Juanan Requena
Juanan Requena
Born in La Mancha, Spain, the place where Don Quixote began his fierce search for absolute truth with his vision and ideals, Juanan Requena experiences an initiatic journey of discovery which began with a road trip in the desert. An ordinary book full of photos and poems found at a supermarket was his map and lightbox. Juanan shared the road with the camera, this way emerging his experiences out of his perception and into the birth of the images carrying with them a memory and a story to tell.
Juanan’s creation seems to tell the story of an escape but in reality it is a departure to get even closer to the center. The living diary has its own scent, form, light, limitations and its own place among the limitless constellation of memories. Images are linked by words, which do not define them as a title but accompany them, shading a raw light over what the artist has lived – the same way Kerouac’s words became captions to the drawings in his masterpiece „On the road”. The raw light takes the shape of bulbs of light irradiating over the handwritten messages, trying to decipher the artist’s secret, to decode a deeply rooted message or translate a silence bursting with sounds and filmstrips.
vue de dos
Vue De Dos
works by ren hang, lin zhipeng, pixy liao, liang xiu, rong rong, lara gasparotto, thomas vandenberghe , daisuke yokota, daido moriyama, Hosoe Eikoh, Chad Moore, Elliot Erwitt , Roger Ballen, Hu Zi , Juanan Requena, Nina Gross, Jivan Kalicharan
This exhibition showcased works of art that depict figures seen from the back,exploring themes of anonymity, introspection, and the viewer’s relationship to the subject. The arworks featured in such exhibitions often prompt viewers to consider the significance of the obscured or hidden perspective, inviting contemplation about what is not immediately visible.
The artworks predominantly feature introspective female figures, often with their faces obscured. This theme is notably prevalent
in the works of Lara Gasparotto, where many figures are depicted from behind. Similarly, Japanese artist Daido Moriyama frequently captures women’s back in his street photography and intimate portraits. Ren hang has also created some beautiful works with backs, exceptionally 2 are on display in the expo.
As well as a beautiful portrait of Francesca Woodman from her period in Rome. Additionally, Daisuke Yokota’s exhibition exclusively presents works from his vertigo and tarantine series.
In a world concentrated on the self-portrait and selfies, images of a back hardly allow identification, they are anonymous. We do not really get a grip on the characters, the images are disturbing to us , mysterious , and arouse our curiosity.
They are murmuring, interpellating, a question mark rather than an exclamation mark. The depiction of figures seen from behind has been a consistent motif throughout the history of Western art, yet it has seldom been the central focus of artistic exploration. We therefore see this theme professionally in painting or photography, with Elina Brotherus for example, german romantic painting, with Magritte, Borremans , Bonnard and others.This exhibition shows a selection of paintings
and photographs by artists who often use this form of depiction .
emi anrakuji
balloon position
Emi Anrakuji
Emi Anrakuji was born in Tokyo, Japan. She studied oil painting at Musashino Art University in Tokyo. Soon after her graduation, she was diagnosed with a cerebral tumor which caused a severe degradation of her eyesight. The illness forced her to abandon her aspiration to become a professional painter. In the course of a deca- de-long recovery, one day she discovered that a camera can be a replacement of her eyes then began teaching herself photography at her hospital bed. Anrakuji’s obsession with the human body is a result, in part, from her long periods spent ho- spitalized.
Born in Tokyo in 1963, Emi Anrakuji represents herself as an alchemist of ima- ges and a catalyst for daydreams and desires. Her deeply personal work blurs the boundaries between documentary and staged photography. Posing naked, clothed, or partially dressed, Anrakuji takes a uniquely obsessive interest in her own body.
“ Emi Anrakuji’s Balloon Position, through a Cyclopean gaze, literally the artist’s vision, impaired by suffering a brain tumour, attempts to reconstruct the shatte- red self that was suspended between conflicting internal and external chaos.
Life near death, eternal rainfall, the artist gives herself to the construction of a handmade book. Balloon Position is an appropriation, a facsimile of that dummy, a document of a document.
Anrakuji is a medium, a photographic shaman, seeking in her enquiries – throu- gh literary, poetical, philosophical references – to present what we love and fear. These images were made twenty years ago.
About Balloon Position
“I had avoided speaking about the balloon position series.
That is because it embodies “life” and “death” itself for all things.
Death, which seeps in without discrimination, either creeping in silently or arriving suddenly.
Or joy, sorrow, absurdity—those commonplace emotions and the remnants of memories.
The endless emergence of life and death, labor and pleasure, winding on and on. They repeat ceaselessly, forming an unending flow.
All these phenomena are, to me, balloons —a symbol.
I firmly believe that the balance of pleasure and pain in all existence can bring har- mony to the workings of the world.
These two theses, pleasure and pain, are like a Möbius strip.
As an addendum, I hold deep reverence for the magic of photography—a medium capable of instantly capturing all the passions and impermanence of the world.”
Antony Cairns
Osaka - Shanghai
Daisuke Yokota
Anders Petersen
Napoli
Emi Anrakuji
IPY - 1800 mm - Balloon position
Emi Anrakuji was born in Tokyo, Japan. She studied oil painting at Musashino Art University in Tokyo. Soon after her graduation, she was diagnosed with a cerebral tumor which caused a severe degradation of her eyesight. The illness forced her to abandon her aspiration to become a professional painter. In the course of a deca- de-long recovery, one day she discovered that a camera can be a replacement of her eyes then began teaching herself photography at her hospital bed. Anrakuji’s obsession with the human body is a result, in part, from her long periods spent hospitalized.
