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MIKHAEL SUBOTZKYRetinal Shift  “For me, photography has become a...

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MIKHAEL SUBOTZKY
Retinal Shift 

“For me, photography has become a way of attempting to make sense of the very strange world that I see around me. I don’t ever expect to achieve that understanding, but the fact that I am trying comforts me.”   Mikhael Subotzky

Mikhael Subotzky was born in Cape Town in 1981. He became the youngest member of the prestigious Magnum agency aged just 31 and he was recently named winner of the Standard Bank Young Artist Award, 2012.

Subotzky was influenced from an early age by his uncle, Gideon Mendel, one of South Africa’s notable ‘struggle photographers’. Subotzky adopts the directness of the social documentary mode while questioning the photographic medium itself.

Retinal Shift is a first retrospective of Subotzky’s work. He investigates the practice and mechanics of looking – in relation to the history of Grahamstown, the history of photographic devices, and Subotzky’s own history as an artist. The book fuses his compelling and sometimes brutal photography with essays and archived portraits from the last century to create an intricate and esoteric collection.

© Steidl


Will SteacyNo Job No Home No Peace No Rest: An...

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Will Steacy
No Job No Home No Peace No Rest: An Installation
Silver Eye Center for Photography, Pittsburgh
14.09.2012 - 15.12.2012

Silver Eye Center for Photography is proud to announce the opening of No Job No Home No Peace No Rest: An Installation by Will Steacy, one of the most acclaimed and influential young photographers working today. The exhibition is on view from September 14 through December 15, 2012. A gallery talk with the artist, followed by an opening reception, takes place on Friday, September 14, 2012 from 6:30 to 9 pm. Admission is free. The exhibition’s co-curators are Ellen Fleurov, Silver Eye’s Executive Director and Leo Hsu, an independent curator and writer based in Pittsburgh. 

Presented against the backdrop of the 2012 election season, Will Steacy’s new installation is both a chronicle and a critique of a nation where a once-attainable “American Dream” has been replaced, for so many, by a desperate effort to survive.  The exhibition’s title comes from a line in Bruce Springsteen’s song, The Ghost of Tom Joad, which in turn alludes to John Steinbeck’s classic novel, The Grapes of Wrath. Both of these artist-activists have influenced Steacy and, like them, he fiercely identifies with those who are disenfranchised, invisible, and suffering prolonged economic hardship. 

“I am one of the millions of Americans fighting every day with my back against the ropes struggling to find a way to make ends meet,” Steacy writes. “[This] has allowed me to harvest the fear, anxiety, stress, etc. that I feel every day and to use it as not just my voice but the voice of millions of Americans who are right there with me, going through the same thing—my voice is their voice, their voice is my voice, and our voice is that of a troubled nation.”

The exhibition’s centerpiece is Steacy’s 170-foot collage, which he dubs “The Beast.” A systematic, often eviscerating dissection of American policies and politics, the collage is made up of thousands of clippings from newspapers collected over many years, his own photographs and writings, and found objects. It is shown here for the first time in its entirety, along with thirty-two photographs from earlier and ongoing projects—Down These Mean StreetsAll My Life I Have Had The Same Dream, and We Are All In This Together.

About the Artist

Will Steacy (b. 1980) comes from five generations of newspaper men and was a union laborer before turning to photography. It is not surprising, given his upbringing and work history, that writing is as much a part of Steacy’s DNA as picture-making. “While most may be familiar with my images, it is the words that got me there. Both words and images are an integral part of my process. During the course of a project I fill tons of notebooks with ideas, plans, notes, experiences, dreams, etc., and I continue to fill these notebooks as I make photographs. I am writing as I am shooting and it is my writing that I return to between trips/shoots. The words allow the pictures to happen; they are the bridge to the other side.”

Writing often accompanies the display of Steacy’s photographs. He has also taken full advantage of digital platforms to give us stories and commentaries that are, by turns, intensely introspective, poetic, uncensored, and full of insight, outrage, and bitter truths. Will Steacy’s personal reportage can be found in his much-discussed blog, Will Steacy, Too Tough To Die.

Born in New Haven, CT, and raised in Philadelphia, PA, Will Steacy received his B.F.A. from New York University in 2003. He was named one of Photo District News’ 30 Emerging Photographers To Watch in 2011, and is also the recipient of prestigious awards such as The Tierney Fellowship and The Aperture Foundation-Illumination Fund Green Cart Photography Commission. 

