13 March 2008

re-title.com newsletter - Photography, Film & Video March 2008

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The Apartment & The War Museum Athens Peer Gallery New York Josée Bienvenu gallery New York Bloomberg SPACE London Sara Tecchia Roma New York CLAMPART New York Next Newsletters         sign up!

The Apartment & The War Museum Athens MARIA ANTELMAN : Video Works 2 Mar - 21 Mar 2008 The War Museum is delighted to announce a solo exhibition of US based Greek artist Maria Antelman. The exhibition will open on Sunday, March 2, with a brunch from 12-3 pm, and will continue through March 21, 2008. The exhibition consists of Antelman's video works from 2002 to the present. Maria Antelman's videos of remote locations, absurd situations and non-linear perception explore existential angst in an age of technological supremacy.At times of speedy and extreme technological progress, Maria Antelman's work communicates a sense of uneasiness of what we have been experiencing and accepting as 'real'. Is there a chance that our realities could be proven simple delusions of modernist grandeur? And what happens if some of the sci-fi scenarios turn out more real, and ultimately take over what we have so far established as our everyday reality? By merging disparate sources from both past and present with popular (mis)conceptions about the future, Antelman attempts to explore human fears, longings and desires about the unknown. In this sense, her work can be understood as 'an archaeology of the future'. 'thehereafter' dispels our faith in the notion of a 'fixed identity' through the possibility of time travel, while 'The Gift', initially conceived through the artist's encounter with a blind body builder, explores ideas that link extra sensory perception with blind sight. 'New Horizons' is a sales questionnaire about the possibility of preserving the human body after death (cryogenics). The work is essentially a piece on mortality and the possibility of a meta-life. 'tah pah taHbe' is Shakespeare in Star Trek language. Hamlet's famous soliloquy 'to be or not to be' is recited in Klingon, a language invented as a prop language for the Star Trek series, The use of a largely incomprehensible language is a calculated break from narrative and creates a sense of frustration; a latent existential angst permeates the entire piece. Maria Antelman (b. 1971, GR) lives and works in New York, NY and Palo Alto, CA. She was recently artist in residence at the prestigious ISCP in New York, with a grant from the J.F Costopoulos Foundation. Maria Antelman has recently held solo exhibitions in Athens, Barcelona and San Francisco, CA. Recent museum exhibitions include 'Three Muses, I presume' curated by Katerina Gregos at La Casa Encendida, Madrid, The 2nd Video Biennial in Tel Aviv, and Human Game, curated by Franscesco Bonami at The Fondazionne Pitti, Florence, Italy. Concurrent with her solo exhibition at The War Museum Athens, her work is on view in exhibitions at Mills College Art Museum, Oakland, CA and The National Museum of Contemporary Art, Athens, Greece. She is represented by The Apartment, Athens. Image: Maria Antelman Untitled #3 (tah paH taHbe), 2006 C-print 109 x 145 cm Ed. 3+ 2AP Courtesy of The Apartment, Athens THE WAR MUSEUM Vas. Sofias & Rizari St Athens Greece The Apartment 21, Voulis St GR - 105 63 Athens Greece The Apartment Read on...

Peer Gallery New York SEBASTIAN LEMM Editing Nature 20 Mar - 26 Apr 2008 Peer gallery is pleased to present Editing Nature, an exhibition of photographic works by the New York based, German artist, Sebastian Lemm. Mr. Lemm's first solo exhibition at the gallery brings together nine large scale color images from his two most recent bodies of work, Subtraction and Schattenseite. A 44 page, full color exhibition catalog will accompany the show. An opening reception will be held at the gallery on Thursday evening, March 20, from 6 to 8 PM. In conjunction with the Peer exhibition, The Goethe Institut, NY will host an artist talk with Sebastian Lemm and Gregory Volk on Tuesday, March 18, at 7:00PM. In Schattenseite, Lemm's subjects are trees at night. By using a witty, multiply and divide approach, he has re-conceptualized his original photographs to create new and unconventional images. Through deft manipulation of his subject using double exposure, artificial light and digital imaging techniques, Lemm's branches and leaves come alive in the dark in an eerily rhythmic dance of repeating shapes and unexpected patterns. No longer a truthful document, the Schattenseite images are a subtle illusion, undermining our trust in the medium. Rather than a reflection on the natural world, Lemm's constructions are a reflection of his own inner state. In his Subtraction series, Lemm again turns to trees, this time having photographed them in their full glory, on summer day in a verdant forest. But once again, Lemm turns the tables by reducing the image to its barest elements, leaving us with what appear to be barren trees in fields of snow. Disconnected lines, shattered forms and the often chaotic entanglement of branches lead us to a sense of loss and isolation. By removing such a large amount of visual information, Lemm forces us to reconsider the landscape, using memory to fill in the blanks. As Michaël Amy states in his catalog essay, "These are the types of transformations extreme artifice can achieve... Sebastian Lemm's digitally manipulated photographs raise important questions having to do with man's impact upon nature....However, Lemm does not aim to advance an environmentalist's agenda through his work. What is so appealing is that his photographs allow for multiple levels of interpretation." Image: Sebastian Lemm Subtraction #1 Lambda C-Print 48 x 60 inches Edition of 3 ©Sebastian Lemm Courtesy of Peer Gallery, New York PEER Gallery 526 W.26TH ST. SUITE 209 New York City, NY 10001 Peer Gallery, New York Sebastian Lemm Read on... Peer Gallery, New York

