DOCSLIB.ORG

Daniel Blaufuks-Paris Photo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daniel Blaufuks-Paris Photo Nos 60 anos da Revolução Cubana, Daniel On the 60 years of the Cuban Revolution, Blaufuks mostra nesta edição da feira Paris Photo DANIEL BLAUFUKS Daniel Blaufuks shows a photographic diptych um conjunto de trabalhos em que se destaca um taken after Fidel Castro’s death capturing what díptico fotográfico que representa o que aparenta seems to be an old man’s solitude and ser a solidão e orfandade de um homem idoso orphanhood of this longtime leader. The other depois da morte do líder histórico. Outros works from the series Cuba reveal a trabalhos da mesma série - Cuba - revelam um suspended time as if it were an index of tempo suspenso como se fosse um índice da displacement after the passage of a perda do sentido de pertença depois da transfiguring reality. passagem de uma realidade transfiguradora. The series "The Business of Living”, inspired by A série de "O Ofício de Viver" é um trabalho, Cesare Pavese's diaries, is about the inspirado nos diários de Cesare Pavese, sobre a experience of time and the memories that experiência do tempo e das recordações que remain after the passing days. Living as a restam dos dias que passam. Viver como um ofício, business, as something that requires its own como algo que necessita da sua própria ordem, order, as a task taken place in some office, como se tratasse de uma tarefa em algum sometimes a mechanical and bureaucratic escritório e da necessidade, por vezes mecânica e need, tidying up time: waking up, eating, burocrática, de arrumar o tempo: acordar, comer, thinking, doing, working, sleeping, living. pensar, fazer, trabalhar, dormir, viver. Ontem, hoje, Yesterday Today Tomorrow. amanhã. This collection of photographic works, Este conjunto de trabalhos fotográficos, presented in variable formats, are selected apresentados em variados formatos, são fragments of a past life and a complex time fragmentos escolhidos de uma vida passada e de frame for its author. The series consists of um espaço de tempo complexo para o seu autor. A simple works, almost daily "pictures", staged série é composta por trabalhos simples, quase for this work in intimate spaces with little or no "tableaus" da banalidade do quotidiano, connection to the outside world. They are encenados para este trabalho em espaços pieces turned to themselves, from someone recolhidos e com pouca ou nenhuma ligação com that writes a diary from a time that seems to be o mundo exterior. São peças viradas para si forever. This set of works, with a strong mesmas, como quem escreve um diário, de um symbolic meaning , which, however, has little tempo que parece eternizar-se. Este conjunto de or nothing to say to the work, is not only trabalhos, com uma forte carga simbólica, que, no related to our personal memory, but also to entanto, pouco ou nada relata, remete não só para representations in Painting and Film which is a nossa memória pessoal, como igualmente para part of the common memory in our civilization. Apresentando Cuba e O Ofício de Viver representações presentes na Pintura e no Cinema na Paris Photo 2019 Presenting Cuba e que fazem parte da memória comum à nossa and The Business of Living at Paris Photo civilização. Mais informação 2019 Cuba Série inédita apresentada na Paris Photo 2019 Series of works never before seen and exhibited exclusively at Paris Photo DANIEL BLAUFUKS Cuba, 2019, impressão jacto de tinta inkjet print, 2 (30 x 45 cm) DANIEL BLAUFUKS Cuba, 2019, impressão jacto de tinta inkjet print, 2 (30 x 45 cm) DANIEL BLAUFUKS Cuba IV, 