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Showcasing the photographic work of Giuseppe Mastromatteo, the exhibition is a retrospective that spans fifteen years of artistic production, starting with his most recent project Eyedentikit and the celebrated series Indepensense culminating in the techniques and experimentations of the early 2000’s. From October 4th to November 18th 2018, 29 ARTS IN PROGRESS gallery in Milan (via San Vittore 13) will host the exhibition by Giuseppe Mastromatteo HUMANSCAPE. Curated by Giovanni Pelloso, the exhibition will show a selection of unpublished work alongside better known works by the artist to fully convey the central theme of his research: the nature of identity. Between essence and perception.
Mastromatteo focusses his investigation on the body and in particular faces, exploring the concept of perfection in relation to the unstable and ephemeral nature of man. Adopting an almost philological approach to digital technologies, manipulating and subtracting, he plays with these paradoxes so that the images disappear, creating firstly an effect of estrangement followed by recognition and identifiction between the subject of the image, the photographer and the audience.
“In the research of Giuseppe Mastromatteo the individual and his right to an individual identity remain clear however what differentiates the work is the decision not to isolate particular features or typical ethnic characteristics but rather to take a broader view focussing our attention on less immediately visible qualities, emphasizing them and rendering them manifest”, writes Giovanni Pelloso talking about his latest series Eydentikit.
A monograph of Giuseppe Mastromatteo’s work will be published at the same time as the exhibition edited by Silvana Editoriale and curated by Benedetta Donato. The book HUMANSCAPE tells the artistic and creative story of Giuseppe Mastromatteo: a retrospective in text and images including contributions and testimonials by noted authors and critics among them Rankin and Oliviero Toscani. The book celebrates photography as Mastromatteo’s creative medium of choice and explores the evolution and career of an artist that is highly prized among collectors and in the world of contemporary art.
About - Giuseppe Mastromatteo (b.1970) has worked as an artist for fifteen years. After working in the record industry as a sound technician and musician, he is drawn to the art world choosing photography as his creative medium of choice choosing to study and specialize in Art Direction at the Academy of Communication in Milan. Since 2005 his work has received significant critical attention and has been published in many art books and magazines. His work has been shown in art galleries, museums and industry / art festivals including in Milan, Paris, London, Miami, Peking, Basel, Istanbul and New York, where Mastromatteo lived for three years. In 2006 he collaborated with the Triennale di Milano in the role of Art Director to launch the Triennale of Bovisia whilst also working on other contemporary art exhibitions. Currently he holds the position of Chief Creative Officer for the leading advertising agency Ogilvy Italy whilst simultaneously pursuing on his own artistic projects working between Milan and New York. He writes about art and teaches in leading higher education institutions in the field. HUMANSCAPE will be Mastromatteo’s first artist monograph.
Go & See : HUMANSCAPE - Giuseppe Mastromatteo . 29 ARTS IN PROGRESS gallery - Via San Vittore 13, Milan . October 4th – November 18th 2018 . Booksigning: Friday 16th of November from 7pm (at Photo Vogue Festival) . Opening hours: Tuesday - Saturday, 11-7pm. Other days and hours by appointment, Free entry. 29artsinprogress.com
09.10.2018 // show complete article
'Man darf nur auf der Straße wandeln und Augen haben, man sieht die unnachahmlichsten Bilder.' (Goethe in Neapel, März 1787). Auf zahlreichen Reisen vom Norden des Stiefels bis in die Südspitze hat der Fotograf Bernhard C. Hartmann entsprechend des Goethe-Zitats versucht, Szenarien italienischen Lebens einzufangen. Auf dem Hintergrund der wechselvollen Geschichte, der kulturellen Bedeutung, aber auch der gesellschaftlichen und politischen Widersprüche durchstreifte er das Land auf der Suche nach besonderen Momenten und Konstellationen. Der Autor gibt nur die nötigsten Informationen preis. Er möchte, dass der Betrachter durch bewusstes Hinschauen die Szenarien für sich selbst „entschlüsselt“.
Scenario Italiano ist ein fotografischer Essay, ein Buch für alle die noch nicht verreist sind und pünktlich zum Sommer im Verlag seltmann+söhne erschienen. Die Ausstellung zum Buch wird vom 20. September bis Ende Oktober in Detmold zu sehen sein.
