De talentvolle Belgische fotografe Lara Gasparotto (1989) presenteert haar fotoserie Ask the Dusk als een autobiografie die het midden houdt tussen droom en werkelijkheid. Ze toont geabstraheerde landschappen, portretten van haar geliefden en haar omgeving, in kleur en zwart wit, in een mystieke en vervreemdende context.
Part II of the New Portrait shows works of some of the most innovative contemporary artists . Works include Synchrodogs, the artistic couple from Ukraine, Todd Hido from his Silver Meadows book, Zhang Wei and his Artificial Girl Series , Chris Shaw (Nightporter series) , Kenta Kobayashi , Ren Hang, 223 (Lin Zhipeng) , Lara Gasparotto and Chad Moore.
Daisuke Yokota belongs to a new generation of young Japanese photographers who are radically interweaving photography and bookmaking, breaking rules, combining multiple tools, and pushing experimental limits to the extreme. Yokota’s creative process starts at the point where many other photographers are almost finished. He takes simple snapshots and then creates his final image by applying various techniques and interventions – he photographs, develops, prints, and photographs each image again and again, and he continues experimenting in his homemade darkroom, taking the process even further by developing film in boiling solutions, leaking light, or leaving deliberate scratches. Very often he repeats the process several times and rarely follows the same steps the same way twice, and he employs digital manipulation, but finds that working with film adds more natural distortion. All of these extra layers of intervention combine to create deformation, imperfection, and visual noise, bringing a distinctive visual language to Yokota’s photography.
These photos, either of casual capturing of episodes of quotidian life or of poses, call forth an
“unconventional” sense that is different from the everyday life routine. Such sense of the
unconventional or even uncanny everyday life is particular to this generation or this group of
generation, a kind of sense of imaginary existential beauty. They play houses in their
everyday lives, building on their own a stage-like private secret and virtual vacuum with
neither the bond of traditional moral standard and customs, nor high-spirited social
atmosphere, in which their love, sex, sorrow and happiness are streaming unrestrained
through their self-directed and self-performed play of life for self-entertainment.
Chen Wei has likened his works to “chaotic sentences”. These installations and photographs of installations—usually lightless, disordered, seemingly abandoned interiors—sum up the soulless decay of society and self in contemporary China. Often, a disaster seems to have taken place: it might be a failed love affair, a commercial debacle or a meteor strike. The mood in all his “sets” is a compound of solitude, despair and darkness: windows are invariably boarded up, lights dim or broken. The expected occupants are either absent or hiding.
works by ren hang, lara gasparotto, oliver sieber, lyo yang, zhe chen , zhang hai’er , francoise huguier , chad moore , vincent delbrouck
Ren Hang (born 1987) is a poet and photographer based in Beijing, China. His provocative and explicit, but yet poetic work shot by a common small size digital camera is quite unique .
This rising star in the contemporary Chinese art scene uses constructed staged photography (in some cases pretending to be snapshot)
His works has always been to difficult to show in present day China (except from an exhibition at 3 Shadows and CAFA museum). His photographs are about the present day china, with their relationships, their emotions and their fears.
The people he depicts in his works are mostly looking straight in the camera, often in a setting in nature, on rooftops, or with toys or animals. He uses the body as a sculpture to make a new image, with mostly vivid colours and sometimes over exposed shots.
It is all about the awaking of a new generation in present day china, who seek their way in the present over industrialised and commercialised society, in which they do not find their place. It is about sexual liberty, their lifestyle, their day to day life. Many of the subjects in his pictures as nudity or homosexuality are taboos in China. Together with 223 (Lin Zhipeng) , he is at the foreground of the new avant garde in Chinese Photography. His shows are mostly a patchworks of works, small and big.
The present show is the largest solo show of Ren Hang in Europe, Stieglitz19 was the first one to show Ren Hang , together with 223. Ren Hang will be present at the opening and will show some of his most recent works. When Ren Hang reacts to criticism to his explicit works he replies : What others see as tradition, I don’t see as my tradition.
At times the work is exploitative and highly fetishistic, provoking and immediate emotional response, at other times it is abstract and minimalistic, inviting a quiet contemplation.
With his strongly contrasted black-and-white photography, Yokota seems to, at first glance, be working in the Japanese photography tradition. However a close examination of his work reveals an individual approach in which the elements of process and intervention play an important role. He uses a combination of digital photography and traditional film to shoot and re-shoot images, which he then manipulates further using other techniques such as photocopying and Photoshop. He has set up an improvised darkroom in his apartment where he can freely experiment with analogue techniques and chemical processes, where chance is also allowed to leave its traces on the final image. Yokota adds layer upon layer to his work, with each layer offering new potential for the next image, leading to alienated, mysterious and poetic representations of a different sort of world.