2019, impressão jacto de tinta inkjet print, 2 (30 x 45 cm) O Ofício de Viver The Business of Living Trabalhos da série disponíveis em acervo durante a Paris Photo. Works from the series available during Paris Photo DANIEL BLAUFUKS Frasco com Açúcar, 2010, C-Print, 70 x 100 cm | 30 x 40 cm DANIEL BLAUFUKS Quinze Minutos, 2010, C-Print, 30 x 40 cm DANIEL BLAUFUKS | Panorama de Veneza from the series O Ofício de Viver, 2010 C-Print, 70 x 100 cm DANIEL BLAUFUKS O Ofício de Viver Solo show at Carlos Carvalho Arte Contemporânea, Lisbon, 17/03– 15/05 2010 DANIEL BLAUFUKS O Ofício de Viver Solo show at Carlos Carvalho Arte Contemporânea, Lisbon, 17/03– 15/05 2010 Books (seleção/selection) 100 Fotógrafos europeos, writing by Rosa Olivares, Proyectos Utópicos SL / EXIT Publicaciones, 2014, 413 p. Photography Today; 2014, writing by Mark Durden, Phaidon; 464 p. DANIEL BLAUFUKS | Lives and works in Lisbon. [7] Places, [7] Precarious Fields, (Fotofestival Mannheim, Shortlisted for the Pilar Citoller Award, 2007, Nominated for the Ludwigshafen, Heidelberg, 2015, curated by Urs Stahel), Usine Deutsche Boerse Award, 2007, Best Photography Book of the Exposições individuais (seleção) Solo shows (selection) de Rêve,(Centro de Artes Visuais,Coimbra, 2015, curated by Ana Year in the International Category, Photoespana, 2007 Aujourd’hui, (Musée Eugéne Delacroix, Paris, 2018), Houve um Anacleto), Visitação (Corte), (Igreja de São Roque, Lisboa, 2014 BES Photo Award, 2007, Nominated for the Albert Renger- tempo em que estávamos todos vivos, (Galeria Carlos Carvalho, curated by Paulo Pires do Vale), Photobienanale Logos, Patzsch Award, 2006, Best Director, Caminhos do Cinema Lisboa, 2018), I Selfish, (Porta 14, Lisboa, 2018), O Monte dos (Museum of Photography, Thessaloniki, 2014), Entre Memória e Portugues, Coimbra, 2002, Best Director, Vila do Conde Vendavais (Galeria Fonseca Macedo, Ponta Delgada, 2018), Arquivo, (Museu Coleção Berardo, Lisboa, 2013, curated by International Short Film Festival, 2001, Shortlisted for the Tentative d'Épuisement / Attempting Exhaustion (Galerie Jean- Kenta Gauthier, Paris, 2017), Prece Geral (Museu Carlos Ruth Rosengarten), Tarefas Infinitas, (Fundação Calouste European Photography Award, 1996, Kodak National Award, Machado, Ponta Delgada, 2017, curated by Filipa Oliveira), Toda Gulbenkian, Lisboa, 2012, curated by Paulo Pires do Vale) 1990 a memória del mundo, uma parte / All the Memory of the World, Between Times, Instants, intervals, durations One Part, (Bienal de Fotografia, Barreiro, 2017), Tentativa de (Photoespaña.Teatro Fernán Gómez, Centro de Arte . Madrid, Bibliografia (seleção/ mais recente) Bibliography selection Esgotamento / Attempting Exhaustion, (Festival Fotografia Spain, 2010), Da outra margem do Atlântico, alguns exemplos most recent) Europeia, Reggio Emilia, 2017), Léxico (curated by David da fotografia e do vídeo português (curated by Paulo Reis, 1+1=1, Pierre von Kleist, Lisboa, 2018, Attempting Exhaustion, Santos, Bienal de Vila Franca de Xira, 2016), Toda la memória Centro de Artes Hélio Oiticica . Rio de Janeiro, Brazil), Akio Nagasawa, Tokyo, 2017, This Business of Living, Pierre von del mundo, parte um / All the Memory of the World, Part One Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España Kleist, Lisboa, 2015, Toda a memória do mundo, parte um / All (Photoespaña, 2016), Prece Geral (Fundação Eugenio de (Patio Herreriano - Museo de Arte Contemporáneo Español, the Memory of the World, Part One, Museu Nacional de Arte Almeida, Évora, 2015), All the Memory of the Word, Part One Valladolid, curated by Paulo Reis and David Barro, 