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6 febbraio 2010 6 06 /02 /febbraio /2010 15:08
MARIDFOTO.jpgMADRIDFOTO 2010, International Photography Fair
12 – 16 May 2010

http://www.madridfoto.es

MADRIDFOTO 2010 is Spain's only international fair specialised in contemporary photography aimed at a new kind of private, corporate and institutional collector.

Scheduled for May 12th through 16th (both inclusive), the second edition of the fair is changing venues this year and moving to the Palacio de Deportes de la Comunidad de Madrid in the city centre of Madrid. MADRIDFOTO is designed to be an exciting experience and an enjoyable way of discovering new values in contemporary photography.

After the success of its opening event in 2009, registering in excess of 12,500 visitors, this year the fair has been extended an extra day to give professionals extra preview time. MADRIDFOTO 2010 is also increasing the number of exhibitors to 60 galleries, 7 publishers and 5 magazines, taking part at this second edition of a fair with a mandate to offer a unique vision differentiating it from other art fairs.

Over the last year MADRIDFOTO has been presented in various European capitals coinciding with other international fairs, as was the case of London during FRIEZE, Berlin during Art Forum, Paris during ParisPhoto and Miami during Art Basel Miami Beach, as well as an event at the Aperture Foundation in New York.

MADRIDFOTO 2010 has the full support of the Ministry of Culture of Spain, the government of the Region of Madrid and also of the City Council of Madrid, as well as collaborating companies interested in contemporary photography who have placed their trust in the success of the second edition of this fair. Besides the collectors programme, MADRIDFOTO 2010 has already ensured a commitment for acquisitions from institutions and enterprises in Madrid and is also preparing three awards for sustainability (Acciona-MADRIDFOTO award), architecture (Fundación Arquitectura y Sociedad) and young photographers (Comunidad de Madrid–MADRIDFOTO Award). It is also organising debates, encounters and other acts to get curators, programmers and museum directors more directly involved with the event.

The deadline for inscription for galleries, publishers and magazines wishing to exhibit at MADRIDFOTO 2010 has been extended to February 26th 2010. Application forms and rules for participation can be downloaded on
www.madridfoto.es. The final list of exhibitors will be made by a selection committee, this year comprising Efrain Bernal (gallery director), Lorena Corral (independent curator), Nicholas Metivier (gallery director), Rosa Olivares (critic and editor of EXIT magazine) and Carlos Urroz (director of Urroz Proyectos, Ideas y Comunicación Cultural).

MADRIDFOTO is directed by Giulietta Speranza and organised by Art Fairs SL, a private initiative of a group of collectors and entrepreneurs, headed by Enrique de Polanco.

For more info visit
www.madridfoto.es
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6 febbraio 2010 6 06 /02 /febbraio /2010 15:02
ArtSway.jpgDave Lewis
Field Work
6 February - 28 March 2010

ArtSway
Station Road, Sway,
cSO41 6BA
United Kingdom
mail@artsway.org.uk

http://www.artsway.org.uk



Dave Lewis
Polly and Aron at Llanidoes Carnival, mid-Wales
C-type print, 2009
© Dave Lewis 2009


ArtSway is pleased to announce an exhibition of new work by Dave Lewis bringing together photographs and video. Dave Lewis is a photographer and filmmaker interested in identity and how people belong to a place. In making his work, Lewis attempts to act as both an ethnographer (the study of the characteristics of different people) and an artist.

Field Work is a new body of artwork inspired by the idea of the artist as a 'stranger' who visits a place or site to gather first-hand evidence as research. Lewis has explored the New Forest in Hampshire and Newtown in mid-Wales for Field Work. Both of theses places are linked by their rural locations and also by their cultural differences to Lewis' hometown of London. By analyzing and contrasting these areas, interviewing residents and documenting events such as local festivals and carnivals, Lewis examines the role of the individual within society and how that individual identifies themselves with a place.

For his exhibition at ArtSway, Lewis will present two filmed 'journeys' showing the 'stranger' as he conducts his research into Newtown and Sway, including interviews with local people. Other images in the exhibition will include photographs Lewis took at carnivals in Wales and the New Forest that further explore ideas of identity and belonging to a place.

Other images in the exhibition will include photographs Lewis took at carnivals in Wales and the New Forest that further explore ideas of identity and belonging to a place.

Dave Lewis gained a BA (Hons) in Film and Photographic Arts from the Polytechnic of Central London in 1985. Recent exhibitions and screenings include: Photo-ID Norwich Forum, 2009; Hybridity, Sainsbury Centre for Visual Arts 2008; Anywhere but Here, Southwark Gallery, 2008; AfterShock, Sainsbury Centre for Visual Arts, 2007. Dave Lewis lives and works in London and is currently Visiting Research Fellow in the Department of Anthropology, Goldsmiths, University of London.

