJP2ARJd9HoWjB_ANmABrSmu3IEELZxXfBYBwzQ-dUXao1C9ItjZlAQtDbZunQT6PiUVCEy4qOql9PnSpp4F1rx4SONwABtZtRV1Y6-0klL35WxSWL8TvOTkMD59E0-G7U8EZQNvu-/s1600/Chicago+Board+of+Trade+II,+1995.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAspyJP2ARJd9HoWjB_ANmABrSmu3IEELZxXfBYBwzQ-dUXao1C9ItjZlAQtDbZunQT6PiUVCEy4qOql9PnSpp4F1rx4SONwABtZtRV1Y6-0klL35WxSWL8TvOTkMD59E0-G7U8EZQNvu-/s400/Chicago+Board+of+Trade+II,+1995.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Chicago Board of Trade</i>, 1995</td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_EJjU4ksqB7mMNcbE4qrQ6oFs1T4IA2WgE2GNDI43iFtyoEeb5gBYBkdtraLchj9pzR6XJ4xkF-9gIk5_NYwG9AaamAw_xhJaEZNy6ToxEncVSYgdmvwFVqoOsXhE2AnifCzSBI3cZshi/s1600/Chicago+Board+of+Trade+II,+1999.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_EJjU4ksqB7mMNcbE4qrQ6oFs1T4IA2WgE2GNDI43iFtyoEeb5gBYBkdtraLchj9pzR6XJ4xkF-9gIk5_NYwG9AaamAw_xhJaEZNy6ToxEncVSYgdmvwFVqoOsXhE2AnifCzSBI3cZshi/s400/Chicago+Board+of+Trade+II,+1999.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Chicago Board of Trade II</i>, 1999</td></tr>
</tbody></table>
I mercati finanziari sono da sempre presenti nel lavoro di Andreas
Gursky, che ha cominciato a fotografare gli interni delle Borse
internazionali all'inizio degli anni '90, fino alle immagini più recenti
del 2007-2008. Si tratta di una sequenza di immagini che quasi compone
un'opera fotografica a sé, per quanto Gursky non abbia mai considerato
le sue fotografie come divise in serie differenti: ci mostra l'evoluzione nel tempo sia degli istituti finanziari che del linguaggio dell'artista.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYNfrtGPfQJBQY2eaD595Y8akKCjAq_P3cu-uofo5JJbwGK7wtC-he6W7X7piHzKjyABUzGt6KZSifC4Ns2QS5AlhBCtd6aqNedHWK0Jt4bymWMhcsPDgeIuh-c1IHZ-v-Rc08QZ1vP5o/s1600/Symex+Singapore+Stock+Exchange,+1996.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYNfrtGPfQJBQY2eaD595Y8akKCjAq_P3cu-uofo5JJbwGK7wtC-he6W7X7piHzKjyABUzGt6KZSifC4Ns2QS5AlhBCtd6aqNedHWK0Jt4bymWMhcsPDgeIuh-c1IHZ-v-Rc08QZ1vP5o/s400/Symex+Singapore+Stock+Exchange,+1996.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Symex Singapore Stock Exchange</i>, 1997</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-l-gTVBpSqrV1zzGkQsj97RAJyk_xUC8QVXUYQwbWiBIpvPOeLW-eaSywI6MOqRPI0LYCvanr8NURbiGOE0YjDm4amqD8rzkBCfq3M-aKuNT16NGlnxwCjkzuLm7VprlgB9Drd0uTJm4/s1600/Hong+Kong+Stock+Exchange+II,+1994.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-l-gTVBpSqrV1zzGkQsj97RAJyk_xUC8QVXUYQwbWiBIpvPOeLW-eaSywI6MOqRPI0LYCvanr8NURbiGOE0YjDm4amqD8rzkBCfq3M-aKuNT16NGlnxwCjkzuLm7VprlgB9Drd0uTJm4/s400/Hong+Kong+Stock+Exchange+II,+1994.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Hong Kong Stock Exchange II</i>, 1998</td></tr>
</tbody></table>
Le prime fotografie sono dei totali relativamente semplici, e anno dopo anno la rappresentazione diventa più complessa, più ambiziosa, meno dipendente dal dover inquadrare e scattare una singola esposizione, aprendo alla diversa rappresentazione dello spazio offerta dalla composizione digitale di più immagini. Lo stesso accade alle sale che fotografa, prima ambienti relativamente piccoli, pieni di schermi a tubo catodico e uomini indaffarati, che negli anni diventano spazi enormi inondati da flussi di informazioni, schermi LCD, e centinaia e centinaia di persone. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3CuT0hWi23-6TeRpmy79V3pGWciJPbJAyxDavvUwDd5l235c7H-nRyMX-McnZ6lbe75aX5YsUWXAieXJ9oJbTS-KDDE1rWsvu2QWra1gqmNkkgbVaqDeSH9_OiGVSlaO7QAmWQyzyvSJ/s1600/New+York+Mercantile+Exchange,+1999.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3CuT0hWi23-6TeRpmy79V3pGWciJPbJAyxDavvUwDd5l235c7H-nRyMX-McnZ6lbe75aX5YsUWXAieXJ9oJbTS-KDDE1rWsvu2QWra1gqmNkkgbVaqDeSH9_OiGVSlaO7QAmWQyzyvSJ/s400/New+York+Mercantile+Exchange,+1999.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>New York Mercantile Exchange</i>, 1999</td></tr>
</tbody></table>
Sia le immagini di Gursky che le sale delle Borse negli anni si trasformano da normali luoghi di lavoro in enormi masse di volumi e colori. La presenza umana diviene sempre più piccola e risulta sempre più arduo comprendere il senso delle azioni compiute. Il significato di tutto sembra nascondersi in qualche luogo distante che non possiamo vedere.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-kHby3T16E2Ovmg2558rXdTnCOOY6fUrLI1Qv5P47iWnhfEHEqeKTgN51xa1qlJTbGV4RDHV1AOyEJzDW0EhOlmOsns9gQzg-BxwYxb0n24kFNQGjv-TaMwEw5TXu3zuhrOg1a07uXmQN/s1600/Andreas+Gursky,+Kuwait+Stock+Exchange,+2007.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-kHby3T16E2Ovmg2558rXdTnCOOY6fUrLI1Qv5P47iWnhfEHEqeKTgN51xa1qlJTbGV4RDHV1AOyEJzDW0EhOlmOsns9gQzg-BxwYxb0n24kFNQGjv-TaMwEw5TXu3zuhrOg1a07uXmQN/s400/Andreas+Gursky,+Kuwait+Stock+Exchange,+2007.JPG" width="291" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kuwait Stock Exchange</i>, 2007</td></tr>
</tbody></table>
"Anche per le mie ultime opere direi senza dubbio che si tratta di fotografia... Certo, alcune cose sono state realizzate senza un apparecchio fotografico, ma si possono considerare fotografie, perché sono composte di elementi realistici", Gursky ha detto in un'intervista con <a href="http://www.foto8.com/new/online/blog/903-andreas-gursky-interviewed" target="_blank">Foto8</a>. "Ora ho un grande archivio dove raccolgo immagini e ogni tanto tiro fuori tutto e cerco di capire su quale soggetto vale la pena provare a lavorare. In passato era diverso, quando negli anni '80 facevo i paesaggi viaggiavo, scoprivo il mondo visivamente; ora sono molto più concentrato sulla riproduzione, su internet e sulla TV."<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-l-gTVBpSqrV1zzGkQsj97RAJyk_xUC8QVXUYQwbWiBIpvPOeLW-eaSywI6MOqRPI0LYCvanr8NURbiGOE0YjDm4amqD8rzkBCfq3M-aKuNT16NGlnxwCjkzuLm7VprlgB9Drd0uTJm4/s1600/Hong+Kong+Stock+Exchange+II,+1994.JPG" style="margin-left: 1em; margin-right: 1em;"></a> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiCAfXCkUXKuqvWqQt_NjZWjw8YxvvEfniMAycr4AJocST2aANqTpbqfFPwesHMYZrs9ZKrZ8i7R_ipn6aP1MEjIHV3J_SNe2zVd4wH1TxOV4z57CUJzxH64d6GRB9aUg09Y3qRBe6Reqm/s1600/Chicago+Mercantile+Exchange+1997.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiCAfXCkUXKuqvWqQt_NjZWjw8YxvvEfniMAycr4AJocST2aANqTpbqfFPwesHMYZrs9ZKrZ8i7R_ipn6aP1MEjIHV3J_SNe2zVd4wH1TxOV4z57CUJzxH64d6GRB9aUg09Y3qRBe6Reqm/s400/Chicago+Mercantile+Exchange+1997.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Chicago Mercantile Exchange</i>, 1997</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ni8YOYS4SFCY5zTcxDUOAbF8ZfrGXlJgx4MiJQ8YRfjk5bhDkJZyDHbqUPkhETxWe4QuJ7pj992ipYyA3NALivvCl2UKgQRaRUoPi-MFgCSZZZsWiAk6Rw8kB9L24fFilnguOSi9YwCw/s1600/Andreas+Gursky+-+Kuwait+stock+exchange+II+1998.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ni8YOYS4SFCY5zTcxDUOAbF8ZfrGXlJgx4MiJQ8YRfjk5bhDkJZyDHbqUPkhETxWe4QuJ7pj992ipYyA3NALivvCl2UKgQRaRUoPi-MFgCSZZZsWiAk6Rw8kB9L24fFilnguOSi9YwCw/s400/Andreas+Gursky+-+Kuwait+stock+exchange+II+1998.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kuwait Stock Exchange II</i>, 2008<br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a></span> </td></tr>
