Встреча с легендой.

16 X 20 CAMERA

Broken down to its essence, a piece of art is made up of three elements: concept, composition and craftmanship. Craftsmanship is a vital part of my final product and one that is not easily conveyed on the web. I have included this section to explain how I work and why it is important to the final print.

Simply stated, I make in-camera 16" X 20" negatives. This is my chosen means of producing 16" X 20" platinum prints. This century-old process is less light sensitive than the more ubiquitous silver print, and therefore requires a contact print (i.e. a print the same size as the negative), rather than one that's been enlarged. For me, a contact print in platinum produces an object of richness and clarity that is simply not found in other photographic media.

I used an 8" x 10" camera for many years, making both platinum and silver gelatin prints. 8 x 10 cameras are fairly common among artists and can be used in the field with relative ease. The history and legacy of the view camera promotes a dicipline that fits the way I chose to work. In short, I found a suitable way of working and produced most of my early work this way.

During art school, a professor said to me "I'd like to see the images bigger." I wasn't about to give up contact printing, and was not interested in giving up platinum, so I considered the possibilities. Digitally-enlarged negatives were an idea, but they required more time in front of the computer and less in the field. After abandoning the darkroom for platinum I was not interested in returning to generate enlarged negatives. I soon began a three year process of building a 16" X 20" camera. I finished the camera in 2002, and have found the experience of using it enriching.

With digital technology the means for enlarging negatives is readily available, extremely accurate, and now, widely used. While I am cognizant of and fluid in the digital realm, my means of printmaking are as simple as ever. I use a 16" X 20" camera to produce large negatives. I avoid excess time in front of a computer and added time in the darkroom. I wouldn't trade it for anything.

http://www.scottbdavis.com/

Scott B. Davis: Los Angeles Night

All photographs are platinum prints measuring 16 by 20 inches. Each print is signed by the photographer and is from a limited edition of 10.


Sunset Boulevard, Hollywood, California — 2004

http://www.dawsonbooks.com/viewgallery.php?ID=36

Etherton Gallery
Scott B. Davis : The View From Here

Conscientious — Jörg Colberg's weblog:

Magnum news

I just found — via PDNPulse — that Peter van Agtmael, one of my Photographers of the Year 2007 has become a Magnum nominee (find the conversation I had with him here). And Alec Soth is now a full member (find the conversation I had with him here). Congratulations to both and to the other new nominee Olivia Arthur and full members Jonas Bendiksen and Antoine d'Agata!

См. ссылки:

http://www.jmcolberg.com/weblog/2008/06 ... _news.html

Piece of Cake (POC)

pan-European group or network of young photographers

Интервью с отцом-основателем, A Conversation with Charles Fréger:

…And what opportunities has POC brought for its members? Has the network lived up to its original ideas? To what size do you think would you want to expand the group?

CF: Every year, we have a meeting in some European town. The last meeting was in Antwerp, Belgium. The next will be in Budapest, Hungary. These workshops are really fundamental to keep the spirit up. It's like in a family, we always need to feed the commitment. And we have some new members every year. We have to meet them. Well, of course, like every network it has its ups and downs. A few years ago, we had a visit by a specialist of the European Union during our workshop in Köln [Cologne]. He stayed with us to watch how POC was going and wrote a report about it. We found that POC was evolving in the same way as the European Union, with the same kinds of problems, the same expectations.

At the moment, we are 25. A board of 10 members votes (normally, it's 1/3 of the members) for new candidates. We have a voting system online. It works pretty well actually.

We won't go over 30 members, it would just be too much and we would lose this family aspect that I find very important.

http://www.jmcolberg.com/weblog/2008/07 ... .html#more

Charles Fréger


From the series Majorettes, 2000-2001

Statement for : Charles Freger

Born in 1975 and graduate of the Rouen School of Fine Art since 2000, Charles Fréger has already been interested for a number of years now in the notion of series of photographic portraits. Social groups, collective structures or communities, work groups or concerted action groups are among his chosen subjects. Even if the organisation of the portraits remains consistent (full frontal, neutral lighting, an impersonal or suggestive background chosen on site, colour prints all of thesame format), the accent is placed upon everything which translates the notion of belonging to a group, in particular that of the adolescents whom at the same time provoke and enhance the adherence to a shared identity, to a social “skin” according to which they refer to and recognise themselves.

http://www.pocproject.com/member.php?my_pic=240

http://www.pocproject.com/docs/5CV%2020 ... FRENCH.pdf

http://www.pocproject.com/docs/52007%20 ... ancais.pdf

pan-European group or network of young photographers

Image of the month


Image by Jasper de Beijer
From the series ‘The Riveted Kingdom’, 150 x 100 cm Edition of 7 Cymbolic print, 2008


Документы проекта:

POC application form, English

http://www.pocproject.com/docs/POC.Application.form.pdf

Информация об авторах:

http://www.pocproject.com/docs.php

Ground Glass, по рекомендации Кольберга:

http://caraphillips.wordpress.com/

Напомню:

A new curated venue for women in photography Co-curated by Amy Elkins and Cara Phillips…

The Women of WIPNYC

http://caraphillips.files.wordpress.com ... =225&h=300
Me & the lovely and talented Amy Elkins

www.wipnyc.org

Вот эта информация уже была, не помню, давал ли я ссылку:

The Girl Project explores the lives of American teenage girls by putting them behind the camera to document themselves. Using disposable cameras, girls 13-18 photograph their lives as only they know and understand it.

http://caraphillips.wordpress.com/2008/ ... l-project/

Photo Resources

Что читают и смотрят, что советуют читать и смотреть:

Young Photographers Untied. An online consortium designed to help emerging photographers. They have artists from all over the world and help with career development.

