News // 14 News by GoSee

featured by UPDATE-19-BERLIN : Back to BASICS - Start the VIEWING ! 2019 hostet die renommierte Berliner HMS-Agentur basics für GoSee die Präsenzbibliothek auf der UPDATE-19-BERLIN - Anmeldung ab sofort möglich

In 2019 freuen wir uns Euch einmal mehr die beliebte PRÄSENZBIBILTHEK auf der UPDATE-19-BERLIN präsentieren zu können. Fotografen können sich ab sofort bei uns melden. Für nur 180 Euro kann man persönlich seine MAPPE/sein PORTFOLIO in der Bibliothek zum Viewen platzieren und erhält selber Zutritt auf die UPDATE-19-BERLIN.

Wir von GoSee sind uns sicher, dass sowohl Art Buyer, Direktkunden als auch Repräsentanten sich sehr gerne ein wenig Zeit nehmen um die Mappen zu sichten. Betreut wird die Bibliothek von unseren Freunden von basics in Person von Barbara Münzing und Heleen Claassen. Wir könnten uns nicht mehr freuen ! 

Solltest Du also Fotograf sein und Deine Mappe viewen lassen wollen so melde Dich sehr gerne bei uns unter update@update.salon (first come, first serve). Wir sehen uns am 15ten November in Berlin ! GoSee: update.salon & GoSeeAWARDS.com 


About - basics wurde 1995 von heleen claassen und barbara münzing gegründet und gehörte damit zu einer der ersten agenturen für visagisten und stylisten in berlin. unser treuer und großer kundenstamm kommt aus den bereichen mode, beauty, werbung, katalog, musik, pr, event, tv, modenschauen und e-commerce. unsere national und international arbeitenden artists sind nicht nur in diesen bereichen tätig, sondern werden auch von schauspielern, politikern und anderen persönlichkeiten aus dem öffentlichen leben regelmäßig – teilweise bereits seit jahren – gebucht. den rahmen dafür bilden events wie zum beispiel der rote teppich und press junkets zur berlinale, die messen fashion week, bread & butter und premium, der deutsche filmpreis und die echo-verleihung.

unsere stylisten und ausstatter erstellen kreative konzepte und setzen die professionelle gestaltung für shop- und messepräsentationen um. wir sind stolz darauf, unzählige projekte erfolgreich umgesetzt zu haben und mit unseren kunden seit jahren intensiv und harmonisch zusammenzuarbeiten. neue kunden profitieren von unserer erfahrung und werden bei der auswahl des passenden künstlers ausführlich und professionell beraten.
basics.berlin
11.09.2019 // show complete article

 
featured by KEHRER Verlag : 'I like you, I like you a lot' von Alicja Dobrucka - Berührende Bilder einer persönlichen Geschichte über Familie und Verlust in Zeiten des Umbruchs in Polen, erschienen im KEHRER Verlag

Mit I like you, I like you a lot, einem persönlichen Projekt über Familie, Tod und Trauer, reagierte Alicja Dobrucka auf den tragischen Verlust ihres 13-jährigen Bruders Maks, der auf einem Pfadfinderausflug 2008 in Polen ertrank. Die Bilder zeigen die Ereignisse im Anschluss an diese Tragödie. Die Kamera diente dabei als Schutzschild gegen die brutale Realität einer unabänderlichen Situation. Der verstorbene Bruder und seine engsten Freunde bildeten eine kleine Gruppe. Verkleidet als amerikanische Soldaten spielten sie in einer schlesischen Landschaft, die an die Gemälde von Caspar David Friedrich erinnert. Als der Kommunismus 1990 endete, wurde Polen nach der Grenzöffnung von westlichen Produkten und Idealen überflutet. Maks und seine Freunde waren die erste Generation, die in dieser veränderten Welt aufwuchs. Die Kamera bezeugt die damalige Begeisterung für westliche und amerikanische Archetypen.

