yet magazine
curating photography
issue eleven 1
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yet magazine
curating
photography
issue eleven
INDEX 03 — 04 Foreword
59 — 82
Between the Folds He Yining
06 — 08 A Veteran Curator thinks about Parallel
84 — 87
Time is a Luxury
09 — 20 When photography becomes public art – Gibellina PhotoRoad 21 — 38
Reality is a Trick a not yet Existing Exhibition
89— 110 The Light from our Side Shines Differently 98— 115 Photography Decoded 115— 135 When the Air Becomes Electric
39 — 53 Akihiko Taniguchi 136— 139 You Must not What You Search Call it Is What You See Photography if this Expression Hurts you 55 — 58 Exhibitions in response to image circulation 140—142 Biographies 2
FOREWORD After some initial resistance, the impact of digital technology has transformed existing artistic practices, while new forms of image-making, such as digital art and virtual reality, have become recognised artistic practices. Nowadays, one of the main challenges of the contemporary art world is to reframe the idea of ‘exhibition’ in relation to new technologies and places. Cultural adepts have to deal with new technologies not only for what concerns the fruition of artistic production but also – and especially – to find new ways to reproduce and represent artworks that are generated in a virtual environment, and consumed in virtual space. The merging of online and offline worlds is a sign of the times to come. Virtual reality and emoticons are recognised as artistic practice, and a shared common cultural value is now placed upon these things in dedicated spaces. Virtual reality is recognised as artistic practice and electronic communications such as Emoji are now part of MoMa’s collection. This requires institutions to radically rethink the relationships they have with their audiences, and these changes aren’t far from having a big impact in the field of artistic publications either. The technological environment fosters new ways to show, present and disseminate content. In this context, ‘static’ mediums such as photography are particularly interesting case studies as features such as materiality, physical impact and fruition modalities have drastically changed in the online sphere. The decision to explore this topic is motivated by a study of the current situations and challenges that photography institutions are now being called to face. It is a fact that many of the major art and photography museums are now developing curatorial strategies aimed at integrating the digital into the context of exhibitions, mediation programmes and events. Many of us in the arts assist in the creation of platforms and projects aimed at understanding how digital media can be used to enhance the experience of showcasing photography, as well as reducing the distance between physical spaces and content availability. Figures such as digital curators are becoming more and more established in this panorama, which is often presented in the form of experimentation. In many cases it can be seen as a playground, where concrete definitions of established practices and modalities are still far from being defined. In this issue we explore this “grey zone” through an active collaboration with photography curators that are tasked with creating exhibitions that don’t exist in physical spaces. Starting from the wide topic of ‘reality’, curators are challenged 3
to play in a space which is presented as physical but that doesn’t have any specific or tangible connotations or manifestations in the real world. The exhibitions are then digitalised and presented in the form of installation views on paper. Indeed, this operation doesn’t aim at providing solutions. On the contrary, our goal is to cultivate a dialogue and debate about the current state of art, tracing some of the most compelling discourse that can, somehow, explain our collective hesitancy in embracing new forms of experimentation. An interdisciplinary approach and the link between the real and the virtual became essential parts of the curatorial strategies proposed, and the same assumption also has to be made when talking about photography publications: how can they be curated and presented when playing within both digital and printed matters? This issue questions both established and innovative way to propose online curating for a photography publication. Throughout this process, social media has become akin to new exhibition walls and instant messaging our new debating space, but how can we brand that as a unique or exclusive experience? Through the extensive study of and research into what can be traced as a “history of online curating” as well as the analysis of selected external case studies, we examine and present in a transmedia environment some conclusions and clear-cut solutions to how pre-existing media can be used as a space for publication and curation in the specific field of image-making.