Born in Tokyo in 1963, Emi Anrakuji represents herself as an alchemist of images and a catalyst for daydreams and desires. Her deeply personal work blurs the boundaries between documentary and staged photography. Posing naked, clothed, or partially dressed, Anrakuji takes a uniquely obsessive interest in her own body.
She is the author of critically acclaimed monographs, including her most iconic work IPY and MISHO which was selected as one of the finalists under the indepen- dent category of Lucie Photo Book Prize in 2018. Anrakuji’s work continues to be exhibited and collected worldwide
The Balloon Position book wason the 2019 Parisphoto book award shortlist
Lara Gasparotto
Refuge
Lara Gasparotto
Time catches up with everything. Somehow we are possessed with preserving memories , smells, colors and sound. Images are powerful here to steal fractions of time and can reconstruct scarce moments of emotion. Some writers take 800 pages to describe one emotion, others compress their idea into a short story of twenty pages or so. The photographer has a hundredth of a second for that. Lara Gasparetto’s images read like a collection of stories by Raymond Carver. Sometimes we see blurred images of damaged polaroids , a quick sketch on a still life , an explosion of color in a snapshot At first glance they seem to be images of faits divers, of acquaintances in their most intimate moments. Only after careful re-watching do you pay attention to other aspects.
They are images without pretense , soft time bombs of lost moments and stolen happiness. In the new book we see abstract landscapes combined intimate portraits , embraces , still lifes . Many works are lightly painted , the still images become more abstract , take on another dimension beyond photography.
We see images of scarce happiness , softness and compassion . The landscapes are memories of walks , musings , emotions , timeless , image impressions stored in memory like the memories of in search of lost time by Proust. The images are timeless , not tied to any place or event . Some landscapes look like eighteenth century paintings , portraits could have been made in the eighties in new york , Lara switches effortlessly between different styles and processes them into a timeless diary .
from the back
Vue de Dos part 1
chad moore
Chad Moore (rue saint georges 24 brussels)
“Moore’s latest exhibition, “Oh, You,” invites viewers on a journey through the intricacies of archival work intertwined with brand new, unseen images that paint a compelling narrative of hope. Evoking a sense of introspection and anticipation, the exhibition transcends mere observation to offer a nuanced exploration of human experience.
Initially approaching photography as a “fly on the wall’, Moore’s practice has evolved into a captivating study of contingency. In this body of work, the artist places the subject within a carefully constructed framework, capturing their candid reactions and interactions with their surroundings. Through this lens, Moore unveils the beauty of spontaneity and the complexity of human emotions, inviting viewers to ponder the significance of each fleeting moment.
With a hopeful eye fixed firmly on the horizon, Moore’s imagery transcends the constraints of time and space, offering a glimpse into a future brimming with possibility. Each photograph serves as a testament to resilience and the unwavering spirit of humanity, reminding us of our capacity to adaptgrow, and thrive amidst uncertainty.”
kevin osepa
Kevin Osepa (1994, lives and works in Utrecht, NL)
Kevin Osepa, currently based in Utrecht, is the author of a body of work mar-
ked by his home country, Curaçao. This Caribbean island, long a refuge for pira- tes before being colonized by the Spaniards and later by the Dutch in the 17th century, is now an autonomous state within the Kingdom of the Netherlands. The artist grew up there, and his life experience on the island in a post-colonial context is a foundational element of his artistic work. Drawing from his personal experience, he indeed addresses the challenges faced by today’s Afro-Caribbe- an youth. To develop his rich visual narratives, he draws partly from the exoticism and fantasized visions evoked by the simple name of Curaçao, particularly in his use of the deep blue that pigments many of his works. But he primarily draws inspiration from the prevalent spirituality on the island. It serves as the guiding thread in his explorations and even becomes a privileged prism for addressing intimate and universal notions of belonging, religion, sexuality, and masculinity. It allows him to use a language of symbols that leaves room for interpretation while tackling powerful societal themes. Moreover, it is his way of infusing the contemporary landscape with a magical dimension, attempting to re-enchant the everyday. Indeed, some scenes seem to depict rituals or elements of wor- ship, as if the author ultimately wanted to question the intimate narrative throu- gh the sacred. Therefore, when facing Kevin Osepa’s works, it seems as if we are witnessing a quest for an updated dialogue between spirits of yesterday and today, from here and elsewhere. Across a variety of mediums ranging from pho- tography to installation, the young artist seems not only to question but also to connect the multiple worlds that make up his identity.
Vaccine – Sick Girl
These photos are something from my past, but they are also the core of me, and I am still working on
similar ideas and creations. But i loves underground cultures and subcultures and hippies, constantly
exploring is what I do now and will do in the future. in china this kind of culture is forbidden , because
our republic system is a fake and mess. but still it is intresting that i can always found something or
digging.
I love people from the underclass, and although I do have some elite friends, usually my art is always
found in the underclass, I do enjoy living in the underclass.
As a completely wild person, and a person without any home, my spiritual ideology is absolutely free.
Also as the first time to be born in this world, the first time to live, the first time for many things,
including this Belgian exhibition. I think it is a very incomparable experience.
In the future I will photograph Chinese minors and people who have been in prison, a new project for
me.
