5 October 2007

re-title.com newsletter - Photography, Film & Video - October 2007

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Galerie Voss Düsseldorf Matthew Bown Gallery, London Hudson Franklin, New York Yancey Richardson Gallery, New York Johnsonese Gallery, Chicago First Gallery Rome Next Newsletters         sign up!

Galerie Voss Düsseldorf Maria Friberg "Fallout" 12 Oct - 24 Nov 2007 From October 12th on Galerie Voss will present for the first time the work of Maria Friberg. The solo exhibition "Fallout" will show works from the photographic sector as well as a threepart video installation. In her work, the artist analyses the image of men in our society; she correlates classical male stereotypes with their surrounding in quite bewildering ways. The exhibition will show the series "Still Lives" and "Aware But Still There". Therein the well known gender roles - often enough associated with power, predominance and self-determination - are being shattered by their unusual performance. Moreover the gallers will show the video installation called "Embedded". Men are moving slowly in a heap of cushions - vanishing in the pillows and then resurfacing again. However, it is not exactly clear, if their being embedded means being safe and secure or if the men are rather being excluded from life and the world outside. As the artist says: "In contemporary society, information itself is embedded - it is simultaneously out in the open and hidden away". Maria Friberg was born in Malmö, Sweden, 1966 and lives and works in Stockholm, Sweden Collections (selection) Moderna Museet, Stockholm - Fotomuseum Winterthur, Zürich - Hirshhorn Museum, Washington DC - Denver Art Museum, Denver, Colorado - Göteborgs konstmuseum, Göteborg - Malmö Konstmuseum, Malmö - Nationalmuseum, Stockholm - Ringier Collection - Zürich DG Bank, Frankfurt - Collection von Ribbentrop, Frankfurt - Goldman Sachs, London - Mario Testino, London - The Buhl Collection, New York - Thomas Olbricht, Essen Maria Friberg "Still Lives #8" C-Print, 2006 155 x 150 cm Courtesy of Galerie Voss Düsseldorf Galerie Galerie Voss Düsseldorf Read on... Galerie Voss Düsseldorf

Matthew Bown Gallery, London Boris Mikhailov : Intimacy 19 Sept - 3 Nov 2007 Matthew Bown Gallery is proud to present Intimacy, a themed exhibition of three large photographs by Boris Mikhailov. This is Mikhailov's first show in the UK since surveys at TATE and the Saatchi Collection. Mikhailov's wife and collaborator over several decades, Vita, is the recurring subject in Intimacy. In one work she grasps Mikhailov's penis and pulls him along against a backdrop of palm-trees: a snapshot that suggests the complexity of human relations but also, perhaps, intimates the inextinguishable possibility of ecstacy. In another photograph she is seen sitting nude on a stool, brushing her granddaughter's hair: a meditation on time and place that blends the aesthetics of a staged photo and snapshot, genre and verite, socialist-realist saccharine and kitchen-sink objectivity. In the third work, we see her bare legs pressed against a tree (perhaps in the aftermath of, or in preparation for, sex) and on the naked earth (a trysting spot in a park in Marbella) a strewn assortment of discarded condoms, the remains of innumerable "holiday romances". The works in Intimacy may be seen as a counterweight to Mikhailov's best-known series, Case History, a documentation of the lives of down-and-outs in Kharkov, Ukraine. As an examination of Mikhailov's private life, Intimacy is not at all about social confrontation, but the photographs display the same theatrical sense of exposure as the Ukrainian portraits. Many people have questioned Mikhailov's own role in the forced confessions of the body that make up Case History; but as Intimacy shows, the compulsion to document the "dissolution of beauty" (his words) is central to his work as a whole. Image: Boris Mikhailov Untitled (Boris and Vita), 2005 C-print, 198.5 x 82 cm # 3 out of edition of 3. Courtesy of Matthew Bown Gallery, London Matthew Bown Gallery, London Read on...Matthew Bown Gallery, London