</tbody></table>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-21872279536319893292013-04-24T18:34:00.000+02:002013-04-24T18:34:25.193+02:00Why I still love having this blog<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09VjDd5-rg3ccZum6R7Fp63qBrI3EB_n9LTAtDYo2_O_wyDGjCcRpJ6Qpbl61PFFFncLyhkQcjhqSPDGT7ssrBMLAh6YPFIQIg_J3JUG0v55dAPizKWlTOcrgkkAcAfcygH7cbXfUAIEI/s1600/P1010571.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09VjDd5-rg3ccZum6R7Fp63qBrI3EB_n9LTAtDYo2_O_wyDGjCcRpJ6Qpbl61PFFFncLyhkQcjhqSPDGT7ssrBMLAh6YPFIQIg_J3JUG0v55dAPizKWlTOcrgkkAcAfcygH7cbXfUAIEI/s400/P1010571.JPG" width="400" /></a></div>
<br />
... because it allows me to discover amazing photography, great artists, and friends.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwp1Cn5RgGJiPf8qkgrbC1l3lhMaua8fPxsBH-BbFs96zgoJizrnVdaPGwGzxGnzdz4T6jjSnZmeAs4NFv5Zny9TQEEBLwfg4LUFR8RQlqqoP3T0VpOdkM7Bl5hrLwFyQWcpauLbvZakal/s1600/P1010572.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwp1Cn5RgGJiPf8qkgrbC1l3lhMaua8fPxsBH-BbFs96zgoJizrnVdaPGwGzxGnzdz4T6jjSnZmeAs4NFv5Zny9TQEEBLwfg4LUFR8RQlqqoP3T0VpOdkM7Bl5hrLwFyQWcpauLbvZakal/s400/P1010572.JPG" width="400" /></a></div>
<br />
Thanks so much, <b><a href="http://www.andrew-phelps.com/" target="_blank">Andrew</a></b>.<br />
<br />
<b><a href="http://www.andrew-phelps.com/?p=1640" target="_blank"><i>Haboob</i></a></b>, photographs by Andrew Phelps.
Kehrer Verlag, Heidelberg, 2013. 80 pp., 42 color illustrations, 28x32cm.
With a text from Leslie Le Roux.Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-35262460910599828192013-04-24T11:00:00.001+02:002013-04-24T18:58:05.739+02:00'Remember the White Horses', by Stefan Vanthuyne<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsNr-JxWDC8Drcw4PwroIPs8Hy_MJVma4I8hexCt1hvSUfYTujYAcgoHhR2OMMy0tjJ-Uw60ghWt22UCwSM77RxNrGU7m389pc1boGaVnx8bjrFPDKJaMG13_Okt-t11WIcmedkLlZ7tU1/s1600/P1010563.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsNr-JxWDC8Drcw4PwroIPs8Hy_MJVma4I8hexCt1hvSUfYTujYAcgoHhR2OMMy0tjJ-Uw60ghWt22UCwSM77RxNrGU7m389pc1boGaVnx8bjrFPDKJaMG13_Okt-t11WIcmedkLlZ7tU1/s400/P1010563.JPG" width="400" /></a></div>
<br />
<i>Imagine a series of photobooks where artists would work on one single day of their lives, giving themselves the task to choose an aspect of their private life and find the way to express it through photographs.
This way we could gather all sorts of different photographers and see
how the landscape artist, the conceptual photographer and the reporter
would look like face to face when trying to represent their own personal space. </i><br />
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<i><b><a href="http://www.stefanvanthuyne.be/" target="_blank">Stefan Vanthuyne</a></b>'s latest book </i><b><a href="http://www.stefanvanthuyne.be/whitehorses_book/index.html" target="_blank">Remember the White Horses</a></b><i>
would be the perfect start for this series: one day in the woods, a
young woman with a child swimming in a creek, the photographer's gaze
feeling like the third person of this family the images seem to show. We
cannot tell if this is the real story behind the photographs, but this
what the images tell us, Vanthuye's own photographic version of </i>Perfect
Day<i>. </i><br />
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Immaginate una collana di libri fotografici in cui gli artisti verrebbero invitati a lavorare su un singolo giorno delle loro vite, dandosi il compito di scegliere un aspetto e un momento della loro vita privata e trovare la chiave con cui esprimerlo con delle fotografie. Così si potrebbe raccogliere fotografi con stili lontanissimi tra loro, e confrontare come il paesaggista, l'artista concettuale e il reporter si comportano quando cercano di rappresentare il proprio mondo personale. <br />
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<i><b><a href="http://www.stefanvanthuyne.be/whitehorses_book/index.html" target="_blank">Remember the White Horses</a></b></i>
di <b><a href="http://www.stefanvanthuyne.be/" target="_blank">Stefan Vanthuyne</a></b> sarebbe l'inizio perfetto per questa collana: un giorno nei boschi, una giovane donna e un bambino che nuotano in un fiume, lo sguardo del fotografo che sembra essere il terzo membro di questa famiglia che immaginiamo di vedere. Non possiamo sapere se questa sia la storia reale dietro queste fotografie, ma le immagini sembrano proprio volerci<br />
dire questo, come se fossero i versi di una cover fotografica di <i>Perfect Day</i>.<br />
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<i>Remember the White Horses</i>, by Stefan Vanthuyne<br />
Published by <a href="http://www.cailloubleu.com/" target="_blank">Le Caillou Bleu</a><br />
32 pages, hardback<br />
2013 Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-57277604945411259392013-04-19T08:54:00.001+02:002013-04-19T08:56:33.905+02:00WEALTH Spin-off #4 | Christian Lutz<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDepOWMejywlIr1EZzKGuyVkb7PELFBvDIynvPe2ymhUosPYeQaho7-8bQPvUGi2LIwYe8uj4CO9xuzrWtBEgYvqc3F-O8-EmkVAsnSOC4wmLAr2afTzVLNkB-9toagSDHpuTnBkt3l7kt/s1600/Screen+shot+2013-04-19+at+7.52.52+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDepOWMejywlIr1EZzKGuyVkb7PELFBvDIynvPe2ymhUosPYeQaho7-8bQPvUGi2LIwYe8uj4CO9xuzrWtBEgYvqc3F-O8-EmkVAsnSOC4wmLAr2afTzVLNkB-9toagSDHpuTnBkt3l7kt/s400/Screen+shot+2013-04-19+at+7.52.52+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christian Lutz, <i>Tropical Gift</i>, 2010</td></tr>
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<i><b><a href="http://www.agencevu.com/photographers/photographer.php?id=223" target="_blank">Christian Lutz</a></b> has been wandering for years with his camera around the corridors of power, both political and economical, documenting all the rituals and the theatre of meetings, private jets, press conferences, official lunches and so on.</i><br />
<br />
