Alessandra Sanguinetti Crossing. Photo by Alessandra Sanguinetti The Peabody Museum of Archeology & Ethnology at Harvard University announced yesterd
Crossing. Photo by Alessandra Sanguinetti
The Peabody Museum of Archeology & Ethnology at Harvard University announced yesterday that Alessandra Sanguinetti is the 2009 Robert Gardner Fellow in Photography, the second $50,000 award Sanguinetti has received this year. Last week it was announced that the photographer, who is based in New York and Buenos Aires, was awarded the National Geographic Magazine Grant for Photography.
Sanguinetti received the grant to continue her “The Life That Came” project documenting the lives of two Argentine women who are cousins. “The Life That Came” grew out of Sanguinetti’s “The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams,” an earlier project documenting the cousins over a five-year period as they moved from childhood to young-adulthood. “The Pampas is a mythical space rooted in Argentina’s identity, embraced by a society that celebrates men’s accomplishments, yet rarely acknowledges the lives of women,” writes Sanguinetti of the project. “Now the girls will enter not only the adult world they once imagined, but a more complex social one as well.”
The Robert Gardner Fellowship, named for the award-winning documentary filmmaker and author who was formerly the director of Harvard’s Film Study Center (1957–1997), funds the work of “an established practitioner of the photographic arts to create and subsequently publish through the Peabody Museum a major book of photographs on the human condition anywhere in the world.” Sanguinetti, who was nominated by San Francisco Museum of Modern Art senior curator of photography Sandra Phillips, is the third Robert Gardner Fellow. The two previous fellows are Guy Tillim (2007) and Dayanita Singh (2008).
“During her fellowship year,” the museum’s announcement says, “Sanguinetti will focus both on the two girls’ individuality and on the wider social networks and context in which they live.”
Sanguinetti tells PDN she was very surprised to receive two grants for two different projects in the same year. “Usually when you apply for grants you expect to get one if you’re lucky,” she says.
The National Geographic grant will fund her documentation of sustainable agriculture and transgenic, or genetically modified, crops in Argentina, the United States and Canada.
“It’s a huge opportunity,” Sanguinetti says of the two projects, “so I’m just going to take it on.” She plans to travel to Argentina in July to begin work on both projects, and envisions shuttling back and forth throughout the year.
The book that she will eventually produce through the Robert Gardner Fellowship will be the second of two volumes documenting the lives of her Argentine subjects. Nazraeli Press, who published her first book, On The Sixth Day (2006), will likely release the first part of the project this October, she says,.
Asked how the Robert Gardner Fellowship and National Geographic Magazine grant rank among the grants she has received in her career, Sanguinetti says, “All of them are important. The first grant I got for maybe $1000 in Argentina made a world of difference to me too, because at that time in my life and at that stage of my work, I was supported and encouraged.” Sanguinetti has received a Guggenheim Fellowship and Hasselblad Foundation grant among other accolades.
Sanguinetti says that she and her husband, photographer Martin Weber, have been supported mostly by grants since 1998, when Weber won his Guggenheim fellowship.
A Magnum Nominee since 2007, Sanguinetti says she does not think the awards will have any influence on voting to make her a full member of the agency. “My instinct tells me that everyone there is self-confident and they wouldn’t be swayed by somebody winning a prize or not. They’re going to have their own opinion of that person’s work, but I’m just speculating.”
After suffering a fracture in her back in 2007 that prevented her from lifting a camera for a year, Sanguinetti says the grants could not have come at a better time. “It’s incredible… I am going to make up for lost time.”
in http://www.pdnonline.com/pdn/content_display/photoserve/awards/e3i82a4bef3801993120bfb668bef1e9d16?imw=Y
Sanguinetti received the grant to continue her “The Life That Came” project documenting the lives of two Argentine women who are cousins. “The Life That Came” grew out of Sanguinetti’s “The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams,” an earlier project documenting the cousins over a five-year period as they moved from childhood to young-adulthood. “The Pampas is a mythical space rooted in Argentina’s identity, embraced by a society that celebrates men’s accomplishments, yet rarely acknowledges the lives of women,” writes Sanguinetti of the project. “Now the girls will enter not only the adult world they once imagined, but a more complex social one as well.”
