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GoSee Buch Tipp : Todd Hido - 'Intimate Distance' 25 Jahre fotografische Beobachtungen zwischen Portraits, Neonschildern und Landschaften, gebunden als Monografie und als Ausstellung bei Casemore Kirkeby in San Francisco

Strommasten an verregneten Strassen, in der Ferne erleuchtete Fenster und Neonschilder, intime Frauen Portraits und karge Hotelzimmer - die Sujets von Todd Hido scheinen auf den ersten Blick sehr simpel, doch sprechen sie unser Inneres an und man kann sich in ihnen verlieren. Die Zeit scheint in den Momentaufnahmen keine Rolle mehr zu spielen. So wie man bei Regenguss im Inneren des Wagens gefangen ist, laden Todd Hidos Bilder zum Verweilen und Loslassen ein. In seiner ersten Monografie 'Intimate Distance' versammelt er chronologisch ein Oevre aus 25 Jahren fotografischen Schaffens, darunter erstmals auch seine Schwarz-Weiß Aufnahmen (erschienen bei Aperture Foundation mit einem Vorwort von David Campany).

Aktuell zeigt Casemore Kirkeby in San Francisco Arbeiten von Todd Hido und am Samstag, 29. Oktober trifft man den Fotografen zum Book Signing in der Galerie : "The exhibition draws from the book’s breathtaking scope, with a focus on images made in the last four years. A special section features a suite of Hido’s very early, never-before-shown black-and-white pictures, where we see his unmistakable photographic voice start to take shape.

In the most recent work occupying the main gallery, Hido further loosens his relationship to narrative in favor of a complete submersion in the sumptuous visual language of cinema. Monochromatic washes of color bleed from image to image; a winter moonrise viewed through a web of trees gives way to a battered fence cast in shades of ochre, and an empty interior glowing orange through faded curtains. Hido’s content is still there but further unhinged from its indexical relationship to the concrete world—images, colors, impressions echo back to one another as if in secret communion. The portraits, in particular, punctuate the atmosphere, as if emerging out of the ether. The women in Hido’s photographs are immersed in their dramas—omnipresent, but detached; they are larger than life, as if photographed directly from a movie screen inside a darkened theater. Color takes center stage in these new images, and fabrics, lipstick, skin are rendered in vivid hues with full photographic seduction—apparitions of light made tangible, impossibly close. Intimate Distance shows Hido at his most masterful and showcases what a true talent can evolve into—an artist in full command of his subject matter.

Over the past 25 years, Todd Hido has refined a point of view that is both familiar and unsettling. His images are manifestations of a deep and sustained interest in the way photography works on our personal and collective consciousness, especially within the American cultural landscape. The work recollects our first confrontations with the larger world through magazines, newspapers, and movies and the awkward, sometimes heartbreaking intimacy of photographing, being photographed, and looking at photographs of others.

While often shining light on harsh contemporary realities in his imagery—home foreclosures, the post-industrial landscape, the decline of working class neighborhoods—Hido weaves in elements of personal history, American mythos and sublime beauty, charging the empty spaces with possibility, anticipation and a roving, unquenchable sense of loss.

Hido has also developed a cult following for his publications, which are his primary point of departure and, most recently, the place where his intersecting narratives coalesce into something more complex and elliptical than the sum of their parts. Through the various outlets he restlessly moves between, from masterfully edited books to limited edition zines, magazine portfolios, exhibitions and his Instagram account, the solitary experience of the photographer meets the collective experience of looking. In Hido’s world, we are all in the theater together."

Todd Hido (born in Kent, Ohio, 1968) is a San Francisco Bay Area-based artist whose work has been featured in Artforum, the New York Times Magazine, Eyemazing, Wired, Elephant, Foam, and Vanity Fair. His photographs are in the permanent collections of the Getty Center, Los Angeles; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art; and Los Angeles County Museum of Art, as well as in many other public and private collections. He has published over a dozen books, including House Hunting (2001), Roaming (2004), and Excerpts from Silver Meadows (2013). In 2014, Aperture published Todd Hido on Landscapes, Interiors and the Nude as part of The Photography Workshop Series.

Casemore Kirkeby, 1275 Minnesota Street, San Francisco 94107
18.10.2016 // show complete article

GoSee Tipp : DOUGLAS MANDRY 'Unseen Sights' - Reisen in unserer Zeit als Ausstellung experimenteller Fotografie in der BILDERHALLE Zürich

Douglas Mandry (*1989) ist laut BILDERHALLE 'ein Stern am Firmament der jungen Schweizer Fotografie', da er eine neue Generation von Fotografen vertritt, die das Medium der Fotografie im Kontext eines weiter gefassten, künstlerischen Konzeptes nutzen: intelligent und experimentell. Seine Arbeit ist voller Anspielungen auf die Besonderheiten und Grenzen der Fotografie. Er mischt digitale und analoge Techniken und macht Ausflüge in die Geschichte der Fotografie, indem er mit traditionellen Techniken experimentiert und diese spielerisch mit Verfahren aus der digitalen Zeit vermengt. Die Ausstellung versammelt drei Serien, die alle im weitesten Sinne mit dem Reisen in unserer Zeit zu tun haben.