<a href="http://www.agencevu.com/stories/index.php?id=329&p=223" target="_blank">Protokoll</a><i> is the result of three years Lutz spent travelling with the official Swiss diplomatic corp, </i><a href="http://www.agencevu.com/stories/index.php?id=1048&p=223" target="_blank">Tropical Gift</a><i> explores the world of oil business in Nigeria, and </i><a href="http://www.agencevu.com/stories/index.php?id=1412&p=223" target="_blank">Meetings</a><i> chronicles the everyday activities within the headquarters of the Geneva International Cooperation.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhklH8K43EZbkYXLw-tx3BOjqPqgg2LqVwgl21_sJshw1H_TyNrkXnEIY0_VwWIjSwFb5vWgO1gEnXqWjOHEFM4HKY9-h0xxJIwGaNaRCOpQkmTzfptspF64dhhSf-wx5Bh7WXOfWemGP2g/s1600/Screen+shot+2013-04-19+at+7.55.13+AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhklH8K43EZbkYXLw-tx3BOjqPqgg2LqVwgl21_sJshw1H_TyNrkXnEIY0_VwWIjSwFb5vWgO1gEnXqWjOHEFM4HKY9-h0xxJIwGaNaRCOpQkmTzfptspF64dhhSf-wx5Bh7WXOfWemGP2g/s400/Screen+shot+2013-04-19+at+7.55.13+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christian Lutz, <i>Protokoll</i>, 2007</td></tr>
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<i>Lutz mostly shows us the many paradoxes of power mostly through the human figure, the gestures, the expressions, the subtle absurdity of people's demeanor. Although he is often quite close to the action and he seems to shoot hand-held most of the time, the fact that he mostly uses medium format film gives to his images a depth and richness in details which transforms them into some sort of enhanced snapshots. </i><br />
<i><br /></i>
<i>"Photography is very subjective so sometimes I have a picture I’ve
invested with a strong sense of direction and rhythm — and the same
picture can be read completely differently by someone else", said Lutz in <a href="http://helveticabold.tv/wordpress/?p=212" target="_blank">an interview</a>. "Many politicians in Switzerland are bourgeois and
often feel like they have achieved something when they are portrayed in
these settings of luxury and prestige. I might be poking fun at them,
but they read it differently."</i><br />
<br />
<a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtz-2X4nr4dj9kYpe8YNyLxIdgF2nhIY-z90n-imAWm9DXZ8Qk70MOZOMaImyNZ4qM954OWgwEVGfPjsOeNMG-PjqhCdpRoX_zyEs9j2SyGg0UmAe5nd8CZZA5JKRcxFuk54zmu2Fa5EK/s1600/Screen+shot+2013-04-19+at+7.55.00+AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtz-2X4nr4dj9kYpe8YNyLxIdgF2nhIY-z90n-imAWm9DXZ8Qk70MOZOMaImyNZ4qM954OWgwEVGfPjsOeNMG-PjqhCdpRoX_zyEs9j2SyGg0UmAe5nd8CZZA5JKRcxFuk54zmu2Fa5EK/s400/Screen+shot+2013-04-19+at+7.55.00+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christian Lutz, <i>Tropical Gift</i>, 2010</td></tr>
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Da anni <b><a href="http://www.agencevu.com/photographers/photographer.php?id=223" target="_blank">Christian Lutz</a></b> fotografa i corridoi del potere politico e economico, documentando i rituali e il teatro dei summit, dei jet privati, delle conferenze stampa e pranzi ufficiali.<br />
<br />
<i><a href="http://www.agencevu.com/stories/index.php?id=329&p=223" target="_blank">Protokoll</a></i> è il risultato di tre anni passati da Lutz in viaggio con il corpo diplomatico svizzero, <i><a href="http://www.agencevu.com/stories/index.php?id=1048&p=223" target="_blank">Tropical Gift</a></i> esplora il mondo del mercato del petrolio in Nigeria, e <i><a href="http://www.agencevu.com/stories/index.php?id=1412&p=223" target="_blank">Meetings</a></i> quello della sede della Cooperazione Internazionale a Ginevra.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVbK4k6flxRAK3vOVvrB689atvQCdUbGJipIV7Xa0ZPZ0O8YEyNAT8RW5RokB3ZB1OHNg_axw4G9OJjqg_qP_nuR8zAspqCAoUI2Som_aGXHfe_fH8giRfghxaeCI9NrFQpFXUtHGVbp8I/s1600/Screen+shot+2013-04-19+at+7.55.47+AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVbK4k6flxRAK3vOVvrB689atvQCdUbGJipIV7Xa0ZPZ0O8YEyNAT8RW5RokB3ZB1OHNg_axw4G9OJjqg_qP_nuR8zAspqCAoUI2Som_aGXHfe_fH8giRfghxaeCI9NrFQpFXUtHGVbp8I/s400/Screen+shot+2013-04-19+at+7.55.47+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christian Lutz, <i>Protokoll</i>, 2007</td></tr>
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Lutz mostra i paradossi del potere soprattutto attraverso la figura umana, i gesti, i volti, l'assurdità sottile dei comportamenti delle persone. Per quanto sia spesso molto vicino ai suoi soggetti, scattando principalmente a mano, il fatto che utilizzi pellicola di medio formato dà alle sue immagini una densità e una ricchezza di dettagli che le trasforma in delle istantanee in alta definizione.<br />
<br />
"La fotografia è molto soggettiva, per cui a volte ho fatto una fotografia con un forte senso di ritmo e direzione, ma qualcun altro la può leggere in tutt'altro modo", dice Lutz in <a href="http://helveticabold.tv/wordpress/?p=212" target="_blank">un'intervista</a>. "Molti politici in Svizzera sono contenti di essere ritratti in questi ambienti lussuosi e prestigiosi. Magari io li sto prendendo in giro, ma loro non se ne rendono davvero conto."<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTv6CrTDj3_-mf4Tg1t7-prlwLJ4VE7s6yUEzsqP1B9tBwKh6qLFZdV7fX18-vlNC5h_f-whlUXcgEghtDOP39t8USd-w_RGcqAvQ5yF_HIqGZIgtslkm67oPDpfBP-2MolJbrnsaxaVJc/s1600/Screen+shot+2013-04-19+at+7.54.04+AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTv6CrTDj3_-mf4Tg1t7-prlwLJ4VE7s6yUEzsqP1B9tBwKh6qLFZdV7fX18-vlNC5h_f-whlUXcgEghtDOP39t8USd-w_RGcqAvQ5yF_HIqGZIgtslkm67oPDpfBP-2MolJbrnsaxaVJc/s400/Screen+shot+2013-04-19+at+7.54.04+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christian Lutz, <i>Tropical Gift</i>, 2010<br />
<br />
<div style="text-align: left;">
<a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span></a> </div>
</td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-68723885741472895372013-04-18T11:15:00.000+02:002013-04-19T07:58:40.888+02:00WEALTH Spin-off #3 | Alex S. MacLean<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoADHK0HhHzT3sNeacdlbISyDKpI3mTjIA5PlCyHsHgGCBoP4ovHTZkjm5e_ImmgCztIzEiXZ33NneM4W4OPkOjzhBJX5evHGf-cYxsH4wxIa7Tzv_yrW5nPOUSHisjZP70gfuSHXf9gUB/s1600/B-52+%22Bone+Yard%22.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoADHK0HhHzT3sNeacdlbISyDKpI3mTjIA5PlCyHsHgGCBoP4ovHTZkjm5e_ImmgCztIzEiXZ33NneM4W4OPkOjzhBJX5evHGf-cYxsH4wxIa7Tzv_yrW5nPOUSHisjZP70gfuSHXf9gUB/s400/B-52+%22Bone+Yard%22.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex S. MacLean, B-52 "Bone Yard"</td></tr>
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<br />
<i>An excellent way to understand the use and abuse of resources of rich countries is to fly over them, and observe the many ways in which they changed the face of the earth. </i><br />
<br />
<i><b><a href="http://www.alexmaclean.com/" target="_blank">Alex S. MacLean</a></b> has been making aerial photographs around the world for many years, and among countless images of beautiful places and several coffee table photobooks, he also created a remarkable catalogue of man-altered landscapes, dividing them in series dedicated to the many activities of human societies.</i><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyeNWmiVG2OJsgudUm1PfZmQmklZTrYWJoExhAZID_JJKNVW1IO_sFv3DROuvIt-8FmYfqI-gzq1BL4LDsFzLj-g-3_8SBB8sG5t4ltYido7m3EelP3BaFRQqb_BdpRQKSBUlxe7V3HbQ1/s1600/Circular+Housing+Development.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyeNWmiVG2OJsgudUm1PfZmQmklZTrYWJoExhAZID_JJKNVW1IO_sFv3DROuvIt-8FmYfqI-gzq1BL4LDsFzLj-g-3_8SBB8sG5t4ltYido7m3EelP3BaFRQqb_BdpRQKSBUlxe7V3HbQ1/s400/Circular+Housing+Development.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex S. MacLean, <i>Circular Housing Development</i></td></tr>