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The pictures look different The exhibitions look different Yet the work of understanding pictures PERSISTS
Nevertheless, our understandings of both photograph and curator have changed. The photograph may be an image only, with no materiality or permanence at all. The curator may be a shaper of ideas as much as an organiser of things, and thus more oriented to the future than to the past. More and more, the contemporary curator is independent, free from the limitations of any particular history, institution or collection, and she may serve as a direct conduit between the artist and the public. This is in no small part due to the ease with which photographic images can now be digitally made, multiplied, recontextualised, organized and shared, a circumstance that elevates choice and curatorial authorship.
determined their size, placement, and accompanying text. The other curators in this program will be putting objects in rooms rather than images on pages, but the work they do will be similar. I am struck by how far we have come from the world of gloved hands putting objects in boxes, of carefully packaged artefacts of metal and paper being moved from where they were made to where we choose to put them. Increasingly our curatorial practice is globalised and de-materialised, unconstrained by borders and other physical limitations. Like the rest of our lives, the work we do now is sped up and fleeting, less subject to fixed interpretations, canonical judgments, and disciplinary definitions. The pictures look different. The exhibitions look different. Yet the work of understanding pictures persists. We make exhibitions, and learn from the successes and failures of each one. Over time, and never perfectly, we learn how to weigh meaning and aesthetics, to consider maker’s intent, viewer reception, history, context, subject, object, and image. We manifest what we have learned by selecting, organising and sharing a few pictures. However it’s done, this core process persists. Parallel has empowered the next generation of our field. I can’t wait to see what they do next.
This issue of YET addresses the idea of curation, yet it challenges our traditional reliance on the real thing, and does so in forms as different as the printed page and the web site. The issue includes the curatorial work of Leanna Teoh, a participant in Parallel’s 2018-2019 cycle. Like her curatorial colleagues at other venues, she has worked with competitively chosen young artists to explore an idea. She has reviewed finished work and work in progress, almost entirely in nonmaterial formats. In regular communication with both artists and editors, she has selected a small number of works from the much larger number available and
Alison Nordström 8
When photography becomes public art Gibellina PhotoRoad
Arianna Catania 9
Gibellina PhotoRoad 2016, Petros Efstathiadis at Sistema delle Piazze.
All the other images by Jacopo Atzori
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Akihiko Taniguchi
WHAT YOU SEARCH IS WHAT YOU SEE
What You Search Is What You See
Artist Year Medium Curator
Akihiko Taniguchi 2019 playable 3D environment Marco De Mutiis
Curated by Marco De Mutiis
Exhibitions in response to image circulation
Marta Ponsa
In this exhibition, we intend to present artistic projects that highlight, with hints of humour, irony or poetry, the visual saturation we live in, the effects of democratizing the use of the image, and the social, economic and ecologic implications of disseminating images coexisting in the global network’s extensive database. The selected projects represent the image of this new economy and the one created by the production of this vast amount of images navigating around us, and they do so either by focusing on its quantity (Thomas Ruff, Zoe Leonard), the implications of its use and manipulation (Aram Bartholl), the reliance on the channels and energy used for its dissemination (Samuel Bianchini, Emma Charles), the work hidden behind its visibility (Martin Le Chevallier) or the fluidity and fluctuation of its market value (RYBN). The scenography will encompass a large range of ways of displaying the work (projectors, screens, tablets), which is meant to mirror the ways in which we currently access images. A small selection of historical works from the first half of the 20th century will also be featured in different parts of this exhibition. This approach to the exhibition and its curatorial content can be understood as one of the possible answers to the current evolution of images: diverse formats, hybridization, transversality and interconnection, without leaving aside a feeling of uncertainty about the acceleration of the present.
1 In 2018, Instagram users published over 95 million images on a daily basis/ https://blog.digimind.com/fr/tendances/instagramles-chiffres-a-connaitre-en-2018/
2 Peter Szendy. Le SupermarchÊ du visible. Essai d’iconomie, 2017. Editions de Minuit.
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BETWEEN THE FOLDS
Wenxin Zhang
Curated by He Yining
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Time is a Luxury Space of Flows in the Space of Places
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Iris Sikking
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consideration its history, dissemination and context, the book not only engages in photography’s visual literacy, but it also shows that what constitutes an image is in question now more than ever. “Photography Decoded” intends to supply the viewer with new ways to and tools on how to consider photography. By encouraging close and slow readings of the photographs, the readers should eventually be lead towards various questions regarding what is seen and what is represented, the nature of the medium, the culture that surrounds it and the ones who make use it.