ASMP. A great resource for legal and financial aspects of commercial photography. They have sample model releases, invoices etc. If you join they also have insurance.

Editotial Photo. Resources about the world of editorial photography.

Fractured Atlas. An online artists association, with has good rates on insurance and info for artists.

PDN Online. Contests, info about other photographers, a resource section and online portfolios.

Aperture. The site is a great resource for some of the best books and photography out there. The foundation also hosts great talks, and exhibits. They have a great bookstore for browsing and thinking photo. And the magazine is a great subscription to have.

Blind Spot. The artists A-Z sections has work from almost every important artist. The magazine is sort of the holy grail of fine-art photography, although their program of late is not to my taste, its still a force.

Cabinet. The most fun and unexpected of the art mags. The website is not so much photo related, but inspiring none the less.

И т.д.

http://caraphillips.wordpress.com/2008/ ... resources/

Young Photographers Untied

We are proud to present all the current members of Young Photographers United. Clicking their name will guide you to their personal world and take you on a trip through their photography.

You can locate the YP's on the world map by clicking on the continents.

Понятно, что в списке стран авторов Беларусь вообще отсутствует, Украина имеется, Саша Маслов из Cincinnati… угадайте с первого раза, из какого города в Украине…

How to apply?


Frank Penders / The Netherlands

If you are interested in YPU and would like to start a partnership with us, we
would like to invite you to fill out the application request. You will receive an email with a personal log in for the Newblood section, where you can fill out the application form.

Before you fill out the application, we wish to share our point of view
and what we look for.

Young Photographers United is a foundation that aims to support
young photographers by creating new opportunities for broad and
international exposure. We also put together projects where photographers get a chance to set foot in the professional photography world.

There are 3 criteria to join YPU.
First, you need to be talented and have great photography.
Secondly, ‘young’ stands for new emerging photographers. YPU wants to help you build an established reputation as photographer.
And last but not least, we need your full commitment.

The foundation does not receive external funding and it relies on the
collaboration between the core team and the photographers. It's all
about working together, joining forces to create our own golden path
into the art world.

And with a bit of work and fun, success is at the other end.

http://www.ypu.org/2007/page.php?m=apply

Попутно:

Photo Debut

http://www.photodebut.org/photographers ... /main.html

Фотоссылки

http://alick.ru/category/photolinks/

Искусство, погибающее на наших глазах:

http://wiki.khotty.ru/Blog/LightVersusColor

Сентенция (по поводу см. ниже):

«Вы действительно считаете, что фотографируя маску обобщённого счастья, вы раскрываете уникальное взаимодействие двух неповторимых индивидуальностей: своей и вашей модели?»

http://wiki.khotty.ru/Blog/GlamourAndPortret

Ссылка, которая уже разок гуляла:

«

…Девушка модель, которая должна была придти на это мероприятие
позвонила мне буквально за час до начала мероприятия
и сказала что не придет чем меня очень огорчила...
Я рассчитывала на нее и антураж у нас был обговорен,
Я приперла рюкзак не маленький, специально ходила
в магазин искала юбку к корсету, но все пошло не так,
без шляпы весь образ нахрен коту под хвост...
Я тоже хотела позировать с той девушкой на контрасте
Но ничего не вышло…

»

Ansel Adams Photography Workshop

http://theanseladamsgallery.blogspot.co ... raphy.html

*

Words Without Pictures

Minor Threat

CHARLIE WHITE

They say that we Photographers are a blind race at best; that we learn to look at even the prettiest faces as so much light and shade; that we seldom admire, and never love. This is a delusion I long to break through—if I could only find a young lady to photograph, realizing my ideal of beauty…I feel sure that I could shake off this cold, philosophic lethargy.

—from “A Photographer's Day Out” by Charles Dodgson (Lewis Carroll), 1860

http://www.wordswithoutpictures.org/main.html?id=210

Поучаствуйте:

Eggs in photography — examples?

