031.
Guide to Unique Photography Europe e 7,00 THE EXPERIMENTAL ISSUE
Concept, Design & Printmedia Tuindorpweg 25 3951 BD Maarn The Netherlands +31 (0)343 442 344 www.vandenbergnl.com
intro
GUP#31
The experimental Issue
Boris Mikhailov. Untitled, from the series Yesterday's Sandwich 1960/70, C-Print, 30 x 45 cm, Edition: 7 copies, © Rebecca Fanuele, courtesy Suzanne Tarasieve Paris
Experimental photography includes alternative process techniques, and broadly refers to any photographic process or product falling outside the realm of straight film or digital photography. However, that comes close to a definition. It may be more appropriate not to define what ‘experimental photography’ is (or isn’t). Ever since Fox Talbot, people have been curious and playful enough to continue stretching the possibilities of 'drawing with light'. From Boris Mikhailov to Stephen Gill, and from Picasso to Kenji Hirasawa, they are all represented in this issue to some extent. Although they vary greatly in goal and scale, experiments always rely on repeatable procedure. At least, that’s what becomes apparent when delving into the history of photographic experiments. While they are truly original in their own right, the works of Harold Strak, Sebastiaan Bremer and Taisuke Koyama, among many others in this edition of GUP, also fit within a long tradition of photographic experimentation. Erik Vroons, Chief Editor 5
Eleven Minus One by Amir Zaki variation four
AMIR ZAKI
FRONT COVER
ELEVEN MINUS ONE
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BACK COVER
GREENBLATT-WEXLER 2010
Paperback, hand Smyth sewn 20 pages 120 colour pictures 230 x 230 mm closed 690 x 920 mm open Limited edition of 500 Eighth Veil & LAXART, 2011 ISBN 9780982617236 $100
Eleven Minus One by Amir Zaki is a complex book and project that incorporates physics, mathematics, conceptual art, photography, and the deconstruction and reinterpretation of three-dimensional space. Influenced by a series of photographs from the mid-1980s by Swiss collaborative artists Peter Fischli and David Weiss, Zaki recreates ten temporary sculptures of precariously balanced household detritus. Everything is rendered as if equidistant from the viewer. Zaki builds upon the ideas in Fischli and Weiss’ Equilibres, inverting and re-inverting concept and meaning of physical sculpture versus document. Zaki takes this further in the construction of this foldout book based on the 11 different ways a cube can be unfolded. Eleven Minus One becomes an interactive object of pages, grids, cubes and unfolded boxes that explore the relationship of two-dimensional representation and the three-dimensional object. For a guide to how the book functions visit amirzaki.artcodeinc.com/pages/2010-emo/
books
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matter by Jessica Eaton, Matthew Gamber, Bill Sullivan
Paperback 60 pages 215 x 280 mm Digital offset printing USA, 2011 Limited edition of 100 $40
The recent recipient of a New Photography Grant from the Humble Arts Foundation in New York, MATTER is the collaborative book project between artists Jessica Eaton, Matthew Gamber and Bill Sullivan, with graphic designer Mary Voorhees Meehan and design writer Peter Hall. Based on Ralph Eugene Lapp’s inaugural title of the Life Science Library Series begun in 1963, MATTER explores how these three photographers have used the medium “to create a paradoxical vision of science, information, and history” and to “highlight photography’s ability to illustrate ideas, rather than explain them.” Included are Cubes for Albers and LeWitt by Jessica Eaton who won the Magenta Foundation’s 2011 Bright Spark Award for this work; Matthew Gamber’s Any Color You Like; and Bill Sullivan’s photographic studies of visual types of noise. The half-hidden title on the cover alludes to the non-traditional photographic studies inside. hafny.org/special-projects/matter
THE RIGHT TO BE REAL Claim Your Right To Experiment, succeed Olivier Donnet and Nick Helderman by winning the next Converse Mixtape cover, and have your photos featured during the Converse THE RIGHT TO MAKE NOISE Tour! More info on www.gupmagazine.com/converse
Medusa, unique gelatin silver print photogram Š Adam Fuss, 2010 / Timothy Taylor Gallery, London
column
Playful Minds by Katherine Matthews
As essential as the desire to create, is the innate desire to experiment with our creations: to use playfulness, technology, or artistry to make something entirely new and unique. The technological advances in photographic imagery are improving quality at an exponential rate, yet it’s not megapixels alone that create the experimentation, it’s what is done with them. Take the RED EPIC, a cinema camera the size of a Hasselblad, capable of capturing up to 120 frames per second, each frame at 14MP. With its capability to make the distinction in quality between still and moving images negligible, it is hard to say if a photographer’s main challenge, capturing the decisive moment, is relevant anymore. Currently in development, the Lytro 'Light Field' camera captures the entire field of light around the subject, allowing the shot to be re-focused in post-production. The question becomes, as skill with a camera loses its importance in the field of photography, how will these technical shifts awaken creativity in the new craftsmen?