Aus dem Text von Olivier Richon: »Kafka and Friedrich have been called upon as cultural off frames that inform my reading of I like you, I like you a lot, opening and closing the visual narrative in the manner of two book ends. A writer and a painter, both from central Europe. Here photography is a narrative form predicated upon the restful silence of images — the silence of a crypt. It is a reliquary of sorts that uses the camera as a container that preserves images. The photographs are these visual relics that articulate an aesthetic and emotional relation to loss. They follow a structure of disavowal, what Freud called Verleugnung, which achieves a compromise wherein the memory of the departed is conserved and abandoned. To accept the verdict of reality and yet to maintain a belief in the existence of the departed through the photograph as relic. The photograph as relic is a frozen moment reminiscent of the arrested motion of baroque art, an art that flourished in Silesia. But these photographs are not just relics, they are also works of art with a haunting off frame.«

Das Buch erschien mit Texten von Thomas Frangenberg (1957 – 2018), gleichzeitig Spezialist für Renaissancemalerei und -skulptur und Sammler konzeptueller Kunst, und Olivier Richon (geb. 1956) Schweizer Fotograf, der in London lebt. Er ist Professor am Royal College of Art.


About - Alicja Dobrucka (geb. 1985 in Polen) arbeitet als Fotografin in London and Mumbai. 2010 erhielt sie den begehrten Deutsche Bank Fine Art Award and Grant für Fotografie, 2016 den INPHA Award von Manifest in Ohio. Ihre Arbeiten wurden international ausgestellt und sind in Sammlungen wie der Wienerberger Collection, Wien; dem Krakauer Museum für Fotografie, der Paul Smith Collection, London, dem Museum of Contemporary Art, Peking, der Space 118 Collection, Mumbai. www.alicjadobrucka.com


I like you, I like you a lot Alicja Dobrucka . Texte von Thomas Frangenberg, Olivier Richon . Gestaltet von Alicja Dobrucka & Kehrer Design (Anja Aronska) . Festeinband mit Schutzumschlag . 19,2 x 24 cm . 128 Seiten, 61 Farbabb., Englisch . ISBN 978-3-86828-946-6 . Euro 38,00
09.09.2019 // show complete article

 
featured by GoSee ART : TPG* New Talent, die Gruppenausstellung mit den acht ausgewählten jungen Künstlern anlässlich des TPG New Talent (TNT) Mentoring Programms der The Photographers Gallery, London

Showing a range of approaches to both the medium and exhibition making, the artists selected for the first edition of TPG New Talent (TNT) present works which encompass the full spectrum of photographic practices today. From the experimental to the documentary, both the works and presentations test the capacity and materiality of the form, using found imagery, surface manipulation, collage and 3D processes to document contemporary stories through personal memories and collective myths.

On this year’s selected artists Jim Goldberg, whose own work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream communities, commented: “I was wonderfully surprised and impressed by the scope of the work submitted for TPG New Talent, which offered a wide range of ambitious and thought provoking photography. The diversity of applicants and their working methodologies, mediums, and materials, gave me hope that artists are certainly not running out of ideas on how to represent the world – and their places within it – any time soon. I look forward to seeing more from these promising artists.”

In addition to the forthcoming exhibition showcase, the artists each receive twelve months of individual mentoring. Working with TPG curators to identify a particular area of their wider practice needing development and support, each artist will then be paired with a carefully selected mentor from the creative field, who will provide specific and ongoing advice and tutelage. Over the course of a year the mentorship will include studio visits, meetings, discussion and critiques relating to their work.

Supported by the TPG New Talent Exhibition Circle, Leica Camera, the Leonard & Judy Lauder Fund, and Tom Shaw.

The Photographers' Gallery was founded in London’s Covent Garden in 1971 as the first public gallery in the UK dedicated to the medium and remains a leader in the presentation and exploration of photography in all its forms. It has been instrumental in promoting photography’s pivotal and influential role in culture and society and ensuring its position as a significant art form. GoSee : *thephotographersgallery.org.uk



The selected Artists are:

Rhiannon Adam (b.1985, Ireland), Cushana and the Frigates, Down Landing, from the series Big Fence/ Pitcairn Island, 2015 – 2018. Pitcairn is the last British Overseas Territory in the South Pacific, home to descendants of the infamous Bounty mutiny. The tiny, isolated, volcanic, island measures just two by one miles, and is several days sail away from the nearest airstrip. Despite the reality of its imposing cliffs and lack of beach, to many outside observers, Pitcairn epitomises Utopia – a vision cultivated by Hollywood’s romanticised adaptations of the ‘Bounty’ story. In 2004, this façade slipped, when a series of child sexual abuse allegations emerged, leading to convictions of eight Pitcairn men, including the current mayor. Despite best efforts to repopulate, by 2015, fewer than forty islanders and just one child remained.

