Amis de la bande-dessinée...
Par Bruno MASI - vendredi 27 mai 2005 (Liberation - 06:00)
: Frantico
: Mélaka
: Laurel
: Hervé Bourhis
: Boulet
: Cha
: Collectif
: Le site du magazine Psikopat
http://www.liberation.fr/page.php?Article=299376
VIII Festival Internacional de Fotografía y Artes Visuales
52 exhibitions of more than 100 artists from 20 countries
Bernd and Hilla Becher
William Klein
Stan Douglas
Stephen Shore
Martin Parr
Bertien van Manen
Juan Ugalde
Bill Owens
Keith Haring
Montserrat Soto
Stephen Gill
...
www.phedigital.com
PHE05 comprises 52 exhibitions of the work of more than a hundred photographers and visual artists from 20 countries. Among the great names in this edition are Bernd and Hilla Becher, William Klein, Stan Douglas and Stephen Shore. PHotoEspaña presents new projects produced specifically for the Festival by Martin Parr, Bertien van Manen, Miguel Trillo and Juan Ugalde.
PHE Campus organises workshops in Aranjuez with René Burri, Alberto García-Alix, Donna Ferrato and Massimo Vitali, among others. Oliviero Toscani will give a master class. Encuentros PHE addresses the Festival theme with the participation of architects and urban planners. PHotoEspaña leaves Madrid for the first time. Toledo will host two Official Section exhibitions. IVAM and the Instituto Cervantes join the Festival.
The eighth edition of the International Festival of Photography and the Visual Arts, PHotoEspaña 2005, begins in Madrid on June 1st. Once again, the city's major museums, art centres, exhibition halls and galleries host more than 50 exhibitions with recent projects by outstanding visual artists and images by the great masters of international photography.
PHotoEspaña is photography's fiesta: exhibitions, activities, professional encounters, a portfolio review, workshops and master classes with photographers are all ingredients of a festival that for a month and a half turns Madrid into the world capital of photography.
The title of PHE05 is Ciudad (The City). The 26 exhibitions in the Official Section are characterised by the use of documentary languages and the proximity of artistic work to common experience. Ciudad speaks of current urban reality by taking a journey into our daily existence in the single global city. Ciudad is a route that tests the capacity of visual arts to give form in the richest and most critical way possible to the complex and confusing urban life of our time. It is a proposal committed to the present that describes the global city in which we live and simultaneously inspires in spectators possible interpretations of the future.
In this edition, PHotoEspaña increases the number of exhibitions produced specifically for the Festival. Eleven artists show new projects commissioned by PHotoEspaña.
Twenty-one art galleries and five guest halls participate in the Off Festival.
Communications Manager
Alvaro Matías
Tel. +34 91 360 13 24
E amatias@phedigital.com
www.phedigital.com
International Press
Catherine Philippot
Tel. +331 40 47 63 42
E cathphilippot@photographie.com
© 27.05.2005 Photography-now
www.photography-now.com
In the future, when people will look back at Sept 11, 2001, they might well say, it was the high point of the American Empire.
New York City has been for many years the center of the New Rome, and we are the Romans. Ironies abound of course, as New York City is perhaps the most democratic city in the Republic and one of the most democratic cities the world has ever known. Never the less, as the Romans before us, there are plenty of people who despise our power, and plenty of people that will never be, nor do they ever want to be, citizens.
Thirty four years ago Bleak Beauty's photographer recorded the demolition of mostly 19th century buildings located below Chambers street in Lower Manhattan. On the east side of the island, near the fish market, room was being made for a new ramp onto the Brooklyn Bridge and for the expansion of Pace College. On the west side, over 12 blocks of buildings were brought down to make way for the future World Trade Center. In 1967, the year these pictures were made, sixty acres of buildings in these two areas were demolished. The photographs were published as a book, sadly called, "The Destruction of Lower Manhattan." [...] more
174 Chambers at Bishops Lane - copyright Danny Lyon
Lower Manhattan viewed from helicopter, 1967 - copyright Danny Lyon
Bleak Beauty Home
(In English - 28 Minutes)
A Short Thriller by Mitra Tabrizian
A hit man from an unknown Islamic country is sent to London to assassinate an influential writer who has sought political asylum in Britain. The film focuses on the unusual encounter between the two men; a writer who has given up his life’s work and has lost belief in any political intervention, and a loyal soldier who is loosing his loyalty. The hunter & the hunted with one thing in common; they have nothing to lose!
The story is told mainly from the hit man’s point - of – view; a man who can not forget his past
director’s statement
The film focuses on a fictional Islamic country. The actual cast come from different Islamic countries: Iran, Iraq, Turkey, Lebanon & Morocco. The intention here is to indicate how, metaphorically speaking, fundamentalism has created its own state, with English paradoxically as the only common language! Different Islamic countries speak in different languages & often have to use English to communicate.
So the film’s use of English language is an ironic commentary on this reality - & on the notion of ‘authenticity’ (a film or a nation cannot be ‘authentic’ unless they express themselves in their original language) that both the East & the West seem to perpetuate.
************
mitra tabrizian is a photographer who has made three short films, currently
working on a feature script. She has published & exhibited widely & in major
international museums & galleries. She lives & works in London.