I'm currently planning an online exhibition of "Eggs in photography" that will include examples by Paul Nadar, Margaret Watkins, Paul Outerbridge, Ralph Steiner, Man Ray, György Kepes, Walter Peterhans, Carlotta M. Corpron and others. I'm seeking further examples from all regions, periods and photographic types and would be most interested in any photographs you may have in your collections.

http://www.luminous-lint.com/imagevault ... 14_std.jpg
Paul Nadar
Dancer in costume holding eggs
1890 (ca)
Albumen print cabinet card
15.0 x 10.2 cm

http://www.luminous-lint.com/app/news/LL/BL/1/463/

*
Exhibition: Don Jim: Urban Artifax

The pleasures of an unexpected email. The history of photography is one of connections and some of these are obvious and others forgotten. This online exhibition of the abstractions of Don Jim (1922-2006) is a forgotten pleasure and shows his 1970s series Urban Artifax. He created these by being a visual treasure seeker searching for symbolic gems embedded into the streets of Los Angeles. One can clearly see the influences of Minor White and Aaron Siskind in this series but it also has the strength to stand alone.

http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/

Галерея:

http://www.luminous-lint.com/app/vexhib ... 746330898/

Неделя вышла в сидении на двух стульях… студенты пару раз меня удивили очень приятно; семинар с американцами завершился не менее волнующе, разговором с В.Ч. о немецкой «Экзакте», «Контаброме» с четвертым номером (контрастном), дежурном уже поругании «Фотошопа», который профессиональную фотографическую практику низводит до ковбойского пляса на двух табуретах.

А после слова «Йодоконт» (э-э-э… как же оно писалось-то, с какой буквы?) я просто обязан разместить здесь вот эту ссылочку:

http://vilnius.borda.ru/?1-6-0-00000034-000-0-0

И вот эту, пожалуй:

http://club.foto.ru/forum/view_topic.ph ... e=l&page=1

Craigie Horsfield и его slow time

Этого автора, как помните, называл в интервью Джефф Уолл:

…I very much wanted to work in black-and-white, for a long time. Then in around 1988, I saw the work of a few other photographers who were working in large-scale in black-and-white; Craigie Horsfield was the most important one, and I thought, God, that's interesting--I haven't seen such interesting black-and-white work on the scale that I've been working on, and it gave me more of a stimulus to get involved with what I wanted to do. It took me a while to resolve some of the technical problems of working in black-and-white at the scale I wanted…

http://forum.znyata.com/viewtopic.php?p=16259#16259

EUROART MAGAZINE | ISSUE 6 SPRING 2008

Craigie Horsfield Exhibition
London, UK 18th January–27th February 2008

Frith Street Gallery has launched an exhibition of new works by Craigie Horsfield. Made in collaboration with tapestry weavers in Belgium these pieces demonstrate the artist's innovative use of diverse media. Here Horsfield has uncovered the potentiality of a technique which is more often associated with decorative or applied art and used it to create intricate works which continue to explore themes of relation, slow time and the present.

The tapestries were begun as a narrative device - the literal weaving together of strands that take on meaning in their relation. They parallel the formal structure of the rest of the artist's practice - long-form films, sound works and the social projects, which bind together complex and interwoven narrative lines. In the tapestries, the sense of their fabric as the material of representation concerns the interplay between the substance of the things depicted and of their being depicted - at once a metaphorical and actual interweaving. In tapestry each thread is equally significant to the unity of the image, the dense and complex tying together takes on a meaning which is formed by all the threads. Unlike a photographic surface, that of the tapestry is densely present and its rhetoric is not first of all concerned with the evanescence of light, but with the physical surface - the skin of things.



The photographic images on which these works are based were made more than 30 years ago and now. They return to the process described by Horsfield since the 1960s of 'slow time', of memory and present apprehension, involving affection and loss, shadow and light. Two rhinoceros, separated; a street and a couple lost; the tree at the end of the world, an accidental diversion in a disco; a cloud.

Although large, even monumental, these works speak of small intimacies, of the everyday and the present suffused with past longing - of hope, recognition and beauty.

http://www.euroartmagazine.com/new/?page=1&content=149

Вот тут имеются крупные версии снимков выставочного пространства:



…I went to see the new Frith Street Gallery which has moved to Golden Square. It is a very sleek looking space from the outside and nothing prepares you for the incredible interior which has a very raw, yet monumental feeling. They have mounted a stunning show of tapestries by Craigie Horsfield.

http://feltbug.blogspot.com/2008/02/cra ... field.html

Галерея на artnet.com:


Bar 241, Via Monteoliveto, Napoli, Febbraio 2008

http://www.artnet.com/artist/8525/craig ... field.html

*
Tate Collection


E. Horsfield, Well Street, East London, March 1986
1992
Photographic paper on aluminium
image: 2132 x 1319 mm on paper, print
Purchased 1993

Horsfield often prints his negatives for the first time many years after the moment in time they portray, the time when the photograph was taken. This lends his subjects a duality of meaning: they are both the focus of memory, and objects existing in the present. The artist believes in the capacity of the photographic image to enable us to appreciate 'slow' history, as opposed to the swiftly changing surface of culture and politics. His approach to portraits and the nude is rooted in the traditions of painting. Here the pose of the figure is a quotation from Masaccio's 'The Expulsion from Paradise'. Such references extend the historical dimensions of the work.