Vaccine is the new artist name of the chinese photographer formarly known as bing nv (sick girl in
chinese) She adepted her nem name in 2022 after her release from jail, following after the publication
of her latest book.
jiang zhi
love letters
Love Letters comprises a collection of iconic photographs which started in the 2010,
where Jiang Zhi adeptly captures the radiant beauty of blossoms embraced by flames.
This collection challenges the subjectivity of imagery and explores how
each viewer may perceive reality differently based on their individual memories.
The artist ignited various types of flowers, freezing the precise moment
when petals and flames harmonised in an elegant equilibrium.
What we witness is that “decisive moment” – a transient, audacious
instance encapsulating the essence of mortality.
Drawing inspiration from 17th-century Dutch ‘Vanitas’ paintings, wherein wilting
flowers symbolize the inescapable decay and mortality of all earthly life,
Jiang employs his works as a contemporary memento mori. Typically immersing orchids,
a nod to his wife’s name ‘Lan,’ meaning ‘Orchid,’ in alcohol, he ignites them,
capturing the ephemeral spectacle through high-speed photography.
The azure blaze of methylated spirits radiates vibrantly, yet the awareness
of its imminent consumption of the flower permeates our perception.
Jiang articulates this process as transformative, stating:
“The fire is as beautiful as the flower, and the flower is also completely
without defect — but of course, this is only temporal beauty.”
Therefore, the artist has orchestrated a tangible means of grieving,
envisioning hardship, and crafting a transient moment suspended amidst
devastation and renewal, agony and bittersweet melancholy.
Throughout various cultures, fire and flowers symbolize diverse meanings:
flames representing destruction, passion, punishment, and purification, while flowers
represent the abundance of nature, juxtaposed with the fleeting nature of beauty
and the material world. Jiang arranges single orchid stems or a few blossoms
in ornate vases before subjecting them to alcohol-induced combustion.
Unlike Vanitas painters, who often used a snuffed-out candle as a symbol of earthly
mortality, Jiang opts to showcase the flames themselves. Yet, instead of a forceful,
raging presence, the flames appear delicate and insubstantial.
Augustin Rebetez
New Works
Vincent Delbrouck
Still Lives
Juanan Requena
Lin Zhipeng aka 223
Lin Zhipeng is among the leading artists of the so called generation of the eighties , an artist which work was first known through social media and online platforms and self-published zines. His diary like booklets and photographs represent a totally new group of the Chinese society that seek new boundaries within their lives . We see figures and nature mortes in flashy colours, flowers and interiors , nudes in soft colours, a new generation amidst new pleasures , far away from the middle class world . The images are in an atmosphere of love, playfulness , erotism and joy. Lin Zhipeng is named after a police character of the Wong Kar-Wai’s movie Chungking Express. His work is closely associated with the works of Guy Bourdin and Wolfgang Tillmans. This booklet is made for the third exhibition of Lin Zhipeng at Stieglitz19 Antwerp. The artist will be present at the opening.
15 years Stieglitz19
group exhibition
Anders Petersen – Ed Van Der Elsken
Cafe Lehmitz - Love on the Left Bank
Thomas Vandenberghe
Return To Sender
Pixy Liao
Day Dream
Marie Tomanova
Fragile
Daido Moriyama
the early years
Lara Gasparotto
The polaroids
Daisuke Yokota
Sludge
The New Portrait
Sick Girl
Chinese Spring Part 3
works by cai dong dong, liang xiu , sick girl, pixy liao , zhang wei, huang xiaoliang, zhang hai'er , chen wei
Antony Cairns
Paris Photo 2021
solo show lara gasparotto
Ren Hang / 223
Stieglitz19 Rue St Georges 24 Brussels
Vincent Delbrouck
Champu
Sybren Vanoverberghe
2099
Paris Photo 2021
Solo expo Lara Gasparotto
Solo Show Lara Gasparotto
Lin Zhiping
Polaroids
LIST OF WORKS CLICK HERE
About 123 Polaroids an Still lives
The exhibition Polaroids images from Lin Zhipeng ’s (aka 223) extensive collection of Polaroid work. The photographs portray a young generation that happily indulge in love, sex and life. The intimate portraits have a melancholic nature, but also a playful and sexual one. It is the first time the works are shown worldwide . Apart from the Polaroids, 223 will show a short selection of Still lives, 223 is considered as the Chinese TIllmans for his delicate still lives. It is considered 223 was the biggest influence on Ren Hang.
Unseen Amsterdam 2021
vincent delbrouck , antony cairns, 223, thomas vandenberghe
Lara Gasparotto
Songes les jours de pluie
Collage ! Collage ! Collage !
‘Collage! Collage! Collage!’ is a group exhibition combining new works of three visual artists: Vincent Delbrouk (BE), Miriam Tölke (DE) and Sarah Stone (UK).
The technique of collage allows artists to reconstruct the world which surrounds us, letting elements of abstraction and surrealism interfere on one surface. Provoking the viewer to curiously look, to discover. As Francesca Gavin famously wrote in “The Age of Collage” (2020), “we see more images than ever before, and collage is a way of making sense of that chaos”.
For Vincent Delbrouck (b. 1975, BE) collage is a secret, a practice taken from his ‘shady diaries’. The artist combines his photography with painting, contradictions with graces. Step by step, embraced by obsessions and guided by impulsion, the artist spills the red fluids creating the absence of hierarchy in between the images. In the artist’s words, the work expresses: “a pattern of dirty layers, archives sometimes in ruins, reborn for the pleasure of and joyful and naive iconoclast”.