For this project, Rhiannon Adam made the long journey to Pitcairn and, due to the infrequent shipping schedule, was trapped on the island for three months. Naturally suspicious of ‘journalists’, Pitcairners were reluctant to be photographed and mostly appear alone, away from prying eyes. Within the range of formats, Adam used expired Polaroid film, its instability echoing the scarred underbelly of the island. The project also presents a selection of audio, archive and ephemera, creating a powerful and unsettling exploration of this claustrophobic ‘Paradise Lost’ – a broken society shrouded in mistrust.
 rhiannonadam.com


Chiara Avagliano (b.1988, Italy) - Val Paradiso, 2017. Blending photography, poetics, text and objects, Chiara Avagliano’s practice is inspired by natural science and informed by autobiographical experience. Val Paradiso, is the name of an imaginary valley created by Avagliano and based on real locations from her childhood in Northern Italy. It provides the setting for a semi-fictional coming of age tale told from different points of view and exploring the rituals of female friendship, childhood, mythology and make-believe. Val Paradiso features a magical lake, based on the real-life Lake Tovel, which famously turned a vivid red in the Summer months due to a strange natural phenomenon. Mysteriously, this spectacular transformation ceased in the mid-sixties, leaving scientists and researchers baffled. Interweaving science, magic and reality, Avagliano positions the lake as a potent mythological symbol exploring how the private make-believe realms of childhood change and evolve with age.

Working with her half-sister and friends to re-enact personal experiences from their youth, Avagliano creates an infinite cycle of repeated, relived and ultimately transformed memories. Through playfully staged photographs alongside maps, models and other ephemera, Avagliano offers a modern fairytale that expresses the urgency of recovering what is lost through constant reconstruction.
chiara-avagliano.com


Alberto Feijóo (b. 1985, Spain) - Free Acid Series, Collage, 2019.
 Combining photography, collage, book design and model making, Alberto Feijóo brings together different approaches to the photographic medium and acts as a collector, apprentice and accumulator. Often using procedural tools more commonly associated with architects and engineers, his assemblage works call on a wide range of sources, including still life photography, video screen-grabs, portraits, objects and new and found imagery. Intrigued by what he refers to as the ‘biography of objects’, Feijóo creates plywood constructions, offering a space for the viewer to encounter the incorporated objects and images like a roaming character within an extended tableau.

His structures are further inspired by artist Constant Nieuwenhuys’s New Babylon, which imagines a utopian city through the construction of a series of models. Feijóo’s ‘worlds’ are based on personal experiences, world events and reclaimed images that harness emotions and intuition as raw materials and offer an innovative lens through which to ‘read’ and experience his three-dimensional image-makings.
albertofeijoo.net


Adama Jalloh (b. 1993, UK) - SARA, 2015. Adama Jalloh's work explores themes such as identity, race and culture; highlighting intimate moments and traditions within her own community in London. A ‘Sara’ is an Islamic custom within the Sierra Leonean community that involves Imams praying for a deceased family member or friend. During the ceremony, offerings of traditional food and money are given and condolences are expressed. Visitors are also allocated matching fabrics (known as Ashobi) which they can style to their individual taste.