2008), 50 Contemporânea, INCM, Lisboa, 2014, Photography Today, (curated by David Santos, Museu Nacional de Arte Contemporânea, Lisbon, 2014), Works on Memory, (curated by Anos de Arte Portuguesa, (Fundação Calouste Gulbenkian, Phaidon, London, 2014, 100 Fotógrafos Europeos, Exit, Madrid, David Drake and Filipa Oliveira, Ffotogallery, Cardiff, 2012), Lisbon, 2007), BES Photo, (Centro Cultural de Belem, Lisbon, 2014, Rio (Hoje é sempre ontem), Editora tinta-da-china, Lisboa, Fábrica, (Usina Cultural, João Pessoa, 2014), Fábrica, (CAAA, 2007), Del Zero al 2005, (Fundacion Marcelino Botin, Santander, 2013, Granta 1, Editora tinta-da-china, Lisboa, 2013, Fábrica, Guimarães, 2013), Três quartos de memória (Fundação Eva 2005), Erich Kahn, (Museu de Arte Moderna – Colecção Berardo, Pierre von Kleist, Lisboa, e Guimarães 2012, 2013, Tarefas Klabin, Rio de Janeiro, Brasil, 2011), Hoje é sempre ontem Sintra, 2005), 20 + 1, (Centro Galego de Arte Contemporânea, Infinitas, Fundação Calouste Gulbenkian, Lisboa, 2012, Works (curated by Luiz Camillo Osório, MAM, Museu de Arte Moderna, Santiago de Compostela, 2004), We Are The World, (Chelsea on Memory, Ffotogallery, Cardiff, 2012, Caderno Blaufuks 2, Rio de Janeiro, Brazil, 2011), Perecs Büro (curated by Sérgio Art Museum, New York City, 2004), RE-Location Shake, (National Editora tinta-da-china, Lisboa, 2011 Mah, Kunstverein Ruhr, Essen, Germany, 2010), A memória da Museum of Contemporary Art, Bucharest, 2004), Pallazzo delle memória, (Carpe Diem, Lisboa, 2010), O ofício de viver, (Galeria Libertà, (Palazzo delle Papesse, Siena, 2003), Arquivo e Coleções (seleção) Collections (selection) Carlos Carvalho Arte Contemporânea, Lisboa, 2010), Viagens Simulação - Archive and Simulation, (LisbonPhoto, Centro Byrd Hoffman Foundation, New York, Centro de Arte Moderna com a minha tia / Travels with my Aunt, (Solar - Galeria de Arte Cultural de Belém, Lisbon, 2003), Artists in Residence da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Cinemática, Vila do Conde, 2009), Album (Centro Cultural Vila Belém, Lisbon, Centro Galego de Arte Contemporânea, Flor. Guimarães, Portugal, 2008), Cinema Motel, (Elga Wimmer 2002-2003, (Location One, New York, 2003), Open Studios, (International Studio and Curatorial Program, New York, 2002), Santiago de Compostela, Colecção NOVO BANCO, Lisbon, PCC, New York City, 2006), No Próximo Sábado, (Gallery Carlos Fundação PLMJ, Lisbon, MEIAC, Badajoz,
Load more

Recommended publications
  • Daniel Blaufuks B
    Daniel Blaufuks b. 1963 Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 1 Daniel Blaufuks Born in 1963 in Portugal, lives in Libon, Portugal. --- Formation: AR.CO, Lisbon, Portugal, 1989 Royal College of Art, London, UK, 1993 Watermill Center, New York City, USA, 1994 International Studio and Curatorial Program, New York City, USA, 2001-2002 Location One, New York City, USA, 2003 PhD, University of Wales, Cardiff, UK, 2017 Professor / teaching experiences: AR.CO, ETIC, EPI, Maumaus (co-founder), IPA, Atelier de Lisbon, Lisbon, Portugal SESC, Rio de Janeiro, Faculdade de Belas Artes, Lisbon, Portugal Masterclasses in institutions (selection): Consortium, Universidade Católica, Lisbon, Portugal Universidade Nova de Lisbon, Lisbon, Portugal Faculdade de Belas-Artes, Lisbon, Portugal Faculdade de Belas-Artes, Porto, Portugal Universidade do Minho, Braga, Portugal University of Minnesota, Minneapolis, USA Mount Holyoke College, South Hadley, Massachussets, USA Kahn Institute, Smith College, Northampton, Massachussets, USA Hampshire College, Amherst, Massachussets, USA Summer School, Universidade Católica, Lisbon, Portugal Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 2 Awards and nominations: nomination, Deutsche Boerse Award, 2015 Best Portuguese Documentary, IndieLisboa, 2011 Best proposal, LOOP, Barcelone, 2008