************
http://www.filmsocietyhf.com/Mai%20mainj%20frame.htm
samedi 21 mai 2005 (Liberation.fr - 23:23)
Honorés une première fois en 1999 avec «Rosetta» par un jury présidé par David Cronenberg, les frères Jean-Pierre et Luc Dardenne ont à nouveau décroché la Palme d'or, cette année avec leur long métrage «L'enfant».
Ils ont dédié leur récompense, décernée par un jury présidé par le cinéaste bosniaque Emir Kusturica, à la journaliste de Libération Florence Aubenas et à son chauffeur Hussein Hanoun, retenus en otage en Irak depuis le 5 janvier.
Le Grand Prix est allé à «Broken Flowers», du cinéaste américain Jim Jarmusch. «Je suis sans voix», a réagi celui-ci, remerciant toute son équipe et adressant une mention particulière à son acteur principal Bill Murray.
«Le véritable et grand honneur fut de figurer dans une sélection aux côtés d'aussi grands cinéastes», a-t-il poursuivi. «Je suis très honoré d'avoir vu mon film présenté avec les vôtres, d'être des vôtres».
Le Prix d'interprétation féminine a distingué l'actrice israélienne Hanna Laslo, l'une des trois interprètes principales du film «Free Zone», du cinéaste israélien Amos Gitaï.
«Je veux partager mon prix avec ma mère, survivante de l'Holocauste, survivante d'Auschwitz, et avec tous les survivants de l'Holocauste encore vivants. Je veux le partager aussi avec les victimes des deux côtés, israéliennes et palestiniennes. Il est temps de s'asseoir et de discuter pour résoudre les problèmes», a dit l'actrice.
Le prix d'interprétation masculine a été décerné à Tommy Lee Jones, interprète principal et réalisateur du film «Trois enterrements» (The Three Burials of Melquiades Estrada).
Ce film reçoit aussi le Prix du scénario en la personne de son scénariste Guillermo Arriaga. «Je partage cet honneur avec tous les Mexicains et surtout ceux qui tentent de franchir la frontière pour pouvoir mener une vie décente», a-t-il dit.
Le Prix de la Mise en scène est revenu au réalisateur autrichien Michael Haneke pour «Caché» et le Prix du Jury au cinéaste chinois Wang Xiaoshuai pour «Shanghai Dreams».
http://www.liberation.fr/page.php?Article=298228
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This month is an important one for photography in London. Many events are organised through photo-london, such as exhibitions, book signings by photographers and artist talks. I won't list in this post the events programmed, but do go and check photo-london for more information. There are tons of stuff to see!
Call for Entries
Entry forms for the 2005 Schweppes Photographic Portrait Prize are now available:
Call for Entries
Entry Form
For more info check out: http://www.npg.org.uk/live/schweppes.asp
n.b.: All photographs submitted must be delivered at the London College of Communication between Monday 18 and Friday 22 July 2005 (9.00-17.00 only). There is a £12 levy per photograph submitted and a limit of six photographs per application.
The Ian Parry Scholarship 2005 deadline will be Tuesday 21st June. Applications are available by download only from www.ianparry.org
Ian Parry was a photojournalist who died whilst on assignment for the Sunday Times during the Romanian revolution in 1989. He was just 24 years old. The Scholarship was set up by his friends and family in order to build something positive from such a tragic death.
Each year we hold a competition for photographers who are either attending a full-time recognised photography course or who are under the age of 24. Entrants must submit a portfolio of their work and a brief synopsis of a project they would undertake if they won the award. Currently the prize is £1,500 of Nikon camera equipment, and a further £2,500 towards their assignment. Metro Imaging also offer £500 worth of vouchers to the winner and £250 to those awarded highly commended and commended.
As you can imagine this is a significant prize for a photographer and coupled with the continued support of The Sunday Times Magazine, which publishes the winner's work, the scholarship provides an excellent launch into a professional photography career. Year after year, the award has highlighted the work of some of the industry¹s finest emerging talent, all of whom have progressed into professional careers and still support the award. Last year¹s winner, David Hogsholt, has since won a World Press Award for his photographs of Mia, a young drug addict in Denmark.
We are delighted to announce that World Press Photo have agreed to automatically accept the winner onto their final list of nominees for the Joop Swart Masterclass in Amsterdam, as a result of so many of our previous winners having attended this prestigious event in recent years.
Once again, our extremely popular and well-attended print exhibition will take place at the Tom Blau Gallery in London, showing all of the winning entries and an edited selection of images chosen by the judges from work entered into the award. The exhibition will run from 24th August for two weeks.
David Hogsholt
Our key sponsors are: The Sunday Times, Getty Images, Nikon UK
Our thanks to Metro Imaging, British Journal of Photography and the Tom Blau Gallery for their generous support.
Rebecca McClelland , Deputy Director The Ian Parry Scholarship & Sunday Times Magazine becky@ianparry.org 0207 7827391 www.ianparry.org
"Les Arlésiens possèdent une collection unique au monde de 4 000 photographies, résultat de 40 ans de donations et acquisitions. Pour la première fois, 650 oeuvres majeures de ce fonds sont présentées au public en six lieux du 9 avril au 2 juin 2005 dans le cadre de l’exposition XL.