The Robert Gardner Fellowship, named for the award-winning documentary filmmaker and author who was formerly the director of Harvard’s Film Study Center (1957–1997), funds the work of “an established practitioner of the photographic arts to create and subsequently publish through the Peabody Museum a major book of photographs on the human condition anywhere in the world.” Sanguinetti, who was nominated by San Francisco Museum of Modern Art senior curator of photography Sandra Phillips, is the third Robert Gardner Fellow. The two previous fellows are Guy Tillim (2007) and Dayanita Singh (2008).
“During her fellowship year,” the museum’s announcement says, “Sanguinetti will focus both on the two girls’ individuality and on the wider social networks and context in which they live.”
Sanguinetti tells PDN she was very surprised to receive two grants for two different projects in the same year. “Usually when you apply for grants you expect to get one if you’re lucky,” she says.
The National Geographic grant will fund her documentation of sustainable agriculture and transgenic, or genetically modified, crops in Argentina, the United States and Canada.
“It’s a huge opportunity,” Sanguinetti says of the two projects, “so I’m just going to take it on.” She plans to travel to Argentina in July to begin work on both projects, and envisions shuttling back and forth throughout the year.
The book that she will eventually produce through the Robert Gardner Fellowship will be the second of two volumes documenting the lives of her Argentine subjects. Nazraeli Press, who published her first book, On The Sixth Day (2006), will likely release the first part of the project this October, she says,.
Asked how the Robert Gardner Fellowship and National Geographic Magazine grant rank among the grants she has received in her career, Sanguinetti says, “All of them are important. The first grant I got for maybe $1000 in Argentina made a world of difference to me too, because at that time in my life and at that stage of my work, I was supported and encouraged.” Sanguinetti has received a Guggenheim Fellowship and Hasselblad Foundation grant among other accolades.
Sanguinetti says that she and her husband, photographer Martin Weber, have been supported mostly by grants since 1998, when Weber won his Guggenheim fellowship.
A Magnum Nominee since 2007, Sanguinetti says she does not think the awards will have any influence on voting to make her a full member of the agency. “My instinct tells me that everyone there is self-confident and they wouldn’t be swayed by somebody winning a prize or not. They’re going to have their own opinion of that person’s work, but I’m just speculating.”
After suffering a fracture in her back in 2007 that prevented her from lifting a camera for a year, Sanguinetti says the grants could not have come at a better time. “It’s incredible… I am going to make up for lost time.”
the RIP
As she walks in the room
Scented and tall
Hesitating once more
And as I take on myself
And the bitterness I felt
I realise that love flows
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Through the glory of life
I will scatter on the floor
Disappointed and sore
And in my thoughts I have bled
For the riddles I've been fed
Another lie moves over
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Scented and tall
Hesitating once more
And as I take on myself
And the bitterness I felt
I realise that love flows
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Through the glory of life
I will scatter on the floor
Disappointed and sore
And in my thoughts I have bled
For the riddles I've been fed
Another lie moves over
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Wild, white horses
They will take me away
And the tenderness I feel
Will send the dark underneath
Will I follow?
Diego em Moura
Hoje é dia de Diego Ventura em Moura.
Estou a sair de casa. Se o tempo o permitir vamos ter um grande corrida.
As imagens ficam para logo, mais tarde.
Estou a sair de casa. Se o tempo o permitir vamos ter um grande corrida.
As imagens ficam para logo, mais tarde.
tan de veras
da série "Tauro" de Paulo S. Carvalho
"No hubo príncipe en Sevilla
que comparársele pueda,
ni espada como su espada,
ni corazón tan de veras"
que comparársele pueda,
ni espada como su espada,
ni corazón tan de veras"
in Llanto por Ignacio Sánchez Mejías - Garcia Lorca
Fragmentos
Da série "Fragmentos" de Paulo S. Carvalho
Ontem esta série não tinha nome. Hoje são"Fragmentos". De tempo. Alguns são fragmentos de mim, outros de outro qualquer. Faltam-me. Encontrarei alguns e construirei com esses, este ou outro nome.
