Alessandra Sanguinetti tells the story of two young girls living in a rural province south of Buenos Aires in book one of her ongoing series The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams.
To photographers, the notion of place has a tantalising complexity, more often imagined than it is ever fully realised; this is something other than the topography of a particular landscape or the sum of any one experience. It is, instead, a host of intangibles, known subjectively, but still within the frame of a certain history, as all ‘places’ are necessarily a palimpsest of local narrative – most of it inaccessible to outsiders.
So here’s the photo, my photo, which quickly lit up the world’s social networks and news websites. The “selfie” of three world leaders who, during South Africa’s farewell to Nelson Mandela, were messing about like kids instead of behaving with the mournful gravitas one might expect.
Writing recently on the manipulation of historic images I veered briefly into a discussion of iconic photographs, and began to wonder how changes in the ways we produce and consume images might effect this photographic ‘genre’.
The group show L’ère du vulgaire passera will run through December 21, 2013, at the Galerie Esther Woerdehoff. For curator Patrick Schedler, the title of the exhibition is directly inspired by the relationship between the French Revolution of 1789 and the fall of the USSR in 1989. In 1792, revolutionary France established the Republican calendar, putting an end to the “common era.”
“Obtaining an accreditation to follow the Pope feels like being invited to the Court of the last great Emperor. The rituals and ceremonies that regulate the daily activities of the Holy Father are extremely codified and centuries old. Usually, these formalities create a distance between the observer and the Pontiff, a sort of intimidating, regal detachment that underlines a hierarchical relationship. I was surprised by the manner in which this Pope has humanized the ancient rituals, doing away with the rigid feeling of depersonalization carried on by some of the Pope’s predecessors.
There are a variety of photographic projects that examine books as historical artifacts, highlighting the nuances of time, use, and markings. Andrew Uchin’s project, The Reader Series, does just that as he explores the book-as-object and an individual’s engagement with said object through added text and the wear and tear of a cherished possession. Like an archeologist, Andrew has uncovered how we interact with the printed page.
The Arrangement is a group of images Ruth Van Beek made with a collection of books on flower arranging.She has been collecting books on this subject for years, mostly instructional books dating from fifties to the the seventies. They combine colorful stillives of flowerarrangements with the functional photograhphy of a manual.Ruth Van Beek is specialy interested in the translation of the strict rules and symbols of Japanese Ikebana into instructional books for Dutch housewifes.
« Qu’est ce qui m’a poussé vers l’art. La libido. J’ai tiré mes premières stimulations visuelles des journaux satiriques de Papa. Les appâts hebdomadaires de demi-mondaines en pantalon de dentelle me dictaient mon programme de masturbation.
The project of Paul D’Haese, pointedly called Dayblind, moves at different levels closely related to each other, investigating the many roads of perception, paths that eternally fork, put it to Borges, and also raising questions about the primary meaning of photography.
Alberto Hernández reinterprets the Strange Case of Dr Jekyll and Mr Hyde. After finding Tree of Codes I started digging through an entire world of “hybrid books” and visual literary publishing that is very design-centric and fascinating.