Will Steacy’s work has been widely exhibited, collected, and featured on CNN, NPR, and BBC, and in The New Yorker, The New York Times, Esquire, Harper’s, Time, Newsweek, and The Guardian, among others.  His books include The Monstropolous Beast (Christophe Guye Galerie, 2010), Photographs Not Taken (Daylight, 2012), and the forthcoming Down These Mean Streets (B. Frank Books, fall 2012).

The artist currently divides his time between New York and Philadelphia. He is represented by Michael Mazzeo Projects in New York and Christophe Guye Galerie in Zurich, Switzerland.

© Will Steacy

Anastasia Khoroshilova‘Starie Novosti’ (Old News)A Cooperation...

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Anastasia Khoroshilova
‘Starie Novosti’ (Old News)
A Cooperation with Culturescapes
Kunsthaus Baselland, Basel
Curated by Sabine Schasch

The Russian artist Anastasia Khoroshilova (born in 1978 in Moscow, lives in Berlin and Moscow) completed her studies in 2004 at the University of Duisburg-Essen under Prof. Jörg Sasse. Since then, the artist who originally wanted to study photojournalism has already carried out numerous solo exhibition projects, for instance, at the Sacharov Centre in Moscow (2006), at the Centro per l’arte contemporanea Luigi Pecci in Prato, at Kunsthalle Lingen, at the Museum of Modern Art in Moscow, and in particular her worka were seen in the context of collateral projects at the 54th Biennale di Venezia. Kunsthaus Baselland is delighted to present her project Starie Novosti (Old News) shown there to the Swiss audience for the first time as part of the Culturescapes Festival. 

Starie Novosti (Old News) deals with the terrorist attack on a school in the town of Beslan (Beslan is a small town in the Republic of North Ossetia-Alania in Russian Northern Caucasus), in which Chechen and Ingush terrorists captured more than 1120 children and adults between the 1st and 3rd of September 2004, and 331 of these hostages died according to official reports. Against the political backdrop of the struggle for independence of some Caucasian republics, the terrorists ostensibly pursued the goal of exchanging the lives of mothers and children against that of imprisoned rebels. The complex historical background of this act, however, also includes the deportations of Chechen and Ingush Muslims under Stalin since 1944 and the takeover of their settlements by the Orthodox Christian Ossetians. When the Ingush wanted to take possession of their houses again in the 1950s, disputes arose, leading to open conflicts during the 1980s in the Soviet time, when the terrorists were born. The unprecedented violence and cruelty to women and children that kept the world on tenterhooks during the attack in Beslan, was often referred in the media as the last terrorist breach of a taboo.

In her work, Anastasia Khoroshilova questions how the media deals with human disaster, but is also interested in the fast pace, forgetfulness and the ephemeral nature of such historical events. While the events were presented in all the TV news channels and radio stations worldwide during the hostage crisis and even the smallest development was broadcast to the world, today its remembrance has largely sunk into oblivion. In contrast to the annual commemoration of the 9/11 attacks in the media, the events in Beslan have become a selective historical event “somewhere far away”. How is history created? Which part of the individual memory becomes part of the collective memory and what in turn finds entry into the so-called official historiography? How long does the compassion stirred up by the media last? Questions like these form the background of Anastasia Khoroshilova’s installation that includes nine photographic light boxes mounted in transport chests, which show nearly life-size portraits of mothers who either were themselves victims of the kidnapping and/or lost their children in the terrorist attacks. The portraits are juxtaposed with televised images of the former live broadcasts. The two different pictorial realities point to the widening temporal gap between the state of emergency on the one hand and living with the personal experience on the other. For the exhibition, a new series of photographs is additionally shown that depict the scenic surroundings of Ossetia. The Caucasus was once considered an important leisure resort of the Soviet Union. With the knowledge of the tragedy in Beslan, even the idyllic landscape seems to have lost its innocence.

© Anastasia Khoroshilova 

Moments of Reprieve: Representing Loss in Contemporary Photography

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BY MARCO BOHR Group Show: Moments of Reprieve: Representing Loss in Contemporary PhotographyParadise...

YAAKOV ISRAEL: "THE QUEST FOR THE WHITE MAN ON THE DONKEY"

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BY ANDREA FILIPPIN Book Review Leafing through the book ‘The Quest for the White Man on the...