Adenda
da série "The weeping song" de Paulo S. CarvalhoEsta série merece uma adenda. Até porque sem ela, não seria completa. Ontem foi o dia.
do Lat. misericordĭa
Voltei lá. Desta vez artilhado com 20 kg de Wista 8x10 e de umas chapas de Ektachrome. Segunda feira vai passear a Lisboa, imprimir "comme il faut"
do Lat. misericordĭa
I KNEW SOME OF YOU BETTER THAN OTHERS, BUT I MISS YOU ALL
KELLER & WITTWER
I Knew Some of You Better Than Others, but I Miss You All
February 6–April 18, 2009
Artists Dagmar Keller and Martin Wittwer continue to create a multifaceted oeuvre that includes objects, video installations, film, and photography. In their work they examine the relationship between reality and fiction. Questioning perceptual processes and an interest in social phenomena are central to their work.
ftc. is now showing a black-and-white photo series, I Knew Some of You Better Than Others, but I Miss You All, which was begun in 2007. Its starting point is contemporary visual advertising culture, and it is the first work by the two artists that displays a performative element. Here, the duo is especially interested in deconstructing aesthetic and social codes of perception.
In their photo series, I Knew Some of You Better Than Others, but I Miss You All, Keller and Wittwer confront their own bodies with images from the omnipresent photo campaigns produced by fashion and lifestyle companies, thus involving viewers in a game of changing identities.
Through their photographs, which are created in a performative situation in the studio, Keller and Wittwer appropriate these “advertising images”; they literally fall in love with them, giving them a new twist. What is seen oscillates between the artists’ apparently vulnerable bodies and the immaculately presented, fetishized bodies of the photo models. This vulnerability becomes a
disturbing aspect of the trompe l’oeil, revealing the perfectly staged, phallic body of advertising aesthetics. in http://www.ft-contemporary.com/pdf_en/502.pdf
February 6–April 18, 2009
Artists Dagmar Keller and Martin Wittwer continue to create a multifaceted oeuvre that includes objects, video installations, film, and photography. In their work they examine the relationship between reality and fiction. Questioning perceptual processes and an interest in social phenomena are central to their work.
ftc. is now showing a black-and-white photo series, I Knew Some of You Better Than Others, but I Miss You All, which was begun in 2007. Its starting point is contemporary visual advertising culture, and it is the first work by the two artists that displays a performative element. Here, the duo is especially interested in deconstructing aesthetic and social codes of perception.
In their photo series, I Knew Some of You Better Than Others, but I Miss You All, Keller and Wittwer confront their own bodies with images from the omnipresent photo campaigns produced by fashion and lifestyle companies, thus involving viewers in a game of changing identities.
Through their photographs, which are created in a performative situation in the studio, Keller and Wittwer appropriate these “advertising images”; they literally fall in love with them, giving them a new twist. What is seen oscillates between the artists’ apparently vulnerable bodies and the immaculately presented, fetishized bodies of the photo models. This vulnerability becomes a
disturbing aspect of the trompe l’oeil, revealing the perfectly staged, phallic body of advertising aesthetics. in http://www.ft-contemporary.com/pdf_en/502.pdf
You Winter, let's get divorced
Journey 2008 © Scarlett Hooft Graafland courtesy Micheal Hoppen ContemporaryThis February, we are delighted to announce our second solo exhibition of work by Dutch artist Scarlett Hooft Graafland.