    [Show full text]
  • Daniel Blaufuks Utz
    Sep 22 – Nov 16 2012 Opening— Tuesday to Saturday From 2pm to 7pm September 21 at 10 pm Daniel Blaufuks Utz Av. 24 de Julho, 54–1ºE 1200-868 Lisboa Portugal T/F +351 213950177 www.veracortes.com Text by daniel blaufuks The exhibition “UTZ” presents several recent works of mine, dealing with “SELFPORTRAY”, sole work in video, but equally existing as photographs Lisbon, September, 2012 the history of Photography as a reproduction method and as an object of outside of the show, is a double object based on a double image by Man www.danielblaufuks.com artistic creation. Ray, an artist who experimented fully with his “rayographs”, rediscovering an old technique of setting an object under the light of the enlarger Using different techniques, partly obsolete, such as printing with the to create a copy of its shadow, a positive-negative. It is therefore in help of solar light (cyanotype), stereographs and polaroid, and contrast- direct connection with the other works in the show, including the image ing these with recent ones as inkjet printing and video projection, the of “THE PHOTOGRAPHER”, a contact printed under solar light from exhibition will try do dialogue directly with works by seminal photogra- a found negative. phers, such as Talbot, Niepce and Man Ray, thus establishing connec- tions with the memory of photography itself as a practice and with the Another project for this show is “THE FIRST IMAGE”, a series of fourteen present evolution of the process, from analogue to digital, not only in polaroids in 8.5 x 8.5 cm.
    [Show full text]
  • CV 2010! Between Times
    Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner!
    [Show full text]
  • Graciela Iturbide's Private Universe
    Graciela Iturbide’s Private Universe September 24th, 2010 by Cassandra McGrath An ostrich stares indignantly at me, hip jutting out as though I had ditched its Thanksgiving dinner. “What are you doing in this gallery staring at me?” it seems to say. “Why didn’t you bring the cranberry sauce?” Like an exaggerated cartoon version of an image in National Geographic, the ostrich is one of the more vivid subjects in Graciela Iturbide’s most recent exhibition, Graciela Iturbide: asor, ending this week in the Rose Gallery at the Santa Monica Museum of Art. Iturbide once said, “While using my camera I am, above all, an actress participating in the scene taking place at the moment, and the other actors know what role I play.” In “asor,” taken straight from her personal archive, Iturbide creates a fantasy world that explores the terror and joy of childhood solitude. Inspired by her grandchildren and Alice in Wonderland, Iturbide photographed the Southern United States, Italy, India and Mexico, using snippets from each location but nothing identifiable from any of them. Instead, she crafted a new narrative that makes the fantastic pedestrian and the pedestrian fantastic. Clocks and abandoned buildings take on the significance of mythical creatures. In one pair of photographs, two blank eyeholes carved out of rocks peer out at the viewer, observing and saying nothing. Birds gather ominously in the sky like locusts, and in one arresting image, sunflowers are backlit and shot from below, drooping and spiky as Venus Fly Traps. Iturbide plays with perspective: A giant plaster head sits next to a parked car, disorienting any sense of scale.