Miriam Tölke (b. 1977, DE) is a part of the new generation of collage makers, who have a deep sense of changing the perspective we look at the world around us. Her series ‘New Horizons’ is shaped of black and white tones, sparingly adding colour into the works. A recurring and significant motif in her work is a human face, whose reliability and truthfulness she questions in radical ways. Miriam’s inspiration is rooted in Surrealism, Dada and avant-garde art movements like Paris- based “Lettrist International” (1952 – 1957) or “Situationist International” (1957 – 1972), which decontextualised everyday culture, creating collage ́s first revival.
Sarah Stone’s (b. 1994, UK) photographic collages are often rendered sharply and colourfully, that she orientates alongside her eye for antiquity and architecture. Using black and white found imagery from old architectural books and interior magazines, Sarah cuts, slices, and layers paper. In this way she reconstructs the view of French castles and English cathedrals, interfering in stone facades and ornate interiors that often have a touch of opulence. She counters the black and white images with snippets of bright colour, coming to complete the composition with playfully cut out coloured paper or scraping a strip of the collage with acrylic paint. Sarah Stone is currently finalising her bachelor degree in photography at the Royal Academy of Fine Art in Antwerp.
Daido Moriyama
Tokyo Bar
Daido Moriyama (b. 1938, Osaka) is worldwide known as the father of street photography in Japan and as an avant-garde provocateur. With his black and white photography, he documented the urban life in Tokyo at the time of a postwar Japanese cultural shift of the 1960s and ’70s, as traditional values eroded in the face of strengthening American influences. Referring to Jack Kerouac’s On the Road as his great influence, Moriyama inherited the philosophy of a ceaseless vagabond, who roams Japan and stalks its streets for unexpected encounters. Characterized by a raw a gritty gaze, his work pushes photography to its limits, showcasing a dark side of Japanese city life, amongst the chaos of everyday existence. His photographs focus on what is discarded, odd, and erotic, often looking predatory and yet being saturated by a melancholic beauty of life at its most ordina
Erotic photography straddles the line between art and tawdry, a line that is very easy to cross. Yet erotic works of Daido Moriyama remain on the enigmatic side of obscenity. Lips and Tights – Tokyo Bar is an exhibition combining the series Tights and Lips to which Moriyama took images over the course of his career. These images are at once undeniably erotic and dramatic, yet enigmatic in their intention. Speaking of the Americanisation of post-war Japan and the increasing eroticism of photographic advertising, simultaneously forcing the eye to dwell on elements of form that otherwise might go unnoticed.
The series Tights has expanded on from How to Create a Beautiful Picture 6: Tights in Shimotakaido from 1987. Here, legs in fishnets captured from up close, lose their sense of proportion, blurring into abstraction with a stab of desire. Lips personify the artist’s fascination with the raw, the sensuous, and the erotic. These images exemplify the delirious euphoria that pervades his practice with the element of fantasy and dream. The glossy lips of a billboard model, a face staring from the page of a discarded newspaper, a woman’s profile reflected in a train window. Although often claustrophobically cropped, these images are difficult to forget and pull the viewer in.
Thomas Vandenberghe
In the time before us, there was a time before us
Schoonheid in de schijnbare saaiheid van het alledaagse leven. De analoge, pretentieloze beeldtaal van Thomas Vandenberghe (°1985) lijkt buiten de tijd te staan. Vrijdag 19 februari opent zijn tweede solotentoonstelling bij Stieglitz19 Gallery: In the time before us, there was a time before us. De fotograaf combineert er de suggestie van sensuele spanningen en verhalen door middel van geprinte beelden uit zijn analoge privé-archief en afdrukken van recente fotografische opnamen van banale voorwerpen.
De fotografie van Thomas Vandenberghe leest als een dagboek. Hij geeft er een inkijk in zijn intieme, dagelijkse leven. Zijn vroegere werk – waaronder veel foto’s van naakte ex-geliefdes – fungeerde vaak als een verwerking van een persoonlijk proces. Met een zekere zelfspot omarmde Thomas er slechte momenten en banaliseerde onvergetelijke. Tot Lien Buysens, een jong beeldend kunstenaar, op het toneel verschijnt en zijn leven danig door elkaar schudt. Lien tekent en schildert kleurrijke, gekrulde vormen op papier. Sommige van haar artistieke composities zoals het stilleven – een kan, al dan niet gevuld met bloemen, of een fruitschaal – vormen sindsdien een integraal onderdeel van Thomas’ beeldtaal. Zijn werk gaat een stille pas de deux met het hare aan, een dialoog zonder woorden.
Foto’s van zijn liefdes van weleer zijn daarom niet verdwenen. Reeds meer dan een decennium legt Thomas een arsenaal aan beelden vast. Zijn archief bevat vooral huis-tuin-en-keuken-fotografie dat vaak jaren ligt te rijpen alvorens hij beslist om een bepaald negatief te printen en zo te transformeren tot ‘een werk’. Enkele beelden uit de tentoonstelling refereren naar verloren geliefden. Door de specifieke kadrage al dan niet in combinatie met een toets hard flitslicht zijn de jongedames onherkenbaar. Waar de foto’s vroeger vooral drager waren van een intieme communicatie tussen Thomas en een voormalige liefde, zijn ze nu een studie/vorm en een conversatie van de fotograaf met zichzelf.