Meanwhile, playfulness is in full-swing as photography enters an analogue renaissance, brought on by both the pre-digital photographers who will never let go of the chemical smell on their fingers as well as the young photographers who embrace film with the same enthusiasm as they do vintage clothing. The re-vitalisation of Lomography has helped in no small part, creating a culture of cool around cameras with crappy lenses and burnt out light and candy colours. Similarly, the rescue of Polaroid instant film through the efforts of The Impossible Project can be seen as a massive collective declaration of love for a print medium on the verge of extinction. The value of instant film disappeared with the introduction of playback on digital cameras, yet the playfulness of the product, the tactile magic of holding a developing print in your hand, makes it a medium that people aren’t finished exploring. Not yet. The mass availability of equipment creating technically perfect imagery has a lot of artists turning the other direction, towards the less sterile, more idiosyncratic aesthetic. While flaws in photos used to be symbols of the naturally imperfect photographic process (dust or scratches, light leaks and vignetting, for example), now 'flaws' are manufactured into the process, calculated into the imaging for a sense of style and atmosphere. The paradox of these experiments is that, in many cases, they also limit control over the resulting photograph. In a somewhat similar way as Polaroid did before, the popular phone app Hipstamatic allows photographers to outsource some of the creative process to software and chance. While some aim for accidental treasures, their growing presence makes others fear the end of photography-as-art. Regardless, the widespread democracy of the medium represents a challenge for artists to constantly push the medium in new ways, whether through technology, playfulness or artistry. With more working hands, it may become more difficult to produce something truly unique, but it also means that more hands are working towards creating more possibilities.
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D i l at e d p u p i l s by Han Schoonhoven
Photography exists by the grace of mad inventors. During the period that the medium developed, discoveries and patents followed in rapid succession. For those who are familiar with CÊline’s idiotic gas mask story in Guignol's Band: photography in the 19th century was an equally absurd business.
The stakes were also significant. If you could reduce the exposure time, produce a stylish portrait or design a somewhat manageable camera, you could become a millionaire. I think that the early years of the medium were in principle not much different from those of the digital revolution. The late 19th century saw the end of banal geniuses in their basements and attics. Photography went corporate. Kodak gained momentum. In the 20th century, Agfa, Gevaert, Leica, Ilford, Fuji, Nikon and Canon carved up the market. Crazy, unique inventors have since lived in the margins, at best earning themselves the title of 'artist'. These include the 're-inventor' of the daguerreotype, a nasty process from photography’s early days, whereby many users prematurely exchanged the temporal for the eternal due to prolonged exposure to mercury vapours. The courageous artist, who in the 1970s took another stab at it, was an American-born, Netherlands-based sculptor with a Japanese background: Shinkichi Tajiri (1923-2009). Tajiri produced several thousand daguerreotypes, more than a century after the technology had fallen into disuse. He was fascinated by the extremely sharp image that appeared on the polished silver plate after exposure and development. The possibilities for manipulating the image after it has been taken are extremely limited, because the daguerreotype is exposed in the camera and is thus unique by definition. A selection of 101 of his daguerreotypes have been exhibited in several museums in Germany and The Netherlands, accompanied by a modest catalogue, Mirrors with Memories, with text by Ed van der Elsken.