Dave Lewis: Field Work is a co-commission for Autograph ABP, ArtSway, and Oriel Davies Gallery. Field Work will be exhibited at Oriel Davies Gallery from 17 April – 9 June 2010.

Exhibition Associated Events:

Private View and Gallery Talk: Dave Lewis in Conversation with Peter Bonnell and Indra Khanna
Saturday 6 February 2010 at 3pm

Photographer and filmmaker Dave Lewis will discuss his newly commissioned project Field Work with ArtSway Curator Peter Bonnell and Autograph ABP Curator Indra Khanna.
FREE: Booking Essential

Art in Context: Anthropology and Field Work
Saturday 13 March 2010 at 3pm

Chris Wright, a lecturer in visual anthropology at Goldsmiths College in London, will deliver a talk at ArtSway relating to themes in the work of Dave Lewis. The talk will cover other examples of 'field work' used by artists, and the way that these concerns overlap with those of anthropologists.
FREE: Booking Essential

Press Contact:


For press images, interviews and further information, or to book a place on the above events, please contact Jack Lewis on +44 (0)1590 682260 (ext.6) or email:
jack.lewis@artsway.org.uk

ArtSway, Station Road, Sway, nr Lymington, Hampshire, SO41 6BA, UK
W:
http://www.artsway.org.uk E: mail@artsway.org.uk T: +44 (0)1590 682260
ArtSway is open: Tuesday - Sunday 11am - 5pm. Admission is free.

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6 febbraio 2010 6 06 /02 /febbraio /2010 14:49
Whitechapel-Gallery.jpgWhere Three Dreams Cross: 150 Years of Photography from
India, Pakistan and Bangladesh
Until 11 April 2010

Whitechapel Gallery
77 – 82 Whitechapel High Street
London E1 7QX
http://www.whitechapelgallery.org

This winter the Whitechapel Gallery brings to life a vivid vision of India, Pakistan and Bangladesh as seen through
Mohammad Arif Ali
Rainy Days in Lahore, 2008
Digital print on photographic paper
40.6 x 50.8cm.
Courtesy the artist and White Star, Karachi


the eyes of their photographers. A dramatic epic of political and social change – as it has unfolded across two centuries – is set against the continuities of family, ancient culture and the natural environment.

This landmark exhibition gives an inside view of how modern India, Pakistan and Bangladesh have been shaped through the lens of their photographers. From the days when the first Indian-run photographic studios were established in the 19th century, this exhibition tells the story of photography’s development in the subcontinent with over 400 works that have been brought together for the first time. It encompasses social realism and reportage of key political moments in the 1940s, amateur snaps from the 1960s and street photography from the 1970s. Contemporary photographs reveal the reality of everyday life, while the recent digitalisation of image making accelerates its cross-over with fashion and film.

The exhibition is arranged over five themes with works selected from the last 150 years. The Portrait shows the evolution of self-representation; The Family explores close bonds and relationships through early hand-painted and contemporary portraits; The Body Politic charts political moments, movements and campaigns; The Performance focuses on the golden age of Bollywood, circus performers and artistic practices that engage with masquerade; while The Street looks at the built environment, social documentary and street photography. Over 80 photographers including Pushpamala N., Rashid Rana, Dayanita Singh, Raghubir Singh, Umrao Singh Sher-Gil, Rashid Talukder, Ayesha Vellani and Munem Wasif are presented in the show, with works drawn from important collections of historic photography, including the influential Alkazi Collection, Delhi and the Drik Archive, Dhaka. They join many previously unseen images from private family archives, galleries, individuals and works by leading contemporary artists.

Whitechapel Gallery
77 – 82 Whitechapel High Street
London E1 7QX

Book Now: +44 (0)844 412 4309
http://www.whitechapelgallery.org/tickets
Tickets free for under 18s & Sundays 11am–1pm

Free admission for you and a friend with Whitechapel Gallery Membership.
Join now: whitechapelgallery.org/join
+44 (0)20 7522 7888

Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh is curated by Sunil Gupta with curatorial assistance from Shahidul Alam, Drik Archive, Dhaka, Bangladesh; Hammad Nasar, Green Cardamom, London, UK; Radhika Singh, Fotomedia, New Delhi, India; and Kirsty Ogg, Curator, Whitechapel Gallery, London, UK.