Speels en vrijgevochten – het zijn karaktereigenschappen die aan de basis liggen van de snapshotesthetiek van Thomas. In de donkere kamer van fotolaboratoria raakte hij jaren geleden geïntrigeerd door het experiment, van het afwisselen van verschillende belichtingstijden tot het bewegen van de fotografische drager bij de ontwikkeling van een negatief. Hij verscheurt ook testprints waarna hij de ontstane beeldfragmenten instinctief combineert tot nieuwe beelden. De afdrukken zijn vaak klein, met een groot wit passe-partout, netjes ingekaderd en in een rij opgehangen. In zijn nieuw werk hanteert Thomas enkele nooit eerder gebruikte technieken. Opmerkelijk is de bewegingsonscherpte die in veel beelden aanwezig is. Deze is hoofdzakelijk afkomstig van het bewegen van de fotografische drager in de donkere kamer. Een uitzondering vormt de kleurenprint (Still life of used flowers, 2020) die is ontstaan door de camera te bewegen tijdens een opname. Voor sommige werken uit de tentoonstelling gebruikte Thomas papieren negatieven die hem in staat stellen om groter werk te maken dat uit verschillende kleine, gepatineerde zilvergelatineafdrukken bestaat (Lamp, lazarus en ledikant #1, #2 en #3, 2020). Deze de- en reconstructie van het beeld daagt de fotograaf uit en bevraagt het medium.
Chad Moore
You Will. You? Will. You? Will. You? Will.
Antony Cairns
CTY - TYO3
CTY – TYO3 is an exhibition combining works from Cairns’ ongoing CTY project and TYO3 a new portfolio of work specifically showing Tokyo.
The CTY project for Cairns is what he deems his ongoing archive of Imagery of Megalopolis from around the world. TYO3 is a portfolio showing his latest photographs of Tokyo from 2019. The portfolio has been printed onto vintage IBM decision table sheets. CTY works are shown in two different mediums that Cairns has been working with for some time now. Firstly his Computer Punch Card series where by the photographs shown are made as composites of printed on old stock Computer Punch Cards. Secondly his E.I screen series in which his photographs have been uploaded onto redundant Electronic Ink screens and then encased in perspex.
A Tree
Ren Hang, Cai Dong Dong, Sun Yanchu, Cai Huanhe, Lara Gasparotto, Thomas Vandenberghe, Sybren Vanoverberghe, Boris Thiebaut, Beatrice Lortet, Cassio Vasconcellos, Daido Moriyama, Juanan Requena
Collective exhibition with the works of Ren Hang, Cai Dong Dong, Sun Yanchu, Cai Huanhe, Lara Gasparotto, Thomas Vandenberghe, Sybren Vanoverberghe, Boris Thiebaut, Beatrice Lortet, Cassio Vasconcellos, Daido Moriyama, Juanan Requena
Pixy Liao
Two Heads
Born and raised in Shanghai, China, Pixy Liao is an artist currently resides in Brooklyn, NY.
She is a recipient of NYFA Fellowship in photography, Santo Foundation Individual Artist Awards, Jimei x Arles International Photo Festival Madame Figaro Women Photographers Award, En Foco’s New Works Fellowship and LensCulture Exposure Awards, etc. She has done artist residencies at Light Work, Lower Manhattan Cultural Council, Center for Photography at Woodstock, University of Arts London, School of Visual Arts, Pioneer Works, and Camera Club of New York.
Liao has participated in exhibitions and performances internationally, including the Rencontres d’Arles in Arles (France); Asia Society (Houston); National Gallery of Australia (Sydney); Chambers Fine Art Gallery (New York & Beijing); Blindspot Gallery (Hong Kong); Stieglitz 19 Gallery (Belgium); Open Eye Gallery (Liverpool); the Museum of Sex (New York); UCCA Center for Contemporary Art (Beijing); and He Xiangning Art Museum (China), etc.
Feng Li
White Night
Chinese artist and journalist Feng Li’s shows a selection of his color photography taken between 2005 and 2015. Li, who is working as an official photographer for Szechuan province’s communications department, photographs the life around him with a keen sense for the surreal and often humorous moments waiting to be uncovered by his camera’s lens.
The title “White Night” stems from a verse from the Bible: “By day they meet with darkness, and grope at noon as in the night.”
“I don’t know whether they are photographic works, but they do present another sides of our reality. I can’t explain them specifically, as I can’t understand the world. The only thing I can tell is my questions.”
Sybren Vanoverberghe
conference of the birds
Conference of the words was the graduation project of the student Sybren Vanoverberghe.