Growing up in a mixed religion household, Jalloh was interested that these rituals were still shared and attended by many Christian converts who still choose to practice this element of their Islamic faith even after their conversion to Christianity. Expressions of grief and the customs that surround it vary hugely from one culture to the next and are often seen as too private to be documented. Jalloh’s father acted as the direct connection between her and the local network of Imams, with whom she was granted the access she needed in order to enter these intimate spaces. The photos in this series will be presented alongside an audio conversation between family members spoken in both Krio and English languages.
adamajalloh.com


Seungwon Jung (b. 1992, South Korea) - 'Memories Full of Forgetting' from the series Bark, 2018. Seungwon Jung is interested in how our perception situates time in relation to space. Printing fragmented photographic images onto fabric, she uses this as a surface upon which to work into, apply onto and remove from. Starting with a completely printed length of fabric, she then submits this to a series of repeated gestures of erasure and reconfiguration, including de-threading, unpicking, rethreading and reconfiguring. As a result, images are transformed by deconstruction more often than by application. For Jung, the empty space within the physical fabric become as important as any descriptive visual information, as it is through these that she considers the gaps in our consciousness and memories. By removing threads from the fabric, she references the neurological process of forgetting and memory loss, and the imperfect nature of what is left behind.

Jung’s wider practice includes sculptural fabric works and photographs transformed into a wide range of textiles. She is also interested in the intersections at which coding and digital language meets craft and more traditional processes.
jungseungwon.com


Alice Myers (b. 1986, UK) From the series Nothing is Impossible Under the Sun, 2016.
Alice Myers works with photography, sound and video to engage with specific communities and places. Made over the course of two years in collaboration with refugees and migrants in Calais, Nothing is Impossible Under the Sun incorporates sound recordings, conversation transcripts, found snapshots, moving image, drawings and closely observed photographs. Using her role as an outsider to observe how events unfold around the camera, Myers rejects neat linear narratives to evoke disorientation in both her book and video works. This mirrors the physical and psychological spaces that people without documents are consigned to.

Aware that photography can been used as a tool to oppress, misrepresent and expose migrants, as well as a means to help them communicate with and remember home, Myers aims to use the act of photographing in ways that feel generative – inviting participation from sitters in ways that they feel most comfortable. Issues of ethics and authorship are acknowledged by Myers at every turn. The impossibility of these issues being completely resolved is accepted and becomes an inherent aspect of the work itself. 
alicemyers.net


Giovanna Petrocchi (b. 1988, Italy) Monster, from the series Modular Artefacts and Mammoth Remains, 2019. Giovanna Petrocchi combines personal photographs with found imagery and hand-made collages with 3-D printing processes. She creates imaginary landscapes inspired by surrealist paintings, virtual realities and ancient cultures. Influenced by museum displays and catalogues, Petrocchi populates these landscapes with her own collection of surreal artefacts. The received view of ancient objects is deliberately distorted. The work aims to question the very idea that culture can be contained by national boundaries and institutions, revealing instead an entity in constant flux, subject to transformative processes of migration and exchange. Some archival images are presented untouched, while others are dismembered or combined with new limbs or partners. Objects become unrecognisable and meanings fragment; presented as floating entities they belong to neither specific time or museum.

Petrocchi’s sources are predominantly online museums’ collections, images scanned from books and photographs of ancient objects taken by the artist. A recurring theme in the work is a combination of futuristic and primordial scenarios and an interchange between digital and traditional processes.
giovannapetrocchi.com


Miguel Proença (b. 1984, Portugal)Traditional Pagan Costume, from the series Behind the Hill, 2015. Miguel Proença addresses contemporary subjects engaging with ancient practices, focusing on the search for identity and meaning along peripheral landscapes. Taking the Thomas Huxley quote: “The birth of science was the death of superstition” as a provocation, Behind the Hill explores how mankind continues to search for answers from beyond an empirical framework. Men and women of faith at various points throughout history have proffered the cures for all ills and answers to all concerns. Behind the Hill investigates these urges, seeking out characters and situations that still relate to nature, superstition and belief.

Proença set out to photograph individuals and scenes easily overlooked by a twenty first century world that increasingly seeks answers from the realms of science and technology. He started by collecting flyers left on car windows – advertising cures for hair loss, lack of love, or envy and made connections with spiritual healers and pagan priests – one connecting him to the next and so on. The journey saw him capturing masks, rituals and objects that beckon good health and prosperity. The work explores the wilful struggle of these individuals and practices to master the elements and to mould the world to a collective truth.
miguelproenca.net


GoSee for filmed interviews : thephotographersgallery.org.uk///tpg-new-talent
14.08.2019 // show complete article