Bernhard C. Hartmann 'Scenario Italiano' (seltmann+söhne, 39,00 €, 30 × 24 cm, Umfang 128 Seiten, Hardcover, englisch, deutsch, italienisch, ISBN 978-3-946688-38-9)
25.07.2018 // show complete article
2009, nachdem er gut 15 Jahre aus seinem New Yorker Studio heraus für internationale Kunden wie Samsung, Kohler, Ford, Tourneau, Dell oder Gillette gearbeitet hat, entschied sich der gebürtig indische Fotograf und CG Artist Sanja Kothari zu einem radikalen Schritt. Ein Agent aus Bejing schlug ihm vor für neue Kunden in Asien zu arbeiten. Sanja Kothari packte seine Sachen und zog auf die andere Seite der Welt. Heute lebt er in und arbeitet von Shanghai aus - der 'menschlicheren' Metropole Chinas.
Sein gewaltiges Portfolio umfasst Modekampagnen ebenso wie Sportillustrationen, 3D Bilder treffen auf Fine Art, konzeptionelle Arbeiten auf weltweite Werbekampagnen. Sanja Kothari ist ein Illusionist in dessen Welt verführerische Roboter ebenso zuhause sind wie griechische Göttinnen. Wir freuen uns Dir seine Arbeiten in seinem GoSee SHOP näher zu bringen und baten den Fotokünstler um ein kleines Update zu seinem Status Quo.
What are the differences between working in New York City and Shanghai?
In China, creatives from overseas have a lot of freedom and get great support as long as they work abroad. Once you are local, what you realize is that most of the time, what you are expected to do is to duplicate the reference. In NYC, most of the time, there were no ‘references‘. There was a layout which was meant to be a starting point and not the goal. It was NYC that got the best of me.
So why are you based in Shanghai these days?
The reasons are personal and don’t have anything to do with work and artistic freedom. The art world is different though. Chinese artists have a very high level of skill which isn’t taught anymore in American schools. There is also a consistent belief in beauty as an essential component of art. I have had the good fortune to meet some very prominent Chinese artists and found them very warm and modest unlike the celebrity status that artists have in NYC.
Is this the same for art galleries?
Yes, the galleries too are much more approachable here.
Diffraction series #1 – explain what this is about?
Every physical object has an identity. I have always been interested in subverting the identity of the object so that it can be seen for other attributes it possesses. For example, I want the viewer to see the color green when they see a blade of grass. How can I make the grass lose its identity so that I can see the color or the shape independently of the identity? I have always wanted to create genuinely abstract images using photography. I used a cheap set of close-up filters and photographed plastic bags very close up with a very very shallow depth of field. I then took them and worked with them in Photoshop. Diffraction happens when light is broken into its components, and you get a rainbow. The cheap lenses I was using were creating this effect that was beautiful and impossible to create any other way. Hence the name Diffraction series. The final results were just out of exploration. I didn’t have an end in mind.
And the Dots series? What is the idea? The process?
Dots = circles, which are a timeless and universal basic form. I was exploring my interest in negative space and color relationships. I was also trying to see how far I could go in making digitally created art have the irregularity of analog processes.
The Apparitions series?
I don’t have a clear final goal in mind when I start. I shot images of the city at night, out of focus, and reworked them to create the series. They all have an unintended dark and slightly ghostly feel. That’s just how they turned out.
Is there any connection between the series?
I think so, but I am not sure. I can’t stick with doing just one thing. Having 4-5 different themes to explore works for me.
The artwork is very abstract – why?
A brush stroke is abstract. A series of strokes (if the artist is skilled) can result in creating an object with an identity. But photography is the opposite. Everything we photograph immediately has an identity. Removing the identity allows me to see the object the way I want it to be seen. Transforming or subverting the identity of objects is one of my core interests.
What paper do you print on?
That varies, but mostly rice paper.
Is the artwork you sell on GoSee signed?
Yes, I am thinking of limiting the editions but haven’t decided yet.
So far, there are 15 images in your GoSee SHOP?
Yes, but I have more on the way. I like to do it step by step. That way, people who are interested in my work can come back from time to time and always find something new in my GoSee SHOP.
About - Sanjay Kothari attended engineering college in India and then started his education in photography at the New England School of Photography and Rutgers University in 1984. He believes that photography has been evolving from its limitations and its relationship to reality, and with Photoshop and 3D, it will have completed its evolution into a full-fledged art form that can rival or influence the other arts equally. He enjoys creating images that tap into photography’s new possibilities. Available for commissions worldwide, you can find some of his commercial artwork here: GoSee.us/cgrefinery and last but not least: GoSee.us/sanjaykothari//shop
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11.07.2018 // show complete article