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August 23 2013

*Emigrant* by Alejandro_Lipszyc ❝How to describe the precise moment when an individual or a family…

by #Alejandro_Lipszyc

How to describe the precise moment when an individual or a family leaves its own country to find a new life abroad? Argentine photographer Alejandro Lipszyc was there making portraits of those moments, developing a series that works as a mirror of the greatest economic crisis in Argentina’s history.

#migration #départ #photo #photographie #exposition

via @albertocampiphoto

August 19 2013

L'art après l'apartheid | Amateur d'art

L’art après l’apartheid | Amateur d’art

L’Afrique du Sud (où je ne suis allé qu’une seule fois) exerce un pouvoir certain de fascination, essentiellement pour la manière dont la réconciliation s’y est passée, en reconnaissant ce que fut l’histoire de l’apartheid, en ne niant pas ce qui s’était passé, mais en évitant la vengeance (on se prend à rêver à un tel scénario en Israël-Palestine, mais c’est un autre sujet ; prochaine expo à la Maison Rouge : My Jerusalem ???). Il est donc difficile d’aller voir une exposition d’art sud-africain sans garder à l’esprit tout ce contexte, que les artistes s’en inspirent ou qu’au contraire ils s’en distancent. Ce constant balancement entre art et histoire est ce qui fait l’intérêt de l’exposition My Joburg à la Maison Rouge (jusqu’au 22 septembre). Autant la précédente mouture, My Winnipeg, simple présentation d’une scène artistique marginale, était plate, autant cette exposition-ci est stimulante.

#Afrique_du_Sud #Johannesburg #My_Joburg #exposition

August 14 2013

August 05 2013

*Uncertain State : Photography & the crisis in Ireland* ❝How is photography responding to the…

Uncertain State: Photography & the crisis in Ireland

How is photography responding to the crisis? Uncertain State looks at how photographic artists are representing this period of austerity and uncertainty in Ireland. Their work addresses important issues at the heart of where we are now: contested and hidden histories, effects of the global financial crisis and the radically altered social and physical landscapes. The ten artists in Uncertain State go beyond surface readings to reflect the emerging concerns in post-Celtic Tiger Ireland: the treatment of asylum seekers; institutional abuse; sexual abuse; emigration; the legacy of the property crash; identity; disadvantage & marginalisation; and the legacy of conflict.

#photo #photographie #exposition #Irlande #crise


Asylum Archive documents the housing provision for Asylum Seekers around Ireland in the series Direct Provision Hostels
–-> #asile #centres_d'accueil_pour_requérants_d'asile #réfugiés

Eoin Ó Conaill’s new work Reprieve surveys green field sites saved from planned development by the property crash
–-> #champs #urbanisme #propriétés

Doug DuBois’ compelling body of work My Last Day at Seventeen offers a somewhat fictional documentary account of adolescence in Cobh, Cork;
–-> #adolescence

David Farrell’s An Archaeology of the Present records the topography of post crisis Ireland;

Kim Haughton’s sensitive investigation of child abuse – In Plain Sight – presents powerful collaborative portraits of abuse survivors;
–-> #viol #enfant

Paddy Kelly’s photographs of IRA training sites in his series Bogland reflect his attempt to emotionally identify with his father while addressing issues of identity, memory and place
–-> #identité #mémoire #place #lieu

Lauren McGookin uses photography to gain an understanding of her own community’s Loyalist culture in her series Tales and Whispers
–-> #identité #communauté

Paul Nulty charts his mother’s experience as a returning emigrant attempting to settle again in the midlands in his series I’m Looking at our Place
–-> #migration #migration_de_retour #retour

Pete Smyth revisits his portrait of people in his own community in Tallaght after a period of 21 years in his series A View from the Dearth
–-> #communauté #Tallaght

Una Spain records poignant traces from St. Brigid’s de-commisioned Victorian institution for the mentally ill in Ballinasloe.
–-> #hopital #hopital_psychiatrique #Ballinasloe

cc @albertocampiphoto

December 28 2011

Art review: 'The Renaissance Portrait from Donatello to Bellini' -

NorthJersey.comArt review: 'The Renaissance Portrait from Donatello to Bellini'NorthJersey.comMetropolitan Museum of Art, 1000 Fifth Ave. at 82nd Street; 212-535-7710 or metmuseum. org. Through March 18.