Doug Dubois‘My Last day Seventeen’Encontros Da Imagem,...

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Doug Dubois
‘My Last day Seventeen’
Encontros Da Imagem, Braga
14.09.2012 - 28.10.2012

Russell Heights is a housing estate of uncertain vintage that sits on Spy Hill overlooking Cork Harbor on the Great Island in East Cork, Ireland. The neighborhood is insular: everyone seems to be someone’s cousin, former girlfriend or spouse. Little can happen there that isn’t seen, discussed, distorted beyond all reason and fiercely defended against any disapprobation from the outside.

My introduction to Russell Heights came at the invitation of Kevin and Eirn, two teenagers who took part in a photography workshop I gave at the local community centre. The title of the project, My Last Day at Seventeen was uttered by Eirn when I photographed her on the eve of her eighteenth birthday. Certain photographs are made spontaneously, but most are fashioned collaboratively utilizing a chosen wardrobe, setting and circumstance. These scenes are carefully crafted and stylized to evoke the narrative rhetoric of literature and film without abrogating entirely the photographic claim to depict lived experience. The portraits, similarly directed, are often tightly framed to concentrate on the anxious countenance and fragile bravado of a future life not fully imagined or realized.

The photographs were made over a four year period during a series of artist residencies at the Sirius Arts Centre in Cobh. Collectively, My Last Day at Seventeen presents a somewhat fictional, somewhat documentary account of adolescence in Ireland and a coming of age story about a small group of teenagers from Russell Heights.

© Doug Dubois 

ISIA Urbino Group Show‘TERRITORIALmente’Si Fest, Savignano sul...

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ISIA Urbino Group Show
‘TERRITORIALmente’
Si Fest, Savignano sul Rubicone
14.09.2012 - 16.09.2012

In the educational project TERRITORIALmente, students concentrate on the society transformations, focusing on the consciousness of the landscape as a cultural asset. The main research points have been to understand the landscape complexity and trying to experiment new photographic writings. On show there will be some end of year courseworkand some degree thesis of students of the ISIA Istituto Superiore per le Industrie Artistiche di Urbino, created with the teachers of the courses of Photography: Mario Cresci, Guido Guidi, Luca Capuano, e Paola Binante and Teachers of Graphic Publishing: Leonardo Sonnoli, Mauro Bubbico, Luciano Perondi e Roberto Pieracini.

© SiFest

Between 1973 and 2010, Dubai transformed entirely. In this...

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Between 1973 and 2010, Dubai transformed entirely. In this Landsat 7 image, taken on Oct. 6, 2010, dense gray city blocks are surrounded by plant-covered land, which is red. Artificial islands dot the coast. Dubai’s growth is built on tourism, trade, and oil.


Group Show‘Body Language: ouvres de la collection du Fotomuseum...

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Group Show
‘Body Language: ouvres de la collection du Fotomuseum Winterthur’
Centre Culturel Suisse, Paris Photo 2012
14.09.2012 - 16.12.2012

The exhibition presents a selection of photos around the human body, its representations, its postures, gestures, meanings in the intimate sphere or in the social field. Widely represented since the beginning of photography, the body has become an important issue since the 70s. Its representation becomes a source of claims regarding identity, homosexuality or feminism. Since then the body is unavoidable in contemporary creation.

Featuring: Vito Acconci (US), Laurie Anderson (US), Nobuyoshi Araki (JP), Richard Avedon (US), Anne de Vries (NL), Valie Export (AT), André Gelpke (DE), Nan Goldin (US), Aneta Grzeszykowska & Jan Smaga (PL), Peter Hujar (US), Barry Le Va (US), Ulrike Lienbacher (AT), Urs Lüthi (CH), Anetta Mona Chisa & Lucia Tkácová (RO/SK), Robert Morris (US), Marianne Müller (CH), Paulina Olowska (PL), Walter Pfeiffer (CH), Rockmaster K (CH), Ugo Rondinone (CH), Igor Savchenko (BY), Lorna Simpson (US), Annelies Štrba (CH), Hannah Villiger (CH).


©  FotoMuseum Winterthur

NICOLA NUNZIATAThe Eighteens  The Eighteens document a...

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NICOLA NUNZIATA
The Eighteens 

The Eighteens document a particular use of photography in the hinterland of Naples (Italy). On 18th birthday of his daughter, families organize lavish ceremonies and big dance parties, calling for the girl make-up artists and photographers.

