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Alnis Stakle‘Not Even Something’14.6.2012 -...

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Alnis Stakle
‘Not Even Something’
14.6.2012 - 8.7.2012
Bozar Centre For Fine Arts, Brussel

Cities are divided into areas, and the identity of each area is characterised by some peculiar features. For instance, industrial areas, housing areas, central areas, banking areas, etc. These urban areas are joined by non-places which do not perform any significant functions in the urban environment, but just exist and thus, fill the emptiness between meaningful urban areas. In ‘ Not even Something ’ Alnis Stakle explores these areas during desolate winter nights. Transformed by artificial light, these images show interesting similarities with the romanticist tradition in landscape painting. The works in these series do not feature any specific geographic area or a real event; rather, they convey the inextricable links between the imagined and the real in the interpretation of landscapes and landscape photography.

© Alnis Stakle


Frantisek Drtikol‘Woman in the Light’Galleria Carla...

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Frantisek Drtikol
‘Woman in the Light’
Galleria Carla Sozzani, Milan
7.6.2012 - 15.7.2012

František Drtikol worked between the turn of the century and the mid-Thirties. His lyrical, evanescent nudes, use of non-light, shadows and evocations have inspired and conditioned generations of photographers up to our day.


Drtikol is fascinated by the female body and sees in it the origin of beauty, of thought, of the soul. He uses the female figure with artfully arranged forms and movements to express the sentimental pathos of expressions (which later disappeared in his work) and virtuoso composition. Woman becomes an obsessive vision, bearer of good and evil, saint and virgin, demon and femme fatale. His nudes may be divided into two groups: a lyrical set, and another much more dramatic set, though the two categories often overlap. His portraits of fragile, delicate woman recall Dante’s Beatrix, the angelic figures of the Pre-Raphaelites or the mysterious creatures of Gustav Klimt. Their expressions and gestures take us back to the dreamy, melancholic atmosphere of Art Nouveau. Alongside these languid, transparent figures he created his “femmes fatales”, symbols of love and death like those appearing in the works of many Symbolist and Art Nouveau artists.


The figure of Salomé particularly stimulated Drtikol’s imagination, just as it stimulated and inspired Gustave Flaubert, Oscar Wilde, Aubrey Beardley and Gustave Klimt. Drtikol’s photographs of the nude Salomé symbolise a time when lust and punishment, Eros and Thanatos, conflicts between sex and death culminated in Freud’s teachings and writings. The polarity of eroticism and death is represented in his unpublished photographs of crucified women.

© Galleria Carla Sozzani

Andreas Meichsner‘All Sorted’Vollsmose...

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Andreas Meichsner
‘All Sorted’
Vollsmose Kulturhus, 
FotoTriennale.dk

12.9.2012 - 2.11.2012


A silent observer, Andreas Meichsner documents in his photographs how that vacation we’ve been waiting for so long has a way of plunging us into an agonizing tug-of-war between the contradictory need for freedom on the one hand and security on the other. The reassuring words All Sorted (Alles in Ordnung) stand for a fevered »organizing« of the yearned-for and yet also somehow menacing liberation from workaday life – with the paradoxical result that even vacation time ends up being packed full of structured activities. Meichsner explores in a subtle and humorous fashion the question of whether, in a society dominated more and more by job insecurity and – of necessity – flexibility, we might today be witnessing a burgeoning desire for boring, safe predictability. - Ann-Christin Bertrand (C/O Berlin)

Andreas Meichsner (*1973) is a German photographer living and working in Berlin. His art focuses on contemporary aspects of Western European society, in particular dealing with the seemingly increasing need for security and structure and its significance for people. Meichsner studied photography at the University of Applied Sciences and Arts in Hannover and has been living in Berlin since 2004. Twice, he was a finalist in the Leica Oskar Barnack Award: once in 2005 with his architectural series »32.000.000« about the lack of space in Tokyo and the second time in 2006 for his work »Arkadia«. This work about holiday house tourism in the Netherlands was also nominated for the Fringe Festival Voies Off in Arles the same year, and won the second prize in the European Architectural Photography Award in 2007. With »Welcome to the club«, Meichsner became a Finalist in the Ojo de Pez Award for Human Values in 2009. His book »Alles in Ordnung« won silver in the German Photography Book Award 2012. 