Roger Ballen
No Joke (with Asger Carlsen)
De Expo toont beelden van de uitzonderlijke reeks No Joke, een samenwerkingsproject tussen 2 van de meest talentvolle hedendaagse fotografen :
Roger Ballen (1950, VS) en Asger Carlsen (1973, DK). Naast de beelden van No Joke worden er ook een aantal oudere werken van Roger Ballen getoond van de reeks Asylum of the Birds , Oh Rats en Die Antwoord, en enkele werken van de pas ontdekte Woodstock series We zien collages van de werken van beide kunstenaars , werken waarbij ze tot in het diepste van de menselijke psyche graven. Ze onderzoeken beide de duistere kanten van het onderbewustzijn, en doen dit elk op hun eigen manier. Het vreemde is dat ze zich nooit in dezelfde studio bevonden . Alles gebeurde online tussen Johannesburg en New York. De beelden met een witte achtergrond werden gemaakt in New York, de donkere beelden in Johannesburg. Zoals in de meeste werken van Roger Ballen en Asger Carlsen is er een gevoel van angst , vervreemding , onbehagen en verlangen , zaken die normaal in onze dromen voorkomen. De werken zijn verdorven, chaotisch, expliciet, heel intiem . De werken hebben links met Debuffet , Brassai, Bacon, Moore, Die Antwoord. Deze sculpturen vormen een ruimtelijke vertaling van hun fotografische beelden. Gender, sexualiteit en identiteit worden vervormd en krijgen een nieuwe betekenis. De portretten van beide kunstenaars komen regelmatig terug, maar ook beeldhoudkunst, collage, schilderkunst, graffiti , dieren , zaken die regelmatig terugkomen in het werk Van Roger Ballen en Asger Carlsen.
odysseus
Thomas Vandenberghe, Vincent Delbrouck
With Odysseus we want to explore how we can detach ourselves as photographers from our own subjects that deal with time and space, memory and people. It is important to see process in what we are doing as artists so therefore we try and understand what process means. The images are floating between our close and faraway environment and the people we come across in life.
We are three different people and three different photographers. We came together in one and the same house with our visions and ideas. Our collective stimuli created the framework for this show. The exhibition ‘Odysseus’ will show images of the mind, reminding us about everything we saw before and might never get to see again in the future.
Odysseus is our translation of the famous myths, our self processed utopia, our island, our horses and cyclopes, our darkest parts of life, our trip and our story, our life.
Daido Moriyama
Daido Moriyama
Born 1938 in Ikeda-shi, Osaka. Switching from design to photography, he worked as an assistant for Takeji Iwamiya and Eikoh Hosoe, before embarking on his career as a freelance photographer in 1964. For series such as “Japan: A Photo Theater”, which appeared in Camera Mainichi in 1967, he received the New Artist Award from the Japan Photo-Critics Association.
In recent years, large-scale exhibitions of Moriyama’s work have been held at the San Francisco Museum of Modern Art (1999; traveling to the Metropolitan Museum of Art and Japan Society, New York), the National Museum of Art, Osaka (2011), and London’s Tate Modern (double exhibition with William Klein 2012-13). In 2012, Moriyama received the Infinity Award from the International Center of Photography (New York), also ordered Legion of Honour Chevalier in 218 by French government which cemented his high international reputation.
Daido Moriyama, 83 jaar, en samen met Araki zeker de Japanse fotograaf die de meeste invloed gehad heeft op een ganse reeks van kunstenaars. De beroemde
korrel van Moriyama, zijn street photography , de portretten. De expo toont een kleine selectie van meer bekende werken, de overige werken zijn nog nooit
getoond.
Chinese Spring part 4
Ren Hang, 223, Chen Wei, Sick Girl, Huang Xiaoliang, Feng Li, Sun Yanchu, Cai Dong Dong, Liang Xiu
Collective exhibition with works of Ren Hang, 223, Chen Wei, Sick Girl, Huang Xiaoliang, Feng Li, Sun Yanchu, Cai Dong Dong, Liang Xiu.
Sara Skorgan Teigen
Interior Landscapes
Sara Skorgan Teigen (NO, 1984) focuses her work around photography and drawing. She studied at Fatamorgana, the Danish School of Art Photography, Copenhagen (2008/09) and the ICP, International Center of Photography, New York, (2011/12). She has exhibited internationally at galleries and photo-festivals in USA, Tokyo, China, Mexico, England, France, Italy, Greece, Spain, Switzerland, Sweden, Denmark, and Norway. Sara Teigen’s work is a meeting-point between her inner, emotional explorations and the outside world; the confluence between the metaphysical and the physical.
223 (Lin Zhipeng)
Lin Zhipeng is born in Guangdong province, China and graduated from Guangdong University of Foreign Studies with major of financial English. Lin is a photographer and freelance writer based in Beijing. He constructed a blog entitled North Latitude 23 with millions views and posted his personal photographs and words on it. He has contributed to numerous creative and fashion magazines as editor and writer and has produced photo shoots for magazines such as Vice, S magazine, VISION, iLOOK, City Pictorial, etc and brands such as United Nude, Converse, Nike, Glaceau Vitamin Water, Bacardi, etc. He also produced video works such as SANSAR, SCENE, Xanthium, etc. Since 2005 he began his self-pu- blish project. So far he has included three volumes of photography entitled My Private Broadway, two vo- lumes personal zines entitled VERSATILE, and independent creative magazine project TOO Magazine. In 2012 he published a photography works collection entitled NO.223 in Taiwan, and a personal travel book entitled SATELLITE OF LOVE in China. In 2016 he published a photography book HIDDEN TRACK in France. His photography works were included in 3030:NEW PHOTOGRAPHY IN CHINA, Elephant, Back to Black & White, Asian Creatives, etc.
Lara Gasparotto – Matthieu Ronsse
Chinese Spring #3
Ren Hang, Lin Zhipeng (aka 233), Ji Zhou, Zhang Wei, Chen Wei, Liang Xiu, Yishin Huang, Cai Huanhe.
This third exhibition in the Chinese Spring series showing new and upcoming talent from China is an hommage to Ren Hang, the artist which was shown for the first time in Europe at Stieglitz19. Artist as Ren Hang and Lin Zhipeng (aka 223) invented a totally new way of representing their world , uncontrolled.