This phenomenon is very marked in agricultural hinterland areas where families are not so rich. The ceremony marks a transition to adulthood, the photographer remains alone with the girl trying to build together with her glamorous image. A clumsy fashion of themselves, an home-made glamour created from their personal imaginary.

Photos are taken in their own homes and bedrooms or in the cozy restaurants booked for the party. I reproduced these photographs by photographing the shop windows of photo studios where the images are displayed as some kind of portfolio. 

Photographers visual references, trying to build images that awkwardly mimic those of glossy magazines, the interiors and the details at the periphery of the image, that are beyond his control and recorded in the images, are isolated and reproposed to build a social portrait and to suggest a reflection on the cultural value of photography.

The eighteens is an ongoing archive. 

Nicola Nunziata is a visual artist working with different media including video, sound, photography, actions, installations and printed matters. Focusing on political, social and cultural issues, his projects explores topics of identity, representation of reality, culture transmission, relations and language. He play an active role in Italian non profit art scene since 2008 as founder of Sottobosco, a non profit organization based in Venice.

© Nicola Nunziata 

GEERT GOIRIS: DARK CLOUD

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Geert Goiris‘Darkcloud’Galerie Art: Concept, Paris08.09.2012 - 13.10.2012 For his second solo...

JENNIFER LOEBER

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CRUEL STORY OF YOUTH In 2007, I simultaneously photographed a series while filming documentary film...

PHOTOTALKS #41: HAROLD DIAZ

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BY STEVE BISSON 1. Tell me how you get to photography and visual art in general?  «The process...

George Segal, The Holocaust, 1984 George Segal (November 26,...

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George Segal, The Holocaust, 1984

George Segal (November 26, 1924 – June 9, 2000) was an American painter and sculptor associated with the Pop Art movement. He was presented with a National Medal of Arts in 1999. Although Segal started his art career as a painter, his best known works are cast lifesize figures and the tableaux the figures inhabited. In place of traditional casting techniques, Segal pioneered the use of plaster bandages (plaster-impregnated gauze strips designed for making orthopedic casts) as a sculptural medium. In this process, he first wrapped a model with bandages in sections, then removed the hardened forms and put them back together with more plaster to form a hollow shell. These forms were not used as molds; the shell itself became the final sculpture, including the rough texture of the bandages. Initially, Segal kept the sculptures stark white, but a few years later he began painting them, usually in bright monochrome colors. Eventually he started having the final forms cast in bronze, sometimes patinated white to resemble the original plaster.

MAX SHER & JEGOR ZAIKA: ‘VID NA ZHITELSTVO’

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Max Sher & Jegor Zaika‘Vid na Zhitelstvo’curated by Svetlana TaylorWinzavod Center for...

Taryn Simon‘Black Square’Gagosian Gallery, Athens25.09.2012 -...

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Taryn Simon
‘Black Square’
Gagosian Gallery, Athens
25.09.2012 - 07.12.2012

“Archives exist because there’s something that can’t necessarily be articulated. Something is said in the gaps between all the information.” —Taryn Simon

Over the last five years, Simon has sought out and photographed disorienting subjects—each highlighting a specific cultural complexity, collapse or ambiguity—within the exact frame size as Kazimir Malevich’s 1915 Suprematist masterpiece, Black Square. An elemental black square painted on canvas with a white border, it represented both an end and a beginning in art history: an attempt to create a new abstraction devoid of overt social or political meaning, yet devastating in its implications for the representational image. In her contemporary homage, Simon embraces Malevich’s aesthetic intention and its profound impact on the history of art and visual communication, but pushes his initiative forward onto contemporary ground.

Simon’s Black Square expands on earlier bodies of work, specifically An American Index of the Hidden and Unfamiliar (2007), which explored the covert intersection between private and public domains; and A Living Man Declared Dead and Other Chapters (2008–11), for which she travelled widely to research and record bloodlines and their related stories. Here she continues to probe the relationship between image and text, access to information, and engagement with history. The subjects of her photographs are drawn from a wide span of cultural subcategories, including nature, science, government, and religion, and range from eccentric to haunting—a book included in an official American time capsule teaching a distant future about a language called “English”; a blue and gold macaw suffering from feather destructive disorder due to boredom and a lack of companionship in captivity; Ethel and Julius Rosenberg’s final letter, written to their children on the day they were executed at Sing Sing Correctional Facility.

