Featuring - Marinella Senatore Le 2010-02-09 12:39:00
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The exhibition represents a new challenge for the artist, enabling her personal sensibility to emerge, although it also marks the social aspect of her artistic quest. In her art, the collective nature of work is at the heart of a methodology based primarily on 'participation' rather than collaboration, where the artist plays the role of mediator (featuring).
The main themes are developed in a variety of expressive forms (from video to installation, painting, drawing, photography and performance) and they prove to be a versatile tool, fashioned around the personal quest of the artist.
In the installation in the first room, which marks the beginning of the exhibition itinerary, the traces of memory of places that have been seen or lived in (like an American motel in two different moments of the day) find a form with references which are precise and yet undefined at the same time, becoming places of possible happenings; the main role is reserved for the light which becomes the key to the narrative itinerary which the artist also offers to the spectator in order to be completed.
In the video How do U kill the chemist, (made during the artist's stay in New York), a group of rappers from Harlem introduce the story of the chemist Adrian Ghole who, after discovering the successful formula for a new type of rubber tyre, was killed by his factotum Bassil for financial motives. However, as fate would have it, as the man was crossing the Hudson bridge with the corpse of the professor in the boot, he was stopped by a festive crowd to receive a cash prize as the millionth driver to cross the bridge that day. The account of an act of violence that really took place in New York is merely the pretext for sparking off the artistic process; it shows us the interpretative spaces that such a process can reveal, amid sequences filmed on the spot and original film footage. An everyday object such as an iPod, made available to the public, provides the support for a more intimate and interactive use of the work.
The last room is the site of another challenge: painting, a typically intimate artistic practice, is revealed and opened up to collective practice, evoking the experience of the inhabitants of Alaraz in Spain during the construction of a rain machine for an event in the main square of the town. The paintings offer a synthesis of the relationship between the vision of the artist and her practice within the local community, opening up a broader historical dimension to which all of us contribute in a fairly conscious way.
Katharina Gaenssler received the Aenne Biermann Price for German Contemporary photography in 2003. 2005, her final student work was awarded by the Manfred Bischoff Prize from the Stiftung der Akademie der Bildenden Künste Munich. 2007 she was prized by the City of Munich in photography, 2009 she received the Bayerischer Staatsförderpreis. In 2007 she had a solo show at Photomuseum Mun...
Wendy Paton allows herself to disappear in order to let her subjects emerge from the night. “My experience is that people act differently at night. They let their guard down. They become who they really are, or they transform themselves into someone, real or imagined, that they want to be. There are seemingly no restrictions at night. Life seems to become more free flowing as opposed to h...
Rappelant le fameux carnet moleskine que tout globe-trotter transporte dans ses voyages, les villes des « portraits de villes » prennent des tournures différentes selon la vision de chacun des photographes, soigneusement choisis par l’équipe be-pôles pour la richesse et la sensibilité de leur vocabulaire visuel.
The David Roberts Art Foundation in London, Kadist Art Foundation in Paris and Nomas Foundation in Rome are pleased to present The Sirens' Stage/Le Stade des Sirènes/Lo stato delle sirene, a fragmented exhibition by Etienne Chambaud in the framework of Vincent Normand's project Permanent Exhibition, Temporary Collections. The three translations of the exhibition, interpreted in a differe...
De Brest, Jean-Louis Potier propose deux visions personnelles et très différentes.
Brest avec Holga
Pour créer des images ludiques et originales, Jean-Louis Potier a pris des photos en couleur avec un appareil argentique très simple, tout en plastique, y compris l’objectif : le Holga. Ce boîtier rustique et plein de défauts, (...
Gala Preview to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art, New York.
(To purchase Gala tickets, please visit www.moma.org/aipad2010.)
One of the most important international photography events, The AIPAD Photography Show New York, will be presented by the Association of International Photography Art Dealers (AIP...
Construite sur des réminiscences de la Préhistoire et avec des outils apparentés au spectacle, « Paléorama » est une sorte d'exposition paléontologique qui s'articule autour d'installations vidéo.
Photographies et objets y jouent avec la présence du cinéma dans l'espace. Un parcours entre réalité et d&eacu...
Des hetres tortillards dont nul ne connait l'origine.
Photographies d'abord de jour puis de nuit. En Noir et Blanc et en couleur.
Etranges, fantastiques leurs formes font penser a des parties de corps humains ou d'animaux.
Les eclairages de nuit crees par l'auteur nous entrainent dans un univers feeriques pour les uns, angoissants pour d'autres.
« Je suis une réflexion photographiant d'autres réflexions à l'intérieur de réflexions. C'est une mélancolique vérité, mais je dois toujours échouer. »
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