FILM ENDS Adam Wiseman
Film Ends reduce el procedimiento fotográfico a su elemento más básico y espontáneo. La serie surgió como un descubrimiento fortuito, mientras Adam Wiseman desarrollaba su libro Elvis nunca estuvo en Acapulco. Durante la revisión y recopilación de material de su archivo fotográfico, Wiseman escaneó tiras de negativos, cuyos extremos o puntas sin exponer habían pasado por el mismo proceso químico que el resto de la película. Es así que la cuidadosa práctica subjetiva de tomar una fotografía se ve subvertida por la aleatoriedad descontrolada de los extremos de la película. Las texturas y los tonos hacen eco de las imágenes capturadas en el mismo rollo —podría decirse que se complementan entre sí—, son accidentalmente relevantes y se encuentran en sintonía con las fotografías. Los escaneos muestran tal cual lo que figura en el soporte analógico, sin retoque digital. Vistos a la distancia semejan pinturas expresionistas abstractas, cuidadosamente construidas; mientras que de cerca revelan las texturas y cicatrices del tiempo: arañazos, manchas, pelos y polvo. Por su riqueza visual, Film Ends se convirtió en una parte esencial de la publicación, al aportar una atmósfera de destino vacacional nostálgico, Tecnicolor y con las cualidades del celuloide de antaño. ___ Film Ends, Adam Wiseman’s most recent body of work, reduces the photographic process to its most basic and spontaneous element. A serendipitous discovery, Film Ends came about while Wiseman was immersed in the development of his upcoming book Elvis Never Was in Acapulco. While reviewing his archive of old photographs from Acapulco, Wiseman scanned strips of negatives in batches, which inevitably included the tips of the film: the unexposed celluloid that had passed through the same chemical process as the rest of the film. These scans captured the artist’s imagination; they seemed accidentally relevant to the images photographed. Atmospheric textures and tones echo the pictures created on the same roll of film. The careful subjective process of taking a photograph is subverted through the completely uncontrolled randomness of these film ends, yet they somehow complement one another. Wiseman decided to print these analogue scans without retouching them. When seen from afar, they look like carefully constructed abstract expressionist paintings; up close, they reveal the textures and scars of time: scratches, stains, hair and dust. Film Ends became an essential part of Elvis Was Never in Acapulco, creating the atmosphere of a nostalgic, Technicolor, celluloid holiday destination of yesteryear.
Adam Wiseman Film Ends boxset Film Ends series Eight archival pigment prints on cotton paper and hand-made box 42 × 27.9 cm / 16 1/2 × 11 in (each print) Ed. 12 + 2 AP USD 2,500
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Untitled Film Ends series Archival pigment print on cotton paper 100 x 70.7 cm / 39 2/5 × 27 4/5 in (print) Ed. 6 + 2 AP USD 3,000
*pricing does not include shipping or taxes
Adam Wiseman Born in Mexico City in 1970, he has a BA from NYU in Ethnographic Film (1992) and completed the Documentary Program at the International Center of Photography in NY (1996). After living in NY for 13 years, working as a freelance photographer and as a fine printer for the Magnum photo agency, Wiseman returned to Mexico City in 2001. Wiseman was selected for the XVI Bienal de la Fotografía of Centro de la Imagen in 2016 and 2014. He is also the recipient of Mexico’s prestigious Endowment Of the Arts SNCA/FONCA fellowship (2012-2015), a Photolucida Critical Mass Top 50 (2012), recipient of the Best of Show Award in 2012 from the Photo Review Competition, selected as a PhotoEspaña Visionary and a Prix Pictet nominee in 2013. Wiseman's personal work challenges the traditional format of documentary photography primarily the idea of pursuing objectivity with an intrinsically subjective medium. His editoral work features commissions from magazines such as Wallpaper, Rolling Stone, Metropolis, Frieze, Domus, The New York Times, Time Magazine, Los Angeles Times Magazine, Wall Street Journal, Men’s Journal, El Mundo, Le Monde, Monocle, The Telegraph Magazine, ESPN Magazine, The Guardian, Colors Magazine, National Geographic Traveler, National Geographic, Paris Match among others. Wiseman’s work has been exhibited in the US, Switzerland, Spain, Mexico, Japan, Argentina, Venezuela, and at the 2006 Venice Architecture Biennial. His work is in the permanent collections of the Smithsonian Institute in Washington D.C., the 9/11 Memorial in NY, The Schöepflin Stiftung collection, the Coppel Collection, The World Bank, The Museum of Fine Arts Houston, as well as a number of private collections.
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