Simon uses a large-format view camera when conditions permit, and most of her compositions are accompanied by a text as a key to visual subject and situation. The combination of image and word underscores Simon’s role as both witness and informant. Framed against a crisp, impenetrable black background, the Black Square photographs pop with seductive theatricality. In Black Square II an artificial heart hovers, spectral white, evoking life’s fragility, its dependence on technology, and perhaps even the fleeting nature of love. In Black Square IV, shot in South Africa, roiling flames explode from a Toyota Corolla, a paradoxically violent anti-hijacking system. In Black Square I, Bill Gates appears as a ghostly hologram against an inky backdrop, guardian of the world’s largest photographic archive that has been entombed below ground, no longer accessible for research. His pale, deathly image speaks of the precarious future of cultural heritage in the age of corporate takeover. Through her incisive and provocative photographic practice, Simon probes the gaps and cynosures between image and text, exposing “fact” as a realm where total understanding is impossible and ambiguity reigns supreme.


© Taryn Simon 

Jacques Henri Lartigue ‘Instants de vie’ Fifty One Fine Art...

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Jacques Henri Lartigue
‘Instants de vie’
Fifty One Fine Art Photography, Belgium
07.09.2012 - 20.10.2012

Fifty One Fine Art Photography is proud to present the first solo exhibition of the work of Jacques Henri Lartigue (1894-1986). Lartigue left an enormous body of work, consisting of approximately 100 000 snapshots, numerous diaries and about 135 self-composed photo albums, in which he documented his own environment. The world of Lartigue is a universe populated by racecars, airplanes, jumping people and the French bourgeoisie of the 20th century. He experiments with shutter speed and movement and his small stature results in some unusual framing in his early years. The work of Lartigue is a unique time document, an idyllic view into the bourgeoisie life of the past century.

The exhibition includes a number of Lartigue’s iconic images, such as the photograph of his cousin Bichonnade (1905), floating above the stairs of the family home in Paris; the one of Monsieur Folletête, the secretary of his father, throwing the dog Tupy in the water of the ‘Bois de Boulogne’ (1912) and the image of the lady in fur coat in that same Parisian park, walking her two white dogs and throwing the young Lartigue a sideways glance (1911). Furthermore, there’s a selection of portraits of women in the upper part of the gallery, one of the favorite recurring themes that pervade the work of the artist.

Jacques Lartigue was born in 1894 in Courbevoie, in one of the wealthiest French families of that time. For his eighth birthday, the little Jacques got his own glass plate camera (13×18) from his father, with whose camera he had already made some family pictures. He described and sketched every photograph he took extensively in his diaries, fearing that the image would have failed and therefore the memory of the moment would have been lost. It was the beginning of what he would do his entire life until 1986: the continuous photographing of his own environment. It took about sixty years and several cameras, till Lartigue, who until than in fact made a living as a painter, was discovered by the public. To some extent, he owes his fame to John Szarkowski, the former director of the photography department at the MOMA in New York, who planned a big solo show after seeing some of the photographs of Lartigue’s many youth albums in 1962. The exposition got publicity in Life Magazine, by chance in the same issue in which the death of John F. Kennedy was extensively described. Hence, Jacques Henri Lartigue suddenly became a famous photographer and entered into the canon of photographic history. Collaborations with other great photographers followed (Richard Avedon put together the retrospective work ‘Diary of a Century’) and Lartigue was praised by among others Henri Cartier Bresson, Cecil Beaton, Helmut Newton and Jean-Loup Sieff. In 1979, Lartigue donated his collected works to the French government, who continues to manage the oeuvre of the photographer under the Donation Jacques Henri Lartigue and with whom was collaborated for the current exhibition.