The exhibition shows for the first time new work of the imaginary landscapes of Ji Zhou, the constructed portraits of Zhang Wei, the installations of Chen Wei , and the amazing works of the 21th year old girl Liang Xiu.
2 Guangzhou artists making oil painting (Yishin Huang) and wood printing (Cai Huanhe) confront the photographic works , both have reinvented their respective media.
Zhang Hai’er
Les filles, les bonnes et les mauvaises
Zhang Hai’er is zonder twijfel de belangrijkste kunstfotograaf van Zuid China, die een heel aparte stijl heeft ontwikkeld in de late jaren 80 en 90 in China. In 2017 is er het eerste museum voor fotografie geopend in Shanghai, China, de openingsexpo was Zhang Hai’er. Hij richtte zijn lens op de stad, vooral Guangzhou , Shanghai , Hong Kong. Zijn bekendste beelden zijn de portretten, vrouwen die Zhang Hai’er er aansprak en daarna uitbeeldde in zijn bekende beelden . Het waren gewone vrouwen, prostituees , zijn vrouw , mensen uit zijn omgeving. De vrouwen waren half gekleed uitgebeeld, in een huiselijke omgeving of in een studio, met een uitdagende blik . De camera trekt als het ware de toeschouwer in de ruimte, die gevuld is door de duidelijke aanwezigheid van de fotograaf. De portretten van de Bad Girls series gaan ver voorbij de gewone neutrale portretten die we kennen , en hebben iets sterk bevreemdend, zoals de schilderijen van Balthus of de polaroids van Carlo Mollino. De beelden zijn sterk theatraal, en behoren tot het beste aan zijn werk. Wat ook heel vreemd is te zien , zijn de beelden met de “selfies” van Zhang Hai’er, beelden die hij maakte om zijn aanwezigheid in de ruimte te tonen, wat soms heel bizarre effecten geeft. De beelden zijn wereldwijd bekend en zijn getoond op de Rencontres D’Arles bij de eerste deelname van China. Zijn werk is in bijna alle bekende collecties van hedendaagse Chinese kunst. In 2017 kreeg hij een overzichtstentoonstelling in het Fotomuseum the Shanghai : Muse, De expo in Stieglitz19 is uniek , en toont een overzicht van zijn sterkste portretten: Filles, les bonnes et les mauvaises
Daisuke Yokota
Taratine
Taratine, the most personal of his publications so far, which is based around the taratine gingko tree found in Japan’s Aoyama prefecture.
The first thing you notice about Daisuke Yokota’s photographs is their texture. It might be the coarse grain of the film or the dust and hairs strewn across its surface. The emulsion itself often appears to have been pushed to breaking point: cracks, blisters, and burns proliferate creating a surprising sense of depth and tactility.
Yokota pulls his creations apart, exposing layer after layer of their composite parts, and drawing our attention to the fact that we are looking at a photograph and not an image. His interventions are akin to a photographic open-heart surgery, revealing the complexity and fragility of a photograph by deconstructing its anatomy.
One cannot help but make the link with the now legendary generation of photographers who came of age in late 1960s Japan. The gritty materiality of his work resonates with that of past masters such as Daido Moriyama or Takuma Nakahira. But beyond an undeniable aesthetic kinship, what brings Yokota closest to these pioneers are his tireless attempts to create a new photographic language.
Thomas Vandenberghe
No Contact Prints
Thomas Vandenberghe (Gent, Belgium) makes small, intimate photographs, a kind of diary of his personal life. Using a compact film camera with flash, his aesthetic style is the one of the private snapshot. His work deals with the psychology of the image as much as the psychology of relationships and is driven by longing, love and loss.
If for Vandenberghe the act of photographing has to do with desire, then the equally important act of printing addresses memory. The need to not only look at, but also reconcile oneself with what once was, but perhaps even more so with what could have been – but isn’t and will never be. Repeated, faded, or even torn, scratched or cut, his gelatin silver prints carry the poignant proof of an ongoing process of feelings and reactions, or perhaps even a conclusion reached.
Each printed photograph of Vandenberghe contains the drama of what one hopes and longs for – an imagined truth – and what ultimately remains. They are the lingering, emotionally burdened and over time distorted evidence of a reality one now has to live with.
Kenta Cobayashi
Everything now
Sinds het begin van de fotografie hebben jongeren het medium gebruikt om te communiceren met de wereld. Het toont aan hoe het voor hen op dat moment voelt om jong te zijn. Dat kunnen reisfoto’s zijn, foto’s van feesten, op cafe, van hun geliefden. Sommige proberen deze beelden om te zetten naar een kunstvorm, om hun gevoelens uit te drukken. Sinds de komst van de smartphone worden vrienden , en hun omgeving overspoeld door een reeks van beelden op sociale media. De overvloed van beelden op het internet maken dat de beelden steeds luchtiger worden, verwerkt door programma’s, geemojied, het zijn geen unieke, duurzame beelden meer, die een indivuele expressie zijn van de persoon in kwestie.
Synchrodogs
Synchrodogs is an artistic duo from Lutsk, Ukraine.