"UNSEEN SIGHTS spielt mit dem Begriff 'Sightseeing', meint aber nicht real existierende Orte, sondern surreale, erfundene Landschaften, die der Künstler uns durch seine Fotografie besuchen lässt. Douglas Mandry verwendet mechanische Prozesse der Bildbearbeitung aus der analogen Fotografie, um unsere Beziehung zu Bildern in Frage zu stellen. Zuweilen offensichtlich, dann wieder ganz subtil, transformieren seine Eingriffe ins Bild bekannte touristische Orte und stellen Fragen zur Rolle der Fotografie in einer digitalen Gesellschaft," so die Galerie über die Ausstellung.

Douglas Mandry wurde 1989 in Genf geboren und lebt und arbeitet heute in Zürich. Er ist Abgänger der renommierten Kunstschule ECAL in Lausanne. Seine Arbeiten wurden im Rahmen zahlreicher Gruppenausstellungen und internationaler Messen gezeigt und sind bereits in namhaften Sammlungen vertreten. Die Bildhalle ist eine der wenigen Galerien der Schweiz, die sich ausschliesslich der Fotografie widmet, der zeitgenössischen wie auch der klassischen Fotografie.

BILDHALLE, Stauffacherquai 56, 8004 Zürich,
17.10.2016 // show complete article

Von der Venus of Willendorf bis hin zu Marina Abramović: Das Buch 'Body of Art', erschienen im Phaidon Verlag, weiss den Bogen kunstvoll zu schlagen

Body of Art is the most extensive survey of the representation of the body in art ever to be published. From one of the earliest known representations of the human form – the Venus of Willendorf (c.24,00022,000 BC) – to videos and performances by contemporary artists such as Marina Abramović, Joan Jonas and Bruce Nauman, the book illustrates the diversity and shared concerns of world cultures through their depictions of the body. Body of Art is published by Phaidon.

Body of Art features work by over 400 artists – from Botticelli, Rubens and Matisse to Antony Gormley, Tracey Emin and Yoko Ono – and spans 35 millennia of figurative, abstract and conceptual art. The works are grouped into ten themed chapters: beauty, the absent body, religion and belief, bodies and space, sex and gender, emotion embodied, power, the body’s limits, the abject body and identity. Within these themes, works from different art historical periods, regions of the world and every possible media are juxtaposed. These curated pairings allow the reader to think about familiar works in new contexts, and to introduce less well-known art.

Vincent van Gogh’s Self-Portrait with Bandaged Ear (1889) is paired with Stelarc’s Ear on Arm (2006– 7), for which the artist had an ear surgically implanted onto his left forearm, in the chapter exploring the body’s limits. The chapter covering identity features Joseph Beuys’s The Felt Suit (1970), in which the performance artist’s suit becomes both secular relic and surrogate self-portrait, juxtaposed with, in similar grey ‘responsibility suits’, Gilbert and George’s The Singing Sculpture (1970). In the latter, the artists don bronze face paint and sing along to a tape of ‘Underneath the Arches’ for up to eight hours.

Edward Hopper’s Summer in the City (1949), capturing the emotional distance between two lovers, is placed beside Larry Rivers’s Double Portrait of Berdie (1955), in the chapter called Emotion Embodied. The latter is an affectionate double portrait of Rivers’s aging mother-in-law, criticized at the time for its unflattering realism and rebellion against the Abstract Expressionism dominating American art in the mid-1950s.

Manet’s Olympia (1863) depicts a defiant nude prostitute and caused uproar when first exhibited, upturning the presentation of the female nude in Western art. The artist Yasumasa Morimura takes this seminal painting one step further in his Portrait (Futago) (1988), in which the artist plays the part of Olympia and prompts Western viewers to question and re-evaluate their perceptions of Asian cultural identity. The two are together in the chapter on Beauty.

One Tiger, Eight Breasts (2010) by Ai Weiwei overturns the power relationship between clothed artist and nude model. Ai is photographed naked alongside female studio assistants and human rights campaigner, Ye Haiyan. The picture is shown beside Eugene Delacroix, Liberty Leading the People (1830) in which the bare breasted Liberty is depicted as both an allegorical goddess and a robust woman of the people.

Body of Art is conceived by Phaidon editors Deborah Aaronson, Diane Fortenberry and Rebecca Morrill, with an opening essay by Jennifer Blessing and contributions from a range of experts. Works were chosen for their importance to art history and for the compelling stories they tell. The book follows in the tradition of Phaidon bestsellers such as The Story of Art, The Art Book, The Photography Book and 30,000 Years of Art.

Body of Art is published by Phaidon, Hardback £39.95 // 500 colour illustrations // 440 pages // 305 x 238 mm // ISBN: 9780714869667

08.10.2016 // show complete article