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
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
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