( Отсюда )

Craigie Horsfield
Relation



Большая статья (фр.):

http://www.jeudepaume.org/?page=documen ... &idDoc=158

*

Archive Fever
January 18–May 4, 2008

C R A I G I E H O R S F I E L D b. Cambridge, England, 1949
In the late 1970s, Craigie Horsfield commenced one of the most sustained and unique artistic investigations around the relationship between photography and temporality. Working with a large-format camera, he traveled to pre-Solidarity Poland, specifically to the industrial city of Krakow, then in the throes of industrial decline and labor agitation. There he began shooting a series of ponderous and, in some cases, theatrically antiheroic black-and-white photographs comprising portraits, deserted street scenes, and machinery. Printed in large-scale format with tonal shifts between sharp but cool whites and velvety blacks, these images underline the stark fact of the subject, whether of a lugubriously lit street corner or a solemn, empty factory floor. Of these images, the portraits of young men and women, workers and lovers, stand out. Horsfield worked as if he were bearing witness to the slow declension of an era, along with a whole category of people soon to be swept away by the forces of change. Magda Mierwa and Leszek Mierwa—ul. Nawojki, Krakow, July 1984 (1990) is a haunting double portrait of a couple, a bearded man and a woman, each staring so intently at the camera that it appears they were themselves witnesses to, rather than specimens of, a passing age. The scene is lit in such a way that the background literally dissolves around the sitters, enveloping them in inky blackness. The image emits an eerie silence, as if touching the sentient melancholy of the man and woman. With their stern, stubborn mien, they stand before us as the condemned.

http://shopping.icp.org/store/product.h ... t_id=27411

Archive Fever: Uses of the Document in Contemporary Art

By Okwui Enwezor (Contributor)

Was it Joseph Cornell's dossiers on ballerinas and artists that first proposed the model of the archive as a creative storehouse, a vehicle for the ordering of chaotic fragments? Over the past 30 years, successive generations have taken wide-ranging approaches to archives, most of them (like Cornell) concentrating on photographic and filmic collections. Organized and written by renowned scholar and ICP Adjunct Curator Okwui Enwezor, and taking its title from Jacques Derrida's book of the same name, Archive Fever gathers leading contemporary artists who use archival materials in the fabrication of their work. As Derrida notes, the Greek etymology of "archive" connotes both "commencement" and "commandment," implying that authority is as much at stake as authenticity. For artists, of course, these imperatives provoke all kinds of exciting opportunities for eccentricity and falsification, and the works included herein take many forms, including physical archives arranged by bizarre cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed from historical photographs. These images offer a wide-ranging subject matter but are linked by the artists' shared meditation on photography and film as the quintessential media of the archive. Artists in the exhibition include Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Zoe Leonard, Ilan Lieberman, Walid Raad, Thomas Ruff, Anri Sala, Fazal Sheikh, Eyal Sivan, Lorna Simpson and Vivan Sundaram, among others.

См. специально:

Art as conversation

Sydney’s Museum of Contemporary Art is currently showing the first exhibition in Australia to explore the hauntingly beautiful imagery of internationally renowned artist Craigie Horsfield.

Organised in collaboration with the Jeu de Paume in Paris, Craigie Horsfield: Relation spans a period of 35 years and covers all aspects of Horsfield’s practice including film, photography, social projects and sound work.

Born in England in 1949 and short-listed for the Turner Prize in 1996, Horsfield presents us with a complex and integrated vision of humanity and art. He initiated the concept of ‘slow time’ and continues to explore it in works that are concerned with duration and challenge our inclination towards instantaneous responses.

A radical proponent of ideas concerning art and community since the 1960s, Horsfield examines how the individual relates to society and the role of the audience in relation to a work of art.

According to the artist, “All art is, in some sense, conversation”. It arises from the relation between viewer and image, photographer and subject, person and place.

http://www.theblurb.com.au/Issue77/CraigieHorsfield.htm

Craigie Horsfield: Relations

Text by Craigie Horsfield, Carol Armstrong, Slavoj Zizek, David Ebony, Bracha Lichtenberg Ettinger, Serge Guilbaut.

This beautifully printed, 380-page monograph delivers a thorough examination of the oeuvre of the British artist and photographer, Craigie Horsfield, born in Cambridge in 1949 and nominated for the Turner Prize in 1996. Horsfield's deeply saturated, often enigmatic and usually black-and-white photographs reflect a rigorous and refined formal unity and a precise visual vocabulary. They are held together by the notion of relation, according to the artist, in that the individual is inextricably bound to relation and not to separation or alienation. Horsfield often prints his photographs years after they were originally made, so that memory brushes up against the present, and realities conflict. Additionally, he was ahead of artists like Thomas Struth, Thomas Ruff and Andreas Gursky in manipulating and enlarging his images to the large scale we see so often today. A breathtaking presentation of one of Britain's most influential photographic artists, with new scholarship by Slavoj Zizek, among others.

http://www.artbook.com/9076979332.html

См. еще здесь >:

(RELATION
CRAIGIE HORSFIELD
25 July 2006 to 24 Setember 2006)

См. еще здесь:

http://www.smak.be/collectie_kunstenaar ... aar_id=432

conversation in slow time
mireille juchau engages with british photography at ACP and MCA


Craigie Horsfield, installation, left image — Rynek Glówny, Kraków, March 1977, 1991

…Horsfield’s large-scale black and white print, Rynek Glowny, Krakow, was shot in 1977 but not developed till 1991 and shows an old building in the city’s central Grand Square. Its façade is partly obscured with scaffolding and the dark boughs of leafless trees. While the scaffold suggests decay and reconstruction (the square dates from the 13th century), two large portraits on the building conjure up a more human history. These 1930s faces—a dark-haired woman and man—remind me of the ‘found photographs’ from the Holocaust that Christian Boltanski uses in his many installations highlighting the lost, the nameless and the disappeared. Horsfield’s Rynek Glowny suggestively captures all the haunting, layered qualities of those old European towns where reconstructions uncover as much as they repair.

I discover later that the portraits are of Janek Krasicki and Hanka Sawicka, aged 25 and 27 years. They founded the communist League of Young Fighters in 1942 and were subsequently murdered by the Gestapo in Pawiak prison in Warsaw.

In an adjoining room a series of huge gelatin silver prints portraits line the walls. They have a deceptively timeless quality—though calm Isabel Sametier of Barcelona (1996) with her dark, Modigliani eyes looks slightly more contemporary than Bartomeu Mari of Rotterdam (1998) with his 60s, heavy-framed glass-bottle lenses, a slightly startled expression on his half-turned face. It’s this very floating, a-historical quality of human emotion and composure that seems to preoccupy Horsfield.

This quality is also evident in the more obviously contemporary colour series, Broadway-muted stills from a film at Ground Zero, New York in 2001. Shot in dusky light, these close-ups of faces staring, presumably at the scarred remains of the World Trade Center, turn us from the literal traces of the catastrophe to peer instead at its human impact. Horsfield’s use of colour and tone—dense, grainy, muted, framed in darkness—gives his work a stately gravitas. A group of men gaze in different directions, one with his head slightly bowed, another has lowered his camera to stare instead through his glasses. In making the viewer a spectator twice removed, the Broadway series powerfully conveys what the repeated motif of the falling towers cannot: the emotional aftermath, the struggle to comprehend. And yet, the voyeur in us also can’t help pondering, what exactly are they looking at?

As I move through Horsfield’s exhibition I stumble across schoolkids lying on the gallery floor ready to sketch a majestic rhino (Zoo, Oxford, 1990) with its beautifully lit, warty hide and shadowed ribs. “Imagine you’re a scientist and you need to describe the skin, the horn, the ears...”, their teacher exhorts. But there’s so much more than this in Horsfield’s attentive studies of animals and humans, because even here, the rhino, head bent toward the straw covered floor of its enclosure seems somehow doleful, defeated. Perhaps that’s because I know it’s captured, or because, wrinkled and worn, it looks slightly done in. The rhino is poignant, like the man in Estery Krakow (1979), sitting pigeon-toed on a wooden bench, cigarette in one hand, spent butts at his feet, who seems to be taking a puff from a giant inhaler. The smoking asthmatic in the inky night.

http://www.realtimearts.net/article/issue79/8614

*


Micaela Fraguas, Calle Serrano, Madrid, Enero, 2007

*
Очень важный ресурс:

Frith Street Gallery: artists

CRAIGIE HORSFIELD







http://www.frithstreetgallery.com/horsfield.html

Slow Time and the Limits of Modernity:
Craigie Horsfield and Fredric Jameson
[excerpt]

David Ebony

In its exploration of the term "modern," the word's meaning and relationship to the elusive present, Fredric Jameson's recent book, A Singular Modernity: Essay on the Ontology of the Present1 suggests a spirited correspondence with works by Craigie Horsfield, whose art encompasses photography, conceptual pieces and collaborative projects centered on the notion of "slow time." Perhaps generally characterized as the interrelationship of past, present and future, slow time is a concept related to historian Fernand Braudel's writings on "slow history," which Horsfield has modified and applied to his own work. Alluding to the nearly imperceptible evolutions in everyday life, slow history and slow time lie beneath the surface of culture and contrast with the high-paced changes dominating the surface, especially in a capitalist society…



http://www.lacan.com/frameXXII8.htm

Indepth Arts News:

"Soundwork 4.0: Craigie Horsfield in Collaboration with Camille Dings, Reinier Rietveld, Mark Ritsema and Rutger Wolfson "
2002-03-17 until 2002-05-12
De Vleeshal
Middelburg, NL Netherlands

Soundwork 4.0 is a four hour long sound installation, consisting of eight audio channels (stereo is two channels). The especially composed and recorded sound material moves through the space of De Vleeshal's Gothic architecture over eight loudspeakers.