“Tania Shcheglova and Roman Noven are two emerging photographers who have been experimenting with high quality cameras since their perhaps not-so-innocent youth. From frozen lakes to empty theatre stages across Eastern Europe, the duo have snapped haunting images of the surroundings available to them, often emanating a dark or eerie mood”
Their recent project, Reverie sleep, sees Synchrodogs explore their dreams – the space between wake and sleep that is both familiar and remote. “The project deals with the stage of non-rapid eye movement sleep, during which some people may experience hypnagogic hallucinations caused by the natural process of falling asleep,” they explain. “Experimenting with those lucid dreaming techniques, we usually wake ourselves up in the middle of the night to make a note of what we have just seen, gathering our dreams to be staged afterwards.” This project has a distinctly surreal feel, but the duo’s work always builds on the uncanny and the strange, often including naked or semi-clothed figures hiding their faces and holding contorted poses.
Augustin Rebetez
Augustin Rebetez (b. 1986, Switzerland) makes vivacious poetry burst out of simple materials. e contrasts that he stages – with pictures, drawings, installations or stop-motion movies– depict a tragicomical reality. e results plays to the creation of a visually playful, moving, sometimes dizzying or gloomy universe.
Since 2009, he has participated to numerous exhibitions, mostly in Europe but also in North America, South Korea, Nigeria, Mexico or Lebanon and was awarded by PhotoFolio Review at the Rencontres d’Arles in France (2010), e Swiss Photo Award (2012), the Kiefer Hablitzel Prize (2012) and the Vevey International Photo Award (2013-2014).
In 2014 he was exhibiting his work at the Biennale of Sydney. In 2015 he did his rst creation for the stage at the éâtre de Vidy in Lausanne.
Antony Cairns
OSC
Antony Cairns (1980) is een Engelse kunstenaar die woont en werkt in London , UK. Hij studeerde aan de London College of Printing, afgestudeerd in 2002. Hij is erg geintereseeerd in de geschiedenis van de fotografie en alternatieve drukmethodes en zijn werkwijze is gebaseerd op technieken waarbij hij gebruikt maakt van chemicalien. In 2015 won hij de prestigieuse Hariban prijs, wat hem toeliet om de techniek van collotype prints te bestuderen in het Benrido Collotype atelier in Japan. Zijn werk is getoond op Unseen, Photobastei in Zuruck, Photo London in London , Paris Photo in Parijs. Recente solo exposities waren de OSC series bij Roman Road in London en LA-LV in Kyoto , als deel van de Kyotographie 2016.
OSC series
Tijdens zijn verblijf bij het Benrido colltype atelier in Japan bezocht Cairns Osaka om de stad s’nachts te documenteren, zoals hij deed voor zijn legendarische LDN series. De OSC series is een reeks van 25 werken die het station en zijn onmiddelijke omgeving tonen. Zoals vroeger gebruikt hij rececycleerde materialen van het vroege digitale tijdperk, in dit geval gebruikte IBM punchcards. OSC is de eerste van een reeks werken waar hij punchcards met verschillende kleuren gebruikt om een nieuwe collage te maken van zijn werken.
LA-LV series
LA-LV brengt werken samen van zijn reeksen genomen in Los Angeles en Las Vegas in 2014 en 2015. Zijn werk gaat steeds over experimentele druktechnieken en alternatieve printmethodes. Alle werken van deze reeks zijn gemaakt met Agfa film, die dan bewerkt zijn om zwart wit negatieven te maken. Deze beelden die chemisch bewerkt zijn zijn daarna Duotone geprint, donkere zwarten en silvere inkt, die dit metaaleffect creeert, en dan gedrukt op aluminium platen.
Vincent Delbrouck
Catalogue
Lara Gasparotto
Ask The Dusk
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.
The New Portrait part II
The New Portrait part II
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
Vertigo
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.
Lin Zhipeng (223)
Hidden Track
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.
Chad Moore
At Amber
Chen Wei
Chaotic Sentences
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.
The New Portrait
works by ren hang, lara gasparotto, oliver sieber, lyo yang, zhe chen , zhang hai'er , francoise huguier, chad moore, vincent delbrouck, mona kuhn
Works by Ren Hang, Lara Gasparotto, Oliver Sieber, Lyo Yang, Zhe Chen, Zhang Hai’er, Francoise Huguier, Chad Moore, Vincent Delbrouck
ren hang
new works
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.
Daisuke Yokota
Clouds
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.
Vincent Delbrouck / Max Pinckers
duo exhibition
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 Cairns
LDN
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.
Oliver Sieber
Imaginary Club
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.
Lara Gasparotto
Rivages
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
Ren Hang, 223, Zhe Chen, Liu Xiaofang
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.
Jessica Backhaus
Once Still and Forever
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.
Devin Yalkin
Accoustic Movements
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.
Aurore Valade
Torino Ritratti
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.
Anders Petersen
Soho
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.
Bert Danckaert
Simple Present
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 – Dave Jordano
American Landscape
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
new works
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.
Jessica Backhaus
One Day in November
Lara Gasparotto
Ben Murphy
UN nation
Chinese Spring #1
REN HAN / 223 / Zhe Chen / Liu Xiufang / Rong Rong/ Chenman
Jimmy Kets
Shot in Flanders
Francoise Huguier
Kommounalka
K
Francois Goffin
Bevel
John Humble
LA Landscape
Aurora Valade
Interior with figures
Yang Junpo
Lolita in Shenzhen
Richard Pak
Pursuit
Elke Boon
Stitches and Images
Jimmy Kets
Las Vegas Blues
Ben Murphy
Riverbed