Hudson Franklin, New York Yolanda del Amo: "Archipelago" 14 Sept - 20 Oct 2007 Hudson Franklin is pleased to present a solo exhibition of new photographs by Yolanda del Amo, on view from September 14 to October 20, 2007. "The notion of familiarity conjures up a feeling of sustainable silence, so it seems no coincidence that the term also shares an etymological root with family. What does it mean, after all, for two consciousnesses (or more) to share a room, a home, a life? Aren't the unspoken and unheard undeniable mainstays? In Yolanda del Amo's large-format double portraits, which are a part of her ongoing series 'Archipelago,' that domestic silence -- whether between partners, husband and wife, or mother and child -- is our point of entry, functioning both as psychic space and as constructed narrative. To wit, silence can palpably enact a gulf between one couple ('Rafael, María Jesús') as readily as it can comfort and intimacy between another ('Winfried, Brigitte'). "Del Amo, who in the past has played with the juxtaposition of text and image as both dialogue and narrative, is a natural storyteller, but she is not interested necessarily in capturing a ready fiction we will respond to. Instead, her images build and sustain an atmosphere of inquiry and ambiguity. When we leave these images, we may venture to supply a pair of intertwined stories that could be spun backwards and forwards in time, rich and sumptuous in their possibilities." -Debora Kuan Yolanda del Amo received an M.F.A. in 2004 from the Rhode Island School of Design. Previous works from her "Archipelago" series were included in a group show, "Alone with Everybody", at Hudson Franklin and during a solo show in the Barbara Walters Gallery at Sarah Lawrence College, both in 2006. That same year, she was awarded a summer residency in Giverny, France, from the Terra Foundation for American Art. This is her first solo exhibition in New York. Image: Yolanda del Amo "Claudia, Peter, Luna", 2006 C-print, 40" x 50" Edition of 5 Courtesy of Hudson Franklin, New York Hudson Franklin, New York Read on...Hudson Franklin, New York

Yancey Richardson Gallery, New York Laura Letinsky To Say It Isn't So 15 Sept - 27 Oct 2007 The Yancey Richardson Gallery is pleased to present To Say It Isn't So, an exhibition of new large-scale photographs by Chicago-based artist Laura Letinsky. Letinsky's new work pictures the detritus of contemporary culture in meticulously composed and exquisitely lit still lifes. Utilizing discarded styrofoam cups, paper napkins, plastic cutlery, paper plates, crushed cans and paper bags, Letinsky conflates the timeless beauty of the classical still life with the chaotic banality of contemporary consumer culture. Letinsky's earlier still lifes of decaying food on empty tables in vacant rooms explored themes of gratification, indulgence and abandonment and suggested the tensions and disappointments of domestic life. In To Say It Isn't So, Letinsky has moved the sphere of engagement out of her home and into the studio where the objects she has retrieved from the street are arranged on a simple table in a spare setting. In addition, she has dispensed with the implied stories of her earlier series: Venus Inferred, which pictured couples in intimate domestic settings, and Hardly More than Ever, comprised of still lifes of abandoned tables strewn with the debris of a meal consumed. As she states, "Through my choice of objects and the formal aspects of my pictures, I have tried to strip away the narrative or symbolic inferences to determine what's left for pictures." By selecting primarily white and neutral-colored objects and blanching them with bright natural light, Letinsky explores a wide range of white tints while challenging our ability to perceive them. The absence of color reduces these familiar, recognizable products to a simplified geometry of circles, cones, rectangles and lines. With her oblique perspective and emphasis on forms, Letinsky heightens the tension between three-dimensional objects in a volumetric space and the flat picture plane of the photograph, animated by lines and shapes. Temporality plays a role in all of Letinsky's work. Previously Letinsky invoked a sense of events having transpired or a particular moment unfolding. In To Say It Isn't So, the objects she chooses were originally designed to be quickly used and discarded; but, in the stillness of her images, Letinsky grants them a timelessness at odds with their original purpose. As with the still lifes of Italian painter Giorgio Morandi, Letinsky's precise compositions and delicate modulation of light bestow a value and beauty upon the banal and disposable objects of contemporary life. Born in Canada in 1962, Letinsky has exhibited both nationally and internationally. This is her third exhibition in New York and her first with the gallery. Letinsky received her MFA from Yale University in 1991 and was awarded a John Simon Guggenheim Fellowship in 2000. Letinsky's work is held in the collections of the Museum of Contemporary Photography, Chicago, the San Francisco Museum of Modern Art, the Art Institute of Chicago, The Amon Carter Museum and the Museum of Fine Arts, Houston, among others. Her publications include Hardly More than Ever (Renaissance Society) and Venus Inferred (University of Chicago Press). Image: Laura Letinsky Untitled #5 (From To Say it Isn't So), 2006 19.24 x 25 inch Chromogenic Print, Signed, titled, dated and editioned on label on verso Edition of 9 Courtesy of Yancey Richardson Gallery, New York Yancey Richardson Gallery, New York Read on... Yancey Richardson Gallery, New York