The exhibition is organised by the Whitechapel Gallery, London, in collaboration with Fotomuseum, Winterthur, Switzerland, 12 June–22 August 2010.
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4 febbraio 2010 4 04 /02 /febbraio /2010 02:34
London.jpgJourneys With No Return
18 February - 14 March 2010

Private view 6-9pm Wed 17 February

A Foundation London
Rochelle School, Arnold Circus, London E2 7ES
 Open daily, 12-6pm

Free Admission

http://www.journeyswithnoreturn.com
Become a fan of Journeys With No Return on Facebook

Nevin Aladag
Freeze
Photography Series, 2003
Courtesy of the artist and Gitte Weise Gallery, Berlin



Participating artists: Nevin Aladag, Zineb Sedira, Adam Chodzko, Olaf Metzel, Denizhan Ozer, Clemens von Wedemeyer, Olaf Nicolai, Ergin Cavusoglu, Melanie Manchot, Asli Sungu, Kiran Kaur Brar and Nasan Tur. 



Curators: Alice Sharp, Peter Cross and Levent Calikoglu
Exhibition organizer: Denizhan Ozer

Journeys With No Return Conference

9.30-5.30pm 19 February
With the Goethe Institut and International Curators Forum
Tickets: 0207 5964 000

A Foundation is the London focus of a touring exhibition to Istanbul, London and Berlin 2009/10. Inspired by the celebrated Turkish writer and political figure Nazim Hikmet's book of poems Journeys With No Return, this project explores reflections of Turkish migration on contemporary art.

Twelve artists from Germany, Great Britain and Turkey uncover themes around Turkish migration over the last 50 years in works that are new to UK audiences – six of which are unveiled for the first time. The artists balance the local with the global, their subjective sense of identity with cultural dissemination that potentially knows no borders. Using popular music, rap, cinematic conventions, anthropology and documentary they exploit archive images, cultural stereotypes and information systems. The artworks stretch from video, film, photography, drawing to installation and reach out with methods of communication that echo mainstream and popular cultural forms.

Zineb Sedira finds resonances of transportation in forgotten railway sidings, while Clemens von Wedemeyer has created a cinematic work that is as much a tribute to his modernist masters - Mayakovsky, Tarkovsky - as it is a film about crossing a border. Melanie Manchot takes a traditional European painting genre, the double portrait, and restores connections between people separated by migration. Adam Chodzko has created a surreal documentary about Romanian migrant strawberry pickers editing a historical archive of London hop pickers, subverting readings of power relations, identity, time and place. Nasan Tur's demonstration backpacks consist of a range of unusual objects and reference both mobility and rebellion. Asli Sungu uncovers historical layers that unexpectedly explode with poetic equivalences that only an outsider could create.

The conference is organised with the International Curators Forum and addresses the themes of the exhibition, how culture is transformed through migration and the influence of Turkish migration on contemporary practitioners. It is chaired by Edgar Schmitz (Goldsmith College, London) and Lisa Le Feuvre (Writer and Curator) and includes speakers Irit Rogoff, Professor of Visual Culture at Goldsmiths College, a theorist, curator and organiser, Artist Adam Chodzko and Dr. Mark Nash, Head of Department for Curating Contemporary Art, Royal College of Art.

Journeys With No Return opened alongside the 11th Istanbul Biennial at the Akbank Cultural Centre, Istanbul in September 2009 and will be presented in Berlin in June 2010.

Press contact:

Simon Steven

Press Office
Journeys With No Return
+44 (0)1843 596 194 (UK)
simon@simonsteven.net

Further information: info@journeyswithnoreturn.com

The curators would like to thank the Akbank Cultural Centre, Istanbul, A Foundation, London, Arcola Theatre, London and Kunstverein Tiergarten, Berlin.

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30 novembre 2009 1 30 /11 /novembre /2009 01:57

Del 11 noviembre 2009 al 13 diciembre 2009

Inauguración
10 nov. 2009 19:30h

Horario

De martes a domingo de 11 a 20 h
Jueves de 11 a 22 h.
Cerrado los lunes no festivos

Las taquillas cierran media hora antes del cierre de la sala.


Muestra internacional de fotoperiodismo profesional


Más información en nuestra web 
CCCB
Otras webs del CCCB   XCÈNTRIC  KOSMÒPOLIS  URBAN  NOW
Montalegre, 5 - 08001 Barcelona - Telf. 93 306 41 00 - Fax 93 306 41 01 - global@cccb.org - Centre de Cultura Contemporània de Barcelona

Por quinto año consecutivo, la Fundación Photographic Social Vision organiza con la colaboración del CCCB la exposición World Press Photo.

