FOTOGALLERIE WIEN09.04.2013 - 04.05.2013
Tommaso Bonaventura, Petra Buchegger, Viola Fátyol, Claire...
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CONSTELLATIONS: PORTRAITS BETWEEN REALITY AND FICTION
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JAY PEG: SANDY ISSUEJay Peg’s in an online publication...
JAY PEG: SANDY ISSUE
Jay Peg’s in an online publication focusing on unique documentary work from nine emerging photographers (all recent graduates of the Documentary & Photojournalism program at the International Center for Photography).
Sandy coverage is as important now as it was five months ago. The recovery effort seems to have reached a turning point where short term solutions are either being replaced by long term solutions or by nothing at all. The major cleanup is nearing an end and for so many the long slow road to recovery is only beginning. Simultaneously there is widespread renewal as businesses reopen their doors and families move back into their homes. This issue will help make people aware of the continuing struggles Sandy has caused and will serve as an unbiased document of this page in history.
Featured photographers:
Adrian Fussell, Andre Malerba, Cassie Giraldo, Cory Schwartz, Daniel Tepper, Gaia Squarci, Johnny Milano, Josh Raab, Vittoria Mentasti
© Jag Peg
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CHARLES FRÈGER‘Wilder Mann’ Yossi MIlo Gallery, New...
CHARLES FRÈGER
‘Wilder Mann’
Yossi MIlo Gallery, New York
11.04.2013 - 18.05.2013
Yossi Milo Gallery is pleased to present Wilder Mann, an exhibition of color photographs by Charles Fréger in the West Gallery. The exhibition will open on Thursday, April 11 and will be on view through Saturday, May 18. An artist’s reception and book signing of his monograph, Wilder Mann, published by Dewi Lewis Publishing, will be held on Thursday, April 11 from 6:00 - 8:00 pm. In the East Gallery, Tim Hetherington’s exhibition Inner Light will be on view during this time. Wilder Mann will be Fréger’s first exhibition with the gallery. Additional images from this series will be exhibited concurrently at the Gallery at Hermès in New York from April 12 - June 8.
Between 2010 and 2011, Fréger traveled to eighteen European countries, from Italy to Poland, Scotland to the Czech Republic, in search of the Wild Man. A centuries-old, legendary figure, the Wild Man continues to be an important symbol of transition associated with festivals that mark the cyclical patterns of life: the changing of the seasons, special religious holidays, rites of passage, life and death. In full-length portraits, the artist photographs celebrants enveloped in traditional costumes crafted from layers of animal skins, local plants, bones and antlers, which visually transform the masqueraders into a wooly bear, a long-horned goat, a demon or man of straw. Fréger photographs these imaginative creatures in their native landscape and explores human fascination with myth, ritual and tradition.
The Wilder Mann series is an anthropological exploration which brings into focus cultures still tied to traditions, the land they inhabit and the cyclical rhythms of life. The series also contemplates man’s complex relationship with nature and how vestiges of these costumes and past rituals continue to influence contemporary life, even in the digital age.
Charles Fréger’s work has been exhibited in solo exhibitions at Musée d’Art Moderne, Luxembourg; Musée des Beaux-Arts de Rouen; Yokohama Museum of Art; Fotohof, Salzburg; and the Maison Européenne de la Photographie, Paris, among others. The artist was born in 1975 and studied at the Rouen Art School, France. He lives and works in Rouen, France.
© Yossi Milo | Charles Fréger
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KATE NOLAN'S BOOK 'NEITHER'
The view of this faded garden explodes my mind and I get paralyzed, I have no clue how to move two...
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UNDERCOVER #013: LUIGI GHIRRI
BY NIKI LECK
Photo: Luigi Ghirri, 1990CCCP “Epica Etica Etnica Pathos”, 1990 Virgin...
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TABITHA SOREN‘Running’ Kopeikin Gallery, Los Angeles13.04.2013 -...
TABITHA SOREN
‘Running’
Kopeikin Gallery, Los Angeles
13.04.2013 - 18.05.2013
Kopeikin Gallery is pleased to present the first solo exhibition of San Francisco based photographer Tabitha Soren’s Running. In this series, archetypal figures struggle to escape or arrive – the viewer cannot be sure. Uncertainty, chaos and vulnerability infuse Soren’s universe: elemental fears made visible. The subjects’ movement forces them out of their heads and strips them of control. A theater of the absurd unfolds as Soren describes our shared instinct to survive. Her figures stumble, grimace and lose composure. They are both wounded and heroic.
