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Paul Cupido Hilversum - the Netherlands

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Paul Cupido Hilversum - the Netherlands Vijverhofstraat 34 3032 SN Rotterdam www.galeriesehnsucht.com Photography as time machineInternational Photo Exhibition. feb. 15 mar. 24 2018 Time machine Time machine international photo exhibition Febr., 14th 2018 - Mar., 24th 2018 Contents Preface ................................................................................... 9 Catalogue .............................................................................. 11 About the Artists .................................................................. 69 Next Exhibition ..................................................................... 77 Time machine Copyright © 2018 Galerie Sehnsucht Print: Pumbo.nl Coverphoto: Harland Viney Designed by Studio Holalola All rights reserved. This book is copyright material and may not be copied, reproduced in whole or in part, in any form without written permission from the publisher and/or photographers. PREFACE Preface Time machine “Photography is an art of tele- they could use their camera as working on a project “capturing porting the past into the future” timemachine. If they could give the present with the past”. He – Mehmet Murat Ildan (Turkish us a feeling of displacement in makes pictures of the modern 8 9 writer) time, simply by showing us their world, with an old 13×18 cm photographic work. Are photo- collodion camera, choosing For photographers, time is an graphers able to surprise us by subjects that would have been important concept. A photo- using old techniques capturing off interest for 19th century graph is a moment frozen in modern day subjects, or, on the travel guides. time, but its meaning changes contrary, using modern techni- in the future and the photo ques but in a strange, timeless, itself becomes part of the past. old fashioned manner? Can Photography is two hundred they combine old and new, years old now. During these making the future? This exhibi- centuries, the looks of the pho- tion will be about time – past, tographs have changed. When present and future. we see a photograph, we in- stinctly place it into some point The exposition shows our in time. Brown, black and white selection from the works. Guest are old, colour photographs are curator was Jeroen de Wijs. new. Sometimes we are right, He is a dedicated collodion sometimes wrong. photographer, and instructor at the Willem de Kooning Acade- We asked photographers if mie, Rotterdam. He is currently CATALOGUE Christian Arts Amsterdam - the netherlands The Antikythera mechanism time, taken over by nature. It is was an ancient Greek analogue a metaphor for the power of our device, that was used to predict ratio, as well as its transience. 12 13 astronomical events like eclip- ses. It was discovered in 1902 in the wreck of a ship. The mechanism is believed to be built around 150 bc. After its loss it took 1500 years before one was able to reach the level of knowledge and craftsman- ship necessary to create such a complex device again. Christian Arts Antikytera, no. 1, 2018 The Antikythera mechanism C print (22x31 cm) on foam in was a time machine avant la passe-partout, framed € 175,00 (excl. vat) lettre: it could predict future Ed. 20 events, but it was also a sample of technology that was way Antikytera, no. 2, 2018 C print (22x31 cm) on foam in ahead of its time. This series passe-partout, framed depicts strange mechanic € 175,00 (excl. vat) Ed. 20 structures, decayed - lost in Arnoud Bakker Zeist - the netherlands Arnoud Bakkers way of working would a test be without a might be best compared with a mouse. The skulls were digitally 14 mad professor who, in a archived and by means of a 15 timeless manner, searches for computerscreen Bakker made the limits of tangible light. contactprints on barytha paper, In his yought, Bakker roamed and followed the making around the woods in search of proces the analogue way: deve- owl pellets. At home, Bakker loping, rinsing, fixing, rinsing, carefully dissected his loot with toning and drying. matchsticks. Yesterdays owls In the end it is no shame to dinner - fragile bones and combine ‘newfangled’ practical fluffs of half a mouse colony, lay photography with the old spread at the table in order to crafted look and beauty of bary- determine and rank them. tha and chemical silver photo- Many years the tiny skulls were graphy. In Bakkers opinion it preserved in jars, safeguarded leads to the best of both worlds as a childhoods treasure. - and of both times. Arnoud Bakker In the course of time, Arnouds Mice, 2014 interests shifted from bones to Photocollage, silvergelatine on barytha, selenium photography, and one day toned with the mouseskulls were used for epoxy toplayer. € 1145,00 (excl. vat) photographic experiments - 100 x 102 cm. Ed. 1 which seamed logical for what Eva Bachmann London - united kingdom Eva Bachmanns photographic time warp of the unchanged series are a visual inquiry into neighbourhood. 