In this new series, Hooft Graafland successfully combines straight photographic practise with performance and sculpture. The resulting work is delightful - visually engaging yet constantly referring to a more profound cultural discourse. Using a surrealist language of intriguing visual jokes, Hooft Graafland wittily alludes to her anthropological interests and environmental concerns. For You Winter, let's get divorced, she spent four months living in Igloolik in the northern reaches of Canada. The beauty of the harsh natural landscape with its infinite snow and ice forms Scarlett's canvas and playground - a pair of rubber gloves are joined in prayer before an iceberg- is their wearer imprisoned under the snow or perhaps attempting an appeal to save the huge yet vulnerable iceberg from its imminent demise.
Although her concerns are serious, Scarlett's childlike palette and informed wit are intrinsic to her work. Bold colour, incongruous objects and local folklore are combined to create an individualistic take on themes such as cultural integrity, domesticity, as well as the dire environmental issues facing the region.
Her diptych, from which the show takes it's title, 'You Winter, lets get divorced' was inspired by the words of an old Inuit poem, which describes how isolation and alienation caused by long term exposure to the bleak landscape and endless dark begin to affect the Inuit, and to experience warmth and light becomes necessity. Scarlett herself was not immune. 'I did not spend the full winter months up there...but even during the four months I spent in Igloolik I started to long for friendlier weather, to see some colour again, flowers, moss, birds.'
Born in 1973 in the Netherlands, Hooft Graafland is based in both Amsterdam and New York. Her work to date has included sculpture, installations, photography and performance. She has studied at the Royal Academy of Fine Arts, The Hague, Bezalel Academy, Jerusalem and Parsons School of Design, New York. She has had solo exhibitions all over Europe and has been part of group shows at the Metropolitan Museum, New York and Musée D'Orsay, Paris, amongst others.
You Winter, let's get divorced follows from Hooft Graafland's last show at Michael Hoppen Contemporary which was work made in Bolivia, entitled Soft Horizons.
Work from You Winter, let's get divorced will be also shown by Michael Hoppen Contemporary at Art Miami this December.
Rineke Dijkstra @ La Fábrica
Rineke DijkstraConsiderada uno de los personajes cruciales de la fotografía actual, la holandesa Rineke Dijkstra, cuya obra se centra en series de retratos donde la "falsa sencillez" esconde todo un estudio formal y emocional, expone en Madrid trece imágenes de gran formato de su última serie, "Park Portraits".
Nacida cerca de Amsterdam en 1957, hija de una pintora aficionada que inculcó en todos sus hijos el amor al arte, Rineke, quien siempre se sintió turbada por los grandes retratistas clásicos como Rembrandt y los flamencos, eligió la fotografía como modo de expresión, tras descartar la pintura.
Después de trabajar como fotógrafa por encargo haciendo retratos de todo tipo, su primera obra autónoma fue la serie de Retratos en la Playa y fue ahí donde descubrió la esencia de lo que quería hacer en el futuro con su carrera.
Las series responden, cuenta, "al factor investigación y al factor tiempo", comenta a Efe la artista, quien insiste en que ambos factores son esenciales.
Su obra -que se expone en la Galería La Fábrica hasta el 14 de marzo- se caracteriza por elegir escenarios prácticamente iguales, neutros e incluso casi abstractos, para en ellos situar a los distintos personajes.
"Elimino cualquier objeto decorativo, cualquier información de más y sólo ofrezco unas pistas para que resalte la persona. De esta forma, el espectador no se despista con cosas inútiles, sino que se centra totalmente en el individuo y en los pequeños detalles del personaje que, de otra forma, pasarían desapercibidos", comenta Rineke.
"Así -explica- quedan subrayados aquellos pequeños gestos y connotaciones que hacen diferente a cada individuo, y así, el resultado es más emocionante".
"Y eso es, precisamente, lo que me interesa, -añade- el carácter universal del individuo y las señas de identidad y diferencias que les han marcado sus influencias culturales". De ahí que para sus series busque ubicaciones similares pero en muy distintas localizaciones: Europa, Asia, América...
Rineke, algunas de cuyas series están protagonizadas por niños o adolescentes, se interesa por esas edades significativas en la vida, aunque opina que "la vida es un cambio constante, pero quizás como adultos lo reconocemos más en estos niños y jóvenes".