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<i>The sequence </i><a href="http://www.alexmaclean.com/#/portfolio/going/LS5249_13" target="_blank">Going</a><i> for example show us how the land is shaped by transportation needs, but also by the absurd amount of cars produced every year; </i><a href="http://www.alexmaclean.com/#/portfolio/dwelling/LS0802_34" target="_blank">Dwelling</a><i> is an amazing collection of the many different suburban utopias of the U.S.A. and their many new towns built all at once, </i><a href="http://www.alexmaclean.com/#/portfolio/deserting/LS5388_35" target="_blank">Deserting</a><i> compares the slow decay of old urban settlement and their demolition with immense automobile junkyards and flatlands covered by tens of B52's aircrafts.</i><br />
<br />
<span style="font-size: large;"><a href="http://www.landscapestories.net/?lang=en" target="_blank"><b>Landscape Stories 11 | Wealth </b></a></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmyxfWImrVrfSyS3ahd65w29y9Gn1B09dKkXVN-9__YzkbKZraxUAzcoIZ4lJQfpsY1-ujec1NL-ghc3TDVI4jA3t-PMVuFdoiPMHl4ZifKjXiZTe6BHjQrrrHNDz0SMBv7NVGnCGuJ-1N/s1600/Junk+Yard+Along+River.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmyxfWImrVrfSyS3ahd65w29y9Gn1B09dKkXVN-9__YzkbKZraxUAzcoIZ4lJQfpsY1-ujec1NL-ghc3TDVI4jA3t-PMVuFdoiPMHl4ZifKjXiZTe6BHjQrrrHNDz0SMBv7NVGnCGuJ-1N/s400/Junk+Yard+Along+River.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"> Alex S. MacLean, <i>Junk Yard Along River</i></span></td></tr>
</tbody></table>
</td></tr>
</tbody></table>
Un ottimo modo per provare a comprendere l'uso e abuso di risorse nei paesi ricchi è volarci sopra, per osservare i tanti modi in cui hanno cambiato il volto del pianeta.<br />
<br />
<b><a href="http://www.alexmaclean.com/" target="_blank">Alex S. MacLean</a></b> da anni fotografa volando in giro per il mondo, e tra le migliaia di immagini di posti incantevoli e libri patinati ha anche creato un eccellente catalogo di paesaggi alterati dall'uomo, dividendoli in serie dedicate alle varie attività umane.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvWT-AC2EOjsXZqoNqDyqHnlKmcMSS-zSEwsqXHt37mzfCDe2Z0oe74wSH0HBjG4TMTH6-PiktGMCc3NHTjoqcAQabwsQ9tdloDr28gLslxAOR4VN9o70VU_2NBql3Dlw3uQVC8u2i8YBR/s1600/Floating+Daisy+Docks.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvWT-AC2EOjsXZqoNqDyqHnlKmcMSS-zSEwsqXHt37mzfCDe2Z0oe74wSH0HBjG4TMTH6-PiktGMCc3NHTjoqcAQabwsQ9tdloDr28gLslxAOR4VN9o70VU_2NBql3Dlw3uQVC8u2i8YBR/s400/Floating+Daisy+Docks.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex S. MacLean, <i>Floating Daisy Docks </i></td></tr>
</tbody></table>
Ad esempio <i><a href="http://www.alexmaclean.com/#/portfolio/going/LS5249_13" target="_blank">Going</a></i> ci mostra come la terra viene rimodellata dai trasporti e dall'assurda sovrapproduzione di automobili, <i><a href="http://www.alexmaclean.com/#/portfolio/dwelling/LS0802_34" target="_blank">Dwelling</a></i> è una raccolta delle tante utopie suburbane americane e delle new town che ogni anno spuntano come fiori, mentre <i><a href="http://www.alexmaclean.com/#/portfolio/deserting/LS5388_35" target="_blank">Deserting</a></i> confronta il lento degrado dei vecchi centri urbani in via di demolizione con enormi cimiteri di automobili e distese di bombardieri B52.<br />
<br />
<a href="http://www.landscapestories.net/?lang=en" target="_blank"><span style="font-size: large;"><b>Landscape Stories 11 | Wealth</b></span> </a><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZg7rmqQman9ZCgn-SYnPc8GRBhn3hIITl95i9AAKNpP4Sxu7XrWksAdjZP9v7wUtHQ_R3oin5KTxysfuZvSWAC17Xb-qwBK86rXndcDy4IKpPdvnlAIUCskQCUddpPzm8OXrERY9zmA7R/s1600/Universal+Studios,+Pedestrian+Walks+and+Amusement+Rides.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZg7rmqQman9ZCgn-SYnPc8GRBhn3hIITl95i9AAKNpP4Sxu7XrWksAdjZP9v7wUtHQ_R3oin5KTxysfuZvSWAC17Xb-qwBK86rXndcDy4IKpPdvnlAIUCskQCUddpPzm8OXrERY9zmA7R/s400/Universal+Studios,+Pedestrian+Walks+and+Amusement+Rides.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex S. MacLean, <i>Universal Studios, Pedestrian Walks and Amusement Rides</i> </td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-58669571051073483952013-04-17T11:50:00.000+02:002013-04-19T07:58:24.993+02:00WEALTH Spin-off #2 | Mathieu Bernard-Reymond<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3R67DOF57fBY2utuOKDohhyphenhyphenFLPx2cPFWnsFZwayq6csg9USmdlr2xPzUCC_MzJxSIVb0Azo6GEcLAp_9_RwqRc6QJlTOUCVE_KotZeC-s5OLBiTfBMkDApZyNipbKJ1cA8Ms5QfQAZT5G/s1600/Your+investment+can+only+grow.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3R67DOF57fBY2utuOKDohhyphenhyphenFLPx2cPFWnsFZwayq6csg9USmdlr2xPzUCC_MzJxSIVb0Azo6GEcLAp_9_RwqRc6QJlTOUCVE_KotZeC-s5OLBiTfBMkDApZyNipbKJ1cA8Ms5QfQAZT5G/s400/Your+investment+can+only+grow.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathieu Bernard-Reymond, <i>Your investment can only grow, </i>from the series <i>Monuments</i></td></tr>
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<b>Wealth</b><i> is about material possessions as much as it is about abstract concepts and seemingly immaterial activities. Nothing is harder to grasp in its practical existence than the root causes of these last years' financial crisis, often presented to us just like graphics of sudden crashes of stock markets and men shouting in front of computer screens.</i><br />
<i><br /></i>
<i>With his series </i>High Altitude,<i> German artists <b><a href="http://www.michaelnajjar.com/" target="_blank">Michael Najjar</a></b> chose to represent those dramatic shifts and changes in the international economy as mountain fourmations, starting from natural images he took during a trip to Mount Aconcagua, the highest mountain of the Americas. By transforming its outline into the history of those recent dramatic financial events, Najjar shows them as something both enormous and fragile at the same time.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Z4_AB9O4WoErot7df5ay6GynYZKGlDyxRQkSGAJpmEc3WxEl83NozViNrANmriIEsJ24aLIRkEfPUu0PmEmG_5SjiRRBqBjlOimDkKFiH4snmEXO2Kn9qTN_hfGznDNbBIhSRE5aOHB6/s1600/nasdaq_80-09_72dpi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Z4_AB9O4WoErot7df5ay6GynYZKGlDyxRQkSGAJpmEc3WxEl83NozViNrANmriIEsJ24aLIRkEfPUu0PmEmG_5SjiRRBqBjlOimDkKFiH4snmEXO2Kn9qTN_hfGznDNbBIhSRE5aOHB6/s400/nasdaq_80-09_72dpi.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Najjar, <i>nasdaq_80-09</i>, work series <i>high altitude</i>, 2008-2010</td></tr>