16 widely overlooked architectu- With the series Railway Arches, 17 ral elements. Like an urban Bachmann investigates visual archaeologist, she decodes the realms of accidental creativity language of mundane spaces, done unintentionally. Devoid of tracing cultural and historical people, these images serve as references through layers of a testament to creative proces- time. ses done by unsung workers. Tacked away from the busy streets of Hackney (London), she stumbled upon Andre Street, a small passage lined with railway arches. The sig- nage and the textured layers of overlapping paint reveal what is happening behind the closed doors when open for busi- ness - most of the arches are Eva Bachmann converted into car mechanic Railway Arches / Andre St E8, 2014 workshops. In their unpreten- Giclée print on dibond tious appearance, they seem 40 x 60 cm € 680,00 (excl. vat) time-less, as if one entered a Ed. 7 + AP 5 Martien van Beeck Ghent - belgium Animals and anatomical speci- Limbo’ (2003). The pictures mens in glass jars defy the ‘nor- were also shown in several mal’ perception we have of a exhibitions in Belgium and 19 dead thing. Although these abroad. A selection of images creatures are literally dead, the was published in O.K. Periodi- process of decomposition has cals #5 / The Body Issue ( Arn- been halted and by this, their hem, The Netherlands, 2010). symbolic death has become suspended. In a sense the jars containing specimens are three-dimensio- nal photographs. What had already been a ‘paralysed mo- ment’, now becomes duplicated in the photo. The threedimensi- onal jar animals and people die a second time in the two-dimen- sional picture Van Beeck takes Martien van Beeck of them. Artificial life in a bottle Chamaeleo zeylanicus - 1880 (from the series ‘In Limbo’), 2001 is given an extension in the Giclée print on dibond photographic artefact. 19 x 52 cm These photographs were first € 350,00 (excl. vat) Ed. 6 published in a book called ‘In Saskia Boelsums Nieuw-Schoonebeek - the netherlands As a visual artist and photo- grapher, Boelsums carries a rich cultural heritage with her. 20 21 That is why she feels a strong connection to the Dutch tradi- tion of landscape painters. That rich history helped shape her. And at the same time it confronts her with the future. In the beauty that she tries to capture in her photographs, there is also uncertainty and something threatening. Boelsums sees the skies result of climate change. She is becoming more dramatic, the very aware of that tension. That Saskia Boelsums weather is becoming more ex- is what she captures. Dutch Landscape #11, 2017 treme with unexpected pheno- Canson infinity print 30 x 30 cm, framed mena, the climate is becoming € 900,00 (excl. vat) more violent. Ed. 10 + AP It looks like the classic historic >Dutch Landscape #28, 2017 Dutch landscapes and skies Canson infinity print 30 x 30 cm, framed are being pushed out by land- € 900,00 (excl. vat) scapes and skies that are the Ed. 10 + AP Peter Boersma Groningen - the netherlands The works of Peter Boersma are combinations of pictures from old books and magazines 22 23 from times goneby. The col- lages come about with tenth of meters of adhesive tape and many layers of paper. The pictures he uses are almost randomly choosen for esthetic reasons. Layer for layer he gives the material a new con- text and a new meaning, trying to give life to his newly created worlds. Peter Boersma Landscape 11 Collage, mixed media 30 x 30 cm € 475,00 (excl. vat) Jesse Budel The Hague - the netherlands I REMEMBER ME, DANCING weeks, where he would spend AROUND MY GRANDMA’S the night at her home. Jesse 24 HOUSE, IN ONE OF HER could do whatever he wanted 25 OUTFITS to do, went to bed as late as he pleased, drank tea with sugar Two years ago, in 2015, Jesse and ate whatever he wanted Budels grandmother died. His to eat. This project is dedica- grandma accepted him the ted to Budels most vulnerable way he is and never judged him moment, in which he struggled because of his sexual prefe- with his sexual identity. A time rence. She always told him where he longed most eagerly she was the first who knew he to be in his grandmother’s pres- was gay. With her death, Budel ence and witness her creativity lost his safe haven. One of the and personality. memories he can immedia- tely recall is the one of himself dancing around his grandma’s house, in one of her outfits. A Jesse Budel significant moment from his I remember me, dancing around my grandma’s house, youth where he felt completely in one of her outfits, 2017 free. Another memory was a Matte print on dibond, 50 x 75 cm recurring occasion he had at his € 400,00 (excl. vat) grandmother’s house every two Ed. 1 van 5 + AP Ursula van de Bunte Elburg - the netherlands Ursula is constantly looking for the moment when everything is right.
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