Johnsonese Gallery, Chicago Carl Corey Habitat 13 Oct - 17 Nov 2007 The Johnsonese Gallery is pleased to announce Carl Corey's Habitat from October 13th thru November 17th, 2007. This solo photography show will feature images from both Corey's Habitat and Southeast Side series. Corey is the recipient of over 100 awards from the advertising, design and photography communities, and is a veteran of assignment photography. Since 2000 Corey has directed his energy to more personal work, concentrating on social/ aesthetic issues of the environment and landscape. His Southeast Side series holds particular interest for Chicagoans because of Corey's unique perspective on the city's aging industrial remnants. An artist's reception for Carl Corey's Habitat will be held on Saturday October 27th from 7 to 9 pm. Critic Joe Lynch of Madison Magazine and Channel 3000 states, "Carl Corey provides a stunning selection of photographs that resonate with a sense of altered familiarity. While so many photographers obsess over finding geometrical shapes and symmetry in urban landscapes, Corey instead offers us everyday scenes of the American experience - a motel swimming pool, a highway - that are warped just enough to make these warm, familiar sights seem alien and otherworldly. His highway bends unnaturally into the distance and the motel pool glows in a frozen light, looking ominous yet inviting. Everything is decidedly Americana, but incapable of being placed within any definite decade and somehow unlike anything you've seen before. These truly are something to marvel at." Corey holds a BFA from Southern Illinois University. His work is included in the permanent collection of Madison Museum of Contemporary Art and in numerous corporate collections, such as Philip Morris and Nikon. His monograph book, Rancher, was released earlier this year and features 64 of Corey's photographs over 112 pages. The Johnsonese Gallery, located at 2149 W. Armitage in Chicago's Bucktown neighborhood, specializes in progressive contemporary art. Gallery hours are Thursday through Saturday 11 am to 6 pm, and by appointment. Image: Carl Corey >From the Habitat series © Carl Corey, 2006 Courtesy of Johnsonese Gallery, Chicago Johnsonese Gallery, Chicago Read on... Johnsonese Gallery, Chicago

First Gallery Rome Maslen & Mehra Federico Guida Two person exhibition curated by Gianluca Marziani 27 Oct - 10 Jan 2008 First Gallery presents to the public the second show of its program 2007-2008. This is the first of a series projects titled AROUND; two person exhibitions that bring together the work of an Italian artist and a foreign artist. The photography of Maslen & Mehra. The painting of Federico Guida. The body that becomes geography. The landscape that metabolizes the bodies. The intention of First Gallery is to open a space that can give life to projects of quality, accommodating national and international artists in the extraordinary frame of the historical center of Rome. The space is composed from four environments that cover a surface of beyond 200 square meters. The aim of First Gallery is to engage with artists, national and international curators and realise "open" collaborations between different media and subjects. The project will include traditional media such as painting and sculpture but will also incorporate photography, video and other disciplines like music and writing. Maslen & Mehra open their photographic lens in a wide field, on the territories of the world, finding a subject in things we take for granted. Cities like Paris and Berlin, woods and forests, desolate beaches: are situations in which they map out the geography of placement. Shimmering presences; the narrative field in which, the outline of the two sculptors becomes an anomalous protagonist in a silent invasion. Here soldiers in salute, animals of various species, people in civilian clothes and postures: They stand in real space but their bodies are pure mirror, destabilizing the spacial relations but also the typical way we look at social dynamics. Maslen & Mehra construct their scenes in meticulous frames, positioning the sculptures before photographing them. The images are born from installations in real space in which the arrangement of the works seems like a hypothetical performance. It is a transcontinental journey that evokes and refreshes the relationship between figure and its placement. Maslen & Mehra live and work in London. Maslen & Mehra appear courtesy Galerie Caprice Horn/ Berlin. Federico Guida drives in his world of devastated flesh, uneasy noisy bodies, fears and ferocious intimacies. A decent into shadows in a theatrical light where flesh is consumed and celebrated in a mystery of instincts. Around the revealed bodies move inserted and geometric contaminations; That transform into a heterogeneous pattern, a linguistic reference to Greenway who seems to have met Lucien Freud in a cruel theatre. Guidas painting metabolizes different stimuli. You feel the weight lightness and the impact between softness and between the living and the inert. It pulses between counter points, finally fluctuating between nature and artifice, rough and smooth. For his first show in Rome, the Milanese artist is exhibiting a series on boxing. Federico Guida lives and works in Milan Image: Maslen & Mehra Lake Waikaremoana New Zealand (Mirrored series) 2006 Courtesy Galerie Caprice Horn/Berlin Maslen & Mehra Read on... First Gallery Rome

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