Aunque elimina cualquier fondo hasta convertirlo en algo neutro o abstracto, Rineke no deja de lado el aspecto formal de la fotografía: "Todos los elementos tienen importancia -cuenta-, por eso lo cuido todo; la luz, el fondo, el color. Es algo similar a la pintura, donde hay que tener en cuenta muchos elementos narrativos, sobre todo los emocionales".
La obra de Rineke Dijkstra está considerada como un conjunto de iconos de la sociedad de hoy. Algo en lo que ella se reafirma: "Toda imagen debe ser algo icónico, que contenga el máximo significado", y pone como ejemplo su serie de Retratos en la Playa, donde cada modelo parece "una escultura", "algo simbólico de una cultura y un lugar".
El clasicismo de sus retratos es algo perseguido por la artista, y el resultado es siempre de una aparente sencillez, algo esencial para ella, ya que "la falsa sencillez es la esencia del arte. Se busca algo que parezca casual". in http://www.publico.es/agencias/efe/195954/dijkstra/retratista/falsa/sencillez/exhibe/serie/parques/madrid
do Lat. misericordĭa
"peça de madeira saliente e dobrável, simples ou esculpida, que se colocava sob o assento das cadeiras nos coros de igrejas e que permitia, quando levantada, que o clérigo ali apoiasse o corpo, de modo a parecer estar de pé"
The last days of W
do "livro jornal " The last days of W - Alec Soth"During these last days of the administration, what is the point of protest, satire or any other sort of rabble-rousing? In assembling this collection of pictures I’ve made over the last eight years, I’m not really trying to accomplish much at all. But as President Bush once said, 'One of the great things about books is, sometimes there are some fantastic pictures.'" - Alec Soth
“Explosure” at Phillips de Pury & Co
da série "Explosure" - Tierney GeardonThey range from the state of her fingernails — “They’re a mess; I’ve been tie-dyeing” — to her body odor — “I’ve just been to the acupuncturist and smell like fire” — to her thoughts on a friend’s dress — “Where’s it from?”
It should come as no surprise, then, that her first solo exhibit in London, “Explosure” at Phillips de Pury & Co. through Jan. 27, comprises a series of double-exposed photographs, whose varied subjects include her naked self, her toddler children, wild animals and men in varying states of undress, all imbued with an eerie, dreamlike quality.
Through fusing and layering the images, Gearon has created a collection of unlikely worlds: Sari-clad Indian women wade through water alongside a child swimming in Mexico, ghostlike images of little girls run through alpine valleys and brown bears play with kids by a lake. “I love the element of surprise that double exposure brings, and I do think the best art comes from accidents,” says Gearon during a walk-through of the show with her father, Michael, and various friends.
She admits she likes working with chaos, too. “Double exposure is a mess. Making these photos was a way of untangling the mess in my personal life — four kids, three dads, you know? — and putting order in it.”
This may be her first solo show here (it moves to Los Angeles’ Ace Gallery on Feb. 19), but Gearon, 45, is no stranger to London. A former model-turned-photographer, she was spotted by Kay Saatchi, who was married at the time to London’s legendary art collector Charles Saatchi. Gearon is an Atlanta native and lives in Los Angeles, but she’s always been grouped with London’s Young British Artists, including Gary Hume, Marc Quinn, Damien Hirst and Tracey Emin. Her career flourished when Charles Saatchi bought Gearon’s early — and immensely controversial — photographs of her naked children, and put them in his “I Am a Camera” show at the Saatchi Gallery in spring 2001. Scotland Yard officers raided the gallery and threatened to seize the photos under antichild pornography legislation. Gearon, consequently, shot to fame.
How times have changed: None of the British newspapers has made any fuss about the naked children in “Explosure,” and so far, the men from Scotland Yard are nowhere to be found.