    [Show full text]
  • Daniel Blaufuks
    !1 of !9 Daniel Blaufuks Born 1963 in Lisbon. Lives and works in Lisbon. Education 1989 AR.CO, Lisboa, Portugal 1993 Royal College of Art, London, UK 1994 Watermill Center, New York, USA 2001-2002 International Studio and Curatorial Program, New York, USA 2003 Location One, New York, USA (Currently) University of Wales, UK Teaching Experience : AR.CO, ETIC, EPI, Maumaus (co-founder), IPA, Lisboa, SESC, Rio de Janeiro Awards 2011 Best Portuguese Documentary, IndieLisboa 2008 Best proposal, LOOP, Barcelona 2007 Shortlisted for the Pilar Citoller Award Selected for the Deutsche Boerse Award Best Photography Book of the Year in the International Category, Photoespana BES Photo Award 2006 Nominated for the Albert Renger-Patzsch Award 2002 Best Director, Caminhos do Cinema Portugues, Coimbra 2001 Best Director, Vila do Conde International Short Film Festival 1996 Shortlisted for the European Photography Award 1990 Kodak National Award Jean-Kenta Gauthier | office: 47 rue Blanche F-75009 Paris | [email protected] !2 of !9 Solo exhibitions 2014 ‘All the Memory of the World, Part 1’, Museu Nacional de Arte Contemporânea do Chiado, Lisbon, Portugal ‘Fábrica’, Usina Cultural, João Pessoa, Brasil ‘Entre Imagens’, Vera Cortês Art Agency, Lisbon, Portugal 2013 ‘Fábrica’, CAAA, Guimarães, Portugal 2012 ‘Utz’, Vera Cortes, Lisbon, Portugal ‘Works on Memory’, Ffotogallery, Cardiff, UK (curated by David Drake and Filipa Oliveira) 2011 ‘Três quartos de memória’ (curated by Marcio Doctors), Fundação Eva Klabin, Rio de Janeiro, Brasil ‘Os olhos da
    [Show full text]
  • Flat-Pack Native and Other Pacific Constructions
    CARLOS NORONHA FEIO Flat-Pack Native and Other Pacific Constructions Carlos Carvalho Arte Contemporânea, Lisboa 16 de Março a 27 de Abril 2013 | From March 16 to April 27 2013 Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Por mais que andasse à volta com flat-packs e chaves universais, a única constante era o som do mar | 2013 Parafusos Z1, chaves de parafusos z1, 3 radios, broca 2.5mm, 3 pen-drives, Viroc Bolt Z1, screwdrivers Z1, 3 radios, 2.5 mm drill bit, Viroc | Som do Mar em São Francisco, Som do Mar em Waiheke island, Som do Mar em Díli Sound of Sea in São Francisco, Sound of Sea in Waiheke island, Sound of Sea in Díli Por mais que andasse à volta com flat-packs e chaves universais, a única constante era o som do mar | 2013 Parafusos Z1, chaves de parafusos z1, 3 radios, broca 2.5mm, 3 pen-drives, Viroc Bolt Z1, screwdrivers Z1, 3 radios, 2.5 mm drill bit, Viroc | Som do Mar em São Francisco, Som do Mar em Waiheke island, Som do Mar em Díli Sound of Sea in São Francisco, Sound of Sea in Waiheke island, Sound of Sea in Díli Plant Life of the Pacific World series Native People of the Pacific World: dispositif X | 2013 Conversation on the Heath | Figure 95: Lecanopteris Carnosa Óleo e guache sobre impressão digital em tela Hahnemühle Monet Oil Carlos Noronha Feio e Alexander Garcia-Düttmann Colagem fotográfica digital s/ papel Hahnemühle photo rag 500gsm
    [Show full text]
  • Cas the Center for Austrian Studies 2015-16 Annual Report
    the center for austrian studies cas 2015-16 annual report cas the 2015-16 cas staff 2015-16 CAS staff, left to right: Jan Volek, Martin Baresch, Jennifer Hammer, Christopher Flynn, Daniel Pinkerton, Howard Louthan. Not pictured: Michaela Bunke. Photo: Lisa Miller. Director Editor Howard Louthan specializes in the intellectual Daniel Pinkerton has been the editor and art Student Employees and cultural history of early modern Central director of the Austrian Studies Newsmagazine Christopher Flynn is a fifth year graduate Europe with special attention to religion. His (ASN) since 1992 and the CAS Annual Re- student in the Department of History. He stud- books include The Quest for Compromise, an port since 1991. He assisted with the website ies early medieval history and is working on a examination of toleration in late 16th century redesign, performed other design and editorial dissertation on late Carolingian warfare. He was Vienna, and Converting Bohemia, an explora- duties, and assisted the director on special proj- assistant editor of the AHY and chief copyeditor tion of the recatholization of the Czech lands in ects, such as administering the CAS Book and of the ASN. the seventeenth and eighteenth centuries. His Dissertation Prize competition. Pinkerton holds current work examines the religious cultures of an MFA in playwriting and an MA in European Jan Volek is a doctoral student in history who 16th century Poland. Louthan has previously history. Outside of the university, he is an award- works on the religious history of central Europe taught at the University of Notre Dame, Warsaw winning playwright and lyricist.