Telling her subjects little more than where to run, Soren forces her subjects into real moments of vulnerability and physical exhaustion, their movements providing subject and viewer alike with an opportunity for un-self-consciousness amid a general loss of control. In these snapshots of constructed artifice and uncontrollable motion, Soren depicts a moment in-flux leaving the viewer with something inconclusive and unresolved. Never revealing the motivation of the runner, or their pursuer, the narrative of these images appears to turn on what lies outside the frame. The entire series is characterized by cinematic tension and shared anxiety.
© Kopeikin Gallery | Tabitha Soren
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'ENGINES OF WAR’ AT GASSER GRUNERT GALLERY, NEW YORK
Group Show ‘Engines of War’
Gasser Grunert Gallery, New York28.03.2013 – 04.05.2013
How does the...
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MARK STEINMETZ AT STEPHEN WIRTZ GALLERY
Mark Steinmetz‘Photographs’Stephen Wirtz Gallery, San Francisco21.03.2013 - 27.04.2013
Stephen Wirtz...
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STEVEN BERKOFF AT MIDDLESEX UNIVERSITY LONDON
Born in Stepney, director, actor and playwright Steven Berkoff was given his first camera by “an...
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STORIES #1: ELENA AMAGRO
BY STEVE BISSON
1. Tell us about your approach to photography. How it all started? What are your...
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Winners of the Troika Editions/FORMAT13 Award, Tim Bowditch and...
Winners of the Troika Editions/FORMAT13 Award, Tim Bowditch and Nick Rochowski will present their project Hind Land in a solo show at The Front Room Gallery, London from 5th – 30th June.
What began as an interest in the interplay between the M25 and local woodland has grown into a fascinating photographic survey of the forgotten spaces and pedestrian walkways found beneath the orbital M25 motorway.
Nick Rochowski and Tim Bowditch have produced an intriguing interpretation of one of our more famous and for many, infamous roadways in the UK. Veering away from the surface view of a green landscape bisected by monolithic architecture, Rochowski and Bowditch went underground, exploring the voids left by the motorway as it carves its way through the landscape. The blank canvasses of solid concrete have revealed themselves as a sinuous texture of almost lunar-like quality.
The practice of surveying and its precise and technical methodology has informed Rochowski and Bowditch at all stages of their work. Beginning with online mapping, they identified points accessible via public land. By day Rochowski and Bowditch travelled to their selected locations often marked by water outlets, maintenance tunnels and public footpaths and returned at night to let the camera scan and record this hidden landscape.
Rochowski and Bowditch used an Achromatic Digital Back that records the infrared and ultraviolet parts of the spectrum. This technology, along with hour long exposure times, has produced a set of black and white photographs that in their depth of tone and clarity of focus reveals unseen details of a subterranean landscape with a stillness that is almost palpable.
While working beneath the motorway Rochowski and Bowditch became aware of the acoustic footprint of the M25. Keen to bring an audible component to the project, they approached Matthew de Kersaint Giraudeau to create a sound piece that explores the beat and drone of eight lanes of thundering traffic. This collaboration has become a key element in thinking about the installation of Hind Land within a gallery space. For the show in The Front Room, the gallery will be turned into the dark subterranean hinterland of the M25, with large scale, floor to ceiling photographs shown in a dimly lit room and complimented by the presentation of de Kersaint Giraudeau’s sound piece of rumbling traffic as it travels along the M25.
In a further piece of collaboration, Rochowski and Bowditch commissioned artist Alison Moffett to produce a publication to accompany the exhibition of Hind Land. Moffett has made a pencil drawing consisting of a series of grids onto which she has overlaid a jagged circle of white dots representing the mapping references of the M25 used by Rochowski and Bowditch. By joining up the dots Moffett offers us a new constellation of stars, echoing the pathway of the orbital motorway as if seen in the night sky. Printed on large format paper and folded like an OS Map, Moffat’s Hind Land becomes a blueprint of the underground spaces created by the M25.
For further information and press images contact Bridget Coaker: Info@troikaeditions.co.uk or 020 7833 2330 / TROIKA
© FORMAT
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Mårten Lange
ANOTHER LANGUAGE
Ampersand, Portland28.03.2013 - 21.04.2013
Ampersand is pleased to present ‘Another...
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JOSHA DIDLEY GREER‘Point Pleasant’ Edelman Gallery,...
JOSHA DIDLEY GREER
‘Point Pleasant’
Edelman Gallery, Chicago
08.08.2013 - 04.05.2013
The West Virginia Ordnance Works (WVOW) was an explosives manufacturing facility constructed during World War II just outside Point Pleasant, West Virginia. Occupying 8,000 acres along the eastern bank of the Ohio River, the WVOW was built specifically for the production and storage of trinitrotoluene (TNT). At its peak, nearly 500,000 pounds of TNT were produced here each day and stored in a massive array of concrete igloos. The site was officially declared surplus and closed in 1945, after which time much of the land was deeded to the state of West Virginia for the creation of the McClintic State Wildlife Management Area.