The recent opening-night fete was a civilized, low-key affair with guests including Kay Saatchi, Hume, Quinn, Annie Lennox, Peter Soros, Amanda Eliasch, Karen Groos, Jessica de Rothschild, Johnny Pigozzi and Mollie Dent-Brocklehurst. Simon de Pury calls Gearon a “21st-century Diane Arbus,” and says he finds her work “very disturbing. She is a gifted and important artist and stands apart from anyone else in photography right now.”
Gearon’s father has a less meta take on his daughter’s work: “She doesn’t shut up. It’s like trying to cap a well.”" in:http://www.wwd.com/lifestyle-news/eye/londons-must-see-photo-exhibit1947004?gnewsid=0460b0f1e41f49c9ffee7c7aaeafafb1
Rufus Wainwright - Going to a town
Wainwright said of the song:
"The meaning is very plain, mainly that I'm having problems with the United States at the moment, as we all are. We all love America, I think everybody does in a certain way. But we have to admit that there's just been too many mistakes made in the recent past over too many issues, and we've just got to deal with that fact."
—Rufus Wainwright, rufuswainwright.com Audio Commentary - April 2007
Rufus Wainwright - Going To A Town
The music video for the song was directed by Sophie Muller, who also directed Wainwright's first music video ("April Fools"). The video premiered in April 2007, and Logo aired a 20-minute feature on the making of the video on April 27, 2007 (Making the Video: Going to a Town). The video begins with Wainwright as a D.H. Lawrence-like character, sitting alone at a table in an isolated room. As the video progresses, a large bouquet of roses appears and viewers see Wainwright with a bed cot. Three women emerge, dressed in black clothing and veils, visibly mourning the loss of their husbands. At times, their presence is abstract, digitally projected as if they exist only in Wainwright's character's mind. Other times, Wainwright is physically interacting with them within the same room.
Viewers then see images of the roses burning, the women crying, and catching Wainwright as he falls to the ground. With light cast upon him from a single window, they place a laurel wreath on his head. As his arms are spread out and straight across, and light is cast upon him as if by divine intervention, this image is clearly meant to symbolize a crucifixion.
In Making the Video, Wainwright discusses the various images and elements depicted in the music video. He states the song is "an emotional reaction to a lover you had a fight with", and is about "mourning" and "moving on to bigger and better things." The three women in the video represent three widows, an element he took from Mozart's The Magic Flute. One woman represents Jacqueline Kennedy Onassis, another Frida Kahlo, and the third a more abstract, "fairy tale-like" woman from The Magic Flute. Later in the interview, Wainwright states the women represent The Three Graces. He claims the burning roses symbolize "purification by fire", representing the United States--"beautiful, but thorny." Admitting "Going to a Town" is more about birth than destruction, he believes Americans (at the time the video was made) need to "change things" and "make sacrifices". The laurel wreath, he says, also represents the US, which "dominates the planet but is in peril of losing democracy." in http://en.wikipedia.org/wiki/Going_to_a_Town
Viewers then see images of the roses burning, the women crying, and catching Wainwright as he falls to the ground. With light cast upon him from a single window, they place a laurel wreath on his head. As his arms are spread out and straight across, and light is cast upon him as if by divine intervention, this image is clearly meant to symbolize a crucifixion.
In Making the Video, Wainwright discusses the various images and elements depicted in the music video. He states the song is "an emotional reaction to a lover you had a fight with", and is about "mourning" and "moving on to bigger and better things." The three women in the video represent three widows, an element he took from Mozart's The Magic Flute. One woman represents Jacqueline Kennedy Onassis, another Frida Kahlo, and the third a more abstract, "fairy tale-like" woman from The Magic Flute. Later in the interview, Wainwright states the women represent The Three Graces. He claims the burning roses symbolize "purification by fire", representing the United States--"beautiful, but thorny." Admitting "Going to a Town" is more about birth than destruction, he believes Americans (at the time the video was made) need to "change things" and "make sacrifices". The laurel wreath, he says, also represents the US, which "dominates the planet but is in peril of losing democracy." in http://en.wikipedia.org/wiki/Going_to_a_Town
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