Soundwork 4.0 is made by a collective, consisting of Camille Dings, Craigie Horsfield, Reinier Rietveld, Mark Ritsema and Rutger Wolfson. It is the fourth soundwork in a series, the first of which was executed in Württembergischer Kunstverein in Stuttgart in 1999. At that time, Horsfield was known for his photographic work, his participation in socially engaged projects (La ciutat de la gent, Fondacio Antoní Tapies, 1995-1996 and Rotterdam project , Witte de With, 1998), and the development of theories of relation, conversation and slow time. For the Stuttgart project, however, Horsfield invited sound technicians and musicians Dings and Rietveld, musician and composer Ritsema and musician and curator Wolfson - who have all played together in bands - to join him in creating a soundwork. The Stuttgart sound installation was Horsfield’s first sound piece since his pioneering work with sound of the 1970’s. Since Stuttgart, the same collective has constructed sound works in the Ravenstijn Galerij (2000), and at the Frith Street Gallery in London (2001)…

http://www.absolutearts.com/artsnews/20 ... 29749.html

Craigie Horsfield


Craigie Horsfield
Ateneu Barcelonès, carrer Canuda, Barcelona, March 1996, 1996

CRAIGIE HORSFIELD
9 May-19 July 2003

As Craigie Horsfield’s work - his art and writings - have become increasingly influential (see Documenta 10 and 11), this exhibition is a rare opportunity to see a group of photographic works drawn from his large-scale social projects in Spain (1996) and Holland (1998), as well as earlier in Poland (1970s).

In these remarkable black-and-white pictures, the past and future are aspects of the way we experience and understand the present not as being instantaneous but as having duration. The profound significance of Horsfield’s work lies in his claim that the artwork moved from the object to action within the space of relation. Much that is conventionally given over to politics, philosophy, and ethics is seen as being part of art, irrespective of the medium that is being considered: soundwork, film, drawing, installation, or photography, all of which he has used since the very start of his oeuvre in the late 1960s. The making of the work, be it the development, the viewing, or the affect, happens in the space between us, to which the photograph, film, or drawing contributes, and thus always unfolds in a relational present. Key notions of Horsfield’s work are conversation and “slow time.” In his most recent publication “El Hierro Conversation,” the artist writes: “Conversation is the common and shared place of relation—relation as ‘becoming together’ and relation as ‘telling’.” In this sense, Horsfield believes that the work of art is only realized in connectivity and collaboration. In using photography as such, his position questions the validity of modernist notions of alienation and separation in the formation of art, and anticipates much of current thinking in art practice concerning the individual and communality.

Each of the rooms in the Monica De Cardenas Gallery consists of three to five large-scale photographs, the size of which have been defined following very precise decisions. Their velvet-like surface results from a labor-intensive developing process, whereby the artist has spent many weeks to bathe and develop, with immense care, these single and unique pictures. The subtle juxtaposition of the photographs reflects Horsfield’s urgent inquiry of what seems to be for him unsustainable values of disconnection versus contemporary notions of relation: the archive (categorization as separation) next to the playground (game as togetherness); the empty chair (absence) surrounded by portraits of people he encountered and relates to (presence). It is remarkable how almost as a precursor of what has become fashionable in recent photography Horsfield had made portraits the core of his work as early as the beginning of the 1970s. The setting is commonplace. The faces relate to the environs, both with their traces, carrying within their being memory and history. Although all these photographs suggest that we position ourselves as regards to here and now, they often connect us with an art historical legacy, such as the Italian Renaissance or sixteenth-century Flemish Painting.

In this exhibition, which consists predominantly of portraits, the potential of a changed attention to the other and a heightened sense of place can perhaps be realized at this timewithin the currency of thought. The intensity of experience and perception are then part of a wider project that is the social project of relation.

https://findlayart.com/galleries/Exhibi ... &cid=48373

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Alison Malone — The Daughters of Job

Забавно… кажется, вполне работающий способ, я имею в виду сам принцип ложи, уберечь подрастающее поколение от местной фотографической эйфории…

The Daughters of Job

“A photograph is a secret about a secret. The more it tells you the less you know.”
– Diane Arbus

I have photographed a group of girls, between the ages of ten and twenty, who are involved in a secret society known as Job’s Daughters. The girls are the direct blood relatives of Master Masons and the group is the only Masonic Youth organization to require this blood relationship. It takes its name from the Book of Job, 42nd chapter, 15th verse: “And in all the land were no women found so fair as the Daughters of Job.” One of the main reasons that I am drawn to this group is because I was a member of it in the early 1990’s and found the experience to be intense as a child, yet increasingly fascinating to consider as an adult.