Davantage qu’une expo, c’est un véritable festival de la photo qu’organise ce printemps le musée Réattu. XL ne signifie pas une grande taille mais 40 en chiffres romains. Car le lien entre Arles et la photo est né il y a exactement 40 années, de la volonté de Jean-Maurice Rouquette et de Lucien Clergue de faire reconnaître la photographie comme un art, au même titre que la sculpture ou la peinture."
lire le reste de l'article
http://www.ville-arles.fr/portail/index.asp?p=1&site=evenement&id=55
Martin Parr
British, b. 1952
"Born in Epsom, Surrey, Martin Parr has studied photography at Manchester Polytechnic (1970-73) and gained early recognition in Europe and abroad as he won three successive awards from the Arts Council of Great Britain in the late 1970s.
To support his career as a freelance photographer, he took on various teaching assignments between 1975 and the early 1990s. Then, after much heated debate because of his provocative photographic style, he became a Magnum member in 1994, and his work has been widely exhibited in Europe and the United States and acquired by a large number of public collections.
In recent years Parr, a prolific photographer who best expresses himself through books, has continued shooting assignments in medium-format color, but has also experimented with fill-in flash and a 35mm ringflash camera. His subject matter continues to be the study of the idiocies of mass tourism as well as the spiritual crisis of the lower classes and the middle class. He shows us an environmentally destroyed world in which the major saving grace is a gritty, very British sense of humor. He has shot several film documentaries and a TV documentary, "Think of England"."
http://www.magnumphotos.com/c/htm/TreePf_MAG.aspx?E=29YL53UHBZX&Det=T
Parr specialises in the boring. He loves and collects boring photographs. There is a lot of humour and cynicism in all of his photographs. He is also obsessed with objects and now has the biggest collection of Saddam Hussein watches (he made a series out of them - see below). Martin Parr prolonges the documentary tradition, with a twist. A must see. He had a big influence on Stephen Gill (see link for his work) who is now receiving a lot of attention as well.
Parr also organised the exhibitions in the "35es Festival international de la photographie" in Arles in 2004, a show where he has been participating since 1986.
Martin Parr - Europe (From the Phone Series)
Martin Parr, Ocean Dome [bath center], 1996
C-Print, ex. no. 2/25, 41,5 x 51 cm [65,5 x 74 cm framed]
Martin Parr, from Common Sense 1995-1999. Martin Parr, courtesy Rocket Gallery
Martin Parr, from Common Sense 1995-1999. Martin Parr, courtesy Rocket Gallery
Partial Bibliography
Bad Weather, 1982
A Fair Day, 1984
Last Resort, 1986
One Day Trip, 1989
The Cost of Living, 1989
Home and Abroad, 1993
Bored Couples, 1993
From A to B, 1994
Small World, 1995
Common Sense, 1999
Boring Postcards 1999
Martin Parr. Autoportrait. 2000
Think of England. 2000.
Martin Parr, 2002
Martin Parr will be exhibiting his Fashion Show at the Rocket Gallery from 20 MAY to 3 JULY.
Rocket (New Space in the Tea Building)
Ground Floor, Tea Building, 56 Shoreditch High St, E1 6JJ
"How foolish of me to believe that it would be that easy.
I had confused the appearances of trees and automobiles,
and people with reality itself, and believed that
a photograph of these appearances to be a photograph
of it. It is a melancholy truth that I will
never be able to photograph it and can only fail.
I am a reflection photographing other reflections
within a reflection. To photograph reality
is to photograph nothing."
What do you think?
"Mirrors, like camera lenses, reconstitute a chosen subject onto a flat surface by redirecting beams of light. How could they fail to fascinate a photographer like Duane Michals, who has spent his life mistrusting the world of appearances in order to delve into truths that lie beyond the surface, but who must do so - because of the very nature of his medium - on just such a surface?.
Unusually for a photographer, Michals has repeatedly stressed his suspicion of the purely visual to the extent even of abandoning, from time to time, the lens-based image in favour of purely verbal description. Having introduced handwritten inscriptions onto his prints in the late 1960s, in the mid-1970s he made a series of works combining texts and images and some consisting of text alone. All of these were written onto photographic paper and editioned in the same way as the pictures taken with a camera, laboriously copied out for each separately signed and numbered print, as a way of asserting that even in these purely calligraphic works he continued to identify himself as a photographer, albeit one of a very particular sort.
One of the most important of these text-only pieces, amounting almost to a statement of belief, is A Failed Attempt to Photograph Reality (1975), which consists of just four sentences in which he summarizes with wonderful economy his understanding that any attempt to photograph 'reality' can only end in failure because it is based on a confusion between experience and the transient look of things. His conclusion: "I am a reflection photographing other reflections within a reflection" suggests a profound unease with the whole process of trying to trap appearance, a futile process which for him results in an uncertainty about his very own existence.
Another text-led work of that period, Someone Left a Message for You (1974), presents the artist's written message entirely within a sequence of four photographic images. The viewer is presented with the photographic reproduction of a piece of paper onto which a left-handed person appears to be writing a sentence backwards in mirror-writing. As used by Leonardo da Vinci on some of his annotated manuscripts, it is a technique associated with secret knowledge and private erudition. For Michals, however, the reversed handwriting, which can easily be deciphered by placing a mirror up to the surface, functions as a means of drawing the spectator into the creative act as a form of communication between the imagination of the artist and that of the intended audience. "As you read this" says the message, "I am entering your mind". In the very act of hearing oneself say these words, the process has been made complete. And it has been achieved through one of the simplest devices available to a photographer: that of flipping the negative before printing. (…)"
http://www.exitmedia.net/prueba/eng/articulo.php?id=4#
The Victoria Miro Gallery presents recent works by Thomas Demand. The exhibition will feature approximately five large-scale photographic works and the London premier of his most recent film Trick (2004). His critically acclaimed solo show at the Museum of Modern Art, New York, is the first one man show in the newly re-opened space and continues until 30 May 2005.