Daisuke Yokota graduated from the Nippon Photography Institute in 2003. In 2008 he received an honourable mention in the 31st Canon New Cosmos of Photography, and he won the grand prix of “1_Wall Award”. Daisuke has several publications to his name, including various self-published books and zines and such recent publications as Site/Cloud (Artbeat Publishers, 2013) and Untitled (Goliga Books 2013). His latest book Vertigo will be published soon (by Newfave books). Daisuke Yokota is a member of the international artists collective AM projects and the Japanese photographers collective mp1.jp. He was recently responsible for the art direction of the latest video clip of the Danish singer Majke Voss Romme, aka Broken Twin. As a winner of the Outset | Unseen Exhibition Fund 2013, Daisuke had a solo exhibition – with works from his Site/Cloud series in Foam, in June 2014.
Deze dubbelexpo toont beelden van 2 van de meest opgemerkte hedendaagse fotografen van dit moment : Vincent Delbrouck en Max Pinckers. Beiden zijn ook gekend door hun uitzonderlijke boeken, die ze uitgeven in eigen beheer. Vincent Delbrouck heeft internationale faam gemaakt met zijn boek Beyond History en As Dust Alights. Van het boek As Dust Alights komt er nu een exclusieve tweede editie uit
Max Pinckers is opgemerkt met zijn eerste boek The Fourth wall, een van de weinige fotografieboeken die zulke internationale erkenning genoten hebben. Will They Sing Like Raindrops Or Leave Me Thirsty is zijn tweede boek.Vincent Delbrouck en Max Pinckers hebben beiden een heel uitzonderlijke beeldtaal ontwikkeld , los van het documentaire. Vincent Delbrouck toont in wereldprimeur een installatie van zijn nieuwe Cuba reeks en 4 beelden uit het boek As Dust Alights.Max Pinckers toont beelden uit de reeks Will They Sing Like Raindrops Or Leave Me Thirsty
Antony Cairn’s LDN Project is an odd architectural record. A metallic hallucinatory fever dream of London at night. Gone are the romantically lit city streets. Instead, light, fog and chemical drips become architectural forces – imposing themselves in from all sides, overriding the buildings and industrial alleyways. The lamposts and lit signs reveal and conceal a new city of diaphanous concrete and plate glass.
The pictures originate as 35mm transparencies, part-developed and then solarised before being re-developed for another five minutes or so. From inter-negatives contact prints are made onto pre-coated aluminium sheets.
A preview of the LDN series was presented at the 2013 Rencontres d’Arles show.
For many years Oliver Sieber has been asking young people to appear before his camera, people whose clothing is associated with a specific subculture, be it punk, skin, teddy boy, rockabilly, goth, etc. Many are extravagantly styled, yet while sometimes the look is an elaborate act, other times an individual figure’s appearance strikes the artist’s interest. Despite the narrow frame and the precision of the photographic depiction, the form of Sieber’s portraits lends the models a certain freedom. Seemingly lost in their thoughts, staring into the distance, they exude an autonomy, a presence within themselves at the moment when the image is made.
Une typologie du corpus d’images de Lara Gasparoto fait apparaître l’insistante figure de la femme : jeune, sensuelle, recueillie parfois jusqu’au repliement. Ce sont elles, ces figures immatures et sexuées, qui permettent de mettre en contact l’intime et les représentations symboliques du monde. On décèle toute une chorégraphie qui est une quête du déplie : comment sortir du fœtal et de ses projections grandioses qui remplacent l’expérience propre du monde ? Comment se jeter à l’eau, cette autre figure récurrente du livre ? Nage, bain, plongeon, autant de scènes de baptême au sens physique du terme grec baptein, « plonger dans un liquide ». Jusqu’à l’idée même du rituel sacré : une silhouette féminine vêtue de lamé semble verser un peu d’eau sur la tête d’un homme au torse nu. L’ondoiement, cette cérémonie simplifiée du baptême, serait une des clés du livre de Lara Gasparoto. Une suite de baptêmes des désirs, des rituels à la fois érotiques et sacrés, plein d’images de fantômes aussi et de paysages inquiétants. Ici, toute intimité qui se révèle est un geste sacré.