My main interest is in the type of girl who finds comfort in ritual and its ability to allow her to disassociate from one world and become part of something much bigger then she is. I approach these girls in a way that looks at their world from an insider’s point of view. The architecture of the lodges and the ceremonial details are meant for the same activation that are engaging within the individual portraits of the girls. By using a systematic approach to observe the spaces, I allow the subtle difference in each room to form a language of nuanced individuality amongst rigid structure that is found in sacred geometry. The role that the Freemasons give meticulous execution and order, provides these spaces with what ultimately gives strength to the ties that bind the people in these organizations. I have found my own psychological space transformed in these lodges much like the way it would be in a church, temple, or mosque. The sense of the quiet familiar gives structure to the organization, but the sense of discovery that comes from noticing the subtle differences in each space is what drives you to keep looking for personality.

http://www.alisonmalone.com/the-daughte ... ement.html

Alain Paiement



…Parallèlement à ce travail, Alain Paiement a produit des projections planes de ses oeuvres sculpturales, des versions "planisphères" par des photomontages variés. Depuis quelques années, il utilise souvent les technologies numériques pour construire ses images, tout en produisant encore des oeuvres aux procédés photographiques traditionnels. Les oeuvres sont devenues bidimensionnelles, rappelant à nouveau les cartes géographiques, comme la pièce Sometimes square (version 1997) présentée lors de la toute récente Biennale de la Photographie de Liège (octobre 97)…

http://www.artmag.com/museums/a_belgi/a ... brco4.html

Biennale de Montréal 2002
Alain Paiement


Alain Paiement, Local Rock, 2002
Impression numérique sur papier coton
13'4" x 16'6"

http://www.ciac.ca/biennale2002/fr/alain.htm


*


Country Base
Edition of 5
lambda print mounted to dibond
66” in diameter
2004

Alain Paiement was born in Montreal in 1960 and received his MA from the University of Quebec at Montreal in 1987. He constructs photographs that depict multiple spaces simultaneously - conventional building-scapes that are deconstructed and sewn back together again into a seamless quilt.
His work is in the collections of the Musee National des Beaux-Arts du Quebec, Musee d’art Contemporain de Montreal, and the Canadian Museum of Contemporary Photography. Paiement has exhibited at the Oakville Galleries, Musee National des Beaux-Arts Quebec, ARCO Madrid, and the Centre Culturel Canadien Paris, France.

In 2004 he was the recipient of a Gold Medal, from Homes and Gardens, Canadian National Magazine awards foundation.


Local Rock
Lambada C-Print Mounted to Diabond
50"x67"
2004

http://www.leokamengallery.com/artists/ ... Alain.html

http://www.leokamengallery.com/artists/ ... lainCV.pdf

http://www.leokamengallery.com/artists/ ... Thumb.html

Hungarian House of Photography in Mai Manó House
Surfaces · Alain Paiement



(ОЧЕНЬ ЭФФЕКТНЫЙ КАДР, нужно смотреть здесь):

http://www.maimano.hu/andrekerteszterem ... cv_en.html

Presentation House Gallery
ALAIN PAIEMENT
Living Chaos



Alain Paiement’s photographs of synoptic views of mundane architectural spaces, such as apartments, a bakery and a ‘squat’ are presented here in a form that has not been used in previous exhibitions of these works. The spatial layering of Paiement’s work that has been seen, for instance, in the exhibition at Galerie UQAM curated by Anne-Marie Ninacs in 2002, allowed viewers to see the floors of the bakery building tipped on their sides, as they are here, but arranged so that viewers would walk through the gallery space to experience the reconstituted volume of the layers of the building. Here, in our west gallery, you see an ‘exploded view’ in which the same architectural volume is flattened against the gallery walls, not unlike a map. One is able to scan these works, moving vertically from floor to floor, from the basement to the skylight in the roof of the building, by panning 360°.

In Paiement’s photographs, the conventional view seen by tourists and worshippers gazing up toward the ceiling paintings of Michelangelo or Tiepolo is inverted. Instead of the mythic heavens, Paiement shows us a downward view, looking at the floor from the ceiling. Paiement’s deconstruction of space while making the individual photographs that constitute one of his images, is followed by a reconstruction of the space into a single‘ aerial’ scan. The almost seamless transition from room to room as one’s eye roves over his habitations is not unlike the ‘magic’ of the set on a sit-com – Paiement’s camera sees ‘through’ the walls, but viewed vertically rather than horizontally. The idea of making a photograph of a living space as if its roof had been blown away in a hurricane is, in its form, a kind of architectural modification, not unlike photographs of Gordon Matta-Clark’s architectural interventions. In Paiement’s work, however, the result of an illusory ‘cut’ is seen, but not the ‘cut’ itself.

The strategy of working to a set of self-imposed constraints, as Paiement does, has long been one key pillar of the working methods of the writers belonging to the OULIPO Group. The OULIPO is based largely in France and Belgium, where Paiement lived off and on in the 1980s and the 1990s. The OULIPO began with the idea of generating texts that had been subjected to severe constraints, such as using all the other vowels except ‘e’. In Paiement’s photographs he has limited his options by proposing to photograph a world in its entirety as viewed parallel to the force of gravity. Just as aerial photography has no real choice but to look down, Paiement seems to say ‘let’s look closely at the world upon which we walk, sleep and eat, but not as the eye sees it, rather as an all-knowing mind might see it’; rather than looking up at the ceiling to see the gods, he gives us the view of the gods as they might peer down upon us.