Thomas Demand has said of his work “I’m combining a painter’s and sculptor’s concerns in a third medium photography”. He begins with an image, usually although not exclusively, taken from a photograph culled from the media, which he reinterprets into a three-dimensional life-size model made from coloured card and paper. These models are photographed with a large-format-camera and the resulting photographs displayed unframed behind Plexiglas. Once they have been photographed the models are destroyed. His meticulous craftsmanship means that the photographs often look at first glance like real places. In her MoMA catalogue essay Roxana Marcoci observed, “…despite their illusionism, Demand’s staged tableaux reveal the mechanisms of their making. Minute imperfections – a pencil mark here, an exposed edge there, and a wrinkle in the paper – are deliberately left visible. The lack of detail and cool, uniform lighting expose the whole as a construction. …The resulting pictures are convincingly real and strangely artificial”.
Free from human presence, the spaces Demand represents are often historically loaded, although he offers few markers for interpretation. In the works exhibited at the Victoria Miro Gallery Demand refers to the media coverage of powerful current events. The titles of works such as Gate (2004), Kitchen (2004) and Attempt (2005) sound benign but they provide a neutral front for politically charged subjects. In his most recent work Attempt Demand has reconstructed from photographs the studio of an artist whom Baader-Meinhof terrorists targeted in the 1970s in order to blow up the house of the state’s prosecutor next door. Gate is perhaps one of the most direct of Demand’s recent interpretations of the role of the image between reportage, document and its concurrent mystification. Taken from the perspective of a surveillance camera, it shows the customary objects of airport security: the empty runs, trays, rollers, tables and x–ray machines, a non-space intended to process people on their journey. In Kitchen Demand depicts a scruffy kitchen filled with pots, pans and plastic utensils that is taken from a media photograph of former Iraqi leader Saddam Hussein’s hideaway where he took refuge during the American invasion of Iraq in 2003. As in Gate and Attempt this almost trivial space turns out be a coded representation of a political incident, or as the critic Neville Wakefield recently observed, Demand “proposes prosaic architecture as silent witness to the pathologies of social disturbance”.
Trick (2004), the artist’s latest 35mm film, refers back to the beginnings of cinema and is based on one of the first films of the Lumière brothers, Assiettes tournantes (Turning Plates) of 1896. Demand’s Trick re-creates a sequence in which a performer executes a stunt by spinning a set of bowls and plates on a tabletop. As in his photographs Demand enhances the artifice of the illusion by presenting the spinning dishes in the absence of a performer.
Biographical notes:
Born in 1964, Demand began as a sculptor and took up photography to record his ephemeral paper constructions. In 1993 he began making constructions for the sole purpose of photographing them. He studied sculpture at the Kunstakademie Düsseldorf from 1989 to 1992 and took an MA in Fine Art at Goldsmiths College from 1993 to 1994. His exhibition continues at the Museum of Modern Art, New York, until 30 May 2005. Recent solo exhibitions include the German Pavillion, 26th São Paulo Biennial and Phototrophy, Kunsthaus Bregenz. in 2004, the Louisiana Museum of Modern Art, Humlebaek and Lenbachhaus, Munich in 2003 and 2002 and the Fondation Cartier pour l’Art Contemporain, Paris in 2001. Current publications include Thomas Demand, Museum of Modern Art, New York with text by Roxana Marcoci and a short story by Jeffrey Egendides and Phototrophy, Kunsthaus Bregenz with essays by Ralph Rugoff and Julia Franck.
Press enquiries:
Kathy Stephenson
Kathy@victoria-miro.com
Victoria Miro Gallery
16 Wharf Road
London N1 7RW
phone + 44 (0)20 7549 0422
fax + 44 (0)20 7251 5596
www.victoria-miro.com
Open Tuesday to Saturday
10am to 6pm, admission free
Underground Old Street / Angel
Juergen Teller: "I always use 35mm cameras. They are very magical for me, I think it is very close to life. With a medium-format camera, the image is flat and looks like a photograph because it becomes studied and structured. Using a 35mm camera, it feels like I have caught something out of life. It provides a way of breaking down certain barriers because I'm shy, and it helps ease down the person I'm photographing. It gives a certain rhythm and the other person has a sensation that this is not that precious or important. The interesting point is where things start and end. What is reportage photography, portrait photography or fashion photography? How can you separate photography's capacity both to trace something real - the event in front of the camera - but also to express the photographer's pre-conceived ideas and sensibility? Photography carries both real and fictional elements and I enjoy the slippage between the traditional genres of photography that this combination allows. With everything in life, we want to put things in categories. I think there aren't many photographers who are able to blur the lines. You do have a slightly different way of working with different subjects but , in a way, it is all the same. Sometimes the reason you take photographs is to find out something for yourself. You are really curious to see how something looks in a picture. I want to show what I am curious about, go into areas that I am unsure of and that are uneasy for me. The camera opens doors to places you would never get without it. As long as I have emotion, I am sure I will explore things."