The photographic work of Jacques Henri Lartigue is difficult to classify, because he primarily took photographs for his own pleasure. He described it as follows: “My self-centeredness alarms me. There is a spectator in me who watches, with no concern for specific events, without knowing if what is happening is serious, sad, important, funny, or not. A breed of extraterrestrial, who has come to Earth simply to enjoy the show. A spectator for whom everything is puppetry, even – and especially – me!”. In this regard, Lartigue is often described as the ultimate amateur, who in his mania to capture his environment, made a detailed time document in order not to forget and was only added to the list of masters of photography later on. It also seems as if Lartigue lived in a sort of mundane bubble, independent from all historic events, in a world where everyone is pretty and young and no speck of ugliness is to be seen. It’s a bit strange, to say the least, that a photographer, whose work and life spans two world wars and drastically changing times, makes no mention of it in his images. Lartigue writes in 1917: “If this “journal” doesn’t mention the war, it is first of all because this is not a “journal”. It is my little secret ruse for preserving joys or my happiness, my immense happiness, all perfumed with inexplicable things”.

It is like this Lartigue’s work should be read, as a representation in images of the pure bliss of the photographer. His black and white photographs amuse by their vivid mobility, disarm with their unconstrained look and make the spectator smile through their pleasant foolishness. Today Lartigue’s photographs can be found among others in the collections of the MoMA and the Met, New York; The National Gallery of Art, Washington; Tokyo Metropolitan Museum, Japan; Musée d’Orsay, Paris; Fotomuseum, Antwerp and the Fotostiftung Schweiz, Winterthur. More than 250 shows of his work have already circulated worldwide of which only two were to be seen in Belgium (Namur, 2001; Charleroi, 2003).

© Jacques Henri Lartigue | Fifty One Fine Art Gallery

WOLFGANG TILLMANS: ‘NEUE WELT’

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Kunsthalle Zurich, Zurich01.09.2012 - 04.11.2012 The first exhibition in the Kunsthalle Zürich’s...

David Bailey‘Papua Polaroids’Daniel Blau, London05.10.2012 -...

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David Bailey
‘Papua Polaroids’
Daniel Blau, London
05.10.2012 - 05.11.2012

“In ’74 I photographed the cannibals in New Guinea. They treated me OK but they didn’t make you feel relaxed…I managed to escape unscathed though, I’m pretty good at that.”

A visit to Bailey’s studio. A treasure!

A box of Polaroids from 1974. When visiting an artist as versatile as Bailey, one should always expect the unexpected. Despite this, it was a great surprise to discover a box of Polaroids taken in Papua New Guinea in 1974, fascinating for their subject matter as well as for their artistic merit. What followed was a happy-dance and a handshake confirming the opening of “Papua Polaroids” on October 4th.

In 1974 David Bailey visited the New Guinea wilderness and pointed his Polaroid camera at the bow and arrow carrying people, resulting in photographic portraits that have been hidden from view in his archive ever since. Today indigenous peoples are gazed at and possibly even envied by us for the seemingly simpler and more understandable world they inhabit.

The nostalgic aura of Polaroid film intensifies this sense of longing for a more natural and primal way of life. Daniel has long been interested in Oceanic Art. It is therefore a particular pleasure to find this interest mirrored in Bailey’s work of the 70s.

© Daniel Blau | David Bailey

Adam Broomberg & Olivier Chanarin‘To photograph the details...

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Adam Broomberg & Olivier Chanarin
‘To photograph the details of dark horse in low light’
Paradise Row, London
13.09.2012 - 20.10.2012

The title of Broomberg and Chanarin’s new solo exhibition at Paradise Row was originally the coded phrase used by Kodak to describe the capabilities of a new film stock developed in the early 80’s to address the inability of their earlier films to accurately render dark skin.

Jean-Luc Godard famously refused to use Kodak film during an assignment to Mozambique in 1977, on the grounds that the film stock was inherently ‘racist’. In response to a commission to ‘document’ Gabon, Broomberg and Chanarin recently made several trips to the country to photograph a series of rare Bwiti initiation rituals, using only Kodak film stock that had expired in the late 1950’s.

Using outdated chemical processes Broomberg and Chanarin succeeded in salvaging just a single frame from the many colour rolls they exposed during their visits. It is presented along side an array of black and white photographic tests, whose parameters were dictated to them by a deceased family friend, an anatomist and amateur photographer, Dr. Rosenberg.

The exhibition centers around a series of these partly exposed, haphazardly cropped proto-images, originally printed as test strips. The grey tones, grain and texture of black and white photographic chemistry are foregrounded in these outsized ‘darkroom’ experiments.

In this wide-ranging meditation on the relationship between photography and race, the artists continue to scrutinise the photographic medium, leading viewers through a convoluted history lesson; a combination of found images, rescued artifacts and unstable new photographic works.

© Paradise Row 

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