A large system of ponds and wetlands was constructed as a habitat for waterfowl, migratory birds and other wildlife species. This area came to be known simply as T.N.T. and developed into a popular hangout for local youth, hunters and fishermen. In the early 1980’s, EPA and state investigations revealed that the groundwater, soil and surface water of T.N.T. were heavily contaminated with explosive nitroaromatic compounds including TNT, trinitrobenzene, and dinitrotoluene, as well as arsenic, lead, beryllium and asbestos. The site was placed on the EPA’s National Priority List in 1983 and extensive cleanup efforts began in 1991. While a large portion of the original facility has been remediated, many of the toxic and explosive contaminants were simply buried on site. The remnants of the WVOW facility survive as relics to our nation’s violent history, while the re-purposed landscape hides much of its true nature just beneath the surface.
The site that remains outside Point Pleasant is a haunting place of beauty, mystery and violence. Using an 8x10 view camera, I am photographing the ruins of a once monumental military-industrial complex as it tangles with the surrounding landscape of forest, fields and swamp. While certain structures offer a glimpse of what has transpired on this site, many of my photographs refer indirectly to violence and environmental neglect through metaphor. The repetition of specific imagery is intended to create a labyrinth of sorts where certain motifs are experienced over and over. The interplay of visibility and invisibility that runs throughout these images alludes to the way in which we commonly misperceive both contamination and beauty through strictly visual means. TNT storage igloos are depicted in a serial typology to convey the massive scale of contemporary weapons production, while the emptiness of the landscape, photographed with a muted palette and diffused light, is meant to evoke a kind of post-apocalyptic environment - one that is at times bleak and somber, yet also strangely resilient and beautiful.
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RICHARD BENSON: 'NORTH SOUTH EAST WEST'
Jackson Fine Art, Atlanta19.04.2013 - 27.07.2013
Richard Benson has spent his life exploring...
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MARTIN PARR‘Life’s a Beach’ Aperture Gallery, New...
MARTIN PARR
‘Life’s a Beach’
Aperture Gallery, New York
02.05.2013 - 03.07.2013
In conjunction with the May release of the beach-bag-size edition of Life’s a Beach, Aperture is pleased to present an exhibition featuring the best selections from Martin Parr’s beach photography. Parr has been photographing beaches for thirty years, documenting all aspects of them, including close-ups of sunbathers, rambunctious swimmers caught mid-plunge, and the eternal sandy picnic underway. His international career, in fact, could well be traced to the launch of The Last Resort, a 1986 book depicting the seaside resort of New Brighton, near Liverpool.
What may be less known is that this obsession has led Parr to photograph beaches around the world. This compilation, his first on the topic, presents photos of beachgoers on far-flung shores, including Argentina, Brazil, China, Spain, Italy, Latvia, Japan, the United States, Mexico, Thailand, and, of course, the UK. The exhibition brings to the fore Parr’s engagement with a cherished subject matter—that rare public space in which general absurdities and local quirks seamlessly fuse together. This selection of photographs shows Parr at his best, startling us with moments of captured absurdity and immersing us in rituals and traditions associated with beach life the world over.
Martin Parr (born in Epsom, England, 1952) is a key figure in the world of photography, recognized as a brilliant satirist of contemporary life. Author of over thirty photography books, including Common Sense, Our True Intent Is All for Your Delight, and Boring Postcards, his photographs have been collected by museums worldwide, including the Getty Museum in Los Angeles, New York’s Museum of Modern Art, and Tate Modern, London. A retrospective of his work continues to tour major museums around the world since opening at the Barbican Art Gallery, London, in 2002. Parr is a member of Magnum Photos.
© Aperture
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NOBUYOSHI ARAKI‘Nobuyoshi Araki’ Michael Hoppen Contemporary,...
NOBUYOSHI ARAKI
‘Nobuyoshi Araki’
Michael Hoppen Contemporary, London
02.05.2013 - 08.06.2013
Michael Hoppen Contemporary is delighted to announce a new show of work by the Japanese photographer Nobuyoshi Araki. In continuing our exploration and presentation of important Japanese photography, Michael Hoppen Gallery will this year stage major solo shows of two of its grand masters: Nobuyoshi Araki and later in the year, Miyako Ishiuchi. Each an artist with a unique vision and aesthetic, both producing highly charged work in examining the sensitive subjects of that society.
Araki is the king of provocation. In a very particular - and arguably peculiar – way he has made the subject his own. And here we celebrate those images from his most controversial body of work, Kinbaku, the Japanese art of bondage. Kinbaku-bi meaning literally the beauty of tight binding. And yes, though strong and offensive to some, disturbing to others, the pictures are often beautiful.
