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  21 May 2009

Photography, Film & Video

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Daneyal Mahmood Gallery, New York
extraspazio gallery, Rome
Winkleman Gallery, New York
P.P.O.W, New York
 
 
Daneyal Mahmood Gallery, New York
 
 
Lisa Ross, Black Garden (Blue Crib), 2009
 
 
LISA ROSS
UNREVEALED

April 16 - June 13, 2009

Daneyal Mahmood Gallery is very pleased to present Unrevealed by Lisa Ross, a solo exhibition comprised of photographs and video works made at holy sites in the Xinjiang Uyghur Autonomous Region of Northwest China.

Lisa Ross's work concerns itself mainly with memory, temporality and the visual expression of faith.  It is on the embodiment of the secular and the sacred that this work relies; a reconceptualization of the corporeal and its interdependence with time and place.

The solemnity of Ross's aesthetic incites contemplation: narratives, both real and imagined, emerge from her photographs viscerally engaging the viewer in rituals of visitation and gestures of devotion.

Included are two video pieces in which the body merges with the landscape and becomes the vehicle which invites - and desires - that the ephemeral become its own breathing, living entity: the only audible sound that of the wind and flags blowing in the desert.

Impermanence becomes tangible as the language of these works unfolds, then retracts.  It is affirmed that life and death are never finite; that the articulation of grief - as well as transcendence - is a collective experience. Unrevealed disarms the notion that trajectories may have only one beginning and one end.
(Sherisse Alvarez)
 

Image:
Lisa Ross, Black Garden (Blue Crib), 2009
Image © Lisa Ross, Courtesy of Daneyal Mahmood Gallery


Daneyal Mahmood Gallery
511 West 25th Street 3rd Floor
New York, NY 10001
+1 212 675 2966


 
 
 
extraspazio gallery, Rome
 
 
Guy Tillim, Grande Hotel, Beira, Mozambique, 2008
 

Guy Tillim
Avenue Patrice Lumumba

 
14 May - 26 June 2009

It isn't easy to define the work of South African photographer Guy Tillim whose solo show at extraspazio is his second hosted by the gallery. We may certainly consider Tillim a photographer of crises, transitions, of humanity at the crossroads. Of identity in perennial change. But these terms don't do justice to his uniqueness. The artist keeps well away from the world of great statements and the world of ceaseless self-pitying chirruping. For those who want to understand right away, Tillim's sotto voce approach may even seem offensive.
After a stint as a young war photojournalist, Tillim has preferred to look at the everyday life of an Africa (but not only) that lives in the interstices between great dramatic events and the theatricality that often results. To look and not to judge. As in his images of the series Congo Democratic, shot in July 2006 during the first democratic elections in what had formerly and improperly called itself the Democratic Republic of the Congo. On that occasion Tillim didn't document clashes and bloodshed but concentrated on minimal, everyday situations side by side with the great event. Like in a war film without soundtrack, he succeeds in rendering alienating even the few shots he allowed himself of the delirious and exalting crowd.
The images of the new series in the show, Avenue Patrice Lumumba, shot between 2007 and 2008, represent a sort of "walk through Avenues of dreams" that is undertaken by the artist - once more - in the Democratic Republic of the Congo, as well as in Angola, Benin, Ghana, Mozambique and Madagascar. Tillim pays tribute to the loss of a great man, Patrice Lumumba*, and of a great opportunity for Africa. His eye captures and holds the fragility of a country made up of architectural remains, destroyed colonial monuments, public buildings, great rundown hotels, subsidised housing, private residences, public parks, schools and universities to which sporadic human presences bear silent witness. A scenario which seems to have difficulty in containing the calamities of the DRC's last fifty years of history.

An indubitably African landscape, seen with a sense of mourning for a dream that never came true, and transformed by the photographer's eye into a kind of interior landscape, silent, of great beauty, almost sacred. The results, as always with Guy Tillim, are images of persistent elegance.

(*In many African cities, there are streets, avenues and squares named after Patrice Lumumba, one of the first elected African leaders of modern times, winning the Congo election after independence from Belgium in 1960. His speech at the independence celebrations in Léopoldville, in the presence of the Belgian King, Baudouin, unequivocally signalled his opposition to the West's idea of neo-colonial order that would replace overt domination with indirect control. He was assassinated in January 1961 by Belgian agents after UN complicity in the secession of the provinces of Katanga and South Kasai, and a Western power-supported military coup led by Mobutu Sese Seko. Today his image as a nationalist visionary necessarily remains unmolested by the accusations of abuse of power that became synonymous with later African heads of state.)

extraspazio gallery presents the exhibition Avenue Patrice Lumumba, already shown at the Fondation Henri Cartier-Bresson in Paris, as a preview of the circuit of FotoGrafia - festival internazionale di Roma.
Guy Tillim is also the author of the exhibition Roma città di mezzo for the 2009 edition of the festival, Palazzo delle Esposizioni, 29th May - 2nd August.