La exposición World Press Photo -compilación de las obras ganadoras del concurso homónimo- es conocida mundialmente como la principal muestra itinerante de fotoperiodismo. Así pues, World Press Photo resulta ser tanto un documento histórico de los principales acontecimientos del 2008 como una muestra de la mejor fotografía del año.


Cada año, un jurado internacional independiente formado por trece miembros escoge las fotografías ganadoras entre todas las mandadas por fotoperiodistas, agencias, periódicos y fotógrafos de todo el mundo. Las fotos participan en 11 categorías: noticias de actualidad, temas de actualidad, personajes de actualidad, deportes, fotos de acción, reportajes de deportes, temas contemporáneos, vida diaria, retratos, naturaleza, y arte y entretenimiento.

La exposición anual de las fotos ganadoras se puede ver cada año en 80 ciudades de 40 países, con la condición de que todas las obras se puedan exhibir sin ningún tipo de censura. El hecho de que miles de visitantes de todo el mundo vean esta exposición evidencia el poder de la fotografía para superar las fronteras lingüísticas y culturales.

World Press Photo aporta imágenes para la memoria colectiva, imágenes impactantes que han cambiado, en numerosas ocasiones, el transcurso de la historia y la opinión pública.

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28 novembre 2009 6 28 /11 /novembre /2009 03:26
Galerie Hilger contemporary
at Art Basel Miami Beach 09
Dec 3-6, 2009


Miami Beach Convention Center

1901 Convention Center Drive,
Miami Beach Fl 33139
HALL B E31

Anastasia Khoroshilova
Trees # 6, 2009
C-print on dibond
91x120 cm
Ed. of 3


Galerie Hilger contemporary presents Anastasia Khoroshilova at Art Basel Miami Beach 09

All of Anastasia Khoroshilova's work to date is devoted to the study of human beings in their real physical settings and as members of a communality of some sort, by force of social circumstance or geography.

The tree is one of the most original elements of the visual culture, which stand for the basic, binary meanings: life and death, heaven and earth.

These meanings do not dissolve over the course of time; rather they endure as obvious or ambiguous messages, which transform with every passing minute, independent of time and cultural context. This refers to the visualized forms.

Upon my request, the students of the school "people with limited physical resources" (the official name in Russia), who use other forms of communication (class for deaf-mute actors), have attempted to show their own version of the authentic roots of mankind in the form of stage plasticity.

The background of this experiment is the every day, urban landscape of a major city, which, against my expectations, absorbed the experiment organically.


Further artists at Art Basel Miami Beach 09: Asgar/Gabriel, Ian Burns, Oliver Dorfer, Babak Golkar, Brian McKee, Angel Marcos, Sara Rahbar, Larry Rivers, Miha Strukelj, Massimo Vitali, Andy Warhol.


For further information please contact the gallery:
ernst.hilger@hilger.at
Galerie Ernst Hilger since 1971.

Galerie Hilger contemporary
Dorotheergasse 5
A-1010 Vienna
tel: 43-1-512 53 15
fax: 43-1-513 91 26
http://www.hilger.at
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28 novembre 2009 6 28 /11 /novembre /2009 03:01
Graciela Iturbide
The Inner Eye
28 November 2009 - 7 February 2010

Fotomuseum Winterthur
Grüzenstrasse 44+45
CH-8400 Winterthur (Zurich)
Switzerland
Phone: +41 52 234 10 60
http://www.fotomuseum.ch



Graciela Iturbide

Mujer ángel, Desierto de Sonora (Angel Woman, Sonoran Desert), México, 1979

Gelatin-silver print, 32 x 48 cm,
Collection Mapfre Foundation

© Graciela Iturbide


Graciela Iturbide
The Inner Eye

The photograph Mujer ángel (Angel Woman), showing a Seri Indian with her back to us, walking through the desert carrying a radio recorder, is one of Graciela Iturbide's most compelling images. It is, strictly speaking, a documentary photograph, and yet, at the same time, it appears to symbolise the tension between two civilisations, raising the question of how indigenous culture can continue to survive within western culture. Graciela Iturbide often creates images that seem to shift like silhouettes between knowing and sensing. Her photography addresses the subtle and complex interaction of different realities and their stratifications. She herself describes photography as an excuse to discover the world. It is an approach that makes "discovering" seem synonymous with "living"; as though "being in the world" were quite simply the same as "being".

Graciela Iturbide (*1942) is Mexico's foremost contemporary photographer. She has won many accolades, among them the prestigious Hasselblad Award (2008). In the course of a career spanning some 40 years, she has charted a path towards a better understanding of the development of photography in Mexico and throughout Latin America.