Araki’s other great obsession, which he started photographing as a schoolboy, is the traditional districts of Tokyo. In his mind the two – the women and the city – seem to be inextricably linked as themes. He has often spoken of his fascination with beginnings, the idea of the womb, and his desire to uncover that which society seeks to conceal. Sex, death and the transitory nature of life are the ideas that persist throughout his work.
Unashamedly, proudly Araki challenges the social mores of his home country and especially its censorship laws. With this in mind, alongside his kinbaku works (recently published in a de-luxe edition by Taschen), the gallery will also hang original 18th and 19th C Japanese Shunga prints – an early form of covertly distributed erotica. These are exquisite woodblock engravings. Highly prized and brilliantly coloured Shunga prints are found internationally in important public and private collection. The British Museum in London is staging a major survey show this autumn.
Araki has spoken of the influence of Shunga on his work.
“I'd like to take photos similar to Shunga, but I haven't reached that level yet. There is bashfulness in Shunga. The genitals are visible, but the rest is hidden by the kimono. In other words, they don't show everything. They are hiding a secret.”
Displayed alongside these woodcuts some of the parallels with Araki’s own aesthetic will be clear, such as in the colourful, luxurious Kimonos and the traditional Japanese settings. This exhibition, uniting these two – the high drama of the large, colourful photographs and the intricate, fine details of the small clandestine erotica engravings – will, we hope, appeal to the private passions of an eclectic mix of people.
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FOTOGRAFIAEUROPEA 2013
Change is everywhere. We see it in society, technology, politics, nature and photography which not...
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CESAR RODRIGUEZ BECERRA‘Judea Cora’«The...
CESAR RODRIGUEZ BECERRA
‘Judea Cora’
«The “Coras” are an ethnic group here in mexico. the majority of them are located on the Sierra del Nayar, in Nayarit but there are also coras in Jalisco and Durango. They have their own language but some of them also speak a little bit of spanish. To access most of the communities you have to fly by small planes as the roads do not exist.
This group was one of the last ones to be conquered in Mexico due to the fact that when the spanish came, the coras went up to the sierras to places where was very difficult to access , in fact, the spanish did not conquered them by force but by religion. Because of this, the coras still have a lot of their traditions and culture intact. They still live up mountain where the electricity , water and other common commodities for us are absent.
The series of portraits was taken this past holy week. they have their very own way to interpret and to celebrate this festivity. When they start the holy week, the go in to their reality, the reality of the coras and thats why they paint their bodys. The red represent the blood of christ. Each “judio” designs their costume and the bodypaint. they put a lot of effort to do this. the ones that have deer horns on their crowns have to hunt the deer themselves, this makes them more “manly” and the size of the horn is the respect they have.
To take pictures of the festivity is not common and you have to talk to the authorities and to the whole participants of the festivity, if they all say yes, then you are good to go.
© Cesar Rodríguez Becerra
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MATTHEW BRANDT'S WATER & POLAROID
Highlight, San Francisco04.04.2013 - 18.05.2013
Highlight Gallery is pleased to present Matthew...
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CHRIS ROUNDTransient Realities This series of images are...
CHRIS ROUND
Transient Realities
This series of images are essentially a dialogue between myself, and locations I’ve visited a number of times. However, due to a combination of different natural and man-made elements, at the time of my visit I discovered an unfamiliar air about them - these places were not how I imagined, or how I had previously pictured them. In discovering this I realised these new and transient realities contrasted with my recollection, my imagination. My relationship with these environments had fundamentally changed. However, from a visual perspective, I felt certain things ‘fell in to place’ giving me a fresh perspective that allowed me to capture this new relationship.
I’ve been almost tempted to question the validity of the pictures, defining them as fictional, though of course by definition they are not. As a consequence perhaps this raises questions about our increasingly insecure relationship with our surroundings, how we are becoming more disorientated in the modern world; how each reality we experience is rapidly replaced by a new an unexpected one.
I’m a Fine Art photographer, based in Sydney, Australia. I am primarily interested in documenting the everyday world around me, with a particular interest in post-natural, human-influenced landscapes. This interest forces me to discover places I never knew existed and surround myself with the unfamiliar. I find these environments dynamic and exciting because they are in a constant state of flux; humans continually change their relationship with their surroundings, for better and for worse, serving up myriad new subject matter. I like to evaluate each scene without any pre-conceived notions of place, or self, documenting scenes with impartiality allowing a narrative to be ‘discovered’, not pre-determined. I’m also fascinated in the temporal aspect of photography and the truth that the scenes I capture will often be dramatically altered, not long afterwards - this anthropogenic ‘cycle of time’ is something I will continue to research.research.
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