Guy Tillim was born in Johannesburg in 1962. Lives and works in Cape Town.
He received important awards, such as the Leica Oskar Barnack Award for the Jo'burg series, in 2005 and the DaimlerChrysler Award for Photography, South Africa in 2004.
His solo exhibitions include Jo'burg et Avenue Patrice Lumumba, Fondation Henri Cartier-Bresson, Paris, 2009; Avenue Patrice Lumumba, Fundãçao Serralves, Porto, 2009; Congo Democratic, extraspazio, Roma, 2007; Petros Village, Museo di Roma in Trastevere, Roma, 2006 | Michael Stevenson, Cape Town, 2006; Leopold and Mobutu, Photographers' Gallery, London, 2005; Jo'burg, Rencontres Photographiques de Bamako, Mali, 2005.
Among his most recent group exhibitions: Face of Our Time, SF MOMA, San Francisco, 2008|09; Documenta XII, Kassel, 2007; Global Cities, Tate Modern, Londra, 2007; 27° Biennale di San Paolo, Brasile, 2006; Africa Remix, sedi varie, 2004|07; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York, 2006.
 
 
Image:
Guy Tillim
Grande Hotel, Beira, Mozambique, 2008
archival pigment ink on cotton rag paper
Large: 91.5 x 131.5 cm - edition of 9 + 2AP
Small: 49.7 x 71.4 cm - edition of 6 + 2AP
Image © Guy Tillim, Courtesy of extraspazio gallery Rome
 

extraspazio gallery
via San Francesco di Sales 16 / a
I - 00165 Rome
Italy
+39 0668210655


 
 
 
Winkleman Gallery, New York
 
 
Eve Sussman and Rufus Corporation, Yuri's Office, 2008
 
 
Eve Sussman and Rufus Corporation
White on White: The Pilot


15 May - 20 June 2009

Founded on a premise of 60's-era-evil-think-tank-meets-traveling circus, the group of collaborators known as Rufus Corporation have embarked on an expedition-cum-artwork that morphs into a cinema verité thriller as it moves from Moscow to the Caspian. They encounter time capsules and testaments to both past and present failed utopias. Their search, as they log the banalities of daily life, is for places, devices and people that are prescient as premonitions for the future.

In July 2007, inspired by Kazimir Malevich's manifestos and the conundrums of 'space', Eve Sussman, Claudia de Serpa Soares, and Jeff Wood attempted to gain access to the Baikonur Cosmodrome in the middle of the Central Asian steppe (the highly secured facility that is the heart of the Russian space program and the launch site of Yuri Gagarin, first man in orbit). Their goal was to resolve Wood's hankering to 'go to space,' a desire he felt was perfectly in line with Malevich's declaration "I am the chairman of space." Stopped at the gate and detained by the Federal Security Service of the Russian Federation (FSB), fingerprinted, iris scanned, and debriefed, they were later released from the Baikonur police station onto the platform of a train bound for the Aral Sea - site of endless salt residue, where roaming camels and horses rest in the shade of rusting hulks in what locals call the 'ship graveyard', one of the biggest environmental disasters known to man. They continued on to a city described to them as the 'arm-pit' of the steppe. An ordered numerical Soviet era utopia built where the desert meets the Caspian. A perfectly planned environment that lacked the essential substance of human life: water.

So began Eve Sussman and Rufus Corporation's latest venture. Known for their previous projects 89 Seconds at Alcázar and The Rape of the Sabine Women, Rufus is in production on an expedition-cum-art-work that will culminate in a cinema verité thriller, White on White, that they describe as an improvised film noir culled from everyday life on the road between Moscow and the Caspian. Over the next year, episodes of the project will be released as "TV shows" using every possible platform, including the art gallery, as a means for broadcast. Similarly, cinematic convention is just one of the devices employed. The series also includes photographs, storyboards, installations and sculptures, each episode inevitably ending with...to be continued...