Page 29, Gustave Le Gray, The Great Wave Credit: Metropolitan Museum of Art, New York. Gift of John Goldsmith Phillips, 1976
Hedy van Erp
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When the air becomes electric
When the air becomes electric Curator Marco Poloni
Artists
Marco Poloni
Florian Amoser Julien Gremaud Gregor Huber Quentin Lacombe ClĂŠment Lambelet Douglas Mandry Noha Mokhtar Anja Schori Jean-Vincent Simonet Sebastian Stadler
When the air becomes electric A (RE–)ACTION BY
Florian Amoser Jean-Vincent Simonet Clément Lambelet
In the context of the exhibition “When The Air Becomes Electric” curated by Marco Poloni at the Centre Photographie Genève, we asked some of the exhibiting artists to re-think the space of their installations. In his curatorial statement, Poloni gives a definition of photography by exploring and questioning the relationship between the concepts of automatism and human agency. In the same way, and within our exploration of curatorial practices in photography, we challenge the notion of re-enhancement of a finished artwork – exhibition – by re-producing and re-shaping it.
exposures create black and white landscapes that refer to both the analogue practice and the digital finish of 3D modeling. Technology is also what triggers Clement Lambelet’s interpretation. Starting from a self-reflection on the quality of his own work, he photographed the visitors during the opening to capture their expressions. A software – Microsoft’s API Vision – provided him with their emotions - anger, joy, sadness, astonishment (from 0 to 100%) and various other data. By the end of this process, the artist still does not know whether his work is to be considered “good” or not, yet, he is able to offer a different perspective on the pieces and on the way the audience interacts with them.
This process starts from the interpretation of the artwork by an external viewer who, if compared to a machine, creates an automatism among different works and approaches. This operation leads back to the subjective interpretation of the artist. Therefore, the aim of this experiment is that of creating a new space where the artworks are presented digitally, following the artists’ personal interpretation, as well as questioning the variability of their perception within physical and virtual spaces.
We like to think of this operation as some sort of experiment, an action that can generate further developments in the context of curatorial strategies. The resulted experience is far from a visit to the physical exhibition. On the contrary, the artists use their own language to suggest different perspectives and thus give life to a new exhibition which can only exist outside a physical context.
Jean-Vincent Simonet's practice fuses analogue images, digital techniques, collage and montage with remarkable fluidity. His work is permeated by a sense of overload, exuberance and entropy. Body and decor, nature and artifice, poses and emotions collide and merge into the poetics of excess which form the foundations of the photographer's research. Simonet printed the final images on plastic, then painted and manipulated the wet surfaces before re-scanning them. The traditional installation view photographs do not depict the space and the artwork anymore, instead, they become plastic surfaces to be explored per se. Florian Amoser questions the tenants of analogue and digital photography. His work explores the various aspects of human perception. Ever since photography was invented, it has been used as a tool for extending the limits of our ability to observe. Consequently, technological developments of the apparatus have had a decisive influence on our perception. Amoser crafts his very own tools in order to make new photographic reproductions possible. His photographs bear witness to a material dissolution of the environment in which the physical and digital reality begin to mirror one another. In this occasion, he has mapped out the exhibition by placing a motor-mounted laser on the ground. The light beam slowly sweeps the walls of the museum thus drawing a continuous mark according to the principle of contour lines. These long
Florian Amoser pp. 122–123 / 134 –135 Jean–Vincent Simonet pp. 128 / 132 –133 Clément Lambelet pp. 124 –127 / 129–131
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YOU MUST NOT CALL IT PHOTOGRAPHY IF THIS EXPRESSION HURTS YOU A MANIFESTO PHOTOMUSEUM WINTERTHUR 136
We are all very concerned about photography's brand value. One upon a time, you could really *believe* in photography. You could be proud to hang a DSLR around your neck and Ansel Adams on your bookshelf. You could share inspirational photography quotes online without shame, and promote your love of street photography on instagram without facing difficult ethical questions.