Bill Jeffries

http://www.presentationhousegall.com/paiement.html

Only the Precarious
The photographer Alain Paiement's macro-micro journeys
by Gary Michael Dault



*



Spherical thinking, seeing and mapping from above and in the round, has been the province of Alain Paiement’s work for a long time—at least since his 1987 Beyond Polders and the remarkable Amphithéâtre Bachelard (1988). For the latter work, Paiement, informed by the Mercator system of “planispheric” projection (which allows the spherical globe to be represented on a flat surface), began to record, photographically, an entire architectural interior—in this case a lecture hall at the Sorbonne—by scanning it from a fixed point with an omnidirectional camera. For the final work, the outside of a sphere was covered with the resulting photographs. “Inside university amphitheatres,” Paiement wrote at the time, “I take pictures of everything that surrounds me. I cut them up and assemble them as a spherical panorama, which I invert: as if all that is visible from our point of view were turned inside out like a skin, as if the heavens’ vault were drawn on the outside of a globe.”2 This desire to render an architectural space in its totality would order much of the artist’s work to come.

It informs, for example, the extraordinary series of photographic projects Paiement initiated in 1996 with Constellation (squat), which he identifies as his first aerial photo of an architectural interior, a vertiginous view in which the camera, hovering high above an apparently roofless and remarkably squalid room temporarily occupied by an assortment of junkies, maps the site spread out below it, providing the viewer with a momentary (though curiously timeless) inventory of the room’s detritus.

I sit with Paiement in the Café Cherrier on rue St-Denis, and he tells me about his having come gradually and inevitably (from a background in painting) to his now all-consuming interest in “building photography.” It was always, he notes, about finding a persuasive means of locating oneself, of siting, of positioning, of coming to understand where one is in the world, in the universe…



Весь текст:

http://www.canadianart.ca/art/features/ ... recarious/

BOOK LAUNCH:

The World As I Found It

A collaborative book project by Alain Paiement, Yam Lau, Patrick Pellerin

Saturday April 3, 2004 7-9pm



Art Metropole was was pleased to host the launch of the new artist book, The World As I Found It. Artist and writer Yam Lau was on hand to sign copies. The World as I Found It revisits Alain Paeiment's photographic work Parages(Vicinity) 2002. The work is a visual map of the building at 5012, Boulevard St Laurent, Montreal: Paiement's live/work space for the past ten years. Parages was originally presented as an installation of multiple suspended banners at Galerie Uqam in Montreal, and later at the Pratt Manhattan Gallery in New York. The book is almost entirely comprised of full-page colour photographs featuring details of the apartment, studio, and the bakery on the ground floor of the building. The format is reminiscent of tourist guide design, including additional contextual information and a full size map of the site. The images, map, and the text by Yam Lau construct an open narrative of the architectural space, an artist's practice, and the history of the occupants. The World as I Found It is part of Alain Paiement's project at the Pratt Manhattan Gallery and is made possible through the initiative of Loretta Yarlow, Director of Exhibitions, Pratt Institute.

http://www.artmetropole.com/popups/even ... yamlau.htm

PHOTOICON ONLINE FEATURES

Polanoir Gallery
The Instant Fix
by Ian McKay

WITH A BACKGROUND in the development of the LOMOgraphy cult of the 1990s, Polanoir's proprietors Florian Kaps and Lexi Hoeller are not averse to spinning their way to success and if it means 'reinventing' near obsolete technologies and reviving interest in 'dead format' processes, then so be it – we've seen this all before after all.

The LOMOgraphy cult, the revival of the Soviet 35mm LOMO LC-A, had largely been reliant upon a bit of hype and some clever Internet marketing, later resulting in the formation of a LOMOgraphy Society (replete with a dedicated website for upload of photographs by members) and eventually an apparent deal with the LC-A's failing manufacturer in St. Petersburg. Though the LOMOgraphy cult spawned dedicated stores and points of sale internationally, and even London's seminal Photographer's Gallery now stocks LOMO cameras and their spin-offs, with Polanoir these techniques of viral monopoly marketing have been cranked up a gear.

Kaps and Hoeller are not satisfied anymore with merely selling used cameras - nor with exhibiting original Polaroids, holding Polaroid auctions, running limited editions, or flogging expired film (note: you pay double for expired). No. Now they're about to publish a new concept in Polaroid erotica too – Tickl magazine. With a first issue due June 15th, 2007, Tickl is edited by Polanoir associate Carmen De Vos (herself a dab hand with a Polaroid SX-70 – the world's first folding SLR camera – and an artist who exhibits at the gallery). Published twice yearly by Schwarzer Freitag in Berlin, with a cultish print run of just 2000 internationally, the content of the magazine will undoubtedly appeal to the fetish market - though it has broader appeal among that rather savvy sector of youth culture for whom the appeal of retro porn is always strong…

Весь текст и галерея:



http://www.photoicon.com/online_features/17/