Winkleman Gallery is very pleased to present the first of these episodes: White on White: The Pilot, which will feature two artworks - points of departure on the subjects of time, space, past, future and Sussman's constant subject 'dailiness'. The centerpiece of White on White: The Pilot (the title a word play on the television pilot and famed astronaut and test pilot Yuri Gagarin) is Yuri's Office, a set for the upcoming TV show. Based on Sussman's photograph, Yuri's Office, this detailed recreation, by Sussman and Nicolas Locke, is inspired by the museumification of the real office of Gagarin. The installation takes on the desire to freeze time, to impose cryogenics on space when it is still untenable to freeze people. A second video installation "How to Tell the Future from the Past, v.2" (HtttFftPv.2), by Eve Sussman and Angela Christlieb - shot during a 72-hour train journey across the steppe - conceptualizes time with the manifestation of humanity as the constant, as daily life - history in the making - runs backwards and forwards simultaneously. HtttFftPv.2 elevates the characteristics of humanity that transcend time, exposing us, un-empowered against it. Both pieces act as a visual 'captain's log', marking time, as if to build a dam of toothpicks against the deluge.

 
Image:
Eve Sussman and Rufus Corporation
Yuri's Office, 2008
C-print
50" x 36.5"
Edition of 10, plus 2 APs
Image ©
Eve Sussman and Rufus Corporation, Courtesy of Winkleman Gallery, New York
 

Winkleman Gallery
637 West 27th Street (Ground Floor)
New York, NY 10001
+1 212.643.3152

 

 

 
P.P.O.W, New York
 
 
 Melanie Bonajo, Janneke 2007
 

Melanie Bonajo
As Thrown Down From Heaven


May 14 - June 20, 2009

P·P·O·W Gallery is pleased to announce our first solo exhibition of the Dutch artist, Melanie Bonajo. As Thrown Down from Heaven, is a photo series that focuses on a theme that Bonajo continually explores; the relationships that human beings have with the environment, both private and public, and the desire to create harmony within this. The images in this series combine seemingly opposing elements, nude figures with disposable objects, but when combined these figures become a fusion of the individual and the material, becoming a hybrid that expresses our modern age.

This series comes from elementary questions: what do we need to add to ourselves until we become complete, happy, satisfied or safe? Bonajo believes that our identification with material obsession blocks the ability for a deeper sensibility; this includes not only objects but also immaterial elements such as facts, information, data, and visual input.. This fixation inevitably burdens the health of our spirit.

These photographs are Bonajo's exercises in confronting the impositions placed on material possession and the self. Through the photographs she is trying to sculpt a mental life, creating a space where silence can exist between us and objects. This space connects the logical with the intuitive, and allows us to retain a balance of our perceptions. Bonajo states, "We live in the human era...We are the architects of the human universe...We think that being able to reflect by reason sets us apart or above nature. But being a symptom of the earth, human beings are therefore bounded to the laws of Nature...Our psychic landscape is a reflection of our inside and shapes our external surroundings. This evidence in matter is a consequence of our thought system and a symbolic expression of our time."

There will be an exhibition catalog available, produced by Kodoji Press, Switzerland

Melanie Bonajo was born in Heerlen, The Netherlands in 1978. In 1998, she moved to Amsterdam and entered the Gerrit Rietveld Academy where she majored in Photography and Fine Arts. Her photographs have been exhibited in major art institutions internationally, such as Institute Neérlandais/Paris, Stedelijk Museum/ Amsterdam, SMBA/Amsterdam, Fons Welters/Amsterdam, Foam/Amsterdam, Fette Gallery/Los Angeles, Bongout Gallery/Berlin, Mad Vicky Tea Gallery/Paris, Modern Art Museum/Lublijana, Kohun Museum of Modern Art/Seoul, Photofestival Allepo/Syria. Bonajo was the winner of the Dutch Young Artist Award 2003, and winner of the Bookprice Pup Award 2007. Bonajo was nominated for the Hyeres Photo award 2009. Her work has been published in Capricious, Foam-magazine,Livraison, Famous Magazine, and Mollusk, among others. She currently is a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam.

Special thanks to the Consulate-General of the Netherlands in New York for exhibition support.


Image:
Melanie Bonajo, Janneke 2007, c-print
59 x 47.5 inches, edition of 5 , 2 large 3 small
Image © Melanie Bonajo, Courtesy P.P.O.W


P.P.O.W
511 West 25th Street, Room 301
New York, NY 10001
+1 212-647-1044


 
 
 
 
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