bohoe
photography

Very interesting work, high production values. More at www.julianwolkenstein.com.

Galeria Brito Cimino presents Não tem coisa certa, a solo exhibition of works by Caio Reisewitz. At this show, the artist brings before the public 18 photographic images that render his reflections on the landscape, the ever-changing natural environment, and their occasional encounters.

Caio Reisewitz is known for his studies about the São Paulo architecture as well as landscapes that seemingly were shot in the heart of the jungle but that, in fact, come from the vicinity of the city of São Paulo. In a way, his photographs evoke dreams that have materialized in the Brazilian territory, a land frequently cited for its prodigality and natural beauty.

Virgin forest, desert land, vegetation growing in man-made spaces and the humanized landscape are themes addressed at the exhibition. Thanks to the artist’s careful attention to details, viewers perceive the human influence in each of his photographs. Even though there is no person to be seen, the consequences of human actions are present through buildings or other interventions. Caio Reisewitz points out a before and an after in terms of nature: “whereas the ‘before’ challenges us with its virginity, the ‘after’ startles us by showing the mistakes we have made, which are also sublime and rather terrifying.”

At the show, five large-format photographs will embrace the spectator with their bulk, their texture and their rich details. In addition, 13 small- and medium- format works will be on display.

Caio Reisewitz was born in São Paulo and trained in Visual Communications at Fundação Armando Álvares Penteado. In the early 1990s he attended the Fachoberschule für Gestaltung, of Darmstadt, and attained a degree from Kunstakademie Mainz. He worked directly with Andreas Gursky and Thomas Struth, two of the most important artists of the contemporary photography that had the Dusseldorf Academy as birthplace. He was awarded acquisition prizes at the 4th and 6th editions of the Museu de Arte Moderna da Bahia Salon in 1997 and 1999, respectively, and the Sérgio Motta Prize, in 2001. Reisewitz showed his work at biennial exhibitions such as at Biennial of the End of the World, in Argentina, and Biennial of Sport In Modern Art (BIDA), in Spain, in 2007. In 2006, he attended the 5th International Biennial of Photography in Liège, Belgium. In 2005, he integrated the Brazilian delegation to the Venice Biennale and he also showed, in 2004 and 2002 respectively, in the international biennials of São Paulo and Buenos Aires. His photographs have been shown in such museums and cultural centers as Centro Galego de Arte Contemporánea (Santiago de Compostela, Spain, 2002), Museu de Arte Contemporânea de Goiás (solo exhibition, in 2003), Cisneros Fontanals Art Foundation (Beyond Delirious, Miami, USA, 2005), Neuer Berliner Kunstverein (Fotografia Brasileira Contemporânea, Berlin, Germany, 2006), Museu de Arte Contemporáneo (Alegoria Barroca en el Arte Contemporáneo, Santiago, Chile, 2006), in addition to showing solo during PhotoEspaña 2006 at Casa de América, in Madrid, Spain, and in the exhibition Portraits de Villes: Brasília, Chandigarh, Le Havre at Musée Malraux in Le Havre, France, in 2007.

With Camel and Camera - Historical Orient Photography 1864 - 1970
20th April - appr. 7th September 2008
opening: Sunday, 20th April 2008, 11 am

With catchwords like “clash of civilizations” and “Islamist terror” a rather undifferentiated picture of the Islam is currently conveyed in western public. However, about 18,000 historical photographs of the Museum für Völkerkunde Hamburg from the Near and Middle East and North Africa draw a different picture. For the first time, a selection of these aesthetically outstanding and scientifically important documents is offered to the public. The exhibition of these photographs, taken between 1870 and 1970, shows the regional and social complexity as well as the historic dynamism of the region. The displayed images are characteristic examples of the European view on foreign parts at that time. In continuing orient painting they shaped the western perception of the East, as it influenced them in reverse.
The broad scope of represented photographers, regions, and images of our collection is exceptional. There are aesthetically highly appealing photographs from professional studios in North Africa, Egypt, and the Holy Land of the 19th century which reflect the prevalent Eastern stereotypes. Pictures of North African Berbers, who were presented to audiences as living objects, for example at Hagenbeck, reflect the fascination for the wild and the exotic. Historical touristic souvenir pictures are as well part of the exhibition as very early photographs of scientific expeditions which led to regions hardly or not at all accessible for Europeans until then.
Thanks to the intensive support of the ZEIT-Foundation Ebelin and Gerd Bucerius, their photographic stock from the Near and Middle East and North Africa could be digitized, remastered, and scientifically reconstructed within the framework of a three-year lasting project.

via voelkerkundemuseum.com.