Imperfect Beauty: The making of contemporary fashion photographs. Charlotte Cotton. 2000. London: V&A Publications
p.123
2004 Jeremy Deller. Video, Installations. Texas Memory Bucket, The History of the World 1997-2004.
2003 Grayson Perry. Ceramics. Golden Ghosts, I was an Angry Working Class Man.
2002 Keith Tyson. Installation, mixed media. A Tiny Bubble of Complexity, Two discreet molecules of simultaneity.
2001 Martin Creed. Installation. Work No. 227: Lights Going On and Off.
2000 Wolfgang Tillmans. Installations, photography. Concorde, Blushes.
1999 Steve McQueen. Video. Deadpan, Triptych Drumroll, Prey.
1998 Chris Ofili. various paint, elephant dung. No Woman, No Cry, The Virgin Mary.
1997 Gillian Wearing. Video, photographs. 10-16, Sixty Minute Silence.
1996 Douglas Gordan. Video. Confessions of a Justified Sinner.
1995 Damien Hirst. Installations, variety of materials including formaldehyde and cows. Mother and Child Divided.
1994 Antony Gormley. Sculpture, Iron, terracotta. Testing a World View, Field for the British Isles.
1993 Rachel Whiteread. Installations, casts of commonplace objects. House.
1992 Grenville Davey. Sculpture, Steel. HAL.
1991 Anish Kapoor. Sculpture. Many Untitled pieces.
1990 No Prize - Cancelled due to bankruptcy of sponsor; Drexel Burnham Lambert
1989 Richard Long. Installations, variety of materials including clay. White Water Line.
1988 Tony Cragg. Sculpture, mixed media, including building materials. George and the Dragon, On the Savannah.
1987 Richard Deacon. Sculpture, variety of materials including laminated wood. To My Face No.1.
1986 Gilbert & George. Photo-piece. Coming.
1985 Howard Hodgkin. Oil on wood. A Small Thing But My Own.
1984 Malcolm Morley. Oil painting. Farewell to Crete.
http://www.pubquizhelp.34sp.com/art/turner.html
"Luc Delahaye has won the Deutsche Börse Photography Prize 2005.
Four photographers were shortlisted for the £30,000 prize. The exhibition will be from 8 April – 5 June 2005 at The Photographers' Gallery and the award ceremony took place on 11 May 2005.
In its inaugural year, the Deutsche Börse Photography Prize continues The Photographers’ Gallery’s commitment to showcasing new talent and highlighting the best of international photography practice. With generous support from the new sponsors, Deutsche Börse, the Prize continues as one of the most prominent exhibitions at The Photographers’ Gallery as well as being placed amongst the most prestigious international awards. The four shortlisted photographers are as follows:
Luc Delahaye (b.1962, France)
JH Engström(b.1969, Sweden)
Jörg Sasse (b. 1962, Germany)
Stephen Shore (b. 1947, USA)
The Deutsche Börse Photography Prize aims to reward a living photographer, of any nationality, who has made the most significant contribution to the medium of photography during the past year."
http://www.photonet.org.uk/programme/citibank.html
Richard Billingham
born 1970 in Birmingham. Lives and work in Brighton.
Richard Billingham, still an art student, wanted to be a painter. He started taking snapshots of his family in their council flat. The photographs were crude and sincere, starting with B/W and then turning to colour. Attention was drawn on the textures and fabrics, varied patterns giving great visual results. Yet his intentions were only to make paintings from the photographs. His first book of photographs, Ray's a Laugh rocketted him to success as a photographer in the 1990s. It all came quite unexpectedly for Billingham. Feeling he has exploited the snapshot aesthetic enough, Billingham is shooting in 6x7 medium format since 2000, concentrating on nature, landscapes and more abstract kinds of work to turn away from the snapshot. How long will it take for him not to be associated to the snapshot anymore?
Billingham won the Citibank Private Bank Photography Prize in 1997 and was nominated for the Turner Prize in 2001.
Untitled, 1994
Untitled, (Dog Licking Floor), 1995
cibachrome mounted on aluminum
41 1/3 x 62 1/4"
Untitled, (Liz's Kitten), 1995
cibachrome mounted on aluminum
19 4/3 x 29 1/2 "
Untitled, 1995
Ethiopian Landscape III, 2001
Untitled n.13, Black Country, 2003
An exhibition of his new work, Black Country, is on at the Anthony Reynolds Gallery in London. 24 April - 28 May.
60 Great Marlborough St, W1F 7BG
The FLASH event that was advertised on this blog a few days ago was actually some sort of terrorist attack on the Tate institution. A young artist decided to invest the turbine hall's gallery space to "flash" ie exhibit herself to the various visitors of the Tate on an unusually quiet saturday afternoon. Wearing solely a red plastic coat and matching red boots, she stood assured in the middle of the turbine hall, facing the stairs, and opened the coat to the full extent of her arms. Her naked body was covered by an armour made of 21 10x15cm photographs attached together and picturing a real size naked body. She stood like this for 6 long minutes while accomplices where photographing and filming the performance.
This was actually part of an art school module on how to use or invest gallery spaces. This taking over of a major art institution was a very unusual way of going about things. Well done! Come on tutors, give her a good mark...
back view of the artist in the turbine hall
side view
Born 1962 in Brooklyn, lives in New York City.