© Andreas Meichsner

MILO MONTELLI: TERZA CORSIA

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BY STEVE BISSON I am very glad to introduce Milo Montelli’s work through a special project...

"The Indian knew how to live without wants, to suffer without complaint, and to die singing."

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“The Indian knew how to live without wants, to suffer without complaint, and to die...

SHANNON TAGGART: “SPIRITUALISM” Shannon Taggart’s photography...

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SHANNON TAGGART: “SPIRITUALISM”

Shannon Taggart’s photography focus on documentation of religious rituals and seems to arise from a kind of childish curiosity that leads her to investigate certain so-called paranormal phenomena. As in her research carried out at Lily Dale, the world largest Spiritualist community, that translate an almost visceral need to be part of it, to return this psychological space to reality, to capture its expressions, gestures and signs. The series presented here is part of her five-year project aimed to testify more than describe the modern Spiritualism as she tell us in words.

«My intention with this project is twofold. The pictures serve as a documentation of the tradition and an illustration of what it means to be a Spiritualist. It is my hope to also address certain themes.  The images are meant as meditations on faith, mortality and the alchemy of religious ritual. They are an attempt to examine how the individual experiences the spiritual uniquely. Finally, they are an effort to manifest the unseen, to pose the question: What if?» 

© Shannon Taggart 

Christian Patterson Redheaded Peckerwood “Redheaded...

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Christian Patterson 
Redheaded Peckerwood

Redheaded Peckerwood, which unerringly walks the fine line between fiction and nonfiction, is a disturbingly beautiful narrative about unfathomable violence and its place on the land”
Luc Sante

Redheaded Peckerwood is a work with a tragic underlying narrative – the story of 19 year old Charles Starkweather and 14 year old Caril Ann Fugate who murdered ten people, including Fugate’s family, during a three day killing spree across Nebraska to the point of their capture in Douglas, Wyoming. The images record places and things central to the story, depict ideas inspired by it, and capture other moments and discoveries along the way.

From a technical perspective, the photographs incorporate and reference the techniques of photojournalism, forensic photography, image appropriation, reenactment and documentary landscape photography. On a conceptual level, they deal with a charged landscape and play with a photographic representation and truth as the work deconstructs a pre-existing narrative.

Redheaded Peckerwood also utilizes and plays with a pre-existing archive of material, deliberately mixing fact and fiction, past and present, myth and reality as it presents, expands and re-presents the various facts and theories surrounding this story.

While photographs are the heart of this work, they are the complemented and informed by documents and objects that belonged to the killers and their victims – including a map, poem, confession letter, stuffed animal, hood ornament and various other items, in several cases, these materials are discoveries first made by the artist and presented here for the first time.

In book form, the work is presented as a sort of visual crime dossier, including pieces of paper which are inserted into the book. The many individual pieces included serve as cues and clues within the visual puzzle. In this way, there are connections that are left for the viewer to be made and mysteries that are left to be solved.

Redheaded Peckerwood is Christian Patterson’s second monograph. His first book, Sound Affects, was published by Edition Kaune, Sudendorf in 2008. His work is in several notable collections including the Libraries of the Museum of Modern Art and the Whitney Museum of American Art, and the New Orleans Museum of Art and the Ogden Museum of Southern Art.

© MACK

New Interview by Greg Jones featured on our sister blog In The...

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New Interview by Greg Jones featured on our sister blog In The In-Between with Danish photographer  Johan Rosenmunthe. He studied at Fatamorgana The Danish School of Art Photography and has been exhibited mainly in European countries, as well as publishing books and being exhibited online internationally. He is also the co-founder of publishing house and exhibition platform Lodret / Vandret. Lives and works in Copenhagen.

Read MORE HERE:

© In The In-Between | Johan Rosenmunthe


 


CHRIS ROUND | Comfortable Displacement  The following series...