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<i>"The series visualizes the development of the leading global stock market indices over the past 20-30 years. The virtual data of the stock market charts are resublimated in the craggy materiality of the Argentinean mountainscape [...]
The information society has brought about a tectonic shift in our understanding of space and time... In future the virtual value system could demand its proper reincarnation in the real world"</i><br />
<i><br /></i>
<i>I immediately decided to include Najjar in my selection for the </i><b>Wealth</b><i> issue of <b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories</a></b>, and I wish I could have also included </i>Monuments<i>, by French artist <b><a href="http://www.monsieurmathieu.com/" target="_blank">Mathieu Bernard-Reymond</a></b>. Known for his works made in equal amount of strong photographic vision and subtle and challenging digital manipulation, in </i>Monuments<i> he transforms both natural landscapes and man-made environments into installations inspired by the various kinds of numbers and stats shaping our life on this planet.</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4K-stXbn27RvjPvyyD1NSjuQAyWGCXyJwzpK1Z6TgbZfQ3K7px1ucPayeaAhl3bj0zjh-yIRXzfkAg9MPH8CGI0Eq2tK9Ncaw43jhrGHnsV5U54uNhhmFGcLW3mBCJ1rwRaPoUJgjS_L/s1600/UBS+five+years+backdrop.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4K-stXbn27RvjPvyyD1NSjuQAyWGCXyJwzpK1Z6TgbZfQ3K7px1ucPayeaAhl3bj0zjh-yIRXzfkAg9MPH8CGI0Eq2tK9Ncaw43jhrGHnsV5U54uNhhmFGcLW3mBCJ1rwRaPoUJgjS_L/s400/UBS+five+years+backdrop.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathieu Bernard-Reymond, <i>UBS five years backdrop, </i>from the series <i>Monuments</i></td></tr>
</tbody></table>
<i>"To create these Black and White photographs, I use financial charts and statistics as basic shapes to produce photographic representations of global economic and ecological concerns... By turning these curves and sculptural shapes into massive constructions close to memorials or monumental sculptures, I intend to reach something beyond data. My purpose is to underline their fondamental link to landscape and thus, to human and natural history." </i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWc7c_pn5yDWooSsYKiFzm76N8R1pGRhCv6BWk3bn08D7-RST0MsnyzogxdNKQmdke3sQwY_1xNOd51knpqfpde0Ibn9yQQIdfBuF8dDfbz5GlDIE4cOyz9f84DBXx5rrHVLmYWOjg85rh/s1600/exxon+mobil+9am+to+11am.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWc7c_pn5yDWooSsYKiFzm76N8R1pGRhCv6BWk3bn08D7-RST0MsnyzogxdNKQmdke3sQwY_1xNOd51knpqfpde0Ibn9yQQIdfBuF8dDfbz5GlDIE4cOyz9f84DBXx5rrHVLmYWOjg85rh/s400/exxon+mobil+9am+to+11am.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathieu Bernard-Reymond, <i>Exxon mobil 9am to 11am, </i>from the series <i>Monuments</i></td></tr>
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Il concetto di 'ricchezza' si riferisce tanto a possedimenti materiali quanto a concetti astratti e attività in apparenza immateriali. Niente è più difficile da afferrare nella sua esistenza concreta che le cause scatenanti della crisi finanziaria di questi ultimi anni, che spesso ci vengono presentati solo in forma di grafici in crollo e uomini che urlano di fronte a schermi di computer.<br />
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Con il lavoro <i>High Altitude</i>, l'artista tedesco <b><a href="http://www.michaelnajjar.com/" target="_blank">Michael Najjar</a></b> ha scelto di rappresentare le drammatiche altalene dell'economia internazionale come delle formazioni rocciose, partendo da delle immagini naturali realizzate durante un viaggio sulla montagna di Aconcagua, la più alta delle Americhe. Trasformando i profili della montagna nella storia dei recenti eventi finanziari, Najjar li presenta come qualcosa di enorme e fragile al tempo stesso.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPpDTH2l-8LJvhwQz4k54DwgkN7jOZnx7LjYQyxgu4xVKLQaDWlGjV9LupU2eClKsVW1tPgHq3q8RKpB7CrEGf6Sc3_mesoeqnnJcd8vvKcJmlmPGFOhyphenhyphenMIvINdTLrC0SReyrWMW12Pt4/s1600/dow-jones_80-09_72dpi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPpDTH2l-8LJvhwQz4k54DwgkN7jOZnx7LjYQyxgu4xVKLQaDWlGjV9LupU2eClKsVW1tPgHq3q8RKpB7CrEGf6Sc3_mesoeqnnJcd8vvKcJmlmPGFOhyphenhyphenMIvINdTLrC0SReyrWMW12Pt4/s400/dow-jones_80-09_72dpi.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Najjar, <i>dow jones_80-09</i>, work series <i>high altitude</i>, 2008-2010</td></tr>
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"La serie mostra lo sviluppo dei principali indici di borsa lungo gli ultimi 20-30 anni. I dati del mercato finanziario vengono sublimati nel paesaggio roccioso delle montagne argentine [...] La società dell'informazione ha provocato uno slittamento tettonico nella nostra comprensione del tempo e dello spazio... In futuro il sistema di valore virtuale potrà richiedere una vera e propria incarnazione nel mondo reale."<br />
<br />
Ho deciso subito di includere Najjar nella selezione <b><i>Wealth</i></b> per <b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories</a></b>, e avrei voluto includere anche <i>Monuments</i> di <b><a href="http://www.monsieurmathieu.com/" target="_blank">Mathieu Bernard-Reymond</a></b>. Noto per i suoi lavori fatti sia di una forte visione fotografica che di una sottile manipolazione digitale, l'artista francese in <i>Monuments</i> ha trasformato paesaggi naturali e strutture edificate in delle istallazioni dedicate a vari numeri e statistiche che definiscono la nostra vita su questo pianeta.<br />
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"Per creare queste fotografie in bianco e nero ho utilizzato delle tabelle e statistiche finanziarie come forme di base per produrre delle rappresentazioni fotografiche di dinamiche cruciali in ambito economico e ecologico... Trasformando queste curve in delle costruzioni simili a memoriali o sculture monumentali cerco di esprimere qualcosa che vada al di là dei semplici dati. Il mio scopo è indicare il loro legame fondamentale con il paesaggio, e di conseguenza con la storia sociale e naturale."<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YJ_kPCEThJYjPHMQLFP7HcYDs3VTM0LnKPbtBsFvazatxcL3kHurILqnWtEZ5T2meDnLBzKO1XDGo03gUuyZO_ta3NYpWdTSWNXR2RPrMHNplH9l8tSRW_BNlisSSr7fOveCjDbA32N9/s1600/Scope+Evaluation+Activity.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YJ_kPCEThJYjPHMQLFP7HcYDs3VTM0LnKPbtBsFvazatxcL3kHurILqnWtEZ5T2meDnLBzKO1XDGo03gUuyZO_ta3NYpWdTSWNXR2RPrMHNplH9l8tSRW_BNlisSSr7fOveCjDbA32N9/s400/Scope+Evaluation+Activity.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathieu Bernard-Reymond, <i>Scope Evaluation Activity, </i>from the series <i>Monuments</i></td></tr>