photo file
Š Arnoud Bakker
Another independent spirit who was interested in the unique image was the Czech artist Miroslav Tichy (19262011), who achieved sudden fame in the final years of his life. He was an established painter and draughtsman, but could not commit to the demands of the communist government. He withdrew to his home village where
he lived like a hermit, built his own cameras from waste materials and ground his own lenses from old glass using cigarette ash and toothpaste. He searched for inspiration and poetry, and emphatically not perfection. His photos are also unique, because he only made one print and destroyed the negative. >>
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Picasso and the Photogram by Erik Vroons
Pablo Picasso (1881-1973) was not only the 20th century's most prolific artist, he was also one of its most experimental. His most ambitious photographic project was, without doubt, the series of lithographs entitled Diurnes (1962), created in collaboration with the French photographer André Villers (1930). They decided to create a work together based on sticking cut-outs of a typically Picassian fauna and mythology onto Provence landscapes and natural elements photographed by Villers. This involved combining photograms and conventional photo prints. In the history of photographs, William Fox Talbot (England, 1800-1877) is regarded as the father of the photogram technique. Around the 1830s he made many of these images by placing leaves and objects like pieces of lace on photo-sensitive paper and later exposing them to the sun. He called his new discovery 'the art of photogenic drawing,' an invention that would soon turn into a prestigious quest for the ultimate method of ‘fixing’ the image. In 1918, with his so-called 'Schadographs', Christian Schad (Germany, 1894-1982) created his own version of the photogram: a photographic image made without a camera by placing objects directly onto the surface of a photosensitive material and then exposing it to light. Schad preferred worn materials, such as scraps of paper and bits of fabric, often searching for these things on the streets and in rubbish bins. He also frequently extended his assault on artistic tradition by cutting a jagged border around the schadographs, 'to free them,' as he explained, 'from the convention of the square.' After WWI, Christian Schad's experiments were soon followed by Man Ray (1890-1976) and László MoholyNagy (1895-1946), both Hungarian-born Americans, who would essentially change the photogram from a process for documentation to one of creative expression. Besides immersing the object in the developer during exposure, Man Ray used both stationary and moving light sources in order to create unusual shadows of the (three-dimensional) objects on the (two-dimensional) photo-sensitive surface.
László Moholy-Nagy – who claimed to have discovered this process without knowing of the work of Christian Schad or Man Ray – and his wife Lucia Moholy had meanwhile decided that the term 'photogram' was the best way to describe their experiments with lenses, liquids, crystals and so on. Hence, besides using traditional silver-gelatin black and white materials and other photo-sensitive media to capture shadows of solid, transparent and translucent objects, they also experimented with light effects themselves. From then on the photogram would become a technique study by various artists, including Picasso. Although he had already been experimenting with the medium since 1901, aided by his friendship with Brassai and a relationship with Dora Maar, Picasso's interest in photography was revived in the 1930s. But the photograms from the early 1960s, for which he imposed his own cut-paper silhouettes on Villers' images, can ultimately be seen as the highlight of his photographic encounters. Picasso's voracious appetite for experimentation led him to push the medium to unorthodox extremes, both stylistically and technically. The range of his photographic production comprises a variety of forms and techniques and resulted in independent works of art. Besides the aforementioned photograms, these include superimposed photographs, cliché-verres, photo-based engravings, original drawings on photographs, slides, collages and photographic cut-outs. Thanks to the generous support of Galerie Johannes Faber in Vienna, we are pleased to be able to present a set of unreal images captured by the enthusiastic gaze of the young André Villers and transformed by the restless hand of the experienced Pablo Picasso.
More information Galerie Johannes Faber Dorotheergasse 12
1010 Vienna, Austria T: +43 1 512 84 32 jmcfaber.at
collectors tip
La Mariée © Pablo Picasso, Paris 1960
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Le corrigan à la dentelle Š Pablo Picasso, Paris 1960
Urbi Š Pablo Picasso, Paris 1960
boris mikhailov
Yesterday's Sandwich Boris Mikhailov (1938) lived in his hometown of Kharkov in the Ukraine until the collapse of the USSR. Trained as an engineer, he worked in a factory until 1968, but when he was forced to quit his job for leaving negatives of nude women in the company's darkroom, he became a photographer. A very influential visual artist, to be more precise, trying to explain, document and understand the world around him by exploring the range of the photographic medium. Yesterday’s Sandwich is the first book ever published on his fascinating early body of work entitled the Superimposition series. In this body of work from the late '60s and early '70s, he has overlaid two colour slides, creating fascinating 'sandwiches', i.e. beautifully composed tableaux of glamorous naked women, surreal urban landscapes and strange scenes of everyday Soviet life. An extraordinary double world of Soviet drudgery juxtaposed with sex and beauty.
< Untitled, from the series Yesterday's Sandwich 1960/70 C-Print, 45 x 30 cm, Edition: 7 copies
Living under political censure, Mikhailov was never trained as a photographer but used the medium as a forum for free exchange which revealed controversial subject matter. Horrendous as it must have been for the Soviet elite – explaining why it took nearly 50 years for the images in Yesterday's Sandwich to see the light of day – Mikhailov was convinced that this, the more complicated truth inherent in two compressed realities, also has its place in art. "This was a period of hidden meanings and coded messages in all genres," Mikhailov writes in the essay accompanying the book. "Given the scarcity of real news, everyone was on the lookout for the smallest piece of new information, hoping to uncover a secret or read between the lines. Encryption was the only way to explore forbidden subjects such as politics, religion, nudity." Printed on unbound boards and packaged in a cardboard case, Yesterday's Sandwich embodies Mikhailov's role as artist, documentary photographer and social observer demonstrating his rich imagination and practical solutions for survival in an unstable society.