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CHRIS ROUND | Comfortable Displacement

 The following series relates to ideas of place identity and place attachment (or sense of place) - the emotional bond a person has with their local environment, usually depending on the length of association with that place. Being a citizen of both Australia and the UK, and having spent an almost equal amount of time in each place, my bond with each country is, arguably, of equal weight. This has created a strange sense of displacement because, although I’m a ‘local’ in both countries, I’m also a foreigner. It’s this displacement that I am trying to convey here. I call it a Comfortable Displacement.

For Comfortable Displacement I selected locations from both countries. However, they’re places with which I have little, or no, previous association. My aim was to be neutral. I wanted to evaluate each scene without any pre-conceived notions of place, or self, documenting the scene with impartiality thus allowing a narrative to be ‘discovered’, not pre-determined. I took the position of a stranger at each location, not quite knowing where to look, before fixing my eye on a scene I engaged with. The deliberately similar lighting conditions also creates neutrality and a visual ambiguity, reflective of my displacement - a portrayal of my blurred identity.

This on-going series certainly raises questions for me. However I don’t believe I need answers. But ultimately, over time, the questions will remain, interrogating my own sense of place, and perhaps my own identity.

© Chris Round

NEW ENTRY AT BAANG AND BURNE GALLERY

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MIKE SCHUWERK When you first glance at Mike Schuwerk’s works, you notice individual objects: a...

Martin Parr‘Assorted Cocktail’Gemeentemuseum, Helmond...

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Martin Parr
‘Assorted Cocktail’
Gemeentemuseum, Helmond (NL)
24.4.2012 - 16.09.2012

A retrospective of the British photographer Martin Parr, that is one of the most influential and innovative photographers of our time. He holds a mirror to contemporary Western society: a world of consumerism, mass tourism and fast food. The exhibition takes place in the Boscotondohal.
Critical, seduction and humor, Martin Parr shows human behavior in a mass culture. Photos that show ourselves in an equally strange and unpredictable mix of dignity and imperfection.

At first glance, his pictures seem exaggerated. The motives for his pictures looks weird and difficult to figure out, the colors are black and the perspective is often unusual. Parr calls “propaganda” the overload of images that reach us through the media. He does this propaganda to attack with his own weapons: a critical view, seduction and humor. This results in a photography often original, entertaining, accessible and understandable. At the same time Parr’s work make us thinking on how we live, how we present ourselves to others and what we find important or valuable. Someway Parr builds an equally hilarious and impressive document of living in current times. In essence, as an anthropologist Martin Parr keep searching through the daily environment for true motives of who we are.

@ Martin Parr

IN THE IN-BETWEEN: “JACKSON PATTERSON” New Interview...

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IN THE IN-BETWEEN: “JACKSON PATTERSON”

New Interview by Greg Jones featured on our sister blog In The In-Between with American photographer Jackson Patterson. He received an MFA from the San Francisco Art Institute in 2009. He has been exhibiting his photographs in Pennsylvania, Vermont, Colorado, Oregon, California and Arizona since 2000 at the Morris Graves Museum of Art, the Pendleton Art Center, The Center for Fine Art Photography, and the Togonon Gallery. His work is in various private collections and in the Paul Sack Collection at the SFMOMA. The Togonon Gallery and the San Francisco Museum Of Modern Art Artists Gallery represent Jackson.  Jackson currently resides and works in San Francisco.

Read more HERE:

© In The In-Between | Jackson Patterson

Group Show: ‘Peripheral Views: States of America’ MoCP,...

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Group Show: ‘Peripheral Views: States of America’

MoCP, Chicago

13.07.2012 - 30.09.2012

As we debate our country’s economic and political course in this election year, Peripheral Views: States of America brings together artists grappling with the difficulty of picturing the United States in our time. Authoritative images and grand narratives give way to malleable viewpoints in this exhibition, with each artist using photography as a means to take measure of our bearings and locate certain markers—past, present, and future—within the American Dream. By using diverse and fragmented images of America as barometers of the social climate, might we create a larger view of the state of this nation? Through closely focusing on the everyday objects, places, and images of the present and immediate past, can latent hopes and desires for an America full of opportunity be revealed?