    [Show full text]
  • 1 Ma G Azine B Y Velu X Gr Oup Spring 2 016 Issue 25 10 Eur O
    1 DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX GROUP SPRING 2016 ISSUE 25 10 EURO NIGHT TOWARDS DAY NIGHT TOWARDS DAY The natural light from the night sky is The consequences for ecosystems are almost impossible for most of us to see or severe: animals − bats, migrant birds, even even to imagine: the stars spread shimmer- fish – are affected by our culture that ‘turns ing above, the low pulse of a reddish moon night into day’. So are human sleep patterns, setting in the west, stars from one horizon as the American historian, A. Roger Ekirch, to the other, dancing white with shades of has found out. In his article, he explains orange and blue, and green and gold. how human sleep has become compressed What natural light experiences and expo- to a point where many of us are now facing sure do people need in order to live? And how health problems due to insomnia. do we consider and cope with darkness at It is time to rediscover the magic of night? These are key questions in this issue the night. Architecture can play a signif- of Daylight/Architecture Magazine, which icant role in this effort, serving as a tool celebrates natural light in its 25th edition as for perception and engagement with our the VELUX Group celebrates its 75th anni- physical surroundings. Buildings are expe- versary of bringing light to life. In 1941, the rienced differently through natural light by founder of the VELUX Group, Villum Kann day and by night and, in particular, at twi- Rasmussen, came up with the idea of trans- light − the transition from night to day.
    [Show full text]
  • 7.10 Nov 2019 Grand Palais
    PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY
    [Show full text]
  • Moving Images and Other Projects 1998–2015
    Moving Images and Other Projects – – Contents Introduction: Telling Times Enigma of the Absolute Moving Images Other Projects Iconoclast Publications Work Drawings Drawn into Tomorrow. In conversation with - Introduction: Telling Times In Venice, time has come to a halt. Or so they say. But, what appears as a pause for an indenite duration will certainly not last for innity. e magic of the city lies in the visceral presence of time itself – the palazzos reveal their age through advancing decay, wooden poles are eaten away by the waves, the green creeps forwards and gradually covers everything. It is like wandering through an - animation. Yet, this has proven not to be a relationship of mere representation. Rather, - ’s artistic practice unravels the workings of time, to uncover hidden structures and foundational orders – and, in particular, their limits. When I began working with the artists for the Venice Biennale, well over a year before the exhibition, we would never have guessed the amount of resistance to come. e site, rich in layer upon layer of history to be explored, also set rigid limits for intervention. Meanwhile, the ground on which European cultural hegemony is built is now giving way. It is literally sinking, drowned by forces both man-made and natural – or, in fact, a dizzying interweaving of the two. e Giardini di Biennale, representing modernity as well as nation-state ideology, are being challenged by globalization as much as by the climate crisis. Here, the work of - reminds us that human power to control and conserve has its own denite bounds. Published on the occasion of the Venice Biennale in , at which - are representing Finland, this monograph maps out the practice of this artist duo over the past two decades.