More information Galerie Suzanne Tarasieve 7 rue Pastourelle
75003 Paris, France T: +33 1 42 71 76 54 suzanne-tarasieve.com
Courtesy Suzanne Tarasieve Paris
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Untitled, from the series Yesterday's Sandwich 1960/70 C-Print, 30 x 45 cm, Edition: 5 copies Courtesy Suzanne Tarasieve Paris
Untitled, from the series Yesterday's Sandwich 1960/70 C-Print, 30 x 45 cm, Edition: 7 copies Courtesy Suzanne Tarasieve Paris
Outside In
Hardback 64 pages 205 x 165 mm AMC Books / Photoworks, 2010 €28 / $41 / £25
Scooped up from the local surroundings and introduced into the body of his camera, Stephen Gill (1971, UK) created something reminiscent of in-camera photograms – or the regurgitated contents of a giant vacuum cleaner – in which conflict or harmony has been randomly formed in the final image, depending on where the objects landed. He also used a magnifying glass to concentrate the Brighton sunlight onto some of the negatives in order to etch markings directly onto the image. Some of the negatives he dipped in the sea. Through this approach, to clamber aboard the images and be encapsulated in the film emulsion, like objects embedded in amber, he hoped to encourage the spirit of the place. Grappling at the point where intention collided with chance, there was a considerable element of surprise. But what an enjoyable result from working with photography’s weaknesses alongside its subjective descriptive strengths! nobodybooks.com stephengill.co.uk
stephen gill
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alexander binder
Allerseelen
Paperback 44 pages 220 x 310 mm Morel Books, 2011 Limited edition of 500 €17 / $25 / £15
Allerseelen, the German word for All Souls or Day of the Dead, refers to the day when the victims of purgatory are about to receive redemption; to remembrance for loved ones who have passed away. Alexander Binder (1976, Germany) has wandered the dark forests and ancient graveyards of Central Europe producing a phantasmagoria of mythical images. All his photos are a kind of modern interpretation of the medieval Memento Mori. For him, it is all about the duality of light and dark, good and evil. He seamlessly blends the most arcane and dark twilights with crystal rainbows and once again succeeds in constructing a world of haunting beauty and mysticism. alexanderbinder.de morelbooks.com
All images © Alexander Binder
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arthropoda
Paperback 52 pages 340 x 240 mm Van Zoetendaal, 2011 ISBN: 9789072532114 â&#x201A;Ź45 / $65 / ÂŁ40
There are few other contemporary photographers who are as acutely aware of the chemical, mechanical and artistic development of photography since its official introduction as Harold Strak (1959, Mozambique, now living in Amsterdam). Besides intensive study into 19th-century photography and printing techniques, he had to learn how to prepare glass negatives. This came of use for the preperation of his series Arthropoda, the phylum of invertebrates with jointed limbs. Not in the way they surround us in countless numbers, but in various states of decomposition after their relatively short lives. A chemical and optical miracle thus unveils the marvellous world of the countless arthropods. haroldstrak.com
harold strak
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Selected Works
sebastiaan bremer
Selected Works While attending the open studio programme at the Vrije Academie in The Hague, Sebastiaan Bremer (1970, The Netherlands) meticulously reproduced personal photographs in paint. Soon after, in 1992, he moved to New York where he began to work primarily in black and white, reemphasising his connection to photography. He was assistant to several artists in New York, and worked and produced for the photographers Inez van Lamsweerde and Vinoodh Matadin. In 1998, he started to work in the style which he has continued until today: a poetic braille made up of text, personal symbols and ghostly shapes that, when integrated with their complex grounds, disappear again, buried in a sea of suspended dots. sebastiaanbremer.com
Botswana Breitner © Sebastiaan Bremer and Edwynn Houk Gallery, 2011 < Family Tree © Sebastiaan Bremer, 2005 > Seahorse (Nocturne V) © Sebastiaan Bremer, 2005
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kenji hirasawa
Thermography
Celebrity Hardback 72 pages 217 x 280 mm Bemojake, September 2011 ISBN 9780956247025 £25