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No more _____ ! *
_______is/are killing photography! Photoshop Mark Zuckerberg iPhones Women The internet Photography Museums Influencers Cats Documentary Photographers Cultural Marxists The Instagram Egg The NSA Selfie Sticks Visual Storytelling Underwater Photography
Lenses Valencia Filters Photographers Neural networks Decisive moments Corporate social media platforms 35mm film rolls Screenshots Light Copyright Photo books Punctum Poor images Zone System Tagging Passepartouts Photography Theory Authorship Image segmentation Vintage Cameras Anything, no more anything, nothing, NOTHING, NOTHING, NOTHING
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_______ is manipulation! Photomontage Staging Cropping Photographing Artificial Intelligence Framing Captioning Appropriation Reproduction Clicking Seeing Using flash Colour photography
involved with institutions focused on photography, cinema and contemporary art, such as Photo España, Madrid, FotoFest, Houston, “La Caixa” Foundation, Barcelona, Oberhausen Film Festival, CPH:DOX, Copenhagen, as well as photography and design schools such as Eina and Pompeu Fabra University in Barcelona and the École Supérieure de Photographie de Vevey, CH.
CURATORS HE Yining is a graduate of London College of Communication, University of the Arts London. In 2010 Yining began work as a researcher, writer, and curator specialising in contemporary photographic art. Yining’s exhibitions have been held in museums, art museums, and photography festivals across China and Europe, including: “The Abode of Anamnesis” (OCAT Institute Beijing), the 3rd Beijing Photo Biennale (2018, CAFA Art Museum), “The Port and The Image: Documenting China’s Harbor Cities” (2017, China Port Museum), “A Fictional Narrative Turn” (2016, Jimei Arles International Photo Festival) and the “50 Contemporary Photobooks from China 2009-2014” (2015, FORMAT 15 international Photo Festival, UK). In early 2014, Yining launched the Go East Project, which aims to promote contemporary Chinese photography in the West through blogs, exhibitions, and publications. Yining has worked as an art consultant to Brownie Art Photography since 2016. Marco De Mutiis works as Digital Curator at Fotomuseum Winterthur, where he leads and co-curates the SITUATIONS programme and also deals with issues related to digital infrastructures, online museums, and photography in its networked and algorithmic forms. He is currently also part of a SNF funded research project titled “Post-Photography” with the Lucerne University of Applied Sciences and Arts, researching on computer games and photography, looking at simulations of photography, photorealism in games, photo modes, photographic playbour and screenshotting practices. De Mutiis is also a co-initiator, core member and networked mastermind of the rogue collective behind You Must Not Call It Photography If This Expression Hurts You. Leanna Teoh graduated with a BA in Fine Art (Photography & Digital Imaging) at Nanyang Technological University and will complete her MA in Creative and Cultural Entrepreneurship at Goldsmiths University, London, in September 2018. Together with her business partner Ang Song Nian, she co-founded THEBOOKSHOW, a platform to showcase and exhibit selfpublished artist books, which acts as a mediator between the art world and the general public, advocating that the book form is an art in and of itself. She curated the group show New Margins 2018 in her home country, featuring three artists who delved into the exploration of the potential of books as art objects. Leanna Teoh is among the emerging curators selected for Parallel Photo Platform 2019. CONTRIBUTORS Marta Ponsa lives and works in Paris, France. She is in charge of artistic projects and cultural activities for Jeu de Paume, where she organises cinema programmes, conferences and performances. As a curator, she has curated projects on European photography from 1920-1950, on video, and on the visual and digital arts. She is regularly