Crewdson’s intricate compositions require up to four weeks of planning on the part of the artist and many hours of set design and lighting with the help of more than 35 stagehands, electricians, gaffers, and actors. These elaborate techniques, coupled with powerfully suggestive scenes, have garnered Crewdson recognition as one of the major forces in narrative photography.
Untitled (pregnant woman/pool), 1999. Laser direct C-print, Edition 4/10, 50 x 60 inches. Solomon R. Guggenheim Museum, Purchased with funds contributed by the Photography Committee. 2000.70.
Untitled (sod man), 1999. Laser direct C-print, Edition 8/10, 50 x 60 inches. Solomon R. Guggenheim Museum, Purchased with funds contributed by the Young Collectors Council. 2000.92.
Untitled (family dinner), 2001–02. Digital C-print, 53 x 65 inches (framed). AP 2/3. Solomon R. Guggenheim Museum, Purchased with funds contributed by the Photography Committee. 2002.30.
He was recently on show at the Whitecube Gallery in London, Hoxton Square.
"American photographer Gregory Crewdson's work is notable as existing within the photographic tradition initially developed by the likes of William Eggleston and Walker Evans in a head on collision with filmmakers Stephen Speilberg and David Lynch.
Crewdson primarily depicts the home and suburban disquiet within his photographs, creating elaborate sets worthy of a Hollywood production in order to enhance the sense of malaise and unease. Crewdson's still images act as disturbingly incomplete sentences, with little reference to what went on before and what may follow. Crewdson himself has referred the 'limitations of a photograph in terms of narrative capacity to have an image that is frozen in time, (where) there's no before or after' and has turned that limitation to strength.
Earlier pieces such as 'Untitled' (Suburban Lawn) from 1987-1988 and 'Untitled' (Mulch Circle) of 1997 are most remarkable for what is omitted from the picture frame. Eerily silent gardens on hot summer days where children do not play and the garden table, layered with food appears hurriedly abandoned. A darkened desolate lawn, a car erratically parked on top of the immaculately cut grass and the sparsity of the surroundings emphasised by the illuminated windows. In the series 'Twilight' (1998 - 2002), Crewdson takes these ideas further and makes vivid our imaginations and hidden fears. The mother that appears naked at the dinner table, bearing a vapid expression, whilst the family 'carries on regardless' is chilling in it's closeness to reality, the feeling evoked by these psychologically charged cinematic stills is one that this really 'could happen to you', whilst other images - the man climbing the floral beanstalk, could be straight out of dreamland.
Fantastical in outcome, Crewdson's photographs are often the result of highly complex staged scenes that are constructed by the artist and then digitally manipulated. This process from concept to conclusion is lengthy and again subverts the age-old conviction in the power of the camera to record 'truths'.
Gregory Crewdson teaches at Yale University, from where he graduated in 1988 and has had solo exhibitions at the Museo Nacional Centro de Arte Reina Sofia, Spain (1998), Emily Carr institute of Art and Design, Vancouver (2000) and Site Sante Fe, New Mexico (2001). Aspen Art Museum will present a survey of Crewdson's work in 2002/03 and he also curated the exhibition 'American Standard (Para) Normality and Everyday Life' at Barbara Gladstone Gallery, New York in 2002."
http://www.whitecube.com/html/artists/grc/grc_frset.html
Untitled (flower pile). 2001. Digital C-print. 48 x 60 in.
Untitled (woman stain). 2001. Digital C-print. 48 x 60 in.
CHERRYVILLE - Police arrested a Shelby man, interviewed a Waco man and are looking for another Waco man in the shooting death of the owner of an N.C. 150 poker parlor.
Johnny Thomas Mitchell Jr., 21, 102 Dakar Drive, Shelby, faces one count each of first-degree murder and robbery with a dangerous weapon. He is in Gaston County Jail without bond, and declined a request for an interview.
But police don't think Mitchell was the person who shot Howard Ford "Sonny" Neill Sr., 59, at his 2268 Highway 150 business. Cherryville Police Detective Sgt. John Burgin said Edward Hopper, 24, of Edna Drive, Waco, shot Neill after he and Mitchell robbed the business owner.
chell and a third man went in and played the poker machines Monday night between 11 p.m. and midnight, while Hopper stayed outside, Burgin said. Mitchell acted like he was leaving but turned at the last second and did the robbery himself, Burgin said.
After Neill handed Mitchell some money, Hopper entered the business and demanded more, which he got, Burgin said.
"Then he turned and shot Neill," Burgin said. "It was really a senseless act."
Detectives are unsure how much money was taken. They arrested Mitchell on Wednesday and interviewed a third man, Chris Lipscomb, 27, of Goddard Road, Waco. Burgin expects to arrest Lipscomb on lesser charges Friday for his alleged involvement in the robbery and killing, following a review of the case by District Attorney Mike Lands.
Police contacted Hopper by phone and asked him to turn himself in, but he refused, Burgin said. Late Wednesday night they were still looking for Hopper, who also faces first-degree murder and robbery with a dangerous weapon charges.
the story is true. check out http://www.shelbystar.com/news2001/_disc4/00000bf8.htm
LEMONDE.FR | 12.05.05 | 08h06 • Mis à jour le 12.05.05 | 15h05
Un tableau d'Edward Hopper, Chair Car, a été adjugé plus de 14 millions de dollars (plus de 10,8 millions d'euros), prix jusque-là jamais atteint par le peintre américain, lors d'une vente d'art contemporain qui a battu plusieurs records mercredi soir chez Christie's à New York.