Kenji Hirasawa (1982, Japan) has always been fascinated by skin-ship, where people interact with each other through the sense of touch. This is due to the fact that the Japanese consider it polite to keep one’s distance when communicating; they bow to each other instead of shaking hands in greetings. Therefore, it is very rare to feel other people's body temperature in Japan. In this series titled Portraits, he uses thermography to show the beauty of human vitality and to reconnect visually with human warmth. Kenji Hirasawa published his first book, Celebrity, this autumn. He currently lives in London. kenjihirasawa.com
Mariko Hasuzawa, Tokyo Š Kenji Hirasawa, 2007
Florian Lascombes, Paris Š Kenji Hirasawa, 2008
Jaemin Ha, Seoul © Kenji Hirasawa, 2009
melanie bonajo
Völkerschau In Völkerschau, Melanie Bonajo (1978, The Netherlands) warns of a future in which animals no longer exist, and have permanently moved their existence into the sphere of archetypes. Animals will start to reappear in people’s lives as ghosts, their spirits revived at night in dreams. As a result of this loss, people will sanctify animals, in the way pre-modern animistic believers did. These actions are dedicated to reviving what has been lost. Ghosts of the past will fuse with the ghosts of the future. Völkerschau is published as part of the exhibition Captive Lives Western Spectacle in Capricious Space, Brooklyn, New York. melaniebonajo.com
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Physical Forest Physical Forest by Taisuke Koyama (1978, Japan) was commissioned by INSITU in Singapore for the project entitled Fort Canning Hill. What struck Koyama most was the overwhelming humidity, the vivid call of birds, snakes, geckoes climbing up tree trunks and dense stands of trees covered with epiphytic plants. This was Nature, changing constantly and growing with the silent passage of time. Conscious of this presence, Koyama â&#x20AC;&#x201C; when standing on Fort Canning Hill â&#x20AC;&#x201C; attempted to insert movement in his photography. Similar to Tai Chi, the photographer thus managed to communicate with this historic forest. tiskkym.com
taisuke koyama
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arjen born
Take Care The older we get the greater the demands we will make on technology. At the same time, many older people are suspicious or even fearful of this technology. Photography then mostly hides behind a nostalgic view of the past, in which time is frozen in a familiar way. But Arjen Born (1979, The Netherlands), our winner of the Photo Academy Awards 2010, prefers to look to the future. Because the question is not if health care robots will play a role in the future care of the elderly. They will. But how? Will they take over routine tasks so that nursing staff has more time for warm human attention? Or will they be employed by efficiency-focused managers as a cost-cutting tool that will increasingly replace humans in health care? arjenborn.nl
competition
My Crazy Experiment Rumble winners You all had nearly three months to go crazy with your own experiments, but now a serious rumble has ended. Together with lomography.nl, we've pored over the submissions from tipsters and hereby announce the winners. The overall winner gets a Diana Deluxe Kit, and a three-year subscription to GUP magazine. The runner-up wins a Diana F+, and a two-year subscription to GUP. In addition to this publication, both winners will get an exclusive one-week exhibition in the brand-new Lomography Gallery Store in Amsterdam.
Please visit lomography.nl for more info on the competition. Both winners and Fairy Tale Pictures â&#x20AC;&#x201C; With Water and Salt by alexiagraphy, the 2nd runner-up (3rd prize), can also be seen on gupmagazine.com
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Grand Prize Winner
Make Your Film Healthy by Blueme5
You all had nearly three months to go crazy with your own experiments, but now a serious rumble has ended. Together with lomography.nl, we've pored over the submissions from tipsters and hereby announce the winners. The overall winner gets a Diana Deluxe Kit, and a three-year subscription to GUP magazine. The runner-up wins a Diana F+, and a two-year subscription to GUP. In addition to this publication, both winners will get an exclusive one-week exhibition in the brandnew Lomography Gallery Store in Amsterdam.