Some of the artists in Peripheral Views approach issues of class, race, and power indirectly by using information from influential institutions like Google, television, advertising, and government. Other artists evoke nostalgia, as our current anxieties coexist with a longing for a past ideal. As the artists try to bring forward a clearer understanding of the United States today, their photographs operate as synecdoche, or parts attempting to represent the whole. Ultimately their works underscore the impossibility of creating an encompassing picture of contemporary America. A team of seven people organized this exhibition, and likewise many of the artworks were created collaboratively. The multiplicity of creators and imagery reflect a contemporary American experience that is larger than any single person or community, and complex beyond concise explanation.

Featuring works by:
Adam Broomberg & Oliver Chanarin
Veronica Corzo-Duchardt
Nicolas Krebs & Taiyo Onorato 
Liz Magic Laser
Object Orange 
Harry Shearer
Martin Hyers & William Mebane 
Michael Mergen
Doug Rickard

Read more HERE

© MoCP

Roger Ballen ‘Asylum’ Elysée Lausanne, Lausanne 08.06.12 -...

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Roger Ballen

‘Asylum’

Elysée Lausanne, Lausanne

08.06.12 - 02.09.2012

In Johannesburg, where he has been living since the 70’s, the American photographer Roger Ballen visited a very peculiar house four years ago, a house that has become the central focus of his present work. There he found a heterogeneous compound of South-African society. A great number of wild birds freely share the space with the humans, and with many other animals such as cats, rabbits, mice or ducks. The birds are cage less and free to come and go as they please. The rooms in this house are all covered with drawings of familiar, sometimes chimerical, figures and portraits made by the inhabitants.

Roger Ballen has named this place Asylum, which is also the title of his series. An asylum can be both a place of refuge, as well as of confinement.

It is this same ambiguity that gives sense to these images, a balancing act between the birds, illuminating symbols of freedom and peace, and a more somber aspect, chaotic and imbued with folly, exposed in the photographs within this very pictorial space.

The human figure vanishes under masks and make-up, to reveal only body parts and a permanent tension between freedom and confinement, tragic and comical, attraction and repulsion.

The photographer refers to his work as being the perfect meeting point between Surrealism and Art Brut and by incorporating photographic collages, Roger Ballen unveils what he calls an “imaginary realism.”

This exhibition, which will be the occasion to discover this set of yet unreleased images realized between 2008 and 2011, is produced by the Musée de l’Elysée.

© Elysée Lausanne

TATYANA PALYGA 'WHERE I LIVE'

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Everything started when I got angry with myself and decided to sacrifice my own comfort so that to...

PHOTOTALKS: 'ALNIS STAKLE'

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1. I think that most images come from other images. When you make pictures , do you keep...

DANIELE CINCIRIPINI: 'PERSONA'

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After having featured his series Green Life we are glad to introduce the new ongoing series...

Jonathan Torgovnik: 'Intended Consequences'

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Jonathan Torgovnik: 'Intended Consequences': photolia: JONATHAN TORGOVNIK ‘Intended...

The Ghosts of World War II by Sergey Larenkov Taking old World...

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The Ghosts of World War II by Sergey Larenkov

Taking old World War II photos, Russian photographer Sergey Larenkov carefully photoshops them over more recent shots to make the past come alive. Not only do we get to experience places like Berlin, Prague, and Vienna in ways we could have never imagined, more importantly, we are able to appreciate our shared history in a whole new and unbelievably meaningful way.

«Most of my work is devoted to the period of World War II. The most powerful impression on me personally produces a series of photos about the siege of Leningrad, this is my hometown. In addition, here you will find the defense of Moscow, the liberation of Prague and Vienna, the storming of Berlin, some pages from the life of Paris. D-day collages will be ready soon. Some pages of my journal will bring you to the streets of the capital of the Russian Empire, St.Petersburg. Wherever I go, I’m trying to penetrate the layers of time. It does not always do well, but I try. Many thanks for the support staff of the State Museum of History of St. Petersburg, as well as staff of the Russian State Documentary Film & Photo Archive, Krasnogorsk. And of course, fond memories and endless gratitude to the photographers and war correspondents that brought us images of a bygone era». [Sergey Larenkov]

METADATA #12: JIN LEE AND BILL O'DONNELL

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BY DAWN ROE This issue of METADATA focuses on two long-time faculty members in the photography...
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