Michel Poivert – Sorbonne Paris
Chinese Spring #2 : the new wave of the 21st century Chinese art scene.
Chinese Spring #2 is an overview of some very recent works of the Beijing Avant-Garde. Most of the works of Chi Peng, Liu Xiaofang , 223 ( Lin Zhipeng) and Ren Hang will be shown for the first time ever in Europe. Works of 223, Ren Hang and Chi Peng are very contraversial in China , but they represent the very best of contemporary Chinese Photography , artists that are averse to the commercialisation of Chinese art.
Once Still and Forever nimmt uns mit auf eine Zeitreise durch das Werk von Jessica Backhaus. Der Titel ihrer neuesten Arbeiten fordert geradezu auf, darüber nachzudenken, was war, was ist und was in Zukunft bleiben wird. Wendet man diesen Leitsatz auf die Werkserien von Backhaus an, wird deutlich, welche Entwicklung ihr Oeuvre seit 2005 genommen hat.
Yalkin’s black and white exposes a different kind of rawness, not the rawness of noir but the rawness of discovery.
But what about the notion that street itself is the issue, not to be taken at face value, at worst is nothing but a construction of photography-as-spectacle? Every young photographer who ventures out into the world (and leaves the studio and its conceptual strategies behind) carries the question: is it ok to do this? What am I really contributing? In the younger generation there is a desire to render things as if they had never been seen before (even though they all know that every picture has already been taken).
Yalkin adds a sense of the material reality of the seen: eyeballs, Leica, film are all as thick as the world and form a kind of unity with it. Like Moriyama’s work, the pictures are emotional, expressive; they employ taboo tactics like long exposure to present an interior view, and yet they don’t convey a sense of alienation, rather a sense of immersion. The poetry and the incongruities of the street are not simply visual but visceral, even aural: you “hear” Yalkin’s best pictures. They carry their own audio track.
The project is the result of a unique, extremely accurate research and involves creating photo images to be composed according to the three genres of classical painting (portrait, interior and landscape) plus an array of other artistic and cultural references, organized according to an accurate study. The subjects are all Turin inhabitants. They are portrayed in profile, against a white background, inside their apartments. A window, or glass wall, is clearly visible on the background of each image, and through it you can glimpse a view of the city.
For a month Petersen immersed himself in the life of the famous London district, documenting the streets, pubs, cafes and private homes of the residents. This latest installment of his series City Diaries is a testament to the dynamism and diversity of the area and the people who frequent and live in it.
In zijn uitgepuurde foto’s laat Bert Danckaert de alledaagse stedelijke omgeving zien zoals we die nog nooit zagen. De precieze fragmenten van ordinaire straatgevels die hij met de camera selecteert op zijn omzwervingen in de stad krijgen een beeldende autonomie. Zijn blik transformeert de saaie, doodgewone architectuur waar we aan voorbijgaan tot een esthetische constructie. In dat spanningsveld tussen documentaire topografie en picturale verbeelding, tussen herkenbare banaliteit en abstractie blijft zijn serie-in-progress ‘Simple Present’ fascineren.
John Humble (1944) lives for over 30 years in Los Angeles , and has made over that period of time an extrodinary series : LA Landscape, a series which has been shown at the J. Paul Getty Museum. These images, taken with a large scale camera , placed on his VW van show images from the outskirts of LA, in vivid colours with an extrodinary composition.
Following to this exhibition, John Humble has made a roadtrip throughout the US, documenting the interior of the US , we see crossroads in abandoned towns, shiny grain silo’s , run down shops in abandoned villages. It shows the backside of the American dream , the reality of abandoned towns in the US.
Dave Jordano (1948) has been documenting the American Landscape from his hometown Chicago. He shows for the first time the series Prairieland, a series of images of smalltown America, abandoned villages and towns in the Midwest, pictures look very much like paintings of Hopper.
The works of John Humble and Dave Jordano are in the collections of the MOCP Chicago, the Museum of Fine Arts of Boston, the Museum of Fine Arts Houston, the San Francisco Museum of Arts, the J Paul Getty Museum, the Museum of American Art, the Smithsonian.
Kumi Oguro est une jeune photographe d’origine japonaise ; études au City of Westminster College (Londres), puis à l’Académie des Beaux-Arts et à Saint-Luc (Bruxelles). Pour l’heure, elle vit et travaille à Anvers, a repris des cours à l’université (en études cinématographiques), et entreprend un travail de fin de cycle sur les rapports (théoriques, historiques, plastiques) entre sa propre photographie et le langage du cinéma.