Cette toile de 1965, l'une des dernières de l'artiste à être encore entre les mains d'un particulier, a été acquise par une galerie américaine. Le précédent record pour Hopper s'élevait à 2,42 millions de dollars (1,8 million d'euros), depuis la vente de South Truro Church en 1990.
Lors de la même soirée, mercredi, un Willem de Kooning, Sail Cloth (1949), est parti pour 13,1 millions de dollars (10 millions d'euros), un Mark Rothko de 1964 (Untitled) pour près de 10,1 millions de dollars (7,8 millions d'euros) un Andy Warhol (Flowers, 1965) pour 7,85 millions de dollars (6 millions d'euros).
Seize artistes ont battu leur propre record, dont, outre Hopper, Philip Guston (pour The Street, 1956, 7,29 millions de dollars - 5,6 millions d'euros - alors qu'il avait été estimé entre 3 et 4 millions), Franz Kline (pour Crow Dancer, 1958, 6,4 millions de dollars - 4,9 millions d'euros). Jamais une sculpture de Jasper Johns n'avait atteint ce prix : plus de 3,9 millions de dollars (3 millions d'euros) pour The Critic Sees (1961). James Rosenquist a également pulvérisé son record (Be Beautiful, 1,2 millions de dollars - 900 000 euros), tout comme Isamu Noguchi (The Cry, plus d'un million de dollars, 776 000 euros).
Cette seule soirée a rapporté 133,7 millions de dollars (103 millions d'euros), là encore un record mondial pour une vente d'art contemporain et d'après-guerre, confirmant que cette catégorie d'œuvres continue à tirer le marché.
Au total, 35 pièces sont parties mercredi pour plus d'un million de dollars chacune.
79 % des acheteurs étaient américains et 20 % européens, selon Christie's.
"La vente de ce (mercredi) soir fut extraordinaire", a commenté Christopher Burge, président honoraire de Christie's Amérique et commissaire-priseur de la soirée. "Avec des pièces remarquables allant des années 1940 à aujourd'hui, elle avait tout ce dont un commissaire ou un collectionneur pouvait rêver. Les candidats se sont d'ailleurs battus férocement sur quasiment chacun des lots".
Autres clous de la vente, les Britanniques Francis Bacon et Lucian Freud, le premier atteignant 3,9 millions de dollars (3 millions d'euros) avec sa Seated Figure de 1979, le second 5,6 millions de dollars (4,6 millions d'euros) avec Naked Woman on a Sofa (1984-1985).
La veille, la grande soirée de l'art contemporain chez Sotheby's New York avait rapporté 68 millions de dollars (52,7 millions d'euros), dont 12,6 millions investis par le joaillier britannique Laurence Graff dans Liz, un portrait d'Elizabeth Taylor réalisé par Warhol en 1963.
Les enchères de printemps des deux grandes maisons de vente, commencées à New York le 3 mai avec l'art moderne et impressionniste, s'achèvent jeudi, avec une dernière session d'art contemporain chez Christie's.
Avec AFP
http://www.lemonde.fr/web/article/0,1-0@2-3246,36-648695@51-627789,0.html
et tant que l’on parle des peintres américains, 32 peintures de Jackson Pollock de petits formats ont été découvertes dans un dépôt de Long Island, New York, par Alex Matter. On pense que Herb Matter, le père d’Alex, ami de Pollock lui ayant prêté un studio à une époque, aurait reçu ces peintures en guise de loyer. Ces peintures datent de 1948-49 et malgré leur petite taille elles ont été réalisé de la même manière que les œuvres monumentales pour lesquelles Pollock a marqué l’histoire de l’art. Déjà sur ces petits tableaux, Pollock usait d’Action Painting, il ne les a pas touché pour les peindre.
Ces œuvres devraient petit à petit se retrouver sur les routes américaines pour des expositions dans diverses galleries du pays.
Source : The Independent du 12 Mai 2005
Born in Bruck/Mur, Austria in 1954.
Lives and works in Vienna and New York.
Before being a photographer, Wurm is a sculptor. He uses photography to record obsolete sculptures acted out by people he meets on the street. His interest lies in traces. He documents performances.
Outdoor Sculpture, Taipei 2000, 159.1 x 126.5 cm
Outdoor Sculpture, Appenzell 2000, 120 x 80 cm
Outdoor Sculpture, Appenzell 2000, 120 x 80 cm
Jose Pedro Cortes has photographed extensively in three cities across Europe, including London, Paris and Berlin. His work forms a dense poetic narrative of encounters with city, inhabitants and loose events of the street. In his recent series, "Untitled Light," the late, slanting city light catches pedestrians mid-stride in a subtle game of disclosure versus darkness. Pedro Cortes received a MA Photography (with honors) from Kent Institute of Art and Design in 2004, and is currently working toward an exhibition at the National Gallery of Photography in Lisbon, November 2005.
“
But why, after all, was Paris the chosen city? Was it merely the coincidence of Breton and the others being there at the right time? Or a certain tradition of iconoclasm, of historical acts of revolt? Of anti-clericism? Of architecture, eroticism, the life of the streets? All these factors played their part, no doubt, and one must be aware, in retrospect, that what happened by chance may appear to have been inevitable, but even so the city connived and in part dictated the form in which Surrealism evolved. Its femininity acted as the ideal Surrealist muse; a role the movement assigned, much to the recent indignation of some women liberationists, to ‘Woman’ in general. No other city has this quality. Most cities are masculine.