When Graciela Iturbide enroled to study cinematography at the National University of Mexico in the late 1960s, she also attended lectures by the famous photographer Manuel Àlvarez Bravo, who inspired her to pursue photography. She soon became his assistant. It was through her close friendship with Àlvarez Bravo that Graciela Iturbide immersed herself in the Mexican art scene of the time and became familiar with the work of such artists as Tina Modotti, Edward Weston, Henri Cartier-Bresson, Frida Kahlo, Diego Rivera and many more besides.

Between 1979 and 1986, Graciela Iturbide undertook her first major photographic project. She repeatedly traveled to the myth-shrouded Zapotec heartland of Juchitán in the southern state of Oaxaca, where she lived within the community, learning from the local women about the deeply rooted traditions and rituals that inform so many of her unforgettable images. In the portraits and landscapes of Juchitán de las Mujeres (Juchitán, A Town of Women), Graciela Iturbide brings to life the rich and many-facetted world of the indigenous people.

Another project in which Graciela Iturbide straddles the boundary between the documentary and the lyrical is Los que viven en la arena. Commissioned by the Instituto Nacional Indigenista as part of their work to save indigenous culture, it focuses on the Seri Indians of the Sonoran Desert. Here, she manages to go beyond the specifics of their everyday situation to capture the dichotomy of a life shaped by two diametrically opposed cultural systems. In doing so, she breaks with the conventions of portraying stigmatised ethnic groups.

Finally, it was Graciela Iturbide who, in 2006, became the first person to be allowed to enter the bathroom of Frida Kahlo, which Diego Rivera had closed up after the death of his wife in 1954. In her series of photographs showing this very private sanctuary, left entirely unchanged for so many years, Iturbide enters into a dialogue with the everyday objects and the creative oeuvre of the artist. She does so in a way that is both respectful towards this icon of Mexican culture, yet at the same time subjective in its interpretation.

The exhibition Graciela Iturbide – The Inner Eye presents every major group of works in the oeuvre of this outstanding photographer. It has been organised by the Mapfre Foundation in Madrid. The curator is Marta Dahó.

A catalogue will be published:
Graciela Iturbide (English edition), issued by Fundación Mapfre. With texts by Marta Dahó, Juan Villoro and Carlos Martín García, and a separate leaflet containing German translations of the texts. With some 180 duplex illustrations, 292 pages, hardcover, format 23 x 26 cm.

Still on display unil 7 February 2010 (Collection Rooms):
Karaoke – Photographic Quotes
(
http://www.fotomuseum.ch/KARAOKE.289.0.html?&L=1)

For further information please visit our website
http://www.fotomuseum.ch
Join us on Facebook (http://www.facebook.com)

Fotomuseum Winterthur
Grüzenstrasse 44+45
CH-8400 Winterthur (Zurich)
Switzerland

Phone: +41 52 234 10 60
Fax: +41 52 233 60 97
e-mail:
fotomuseum@fotomuseum.ch
http://www.fotomuseum.ch

Opening hours: Tue – Sun 11am – 6pm, Wed 11am – 8pm, closed on Mondays
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10 ottobre 2009 6 10 /10 /ottobre /2009 13:35
Allan Sekula:
Polonia and Other Fables
September 20 - December 13, 2009

The Renaissance Society
5811 South Ellis Avenue
Chicago IL 60637
http://www.renaissancesociety.org

Allan Sekula: Polonia and Other Fables

Photographer Allan Sekula's new series, Polonia and Other Fables, critically documents and examines the social impact of global economics. Always aiming to position his work within an exhibition's local community, this project focuses on Chicago's rich labor history, in particular on the large Polish immigrant population, and The University of Chicago's famous lineage of economic theorists.

Allan Sekula
Vinyl curtain-wall advertising
Warsaw, July 2009
Chromogenic print, 48 x 48 inches


In addition to being outstanding documentary photography in its own right, Sekula's work is also a critique of the genre. Sekula's examination of the theory and practice of photography is as important as his inquiry into labor history and economics. Central to his work is an interest in documentation--as pictorial form, method of recording, narrative device, historical memory, and medium of social engagement. Sekula's work poses the rhetorical questions, "Is it possible to discuss photography as a medium separate from the thing being photographed?" In other words, is a photograph in and of itself capable of being self reflexive while critiquing its subject? Sekula's answer is no. An integral part of his practice is writing, an activity he has maintained since the outset of his career 35 years ago. His writings expose the inherent limits of a documentary genre based purely on photographic imagery. Together, Sekula's images and text constitute a trenchant and rigorous photographic discourse on globalization.

