Leslie David - Painting Please!
Painting series on Please! Magazine, for the special birthday Issue that Leslie David art directed.
Preview: 30 May 2012, 6.30 – 9 pm.
On 30 May 2012, Parasol unit foundation for contemporary art will preview a solo exhibition dedicated to the filmic works of the Belgian artist David Claerbout. The exhibition features works spanning Claerbout’s practice from 2000 to the present. The time that remains will be the artist’s first solo exhibition in a London public gallery.
Claerbout situates his striking work between the complex worlds of digital photography and film, investigating this intermediate area in concise and thought-provoking installations. Claerbout’s films often depict everyday activities or events, which once digitally manipulated negate the linear passage of time. His work questions the viewer’s conventional ideas of time and narrative processes.
Filmed in a house designed by contemporary architect Rem Koolhaas and using the same episode shot at ten-minute intervals from 5:30 a.m. to 10 p.m., Bordeaux Piece, 2004, lasts nearly fourteen hours. Three actors repeat flat dialogue and use dramatic gestures. They seem to be the protagonists of the work, but as time goes by the narrative slowly collapses into the movement of the sun and the changing light of day. A different sense of time is created and the protagonist is now the natural world. This work contains Claerbout’s first use of dialogue.
The Algiers’ Sections of a Happy Moment, 2008, is set on a small soccer pitch on a roof of the Algiers casbah. Young men, surrounded by a group of elderly people, pause in their game as one of the players feeds a flock of eager seagulls. The succession of images in this ‘happy moment’ provides a reflection on what Claerbout terms ‘the suspicious gaze’. The artist uses the passage of time as a tool for moderating that suspicious gaze, and more generally as a means of reconsidering what we see.
Set within the rigorous architecture of Skywood House, near Denham in the UK, Sunrise, 2009, takes the viewer into near-total darkness. The film depicts a nocturnal scene inside the villa, where a maid goes about her usual routine while the inhabitants sleep. The camera follows her through the course of her work and finally films her as she cycles home along a country road under the rising sun, accompanied by an imposing piece of music by Rachmaninov.
Opening reception: Friday, March 2, 6pm-10pm
Tiger Strikes Asteroid is pleased to announce its March 2012 exhibition, Memento, the first solo exhibition by TSA member Jaime Alvarez.
Alvarez’s work explores particular details of icons that function within a larger established structure or ideology. He examines and subverts the idea of memory encapsulated within objects, which share an established history of decorative use.
“In allegory, the vision of the reader is larger than the vision of the text; the reader dreams to an excess, to an overabundance. To read an allegorical narration is to see beyond the relations of narration, character, desire. To read allegory is to live in the future, the anticipation of closure, beyond the closure of narrative.” Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection
Memento is a collection of one hundred framed photographs of second hand souvenirs. The figurines have been painted black, lit, and photographed from the rear or three quarters view, denying the viewer the “familiar” frontal view of the objects. Alvarez’s manipulation liberates the figurines, freeing them of past associations. The once ubiquitous statuettes are transformed into a sublime tableau. The objects speak a completely new language. Imbued with emotion, they become powerful talismans, gazing into the void.
“We only realize the true value of the things in the moment of losing them, “BREATH” is my latest work, focuses on breath, a vital activity of human-beings which is controlled by ourselves. An infinite number of air bubbles appeared in the water enables us to see ‘breath’ with vivid clarity. Although we breath unconsciously in our ordinary lives, it is not easy to breath under water Losing air that we need for life, being enabled to breath, being controlled by water. We realize true value of things that always exist around us, in the moment of losing them. Some people accepts its control and wait for the end to come without bidding defiance to it, The others are thirst for life, struggling against it and trying to control themselves. That is the contrast of holding on to life, which appears clearly under water. “BREATH” asks viewers questions. What is the things you should know the value of, hold on to and control? And what is the most necessary thing for your life?” (via)
‘I will not lose my culture. I will never leave my culture. Even if I am given clothes, I will still be a Mursi.’
This picture is available as a greetings card, with all profits going to Survival’s campaigns.
Pictures from Ethiopia’s Omo Valley by award-winning photographer Joey L. A massive hydro-electric dam, Gibe III, is under construction on the Omo. When completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.
Iceland’s volcano Grimsvötn began erupting on Saturday, May 21, for the first time since 2004. (photo by Jón Ólafur Magnússon) - Watch the video on Vísir.is
My name is Jonathan and I make photographs in Denver, CO, USA. I have been shooting for about ten years, but have really begun to focus on the craft of photography since early 2010. I also work as a videographer and creative director for a small nonprofit organization here in Denver.
What is your present photography project, what’s its history and how do relate to it?
Jonathan Vanderweit: My work focuses on the exploration of the world around us with specific regard to the interaction between humans and the natural environment. This means finding areas where nature has begun to reclaim the world of people, which here in the US often happens in formerly industrial/manufacturing areas as well as at the fringes of cities and towns. I love finding where our maintenance crews haven’t caught up or which taken on a kind of serendipitous equilibrium between the forces of creation and ruin.
My next two photo projects are extensions on this theme. One is a series of portraits of people who wear glasses or contact lenses. The photos will be displayed in pairs, the left a normal portrait of the subject in their glasses and the right will be a shot without them. The image on the right will have the focus corrected to account for the person’s natural visual acuity, with a different effect for each person depending if he/she is nearsighted, farsighted, or has astigmatism.
The second project will use some of the locations I have discovered over the last year–walls, doorways, stairs, the urban features of Denver–as settings for exquisitely-dressed floating protagonists. These photos will explore the habitation of spaces that have previously been considered industrial or austere by inhabiting them with individuals bursting with style and weightlessness. Gven the labored past of many of these dwellings, one would expect that they be drab and deserted. In fact the opposite is proving true, homes in lofts and warehouses have strong draw for creative people and have become a highly desired place of residence.
How it all started? What was your first camera and what devices do you have now?
My first camera was an Olympus OM-1 with a 50mm lens, which was a gift from my father when I was around 15 years old. Today, I primarily shoot with a Nikon D700 and I also have a Nikon FE2 that I use when I don’t feel like carrying much, as well as a Mamiya RZ67 medium format system which is huge and exquisite serves as a constant reminder of what a camera actually does.
The instant feedback of shooting digital has accelerated my learning curve and gives me loads of flexibility when processing my images, but I will continue to shoot film for the sheer fact that it feels like creating a real thing (which makes me shoot more slowly and thoughtfully), and that the look of many film types is hard to duplicate digitally.