    [Show full text]
  • Memory Bandits Preserving and Interpreting Knowledges of the Past Interdisciplinary Research Collaborative Seminar
    Memory Bandits Preserving and Interpreting Knowledges of the Past Interdisciplinary Research Collaborative Seminar Duke – CulAnth 290S­01, cross­listed with History 390S­02 10:05­11:20 AM Monday and Wednesday Perkins 059 (Seminar 1 in the Link) Faculty: Robin Kirk, Duke Human Rights Center@FHI and CulAnth [email protected] ­ Smith Warehouse B183, Mondays, Tuesdays and Thursdays 1­4 pm and by appointment ­ Skype at robinkirk Patrick Stawski, Human Rights Archive, Duke University ­ [email protected] ­ Rubenstein and by appointment: Thursdays 10­12 or by appointment ­ Skype at patrick.stawski2 The course has a Moodlesite where we’ve posted required readings, the class schedule and forum and a link to a class web site. Assignments and project groups will also use this site. Students should contact Gabor Acs ([email protected]) concerning any problems logging in. Course Description The collaborative seminar was designed by Duke University and the Central European University (Budapest, Hungary) to look at the issue of archives, memory, and human rights, introducing students to various emergent approaches to thinking about the past and its role in shaping the present. In the broadest sense, records of the past are open not only to interpretation, but also mobilization and deployment both to preserve and teach about the past but also to distort and repress it. The title of the course comes from the work of Verne Harris, who works as the archivist of the papers of Nelson Mandela. Harris describes himself as a “memory bandit,” using archives to promote justice. For him, archives are “a two­edged sword, and [they are] used by those who want to oppress us.
    [Show full text]
  • Between Memory and Document: the Archival Turn in Contemporary Art UNTITLED N.º 6
    / Ruth Rosengarten Between Memory and Document: The Archival Turn in Contemporary Art UNTITLED N.º 6 Between Memory and Document: The Archival Turn in Contemporary Art Author Ruth Rosengarten Artistic Director Pedro Lapa Editorial Coordination Clara Távora Vilar Nuno Ferreira de Carvalho Graphic Design R2 All rights reserved. © of the text: Ruth Rosengarten,2012 © of the images: the artists, SPA and Fundação de Arte Moderna e Contemporânea – Colecção Berardo, 2012. Digital book. 1st edition: May, 2012 ISBN 978-989-8239-34-1 Museu Coleção Berardo Praça do Império. 1449-003 Lisboa. Portugal + 351 213 612 878 [email protected] Contents Foreword Prologue The Photograph and the Archive: Theory in Practice The Archive and the Photograph The Archival Turn The Archival Turn: Specimen Cases from the Berardo Collection The Mobile Archive: The Artist as Travelling Salesman The Archive of Anonymous Structures A Metonymic Relic and Objects of Attention Closely Lavished The Archive of Intimate and Historical Knowledge Selected Works from the Berardo Collection Marcel Duchamp Vito Acconci Helena Almeida Bernd e Hilla Becher Christian Boltanski Anselm Kiefer Hiroshi Sugimoto Tracy Moffat Daniel Blaufuks There is a story told about the war criminal Ratko Mladic, who spent months shelling Sarajevo from the surrounding hills. Once he noticed an acquaintance’s house in the next target. The general telephoned his acquaintance and informed him that he was giving him five minutes to collect his ‘albums’, because he had decided to blow the house up. When he said ‘albums’, the murderer meant the albums of family photographs. The general, who had been destroying the city for months, knew precisely how to annihilate memory.
    [Show full text]