Born in Erie, Pennsylvania, in 1951, Allan Sekula is a leading theoretician and the director of the photography department at California Institute of the Arts in Los Angeles. His books include Performance Under Working Conditions, Photography Against the Grain: Essays and Photo Works 1973-1983, The Traffic in Photographs, Dismal Science and Fish Story. Sekula's work has been exhibited internationally, including Documenta 11, Kassel, Germany, and a retrospective at The Generali Foundation, in Vienna Austria (2003). He has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Getty Research Institute, the Deutsche Akademischer Austausdienst and the Atelier Calder.

About The Renaissance Society
The Renaissance Society has earned its reputation as one of the premier cultural institutions for leading-edge contemporary art in the United States through its longstanding commitment to presenting work by the most challenging and compelling artists of the day. Many of these exhibitions represent the artists' national or Midwestern premieres, and many have included newly commissioned work. The museum offers educational programs that supplement the exhibition schedule, including concerts, lectures and readings.

The Renaissance Society is located on the campus of the University of Chicago, in Cobb Hall, on the fourth floor. It is open Tuesday to Friday 10 am to 5 pm, and Saturday and Sunday from noon to 5 pm. Admission is free. Visit
http://www.renaissancesociety.org to learn more about the exhibitions and events.

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9 ottobre 2009 5 09 /10 /ottobre /2009 02:34
ABIGAIL LAZKOZ
Extraordinary Machines
October 8th 2009 - January 31st 2010

sala rekalde
Alameda de Recalde, 30
Bilbao 48009 (Spain)

http://www.salarekalde.bizkaia.net



sala rekalde
presents Extraordinary Machines, a one-person show by the artist Abigail Lazkoz (Bilbao 1972), who lives and works in New York. This is an installation expressly realised for the main gallery consisting of a set of monumental drawings in black and white on free standing panels and on the walls, a series of three dimensional structures that unfold within the exhibition space creating different areas, and an animated video that refers to the origin of animated cinema to emphasise the expression of drawing through movement.


Abigail Lazkoz
To the river 3, 2008
Ink on paper
Photograph: Begoña Zubero


Extraordinary Machines is configured as a "landscape of battle" developed in different phases. All the elements articulate a possible narrative path dealing with war and destruction, not only as references recurrent in their literalness, but also as metaphors that make evident another type of quotidian conflict. Based on an apparently simple pictorial composition, the drawings are established as basic elements that mark the formal and conceptual rhythm of the show. They invite the spectator to submerge him/herself in the symbolic wealth of their details, in the pictorial structure of the line and the starkness of the pictorial gesture, with the aim of delving, from the particularity of the references employed, into universal questions like death and the devastation. In this respect, the artist's endeavour to occupy the whole exhibition space setting out from the very materiality of drawing can be perceived. The exhibition thus functions as a kind of reordering of the basic elements that the artist has used, first in the drawings and then in the exhibition space.

In short, this is a constructive way of spreading her drawing throughout the whole of the exhibition area. The result is a reconciliation between figuration and abstraction, on whose basis the narrative structure of the drawings interweaves with the constructive forms of which they are composed. In this way, a series of almost totemic basic forms coexist with the wealth and idiosyncrasy of the narrative references of the drawn works.

The exhibition Extraordinary Machines is indebted to a previous series titled War Stories I Have Heard (2004). The series, made up of six drawings on paper, some executed subsequently on the wall and with much greater dimensions, dealt with the construction of collective memory through lived experiences. Each drawing developed a specific idea in relation to oral transmission, the construction of memory and how individual identity is built on the stories one receives. This series also used war as a narrative background and reflected on the historical conditioning factors that end up giving a concrete character to each generation.

The title of the exhibition is the refrain of a song by the American composer Fiona Apple that runs as follows: Be kind to me, or treat me mean, I'll make the most of it, I'm an extraordinary machine… With this phrase, the artist Abigail Lazkoz wishes to emphasise a certain irreducible strength and the possibility of growth on the basis of both the good and the bad. It is a phrase that offers hope in face of the reality of permanent conflict that characterises our contemporary society.

For Abigail Lazkoz the aesthetic and conceptual strength of drawing and painting resides in conceiving both languages as laboratories of the imagination. That is, she takes a position facing pictorial language that claims a certain demiurgic capacity when producing possible new forms of understanding the world that go beyond its faithful representation. This becomes evident in her drawing in the stark gesture of the black line on a white background. This simple gesture, stripped of all ornament, gives the artist absolute freedom when it comes to proposing new possibilities of expression in the face of reality.

At the same time this is a process of apprenticeship that sets out from the formal possibilities of the recourse of the black mark on white. A reference that relates drawing to the origins of writing.