Josée Bienvenu gallery New York Juan Manuel Echavarría Death and the River 6 Mar - 5 Apr 2008 Josée Bienvenu gallery is pleased to present Death and the River, an exhibition of photographs by Juan Manuel Echavarría. Since 1995, his disturbingly beautiful videos and photographs address the dread and human waste of the endless drug war in Colombia where the army, the guerillas and paramilitaries perpetuate the cycle of violence. In November of 2006, Juan Manuel Echavarría visited a cemetery in Puerto Berrío, on the banks of the Magdalena River in Colombia. Within the cemetery, a particularly colorful mausoleum stands apart from the others. The tombs are marked with the letters NN: Ningún Nombre-No Name. Within each tomb lies a corpse or part of a corpse that the people of Puerto Berrío have rescued from the Magdalena River. Most are victims of massacres from the drug war, many mutilated, many simply discarded for convenience, anonymity, to feed the vultures. But here the people save the nameless and decomposing bodies from the waters and bury them in the cemetery. Then they perform a second ritual. A NN can be "escogido"- chosen-by a person who agrees to take care of its tomb, to pray for its soul, in exchange for favors from the dead. The blessed one adopts the NN, decorates the tomb with flowers and often a marble slate saying, "Thank you NN for the favor received." Some caretakers even name their NN, often granting them their own family name, inscribing the given name on the tombstone. On one level, the living make a business-like proposition with the dead: In return for a favor, I will keep up your tomb, decorate it, paint it, bring a glass of water so your soul will not be thirsty, bring you flowers, humanize you by giving you a name. But collectively they are saying, we won't let the violence erase you, we snatch you away from those who have made you disappear, we take care of you, we give you names. Their pact with the dead resists the perpetrators of violence and reconstructs the social fabric. -Juan Manuel Echavarría, 2007 Echavarría made multiple journeys documenting the changing tombs. The exhibition offers close-up photographs of the tombs in a rectangular grid arrangement recreating the original structure of the NN mausoleum. Among destruction and death, the NN mausoleum is a record of a unique gesture of humanity. Born in Medellín, Colombia, Echavarría lives and works in New York and Bogotá. His work has been exhibited extensively through Latin America, Europe and the United States. This is his second solo show at Josée Bienvenu gallery. Recent exhibitions include: Bocas de Ceniza, Santa Fe Art Institute, Santa Fe, NM (2007); The Disappeared, El Museo del Barrio, New York (2007); Bocas de Ceniza, Guerra y Pa and Bandeja de Bolivar, Jeu de Paume, Paris (2006); Latin American Pavilion, Venice Biennial (2005); Documentary Fortnight, Museum of Modern Art, New York (2005); Cantos Cuentos Colombianos, Daros- Latin America, Zurich (2005). His work is included in prestigious collections such as: The Goetz Collection, Fundacion Cisneros, The Daros Collection; Museo de Arte Moderno de Buenos Aires; Museo de Arte Moderno de Bogota; The North Dakota Museum Art. Image: Juan Manuel Echavarría From the series Escogidos, 2007 Fujiflex print mounted on Dibond, Plexiglas Edition of 3 with 2 APs Set of 65: 104 x 272 inches (20 x 20 inches each) Courtesy of Josée Bienvenu gallery, New York Josée Bienvenu gallery 529 West 20th Street (between 10th & 11th Avenues) New York, NY 10011 Josée Bienvenu gallery, New York Read on... Josée Bienvenu gallery, New York

Bloomberg SPACE London if - people and places in recent film and video Mark Boulos Dwight Clarke Stephen Connolly Ben Rivers Stephen Sutcliffe 28 Mar - 10 May 2008 Bloomberg SPACE presents a new generation of contemporary film and video makers - Mark Boulos, Dwight Clarke, Stephen Connolly, Ben Rivers and Stephen Sutcliffe - representing a shared moment in current practice. Description and portrayal are central concerns for this group of filmmakers. Morrissey broadcast on the P.A. system in the supermarket; the story of a man searching for an identity; a sudden prank in a schoolroom; the desert as a backdrop for conversation and reflection; a collision between 60's optimism and 70's space rock; an unidentified crowd; a prayer - carefully considered and beautifully crafted all these works tell a story of some kind and can be characterised by a shared sensibility and strong relationship to the mode of 'documentary'. Yet the sense of 'real life' that we associate with documentary is countered by the clearly subjective nature of some of the works. The camera does not only report but breaks expectation to seek and explore hidden details. Projections circulate around a central seating bank in the main gallery at Bloomberg SPACE. Within all the works the artists' direct need to represent, to tell a tale, to portray a person or persons is palpable. People talk to camera, often to give personal accounts. Mark Boulos' old man walks up a hill with his gnarled stick supporting him, and then talks openly and informally to camera about faith and the approach of his death. In Stephen Connolly's Film for Tom another man is seen going about his everyday rituals of thinking and doing, in search of an identity. Stephen Sutcliffe's Transformations shows an elderly woman walking through a wood. She and a man, who works on a basic lathe, seem to represent another time whilst alluding to the present. Uniquely, there is a clever shift in all these films between possible nostalgia and current reportage. Image: Stephen Connolly Film for Tom, (2005) s16/anamorphic video, duration 12mins Courtesy of the artist & Bloomberg SPACE Bloomberg SPACE 50 Finsbury Square London EC2A 1HD Bloomberg SPACE, London Read on... Bloomberg SPACE, London