Alison Nordström is a Tutor in Curatorial Practice for Parallel, the European platform that brings together artists, curators and cultural organisation to promote a new quality standard for contemporary photography. She has worked with photography and photographers for over 30 years, most notably at the Southeast Museum of Photography, the George Eastman House, and, currently, at the Peabody Museum, Harvard University. She is the author of over 100 books and essays on photographic topics and has curated over 100 photographic exhibitions in nine countries. She holds a PhD in Cultural and Visual Studies. Iris Sikking is an independent curator, educated as a film editor and a photo historian. In 2018 she was appointed guest curator for the main program of the 16th edition of the Krakow Photomonth Festival. Recently she contributed as co-editor to the publication Why Exhibit? Positions on exhibiting photographies (Fw:books) with a critical reflection on her position as curator. She is also a lecturer at the Academy for Art and Design (Avans University of Applied Sciences, Breda, the Netherlands), where she developed a BA curriculum for the combined Film and Photography Department, as well as for Arts & Interaction, an interdisciplinary minor. Hedy van Erp is a photo-historian, curator and writer from the Netherlands. Her writings on photography have been published internationally. As a curator, she worked on many exhibitions such as “BABY: Picturing the Ideal Human”, “1840s–Now” (Nederlands Fotomuseum, Rotterdam, 2008, and the National Media Museum, Bradford, 2009), “Make Life Worth Living, Nick Hedges’ Photographs for Shelter, 1968–72” (Virgin Media Space, Science Museum, London, 2014–15). Moreover, she curated an exhibition of Viviane Sassen’s work at the European Union Pavilion, Amsterdam (2015–16) and FACE TIME (2017) for the Dutch National Portrait Gallery. As an author and co-curator, she was responsible for “You Ain’t Seen Nothing Yet” (FOMU, Antwerp, 2013) and Koos Breukel’s exhibition and book “ME WE” (Fotomuseum Den Haag, The Hague; nominated for the Best European Photography Exhibition 2014; Kees Scherer Award for Best Dutch Photobook 2013–14). Together with Koos Breukel, she is the curator of FotoFestival Naarden 2019 - “Dutch Masters and Marvellous Misfits”. www.hedyvanerp.nl
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Arianna Catania is the artistic director of Gibellina PhotoRoad – International Open Air Photography Festival. She is also a photo editor, journalist and independent curator. She also writes about photography and art for Huffington Post. She
studied Political Science and once she had graduated from the Higher Institute of Photography and Integrated Communication in Rome, she began working as a photographer. She is the photo editor and curator of the project Emerging Talents and co-founder of the cultural association PhotoTales. ARTIST FEATURED IN “REALITY IS A TRICK. A NOT YET EXISTING EXHIBITION” CURATED BY YET Eui-Jip Hwang is a photo-based artist who lives and works in New York City. Employing documentary and fictional narratives, Hwang creates a portrait of society by utilising various methods of image making and appropriation. His usage of photography engages with the visuals of advertising to re-examine the present image culture. www.euijip.com
Although born in Buckinghamshire, England, John MacLean spent a significant part of his childhood in Canada and the United States. After studying mathematics, physics and geology he changed direction and studied photography at the University of Derby (UK) under the tutelage of Olivier Richon. John has been a London-based, independent photographer since 1998. His first solo show was ‘Two and Two’ with Flowers Gallery, London in 2010. John has had work published in Camera Austria, European Photography, American Suburb X, The British Journal of Photography, Source, Photoworks, 1000 Words, and Elephant and more. His work was part of the ‘Experts’ Selection’ at Kassel and nominated for The Deutsche Börse Photography Foundation Prize in 2018. ‘Hometowns’ was exhibited at Unseen Amsterdam in 2015, Format Photo Festival in 2017 and Lodz Foto-festival in 2018. ‘Your Nature’ was recently exhibited with Unseen at Paris Photo. www.jmaclean.co.uk Annemarijn Vlinder (The Netherlands) has a degree in documentary photography at the PhotoAcademy in Amsterdam. Her project If A Tree Falls In A Forest was exhibited in Amsterdam and Rotterdam and was published both in print and online. During a Photobook Masterclass with Tipi Bookshop at the Fotomuseum Antwerpen she created a second dummy for If A Tree Falls In A Forest, focusing on the repetition of time when a person is in total isolation. Annemarijn Vlinder was on the long list of the Dutch Pennings Award, one of the winners of the #11 YET Magazine Open Call and she will attend the ISSP Riga Residency 2019. https://www.annemarijnvlinder.nl/