Lazkoz generally defines her pictorial language as being stripped of all gestural expression; her option is based on the tense line and zero gesture, which in the final term problematises painting through the reduced economy of the media employed. This reduction of the resources needed in producing the work provides it with a self-sufficiency and mobility that, in short, free her artistic practice.

Abigail Lazkoz's drawing goes beyond the construction of possible scenarios; her most recent works show a painstaking interest in the construction of a specific vocabulary based on the sobriety of the drawing materials. A way of emphasising pictorial language and of creating references and elements that interrelate to construct a complex syntax.

On the occasion of the exhibition, sala rekalde is publishing a catalogue that reproduces this new production by Abigail Lazkoz. The volume will document the creative development of this new installation and will include texts by the historian Iria Candela and a conversation with the show's curator Leire Vergara. The book is designed by the Catalan designers Albert Folch Studio and includes photographs of the work taken by Begoña Zubero.

Concurrently The Abstract Cabinet of sala rekalde will host the exhibition Euforias y Demonias (Euphories and Demons) by Javier Soto (St. Gallen 1975) The work of Javier Soto carries out an exploration of pictorial language employing formats as diverse as drawing, collage, paint on canvas and even the mural. His pieces are configured on the basis of work processes that draw on contexts and references close to the artist's life.

Soto's painting must be understood in its natural setting, that is, placed in relation to the structure of the different series the artist composes, and to the force these groupings generate, translated into an explosion of semantic relations and narrative lines that finally interweave with each other.

sala rekalde will publish a conversation between Javier Soto and Antonio Ballester Moreno (Madrid, 1977) in which both artists deal with different aspects of their experience of painting and more specifically, with the foundations of their respective artistic practices.

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6 ottobre 2009 2 06 /10 /ottobre /2009 04:13
FotoFest is pleased to announce the exhibitions and participating spaces for its 2010 Biennial, with four principal exhibitions, curated by five invited curators, dedicated to the Biennial's theme, Contemporary U.S. Photography. "The 2010 Biennial is a platform to show the different perspectives of photographic art being created today and the perspectives of a new generation of curators," says FotoFest Creative Director Wendy Watriss.

FotoFest 2010 Biennial Exhibitions
and Participating Spaces
Focus on Contemporary U.S. Photography
March 12 - April 25, 2010

Houston, Texas

http://www.fotofest.org


FotoFest Biennial Exhibitions
Road to Nowhere
Curated by: Natasha Egan, Deputy Director, Museum of Contemporary Photography, Columbia College, Chicago
FotoFest at Winter Street Studios, 2101 Winter St, Houston, Texas



Sandra Valenzuela
From the series X-boyfriends Alias Fake Memories (Paco), 2007
From the FotoFest 2010 Biennial exhibition Medianation
Courtesy of EDS Galería

Natasha Egan's selections explore the United States at the close of the "American Century" as the nation negotiates its transition from Cold War superpower to an embattled, economically fragile nation.
Artists: Sheila Pree Bright, Jeff Brouws, Tim Davis, Myra Greene, Eirik Johnson, Jason Lazarus, An-My Le, Nic Nicosia, David Oresick, Trevor Paglen, Greta Pratt, Michael Robinson, Jason Salavon, Victoria Sambunaris, Christina Seely, Paul Shambroom, Greg Stimac, and
Brian Ulrich.

Whatever Was Splendid
Curated by: Aaron Schuman, Independent Curator, Editor and Co-founder, Seesaw online magazine
FotoFest at Vine Street Studios, 1113 Vine Street, Houston, Texas

Aaron Schuman explores the legacy and continued influence of a "thoroughly modern photographic figure," Walker Evans.
Artists: Will Steacy, Michael Schmelling, Greg Stimac, Tema Stauffer, Jason Lazarus, Jane Tam, Richard Mosse, Craig Mammano, Todd Hido, Hank Willis Thomas, RJ Shaughnessy, and Mitch Epstein.

Assembly: Eight Emerging Photographers from Southern California
Curated by: Charlotte Cotton, Creative Director, National Media Museum, Bradford, U.K.; former Head of the Wallis Annenberg Department of Photography, Los Angeles County Museum of Art and Edward Robinson, Deputy Curator, Wallis Annenberg Department of Photography, Los Angeles County Museum of Art
FotoFest at Williams Tower, 2800 Post Oak, Houston, Texas

Charlotte Cotton and Edward Robinson are both transplants to Southern California. Their exhibition and the artists' work in it, are a reflection of the region's place in the American mythos.
Artists: Nicole Belle, Matthew Brandt, Peter Holzhauer, Whitney Hubbs, Matt Lipps, Joey Lehman Morris, Asha Schechter, and
Augusta Wood.