</tbody></table>
Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-85253924909292561082013-04-16T12:01:00.000+02:002013-04-19T07:58:10.290+02:00WEALTH Spin-off #1 | Abelardo Morell<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4b9El_A-Y2K58nXDWlBc03m0b7FXevxH8s0EnoHhcH4ymVZgdZ_9CEVixOacOvvhQ9A6UR98bYy50ieU0YAgR87W9DvOekXWLWAQFe14Y1QM70Kd3cjdggP-21oCPeaXEolO2RZk5pSB/s1600/FallingCoins-II_06_slide.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4b9El_A-Y2K58nXDWlBc03m0b7FXevxH8s0EnoHhcH4ymVZgdZ_9CEVixOacOvvhQ9A6UR98bYy50ieU0YAgR87W9DvOekXWLWAQFe14Y1QM70Kd3cjdggP-21oCPeaXEolO2RZk5pSB/s400/FallingCoins-II_06_slide.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abelardo Morell, <i>Falling Coins #4</i>, 2006</td></tr>
</tbody></table>
<i>Many are the artists that, for one reason or another, I had to leave out of the selection on the theme <b>Wealth</b> which I curated for issue #11 of </i><b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories</a></b><i>. In some cases I did not know their work, some of them I was not able to reach, others I just forgot about them until the issue was out and it was too late.</i><br />
<i><br /></i>
<i>So I have decided to use this space as a chance to briefly present some of the projects which would have fit perfectly in my <b>Wealth</b> selection, but never had a chance.</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcy5HkO7NvDZJwJJhAUhUEko-nBL2fth2sTxVMgjxp1zzZpgt89xrneXpaxFUsIOFA0pZfSdg0D6cKw70AgJfiElRE1RbWtjhPeDoEes2dXExuBFCcupj8DdQXhC65IZTINtHBQcMVaruv/s1600/40000_06_press_slide.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcy5HkO7NvDZJwJJhAUhUEko-nBL2fth2sTxVMgjxp1zzZpgt89xrneXpaxFUsIOFA0pZfSdg0D6cKw70AgJfiElRE1RbWtjhPeDoEes2dXExuBFCcupj8DdQXhC65IZTINtHBQcMVaruv/s400/40000_06_press_slide.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abelardo Morell, <i>$40,000</i>, 2006 </td></tr>
</tbody></table>
<br />
<i>I want to start with the very image of money, with its physical appearance, its face. <a href="http://www.abelardomorell.net/" target="_blank"><b>Abelardo Morell</b> </a>is a master in transforming everyday objects into magical creatures with a life of their own, and his series </i><b><a href="http://www.abelardomorell.net/posts/money/" target="_blank">Money</a></b><i> (2006) is no exception to that. </i><br />
<br />
<i>"In my pictures I like concentrating on the elemental fact that money is paper and metal", writes Morell. "While it's hard to separate money's physical properties from what it symbolically represents, I have tried to make its "thingness" be important. Money as a plaything is also an aspect that figures in this work."</i><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNcY0hnjRsN4i7xOTUDB6ss7hPcuMGcPO4ozOMmZ51aAC1SXq_mv0qFuWymt82cCk1jl7H4VMn23f9zX_bNx4TYVm4GGg2c_Y5NFs1iqk1vmDMeP4qzSi4FvRjz1sW9tuppEVOeM7wACM/s1600/60-dollars_02_slide.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNcY0hnjRsN4i7xOTUDB6ss7hPcuMGcPO4ozOMmZ51aAC1SXq_mv0qFuWymt82cCk1jl7H4VMn23f9zX_bNx4TYVm4GGg2c_Y5NFs1iqk1vmDMeP4qzSi4FvRjz1sW9tuppEVOeM7wACM/s400/60-dollars_02_slide.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abelardo Morell, <i>$60</i>, 2002</td></tr>
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Molti sono gli artisti che sono rimasti fuori dalla selezione sul tema della ricchezza (<b>Wealth</b>) che ho curato per <b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories #11</a></b>, online dallo scorso marzo. In alcuni casi non conoscevo il lavoro, in altri non sono riuscito a contattare gli autori, altri mi sono passati di mente fino a quando non è stato troppo tardi per includerli.<br />
<br />
Ho deciso quindi di usare questo spazio per presentare velocemente alcuni dei progetti che avrebbero potuto far parte della selezione presentata su LS, ma che non è stato possibile includere.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD0iQSmNJF0bhgs-VVZa-TkrmGn4wh7ZC0oTycjaxAYKOuMHoCAGcxgllMy2XRCocYia-CPknHKUK81vyl4ZRMInqBUEOYODg5Zif2ozRQUoYii12eSz1wFL6VStI103Oy34sDHeOFToq/s1600/25-dollars_02_slide.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD0iQSmNJF0bhgs-VVZa-TkrmGn4wh7ZC0oTycjaxAYKOuMHoCAGcxgllMy2XRCocYia-CPknHKUK81vyl4ZRMInqBUEOYODg5Zif2ozRQUoYii12eSz1wFL6VStI103Oy34sDHeOFToq/s400/25-dollars_02_slide.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abelardo Morell, <i>$25</i>, 2002</td></tr>
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Voglio iniziare dall'immagine stessa del denaro, il suo aspetto fisico, il suo volto. <b><a href="http://www.abelardomorell.net/" target="_blank">Abelardo Morell</a></b> è da sempre maestro nel trasformare banali oggetti della vita quotidiana in presenze magiche, animiste, come ha dimostrato anche nel lavoro <b><a href="http://www.abelardomorell.net/posts/money/" target="_blank"><i>Money</i></a></b> (2006).<br />
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"In queste immagini mi sono conentrato sulla natura materiale del denaro, il suo essere fatto di carta e metallo", scrive Morell. "Se da un lato è difficile separare le proprieta fisiche del denaro da quelle simboliche, ho comunque cercato di mettere l'accento sulla sua 'cosità', provando anche a riflettere sull'idea del denaro come un balocco."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0XGniqoSDdxpkPjc-q_RfIMTLnpy1pE8ldq6HIviFTL_gyTKwST1eU9Y2HLzhyphenhyphen506aGP1irML58AimWp1KsobniisoxtzMg0d1NMmjKfDroRKjUoCBqBkVEaEg2K33DAVOpxF3BPe1kK/s1600/FallingCoins-III_06_slide.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0XGniqoSDdxpkPjc-q_RfIMTLnpy1pE8ldq6HIviFTL_gyTKwST1eU9Y2HLzhyphenhyphen506aGP1irML58AimWp1KsobniisoxtzMg0d1NMmjKfDroRKjUoCBqBkVEaEg2K33DAVOpxF3BPe1kK/s400/FallingCoins-III_06_slide.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abelardo Morell, <i>Falling Coins #3</i>, 2006</td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-88594251675160897562013-04-15T11:03:00.000+02:002013-04-15T11:03:10.039+02:00A review of 'Haboob', by Andrew Phelps<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1A03KCk1hdd8YhmFdj3T4Bm-CbKLgNRvCdwX5SnVUoyG78AWqFsyfizSyUS-HAlSOsKs1wb8yEgHFW1kRA2mxwG85Qa2eSxMyP_8YP4gVsfavRVuhArH5GT_cd78OsFSWHLdqL0qBmyw/s1600/andrew_phelps_haboob_book.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1A03KCk1hdd8YhmFdj3T4Bm-CbKLgNRvCdwX5SnVUoyG78AWqFsyfizSyUS-HAlSOsKs1wb8yEgHFW1kRA2mxwG85Qa2eSxMyP_8YP4gVsfavRVuhArH5GT_cd78OsFSWHLdqL0qBmyw/s400/andrew_phelps_haboob_book.jpg" width="400" /></a></div>