Runner-Up
PhotoRadar Texture Doubles by Icuresick
Photography could not have had such a rich history if it werenâ&#x20AC;&#x2122;t for sharing ideas. After experimentation comes inspiration and we are happy to have this series as a runner-up winner. It was a very simple idea with great results. It could be the starting point of a genre on its own. Appropriation mixed with personal creativity is what the medium is all about!
patrick sijben
Like many students at art academies, Patrick Sijben (1982, The Netherlands) started experimenting with pinhole cameras made from cans and boxes, filled with light-sensitive black and white paper. Not satisfied with the results and the limitations of this technique, he decided to take the approach several steps further by using regular medium- (and later large-) format cameras loaded with black and white paper instead of film. Motivated and inspired by the possibilities (low cost) and the restrictions (very low sensitivity) of this newly adapted approach, he decided to stick to it. Despite the fact that this approach started as an experiment and that the results can still be somewhat unpredictable, Sijben does not see himself as an experimental photographer, in the sense that his photography exists for the sake of the experiment. Instead, the experiment showed him the possibilities of the medium and forced him to set valuable limitations. patricksijben.com
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© Erick Cusi
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Bkmrks We hereby present a selection of frontline artists displaying their photography experiments online. The internet, of course, is designed to be a digital lab without borders but that does not mean that it is always easy to find the hardcore daredevils that bring photography to the next level. But we found them. Meanwhile, extended portfolios and other references to experimental photography can be found on
gupmagazine.com
gupmagazine.com
bkmrks
Anne-Lise Large mythology anne-liselarge.com
Anne-Lise Large is a French photographer. She has a PhD in Philosophy and lives in Washington DC. In her photography, which combines fine art and documentary, we are at the limit of the medium: the images are colourful and colourless, with mysterious settings; the photographed beings intimately connect the sacred and the profane. She has spent the last four years travelling around the USA to create her most recent series: Lost Angels and Mythology.
Ellen Jantzen Mandrake
ellenjantzen.com
As digital technology improved and the newer cameras produced excellent resolution, Ellen Jantzen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo-inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Considering herself an image-maker rather than a photographer, Jantzen has been creating works that bridge the gap between prints, photography and collage. In Color of Memory she reflects on the many aspects of memory.
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GUP Guide 25+ countries 70+ cities 50+ museums 100+ photo galleries more guide gupmagazine.com
Pablo Picasso Š Man Ray
– Jan 8
Vieux Paris Eugène Atget
© Eugène Atget
Nederlands Fotomuseum Gebouw Las Palmas Wilhelminakade 332 3072 AR Rotterdam
The Netherlands T: +31 10 203 04 05 nederlandsfotomuseum.nl
Eugène Atget took up photography when he was 40. He photographed mainly in Paris, in places where the city was unaffected by modernisation and demolition. His photographs depict the most beautiful shops, restaurants, squares and streets. Atget is regarded as one of the first documentary photographers and he inspired numerous photographers such as Walker Evans and Man Ray. Around 200 of Atget’s works are being exhibited in the Netherlands for the first time, a special event because his fragile photographs rarely travel.
guide
â&#x20AC;&#x201C; Oct 20
Chinese Spring #1
Stieglitz19 Klapdorp 2 2000 Antwerp Belgium T: +32 495 515 777 stieglitz19.be
Š Chen Man
various artists
This is the first overview of the vibrant photography scene in present-day Beijing. 223, Chen Man and Dawei all grew up in the 1980s and are the role models for a new generation of young adolescents and artists of this New China in transformation. 223 exhibits works from My Private Broadway, a series that shows a very individualistic approach to the daily life of this new generation of consumers, artists and young students in the suburbs of Shanghai, Guangzhou and Beijing. His blog is the most viewed blog on photography in China and is a platform on which many new artists have shown their works for the first time. Chen Man is a Beijing-based woman, who has developed her own unique style: the transformation of models into fantasy figures in an idealistic world. Dawei presents his series Cottons, an interaction between his landscapes with portraits of Chen Man.
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– Feb 5
What's in a Face Various Artists
© Loretta Lux
What’s in a Face? comprises 45 photographs from the Art Gallery of NSW collection and focuses on crucial points in the history of photographic representations of the human face. This exhibition shows the studio portraiture of early photography and continues through to the contemporary practices of today. Works by Australian photographers such as Olive Cotton and Max Dupain are placed in an international context represented by Ben Cauchi, Edward Weston and Iwao Yamawaki.
Art Gallery NSW Art Gallery Road The Domain, Sydney NSW 2000 Australia T: +61 18 0067 92 78 artgallery.nsw.gov.au
E bo F raterman N iki P olman C arli H è rmes M aike A mmann E rwin O laf B enno T homa K irsten W ilmink R obin U trecht A ng è le E toundi E ssamba A ndr é W agner K evin B est T homas G ertz E ric van den E lsen
E a s t m a n G a l l e r y B V • M a r k t s t r a at 1 5 a • 7 6 3 1 B X O ot m a r s u m • t h e n e t h e r l a n d s www . eastman - gallery . com