Ewa Doroszenko is a Warsaw-based artist whose creative practice employs a mixture of painting, photography and digital media. She earned a Doctor of Fine Arts degree from the Nicolaus Copernicus University in Torun, Poland. Doroszenko is a scholarship holder of the Minister of Culture and National Heritage (2019) and a winner of many competitions, including DEBUTS 2018 (doc!photo magazine), Young Lynxes 2018 (Contemporary Lynx), Debut 2018 (Lithuanian Photographers Association). Her work has been exhibited in international art galleries such: Propaganda Gallery in Warsaw, Fait Gallery in Brno, Exgirlfriend ARTIST FEATURED Gallery in Berlin, Prospekto Gallery in Vilnius. IN “WHAT YOU SEARCH IS WHAT YOU SEE” www.ewa-doroszenko.com CURATED BY MARCO DE MUTIIS Born and raised in Japan, Hiro Tanaka lived in the US for several years, mostly touring with punk rock bands, and turned to photography as a way to document his daily life on the road. His work has been selected and shortlisted for ShainBook Award, France, TPD Book Award, Italy, Kassel Dummy Award, Kolga Award, Daylight Photo Award. He has participated in residency programmes in Denmark, Latvia and USA. His book “Chicharron” has been published by Witty Kiwi in 2018 and won the Cosmos Arles PDF Award. www.asianmanrecords.com/hiro Amy Li is a photographer/artist based in New York City. She holds a Bachelor of Fine Arts Photography degree from the University of the Arts Philadelphia. In 2018 she received the artist Fellowship Grant Getaway. Her work has been exhibited internationally in collective and solo shows such as: I “Remember You From Last Night” Space Place Gallery, Nizhny Tagil, Russia, “The Family of No Man” Arles Cosmos 2018, France and “Visible Range” DELI Gallery, Queens, New York. www.amyli.co
Akihiko Taniguchi is an artist living and working in Japan, a full-time lecturer at Tama Art Univeristy, and a part-time lecturer of Musashino Art University. Taniguchi produces installations, performances and video works using self-built devices and software, and in recent years, mainly net art work, as well as sometimes VJing. Taniguchi’s main exhibitions include “dangling media” (“emergencies! 004” at “Open Space 2007,” ICC, Tokyo, 2007), “Space of Imperception” (Radiator Festival, UK, 2009), “redundant web” (Internet, 2010) “[Internet Art Future?]” (ICC, Tokyo, 2012) and others. www.okikata.org
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ARTISTSTS FEATURED IN “BETWEEN THE FOLDS” CURATED BY HE YINING Wenxin Zhang was born in 1989 and currently lives and works in Anhui. She received her MFA degree at California College of the Arts in 2013. Zhang was a receiver of the Magnum Foundation Atlantic Philanthropies Grant in 2015, and she was selected as British Journal of Photography’s 2016
New Talent. She was also a finalist in the 2014 Three Shadows Photography Award and the 2014 Leica Oskar Barnack Newcomer Award. She has also participated in artist residencies and exhibitions in both China and overseas. Zhang utilizes video, CG, photography and installation, and also combines writing and music to create processoriented perceptual experience that usually starts from everyday experience and then grows into continuous reflections on time and transcendence. www.zhangwenxin.com ARTISTS FEATURED IN “WHEN THE AIR BECOMES ELECTRIC” CURATED BY MARCO POLONI
Design Theory, and several years of experience in film production, he works on large-scale, photography-based projects, dealing with global issues and personal subjects. In 2018, he became a laureate of the Carte Blanche award. In the same year, he was selected for the International Talent Program of BredaPhoto 2018, as well as for the 2nd Cycle of PARALLEL – European Photo Based Platform. He was awarded the grand prize at the Budapest Portfolio Review in 2018. Daniel is a member of the Studio of Young Photographers, Hungary. He lives and works between Budapest and Vienna. www.danielszalai.com