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A follow-up to a photography book is an unusual concept, especially if a project is openly declared as a sequel to another one. Several artists have been developing one single subject matter for a long time, exploring it through different bodies of work and sometimes shaping their whole career around it. But a second instalment starting from where another book ended is a different story, it is as much about expanding a narration as about the artist questioning their own vision; it is a bit like looking at yourself in the mirror.<br />
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<a href="http://www.andrew-phelps.com/" target="_blank">Andrew Phelps</a> looked at himself, and at his own personal history, by going back to what is probably his most important photographic work so far, and expanding it into another book. In 2007 Phelps published <i><a href="http://www.andrew-phelps.com/?p=381" target="_blank">Higley</a></i>, a book about the fading days of a town which was about to merge in the area of greater Phoenix, ending its life as a separate township. Its zip code officially disappeared in 2007, and with that decades of private memories and treasures of a whole community, including those of all four Phelps' grandparents, who used to live there. The housing market began to collapse in 2008, and many houses remained unsold, while many others were left incomplete. Phelps went back to Higley to document what happened during that suburban transformation which erased a farming community in order to build another real estate stronghold, a flat dream of single family houses which turned into a pointless form of land grabbing. <b><a href="http://www.andrew-phelps.com/?p=1640" target="_blank">Haboob</a></b> is the fruit of this new journey to what was once called Higley.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHc5zW1vnCXFby3pF8KLBDosg4lWnG3RUKjFMW2rmiuwxTUa2B7PFJyNPPday7Ywfvfig0-eB72zSEmxsutZriMgyMgqDMkiS6ODuu1WIKFaCEkhM3cr6mDTOBNKkoVtLsF8wKOL3P3Zr-/s1600/phelps_haboob_press13.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHc5zW1vnCXFby3pF8KLBDosg4lWnG3RUKjFMW2rmiuwxTUa2B7PFJyNPPday7Ywfvfig0-eB72zSEmxsutZriMgyMgqDMkiS6ODuu1WIKFaCEkhM3cr6mDTOBNKkoVtLsF8wKOL3P3Zr-/s400/phelps_haboob_press13.jpg" width="400" /></a> <br />
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<i>Haboob</i> is the name of a violent and sandy summer wind, a frequent occurrence in the East Valley, the region of the Phoenix metropolitan area. The Arabic word means "blowing furiously", and what the book shows looks like the aftermath of a storm, the consequences of the wind of these years' financial crisis and the crushing of the dreams of the never-ending urban expansion. The area of Higley shown in this new book looks even more deserted and unfinished than the transition documented in the previous work, in which we could witness the limbo where new houses were being populated while old ones were abandoned. Lifeless constructions, neatly packaged interior designs, concrete, debris, and dust: <i>Haboob</i> reminds of somebody wandering in an empty land, trying to understand the few signs of life around him. Only a few photographs show residents of the community, and they always appear like distant creatures, as if the photographer did not dare to go closer; while the previous book had plenty of intimate portraits of men and women, often inside their own houses, and most of the other photographs were still showing plenty of signs of the life those people lived there.<br />
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<i>Higley</i> opened with the photograph of a field showing a compact block of houses in the distance, and ended on a group portrait in a backyard, with the blurred figures of a man and a little girl running to join the others. The caption says "Andrew and Leonie scrambling to beat the self-timer for a family portrait. The last day of Higley, 2007". <i>Haboob</i> opens with a flat TV screen showing the picture of a storm approaching, and ends with the view of a flatland seen through a mist which could be made of sand. It is undeniable that the two books together tell the story of a loss: the signs of life and warmth still present in <i>Higley</i> slowly disappear through the pages of <i>Haboob</i>, perhaps only kept alive by the ghost image of two running horses printed on the cover, taken from a photograph of their silhouette on a welding abandoned on a street.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs4T3CwlYSwqcAVv4PTIB9tUzmBoKU-kGYH0E1wl1nOBVrPMBSOOPANfjfm-NfdWZ8qIj5-Q3wAcSC4zUJdiMFKVqfV_FsgZZ3v1KVybcbe3DwnT-c3Nx6W8pqPC-v0bK8N2FDL0M9oVzi/s1600/phelps_haboob_press8.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs4T3CwlYSwqcAVv4PTIB9tUzmBoKU-kGYH0E1wl1nOBVrPMBSOOPANfjfm-NfdWZ8qIj5-Q3wAcSC4zUJdiMFKVqfV_FsgZZ3v1KVybcbe3DwnT-c3Nx6W8pqPC-v0bK8N2FDL0M9oVzi/s400/phelps_haboob_press8.jpg" width="400" /></a> <br />
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This is why making a work like <i>Haboob</i> is such a challenge for a photographer: having to face the physical erosion of places belonging to your most intimate recollections, plunging your vision into your personal landscape and then trying to find a way to depict the emptiness left in it.<br />
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"More than once, in the last three years, have I found myself at five a.m. in a borrowed car, missing my family, with a box of unexposed film haunting me from the passenger seat, unsure that anything in this now foreign place would ever open itself to me again. Though it is thinning, I still have family in Higley, and when I lose my way and don’t know where to set up the camera, I can always go back and find pieces of myself in this landscape, these fields, this light".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp4rYc7BFofXwzA3O_4-xZ4OOAeMmHFLLJ77QOmQ8iBOPPLQB7sxRHAiA14cqaSlOBrJDRx3J8yVemrQTlfXOdHq9YzerAGdOvLjjHVJmgPkpX430n0_xOiCZQWa3HzBt4718hQPx7ZkC6/s1600/phelps_haboob_press14.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp4rYc7BFofXwzA3O_4-xZ4OOAeMmHFLLJ77QOmQ8iBOPPLQB7sxRHAiA14cqaSlOBrJDRx3J8yVemrQTlfXOdHq9YzerAGdOvLjjHVJmgPkpX430n0_xOiCZQWa3HzBt4718hQPx7ZkC6/s400/phelps_haboob_press14.jpg" width="400" /></a> <br />
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This is what Andrew Phelps was writing five years ago about <i>Higley</i>. What really makes <i>Haboob</i> remarkable is that with this book he chose to face the risk of not finding those pieces of himself anymore, because that landscape, those fields are now so different from how they used to be. Perhaps what rescued him this time was that the light was still the same, beautiful light he remembers from back then.<br />
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<i>Haboob</i>, photographs by Andrew Phelps.