//oAnth - original source:

April 18 2011


January 10 2011

Sinn fürs Umfassende und fürs Unscheinbare. - Philipp Otto Runge: «Indianerwurzel, Nelke, Nelke». Weisse Scherenschnitte auf schwarzem Papier.

JPEG-Grafik, 930x588 Pixel

Paradies aus Notwendigkeit

«Der Morgen der Romantik» – die Hamburger Kunsthalle zeigt eine grosse Retrospektive zum Werk von Philipp Otto Runge

Aus Anlass seines 200. Todesjahres widmet die Hamburger Kunsthalle Philipp Otto Runge die erste umfassende Retrospektive seit über 30 Jahren. Unter dem Titel «Der Morgen der Romantik» macht die Ausstellung den kosmologischen Entwurf im Werk des Künstlers sichtbar.

November 25 2010

Ernest Cole captures apartheid

Exhibition celebrates the work a long-neglected pioneer who captured the beauty and the ugliness of segregated South Africa

It was standing-room only at the Goodman gallery, on Johannesburg's suburban "art strip", so I dropped to the floor and squatted. All eyes were on the author Ivan Vladislavic and photographer David Goldblatt.

Behind them was the latter's ironic shot of the ruins of Shareworld, a failed amusement park for Sowetans in the shadow of Soccer City, the World Cup stadium.

Days earlier, I slipped into a seat in an auditorium deep in the belly of the Johannesburg Art Gallery, in the rather less fashionable area of Hillbrow. There were only three other spectators, barely a quorum. But we had gathered to watch a documentary about another South African photographer, Ernest Cole, whose work was on display upstairs.

Goldblatt, 80, exhibited around the world, and Cole, who died in penury at the age of 49, began on a similar path that was to dramatically diverge. It seemed that one would enjoy lasting reverence while the other was lost to obscurity. But one of life's elegant conjunctions has seen an act of homage deliver a posthumous redemption.

Goldblatt and Vladislavic were discussing their unusual diptych: the photographer's work under the title TJ, from the long gone car licence plates for Transvaal, Johannesburg, and the novelist's Double Negative. Around the walls were some of Goldblatt's pictures from 1948 to the present, holding a mirror up to racial apartheid and its persistent manifestations.

Some stayed on my mind's retina long after the pictures were taken down. Hold-up in Hillbrow: in 1963 a white boy in checked dungarees jabs a toy pistol in the backside of a black man in suit, hat and shiny shoes. A city view from 1964: pedestrians, all black, heading south for trains to Soweto; motorists, all white, heading in the opposite direction for the northern suburbs. In the same year, a black woman practises her golf swing on a desolate, dusty scrap of urban land.

Fast forward to the present and an aerial view of Diepsloot, a biblical vision of shacks and informal housing stretching into a seemingly infinite horizon. At Johannesburg's Central Methodist church, dozens of Zimbabwean refugees try to sleep while crammed into the pews and on the floor. Then a powerful series taking offenders to the scenes of their crimes. As Goldblatt admitted, such images need captions to tell their stories.

He recalled how, as a young photographer seeking work, he put an advert in a local paper offering: "One portrait, one print". A typo meant it appeared as: "One portrait, one pint", which raised unrealistic expectations.

He pursued images of people in their homes, particularly their bedrooms, which he found the most intimate and moving. He told the audience: "My understanding of what excites me: the existence of things, the fact that something is. The 'is-ness': not the idea of things but the existence of things."

Goldblatt is white. Ernest Cole was black. Jurgen Schadeberg's documentary told how Cole left school at 16 and landed a job at Drum magazine as a darkroom assistant. He then saved enough money to buy cameras and studied the art.