The comparative failure of London to establish itself, despite the valiant efforts of E.L.T. Mesens, as a Surrealist centre is a case in point. No doubt there were many reasons: the absence of cafés (not at all a frivolous factor, as we shall see), the British mistrust of systems of thought (‘Paul Nash’, E.L.T. said, ‘was a gentleman first, a Surrealist afterwards’), a lukewarm and short-lived commitment to group activity, a Protestant rather than Catholic culture and so on, but even so the masculinity of London remains a major factor. It is a city with compensating features (although increasingly these are being eroded), but its charms are bluff, its vices oafish. In the nineteenth century, if Dickens is to be taken as evidence, there were still eddies and backwaters where mystery swam under the dark surface, but by the ‘twenties and ‘thirties these had been drained or diverted. Protected by the Channel, we remained obstinately insular and Surrealism, when it eventually arrived over ten years after its birth, was greeted with dismissive ennui by the majority of intellectuals, as a raree show by the public, and as a useful sauce to spice up their over-cooked imagery by those artists who were at a loss as to what to serve up next. With very few exceptions, nobody prepared to face the splendours and miseries of living, or trying to live, the Surrealist life, and those who did, both then and later, came almost exclusively from the provinces.
It could be argued here, as I stressed earlier that the same was true of most of the Parisian Surrealists, but for them the French capital distilled their efforts, sustained their beliefs and took them, whether friend or foe, seriously. London never did that.
“
George Melly, Paris and the Surrealists (Honk Kong: Thames and Hudson, 1991), p.63
Two emotionaly charged and wonderfully crafted love stories:
BUFFALO 66 (1998) - Vincent Gallo - 110min
and
LOS AMANTES DEL CIRCULO POLAR (1998) - Julio Medem - 112min
Kodak va réduire sa présence en France d'ici à 2008. Le site de Chalon-sur-Saône, l'un des plus importants en Europe avec 1800 personnes, doit préparer sa fermeture dans un délai de «trois à huit ans», a annoncé le PDG de Kodak France, Jean-Pierre Martel. «Nous vivons actuellement une migration de la technologie argentique vers le numérique.
Le site de Chalon repose entièrement sur l'argentique. Les réductions d'effectifs seront progressives, au rythme de la diminution de nos commandes.» Après les suppressions de huit laboratoires de développement à Lorient, Poitiers, Seclin, Villé, Vitrolles, Caen, Toulouse et Nantes à la fin du mois, le site industriel de Kodak Indutrie est visé.
Il fabrique des produits pour l'industrie cinématographie et pour la radiologie médicale. Mais les secteurs du cinéma et de la radiologie se convertissent aussi au numérique. La mutation du groupe américain est d'autant plus spectaculaire que le géant de la photo a attendu 2003 pour s'engager dans cette technologie.
En janvier 2004, Daniel Carp, PDG du groupe, avait annoncé la suppression de 20% des postes dans le monde et la suppression d'un tiers des usines d'ici à 2006.
Jean-Pierre Martel assure qu'à Chalon-sur-Saône, Kodak devrait céder progressivement la place à un parc industriel installé sur son site de 70 hectares. «Nous sommes en discussion avec des groupes appartenant à l'industrie agroalimentaire, à la haute technologique», affirme le PDG de Kodak France. Des négociations sont entamées depuis près d'un an pour trouver des successeurs au géant de la photo.
«Nous obtiendrons les premières signatures d'entreprises avant l'été», déclare Michel Allex, maire de Chalon-sur-Saône et ancien premier adjoint de Dominique Perben, aujourd'hui ministre de la Justice. La semaine prochaine, Michel Allex ira à Bercy plaider en faveur de la création d'une zone franche.
La disparition programmée de Kodak est d'autant plus inquiétante que, fin avril, un dossier de candidature avait été déposé au ministère de l'Economie pour que Chalon-sur-Saône devienne un pôle de compétitivité dans le domaine de l'imagerie. L'École nationale des arts et métiers (Ensam) y a installé son Institut de l'image. Après le départ de Kodak, Chalon-sur-Saône risque de ne plus pouvoir revendiquer son titre de «ville de l'image».
par Valérie Collet
[06 mai 2005]
http://www.lefigaro.fr/eco-monde/20050506.FIG0131.html
***Richard Billingham : Artist's talk introduced by Roger Hargreaves
Acclaimed photographer Richard Billingham, will be giving an overview of his artistic production starting from his early black and white photographs of his father and his snapshot family portraits - Ray's a Laugh - through his more recent landscape and video works.
***Saturday 14th May 4pm
***National Portrait Gallery
***Free, booking essential
To book, please email name and telephone number to talks@photo-london.com with "Billingham" in the subject line
*** INTERVIEWS AVAILABLE ***
Please contact Claire on 020 7428 4949 or at claire@ideageneration.co.uk for more information
Flash will take place in the Turbine hall at the Tate Modern on Saturday the 14th May, at 3pm. Please arrive at 2.45pm outside the entrance to the hall.The Performance/Exhibition will last approximately 10 mins.
Depending on the security guards!
The show will start in Paris on the 25th of May at the Centre Pompidou. it will be on until the 08th of August.
Disclaimer:
Africa Remix sera au centre pompidou du 25 mai au 08 aout...
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