Kehrer Verlag, Heidelberg, 2013. 80 pp., 42 color illustrations, 28x32cm.
With a text from Leslie Le Roux.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm6vYp7pP6YK4wDtnfB5z3VPAec6inLFvtzvTZ1gVszQbEGzpEcTTeAUQ76V6ECdhpj1Kb2tYdgAL2nT8TVb_as_qZw6d8SWma2jYsMF9Xeo6RdOoecFPzCtl6epCpcKwGrloJT-OHMjkt/s1600/phelps_haboob_press9.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm6vYp7pP6YK4wDtnfB5z3VPAec6inLFvtzvTZ1gVszQbEGzpEcTTeAUQ76V6ECdhpj1Kb2tYdgAL2nT8TVb_as_qZw6d8SWma2jYsMF9Xeo6RdOoecFPzCtl6epCpcKwGrloJT-OHMjkt/s400/phelps_haboob_press9.jpg" width="400" /></a> Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0tag:blogger.com,1999:blog-2728379955137346236.post-40320775137834828072013-03-06T23:21:00.000+01:002013-03-07T09:11:38.135+01:00Landscape Stories #11 | WEALTH<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRDx2L0NlotLVsSuxENuv4S8Ct6iCrQWC7P9iSFnDfwKal16D0iVs8zklwGevQ-c_rB5yWlKRrKZlkuAm4TaszAXix5iBG0OgXc6CamuJaMB8onJuDo54iDXb3e2-qj2Dr6jklqGRscHX/s1600/429185_472286982819275_33296403_n.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRDx2L0NlotLVsSuxENuv4S8Ct6iCrQWC7P9iSFnDfwKal16D0iVs8zklwGevQ-c_rB5yWlKRrKZlkuAm4TaszAXix5iBG0OgXc6CamuJaMB8onJuDo54iDXb3e2-qj2Dr6jklqGRscHX/s400/429185_472286982819275_33296403_n.jpg" width="400" /></a></div>
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<i>Material or immaterial, owned or desired, enjoyed or suffered: wealth is a state of mind, a condition of existence, a concept, a curse. I have tried to gather all the different faces I feel exist inside the word itself, collecting different photographic works hinting at one or another of the many meanings it can have. We often say photography can trap its own subjects, or on the contrary it can express the impossibility to grasp them.</i><br />
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<i>The new issue of <b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories</a></b>, <b>'Wealth'</b>, has been my chance to test photography and its ability to represent, or its failure to express the difference between owning and wanting. </i><br />
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<b><i>Wealth, or lack thereof.</i></b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtXgZj2Yc6tOu6R63zrccThYowZhnD7n6xvmf3pkTa-mIP74mrsi0-4R63Qm5iQNn2n3Yemdcm0LiSFQc-w5owEGSlAwqol5GnoFAQ7YCXK7MlauydrDWmRlw-rFIvdf0SVMMM6n2axt8l/s1600/KAREN+KNORR.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtXgZj2Yc6tOu6R63zrccThYowZhnD7n6xvmf3pkTa-mIP74mrsi0-4R63Qm5iQNn2n3Yemdcm0LiSFQc-w5owEGSlAwqol5GnoFAQ7YCXK7MlauydrDWmRlw-rFIvdf0SVMMM6n2axt8l/s400/KAREN+KNORR.jpg" width="362" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Belgravia' © Karen Knorr</td></tr>
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Materiale o immateriale, posseduta o desiderata, goduta o sofferta: la ricchezza è uno stato d'animo, una condizione esistenziale, un concetto, una maledizione. Ho cercato di raccogliere alcuni tra i diversi volti che esistono la stessa parola stessa, riunendo lavori fotografici che provano a osservare uno o l'altro dei tanti significati che può avere. Si dice spesso che la fotografia intrappola i propri soggetti, oppure esprime la sua incapacità di afferrarli.<br />
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Il nuovo numero di <b><a href="http://www.landscapestories.net/?lang=en" target="_blank">Landscape Stories</a></b>, <b>'Wealth'</b>, è stato la mia opportunità di mettere alla prova la fotografia e la sua capacità di rappresentare, oppure il suo fallimento nel cercare di esprimere la differenza tra possedere e desiderare.<br />
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<b>Della ricchezza, o della sua mancanza.</b><br />
<a href="http://www.landscapestories.net/?lang=en" target="_blank"><br /></a>
<a href="http://www.landscapestories.net/?lang=en" target="_blank"><b>Landscape Stories #11 | WEALTH</b></a><br />
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRDx2L0NlotLVsSuxENuv4S8Ct6iCrQWC7P9iSFnDfwKal16D0iVs8zklwGevQ-c_rB5yWlKRrKZlkuAm4TaszAXix5iBG0OgXc6CamuJaMB8onJuDo54iDXb3e2-qj2Dr6jklqGRscHX/s1600/429185_472286982819275_33296403_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></b></div>
<b><span data-ft="{"tn":"K"}" id=".reactRoot[22].[1][2][1]{comment476996369022225_4799707}.0.[1].0.[1].0.[0].[0][2]"><span class="UFICommentBody" id=".reactRoot[22].[1][2][1]{comment476996369022225_4799707}.0.[1].0.[1].0.[0].[0][2].0"><span id=".reactRoot[22].[1][2][1]{comment476996369022225_4799707}.0.[1].0.[1].0.[0].[0][2].0.[0]">Jan
Stradtmann | Christian Kryl | Jacqueline Hassink | Michael Najjar |
Livia Corona | Louis Porter | Karen Knorr | Brian Finke | Hin Chua |
Frederic Delangle | Zoe Childerley | Reed Young | William Speer | Mahesh
Shantaram | Marco Lachi | Roberto Apa/Gabriele Rossi | Andrew Phelps | Mohamed
Bourouissa | Jules Spinatsch | Martin Adolfsson | Reiner Riedler |
Francesco Jodice</span></span></span></b> <br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbrjSr3FyXN-qkWcN-k9Z7XYcuT3WYhET9kZKDdpUG8MG6NECqAOLeIAPhF7Ud_PAxqs8JOGEUvFBFIB3H8bGw0cvDKAI3k8L1criu3ycJ-UChosMrMgXZiWgJ8OcR06PUwQgCaszGFnN/s1600/Christian_Kryl_Top+of+the+World+22.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbrjSr3FyXN-qkWcN-k9Z7XYcuT3WYhET9kZKDdpUG8MG6NECqAOLeIAPhF7Ud_PAxqs8JOGEUvFBFIB3H8bGw0cvDKAI3k8L1criu3ycJ-UChosMrMgXZiWgJ8OcR06PUwQgCaszGFnN/s400/Christian_Kryl_Top+of+the+World+22.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top of the World © Christian Kryl </td></tr>
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Fabio Severohttp://www.blogger.com/profile/07253617263690270464noreply@blogger.com0