Inspired by the candid style of Henri Cartier-Bresson, he became South Africa's first black freelance photographer.

In the teeth of racial segregation, this took cunning, courage and ingenuity. Cole hid his camera in a paper lunch bag so he could smuggle it into tightly policed mining compounds and expose the mistreatment of labourers.

He successfully applied to have himself racially reclassified as coloured, or mixed race, so he could travel beyond the Bantu enclaves. He pulled this off by changing his name from Kole to Cole and because of his ability to speak Afrikaans, often the language of coloured people.

His work was published in the 1967 book House of Bondage, which was banned in South Africa but gave many in the west their first glimpse of the daily dehumanisation in townships, mines and hostels. As an eyewitness body of work it is South Africa's first world war poetry.

There are hellish images of packed commuter trains, all heads and elbows, and overcrowded stations that would silence any London Underground whinger. Twin tracks of sweat trickle down the cheeks of a schoolboy as he crouches, chalkboard on bare knee, and stares upward with startling intensity.

In Mine Recruition, a dozen naked men are lined up against a wall, arms raised high above their heads, awaiting a degrading examination beside the banal detail of a wash basin. Another shot simply shows, in close up, two hands cuffed together, at once both unfree yet newly comraded.

Like Goldblatt, Cole chose his captions carefully. Images of young black artful dodgers preying on white men are furnished with: "Whites are angered if touched by anyone black, but a black hand under the chin is enraging. This man, distracted by his fury, does not realise his pocket is being rifled."

Cole's racial reclassification enabled him to travel and go into exile in America. A friend there had his faith in the land of the free shaken when he accompanied Cole to a restaurant in New York only to find they had not escaped racial prejudice.

Slowly Cole's life fell apart. His family says he may have been exploited and underpaid for his work, which included a sublime gallery of New York's poor. Cole was destitute when he died from cancer in 1990, a week after the release of Nelson Mandela. He seemed unlikely ever to enjoy the same acclamation in his homeland as anti-apartheid artists such as Athol Fugard or Hugh Masekela.

Goldblatt's work, meanwhile, is in the collections of the South African National Gallery, the Victoria and Albert Museum in London, the Museum of Modern Art in New York and the Bibliothèque Nationale in Paris.

His prizes included the Hasselblad award in 2006, which entailed travelling to Sweden. Goldblatt had heard a rumour that a suitcase of Cole's photographs had found its way to the Hasselblad Foundation. The rumour was true and, like an archaeologist blowing off the dust, he beheld a long lost treasure.

He realised that many of the photographs in House of Bondage had been clumsily cropped, apparently to enhance their political impact but at the expense of artistic integrity. The discovery meant the pictures could be displayed as Cole intended for the first time.

The retrospective Cole exhibition, surrounded by the urban decay of downtown, did not attract crowds like Goldblatt's book tour, but became something of a sleeper hit, attracting coverage in the past week from the Sunday Times of South Africa, The Independent in the UK and the New York Times. Tours of South Africa, Europe and America are planned.

Hopefully many more people will see how this long-neglected pioneer caught the beauty and the ugliness of that peculiar world. With thanks to a respectful fellow traveller who goes on framing it for both of them. © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds


cf. posting from 20101118 on - follow link

November 13 2010

via Michelangelo in Wien: Die Vollendung des Unvollendeten | Medien - Kunst - Feuilleton - FAZ.NET 20101112

Aus den wichtigsten grafischen Sammlungen der Welt, großzügig präsentiert und wissenschaftlich exzellent aufbereitet: Die Wiener Albertina zeigt in einer beeindruckenden Ausstellung Zeichnungen von Michelangelo.

November 12 2010


October 31 2010

via Die Bayerische Staatsbibliothek: Bildergalerie

Der hervorragende Bestand der orientalischen Sammlung Bibliothek ist maßgeblich auf die 1858 angekaufte Sammlung des französischen Orientalisten Étienne Quatremère (1782-1857) zurückzuführen, die 1.250 orientalischen Handschriften enthielt.
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