Medianation
Curated by: Gilbert Vicario, Curator, Des Moines Art Center, Des Moines, Iowa; Former Assistant Curator of Latin American Art and Latino Art, Museum of Fine Arts, Houston
FotoFest at New World Museum; Art League, Houston; and other locations

As a curator of contemporary art, Gilbert Vicario sees photography as just one of several media, including video, installation and performance, used by contemporary artists. In Medianation, Mr. Vicario, "explores the interrelationship between the digital image and notions of process and performance in contemporary art."
Artists: Leslie Hall, Susanne Jirkuff, Adria Julia, Kalup Linzy, Daniel Joseph Martinez, Laurel Nakadate, Sandra Valenzuela, and Emilio Chapela.

DISCOVERIES OF THE MEETING PLACE
Of the five Biennial exhibitions sponsored by FotoFest, the one non-thematic exhibition is the returning Discoveries of the Meeting Place, the eighth in a series that has proven to be a launching pad for photographic careers. Envisioned as a showcase for some of the best work discovered at the FotoFest's previous Biennial portfolio review, the Discoveries exhibition presents work chosen by ten reviewer/curators.

FOTOFEST PARTICIPATING SPACES
FotoFest's exhibitions are joined by over 100 other independent exhibitions at venues across Houston, Galveston, and surrounding counties. These Participating Spaces include the city's major museums and commercial galleries, non-profit spaces, artist-run spaces, corporate spaces, and retail establishments that choose to exhibit photographic art as part of the FotoFest Biennial. In 2008 over 120 spaces participated in the Biennial. The list of the FotoFest 2010 Biennial Participating Spaces (as of October 1, 2009) is available at
http://www.fotofest.org/biennial2010

FOTOFEST 2010 BIENNIAL WORKSHOPS
For working artists, arts professionals, art lovers and the public, FotoFest is sponsoring two media Workshops as part of the FotoFest 2010 Biennial. Forms are available for download at
http://www.fotofest.org/biennial2010

Tuesday, March 16, 2010 - Beyond Print: Using New Media to Reach the Global Art Market
Presenters include Mary Virginia Swanson and Katrina d'Autremont with Museum and Gallery Curators, Photo Editors, Publishers, and Founders of Online Art Sites

Sunday, March 21, 2010 - Multi-Media Storytelling: Narrative and Conceptual Art
Presenter Brian Storm – MediaStorm (
http://mediastorm.org)


SPONSORS (as of October 1, 2009)
The Houston Endowment, Inc; The Brown Foundation, Inc; Continental Airlines; The Wortham Foundation; City of Houston through the Houston Arts Alliance; Doubletree Hotel Houston Downtown; Texas Commission for the Arts; American Society of Media Photographers (ASMP); HexaGroup; Iland Internet Solutions; Vine Street Studios. Media Partner: Art in America


For more information on FotoFest or the FotoFest 2010 Biennial, please visit
http://www.fotofest.org
Media Contact: For Further information, interview and visuals, please contact,
Vinod Hopson, FotoFest Press Officer, T: 713.223.5522 ext 26, E:
press3@fotofest.org


ABOUT FOTOFEST

Founded in 1983 and based in Houston, Texas, FotoFest is a non-profit organization promoting photographic arts and education. FotoFest is recognized for its discovery and presentation of important talent, contemporary and historical, from around the world, its commitment to presenting important social ideas through the photographic arts, its groundbreaking exhibitions and its portfolio review program, The International Meeting Place. FotoFest has curated and commissioned exhibitions of photo-based art from Latin America, Asia, Europe, the Middle East and North Africa. In addition to year-round art exhibitions and programming, FotoFest's school-based education program, Literacy Through Photography, uses photography to stimulate visual literacy, writing and analytical thinking.

The FotoFest Biennial is the first international Biennial of Photography and Photo-related Art in the United States. Through the FotoFest Biennial and its year-round art programs, FotoFest is known as a platform for Art and Ideas, combining museum-quality art with important social and aesthetic issues. FotoFest curated exhibitions give priority to the works of important but little-known photographic artists from the U.S. and around the world.


FOTOFEST BOARD OF DIRECTORS
David Ayers, President; Fred Baldwin, Chairman; Karen Bering; Blair Bouchier; Michael A. Casey; Krista Dumas; Slavka B. Glaser; Carola Herrin; Mavis P. Kelsey, Jr.; James C. Kempner; Meg King Murray; Laura Nolden; John Parsley; Gregory M. Spier; Alice Thomas; Fletcher Thorne-Thomsen Jr.; Phuong Tranvan; Anne Wilkes Tucker; Wendy Watriss

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