Sara Tecchia Roma New York Lucien Samaha uneasy about Beirut 13 Mar - 12 Apr 2008 Lucien Samaha, born in Beirut, Lebanon, has spent most of his life in the United States, specifically New York City. Although he maintains some family and personal ties in Lebanon, his own work has seldom addressed these roots. However, in "uneasy about Beirut," Samaha explores the complicated relationship with his heritage. Although Samaha continues to use film on occasion, this project was the last time he used the conventional silver halide medium exclusively and rather unconventionally. In this particular experiment, he photographed the urban landscape with an intentional snapshot aesthetic to avoid formal or precious images of a city that often commands a certain expected gravity. He compounded the effects of his experiment by breaking standard rules of film exposure and processing. The resulting "poor quality negatives" were misinterpreted by a scanner, which in turn yielded images that delighted the artist with their ambiguous framing and their indexing of a photographer's movements and navigation. Boundaries are blurred and new relationships evolve in grainy moiré. There is a darkness, a sense of noir, even menace, despite the almost snapshot quality of the compositions. With this stark imagery, he reveals a complex and difficult relationship with the city of his birth through cityscapes heavily defined by political strife and war, and the ensuing reconstruction. Samaha refers to this work as "derivative" photography. Normally a word to avoid in the artworld, Samaha uses this terminology to point out that the final images are "derived" from negatives that would have been expected to yield something formally different by a more rigid establishment. A former nominee for the Nam Jun Paik Award, Samaha has shown at the Museum für Moderne Kunst in Frankfurt, Germany; the Württembergischer Kunstverein in Stuttgart, and the Cooley Gallery, Reed College, Portland, OR. With his highly organized, searchable and growing catalog of almost 350,000 photographs--all his own--the artist considers himself not only a photographer but also an obsessive visual and social archivist. He is also a member of the Beirut- based Arab Image Foundation. Image: Lucien Samaha 030119-01-10 (Clearing Sky), 2006 Archival Inkjet (Epson Ultrachrome) on Hahnemuehle Photo Rag Satin 310 27 x 40 inches Edition of 3 +1AP Courtesy of Sara Tecchia Roma New York Sara Tecchia Roma New York 529 West 20 Street 2nd Floor New York, NY 10011 Sara Tecchia Roma New York Read on... Sara Tecchia Roma New York

CLAMPART New York Brian Finke : Flight Attendants ClampArt is pleased to announce "Brian Finke: Flight Attendants," the artist's third solo show at the gallery. The exhibition coincides with the release of Finke's second monograph of the same title from powerHouse Books. Flying the friendly skies, Brian Finke crisscrossed the United States photographing flight attendants on Delta, JetBlue, Hawaiian, Hooters Air, Southwest, and Song airlines before going abroad with such carriers as Air France, Qantas, and British Airways. In London, Finke visited a flight attendant school complete with emergency rafts and billowing smoke, and then, continuing east, he traveled Air Asia, Thai, Tiger, ANA, Japan, and Cathay Pacific. Finke finished two years of travel with the illustrious Icelandair. The result of Finke's wanderlust is his series, "Flight Attendants," a vibrant collection of photographs documenting the lives of those adventurous souls who choose to work at 40,000 feet. Shot before, during, and after flights, the photographs capture the allure of the high-flying profession alongside the more quiet moments of the attendants' daily lives. As with his previous series of photographs, "2-4-6-8: Photographs of Cheerleaders and Football Players," Finke is drawn to the distinctive dynamics of team formation, focusing on uniformed individuals executing practiced actions-whether on the playing field or in the air. With an eye for the iconic as well as the absurd, Finke seamlessly blends the glamorous with the casual, offering a memorable look at the people of the air travel industry. Brian Finke graduated from the School of Visual Arts in New York City in 1998 with a BFA in photography. Since that time, he has had incredible success as an artist, with work placed in eight museum collections here and abroad. His first monograph was named one of the best photography books of 2004 by American Photo magazine. Also in 2004, Finke was one of twelve artists nominated for the International Center for Photography's annual Infinity Award, and he won a prestigious New York Foundation for the Arts Fellowship. Image: Brian Finke Yasuko, ANA, All Nippon Airways, 2006 Signed, dated, and numbered, verso Chromogenic color prints 40 x 40 inches (Edition of 7) Courtesy of CLAMPART New York CLAMPART 521-531 West 25th St Ground Floor New York, NY 10001 CLAMPART New York Brian Finke Read on... CLAMPART New York

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