Róisín White is a visual artist based in Dublin. She holds a BA (hons) in Photography from the Dublin Institute of Technology, Jean-Vincent Simonet graduated from ECAL in 2014. He is based and certificates in Ceramics and Sculpture from the National in Paris and Zurich where he juggles between commissioned College of Art and Design, Dublin. White has exhibited her photography, editorial and personal explorations. work in Ireland and across Europe, with her debut solo exhibition www.jeanvincentsimonet.com at The Library Project in August 2018. She was selected to represent PhotoIreland at Futures Photography platform, and was Clément Lambelet is an artist who explores selected for Parallel European Photography Platform in 2018/19. societal issues related to humans and technology. White was selected to take part in residency programmes, How His work includes photographic, video and sound To Flatten A Mountain residency at Cow House Studios in 2017, forms, displayed as installations. He received his In-Between Shores residency with Ardesia Projects and JEST Bachelor of Arts in 2016 at ECAL/University Gallery in Italy in June 2018, Cow House Studios in February of Art & Design. His current researches focus on 2019, and she is currently the artist in residence at The Darkroom the diversion of algorithms such as those used in Dublin. White has received funding from the Dún Laoghaire for face and emotion recognition or new surveil- – Rathdown County Council as part of their Emerging Artist lance systems like body scanners and war drones. Grant scheme for 2018/19. His approach reflects the fragile cohabitation www.roisinwhite.com between human singularity and control ideologies present in contemporary technologies. The fruits Federico Ciamei (b. 1974 Roma, Italy) is an Italian of his research: documents, data and press articles photographer currently based in Milano. His feed his installations in order to make the tools practice as an artist focuses on the exploration of of power he hijacks readable. peoples’ desires and dreams: what drives us to www.c-lambelet.com search for something more than our basic needs and habits? His first book “Travel Without Moving” Florian Sebastian Amoser currently works as a part-time Teaching (Skinnerboox, 2016) features a collection of Assistant in the Department of Photography, ECAL. He was adventures of great explorers in the past, taken selected for FOAM Talent 2019. He graduated with a Bachelor from their diaries and rebuilt through archives of Arts in Photography at ECAL in Lausanne, Switzerland in and original photos. The book has been selected 2017. He also got a Mention (très bien) at Prix de la Foncière. for both the Arles Luma and the Kassel dummy Amoser undertook an exchange semester at Royal Academy awards in 2015. He was selected for the 2018-2019 of Art (KABK), The Hague, The Netherlands in 2015-2016. He 2nd Cycle of PARALLEL – European Photo Based also holds a bachelor of science in architecture at ETH Zurich. Platform. His new body of work, How Can You Live He was born in Olten, Switzerland. In The Present When You Are 3000 Years Old? www.florianamoser.ch talks about his personal relationship with Italy and the classical culture which is heavily embedded within the Italian society. ARTISTS FEATURED IN “THE LIGHT www.federicociamei.com FROM OUR SIDE SHINES DIFFERENTLY” CURATED BY LEANNA TEOH Daniel Szalai is a freelance artist, currently pursuing his Master’s degree in Photography at the Moholy-Nagy University of Art, Budapest and Design and the University of Applied Arts, Vienna. With a Bachelor’s degree in Art and
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Real and virtual, the organic and artificial, moving from the physical world to the screen AND BACK AGAIN
n e a r. is yet magazine near. is contemporary photography. near. is screenings, exhibitions and exchange of ideas. near. is established and new artists from Switzerland. near. is promotion, network and community. near. is artists, curators, historians, and journalists. near. is near.li
www.near.li
Artists • Florian Amoser • Federico Ciamei • Ewa Doroszenko • Eui-Jip Hwang • Gregor Huber • Clément Lambelet • Amy Li • John Maclean • Noha Mokhtar • Daniel Salazai • Jean-Vincent Simonet • Hiro Tanaka • Akihiko Taniguchi • Annemarijn Vlinder • Roisin White • Wenxin Zang Contributors • Arianna Catania • Allison Nordstrom • Marco Poloni • Marta Ponsa • Iris Sikking • Hedy Van Herp Quotes • p. 5 Alison Nordström • p. 143 Elena Vaninetti ISSN: 2296–407X
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yet magazine issue 11 curating photography
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