The Guido Mocafico: Nature Morte exhibition–a collaboration between Bernheimer Fine Art Photography and Hamiltons Gallery, London–focuses on photographs inspired by the aesthetics of Old Masters.
Born in Italy in 1962, the photographer concentrates in this exhibition primarily on three genres of still life: banquet, floral and vanitas still lifes, or as
Mocafico calls his groups of works, natures mortes de table, bouquets and vanités. The bouquet and vanité works are new and are being shown to the public here for the first time. At first glance, the photographs seem hardly distinguishable from the compositions of the Old Masters that supplement the exhibition, because in his remarkable works, which are planned down to the last detail, Mocafico replicates typical still lifes of the 17th and 18th centuries.

via Bernheimer

NOT TO BE MISSED!

More at www.myspace.com/photo112

The much-anticipated new series of work by Jeff Bark, Woodpecker, is full of dark romanticism. Under the cover of a manufactured night, his young subjects indulge in moments of introspection and abandon, echoing Bark’s own memories of his near adulthood. A short film accompanies the photographs.

The subjects of Bark’s previous series, exhibited at Michael Hoppen Contemporary in 2006, were captured in moments of self-contained abandon in formally constructed urban interiors. In Woodpecker, his subjects are pictured in naturalistic outdoor tableaux, sometimes interacting in couples or groups but always with the suggestion an internal isolation. The rich detail, vivid self-contained illumination and the complexity of the constructed surroundings in these photographs draw the viewer into the dense pictorial allegory.

Occupying a space between the classical artistic categories of photography, painting and film – Bark moves against the lure of instantaneous photography. The collaborations, castings, set construction (the swamp took one month to sculpt in a Brooklyn studio) and illusionary narrative in the series bring the act of photo taking closer towards the highly considered processes of both the Old Master tableau and the younger art of cinema. Nothing is built by Bark beyond the edge of the frame and his subjects are snatched out of real time, so the audience is viewing an enactment, a constructed diorama rather than reality. Held together in a film, cinematically constructed, dissected and reassembled - the works can be looked at as individually structurally significant, and also as part of a larger extended narrative.

In these photographs, scenes of dream-like concoctions coexist with unembellished realism. The muted moonlit tones soften the human forms and the watery illumination lends them the appearance of otherworldly creatures indulging in their private fictions, desires and escape. The images are heavy with symbolism: the swamp, at the fringe of urban sprawl is a no mans land between civilization and the wilderness: the swan, recalling the erotic motif of ‘Leda and the swan’ but also signifying, light, self-transformation and the higher self. On first glance, the location is a rural idyll but on closer inspection urban debris is revealed - a pram, crates, tyres, mattresses, telephone wires, bed frames and a car are strewn amongst the rotting landscape. The corruption of the scenery is mirrored by the corruption of the youth - drugs, disillusionment, violence and sexual behavior, referencing Eric Fischl and his depictions of psychosexual malaise of American prosperity.

Jeff Bark (born 1963) lives and works in New York. Woodpecker is his second exhibition at Michael Hoppen Contemporary.

via Michael Hoppen Gallery

The new image in Italy 1932-1960

Neorealism, mainly associated with the films by Visconti, De Sica and Rossellini, was a heartfelt artistic response to the transformation of Italy in the course of the twentieth century. With the demise of Fascism, which had harnessed the mass media of photography and film for its own purposes and moulded a new aesthetic of reality, Neorealism surged to the fore. The newfound freedom of opinion and the need to forge a new Italian identity fuelled a feverish interest in documenting reality and exploring what it meant to be Italian. One after another, illustrated magazines were launched and photographic-ethnographic field studies undertaken on life in the country’s remote communities. Society needed photographs that captured all aspects of life in every situation.

The exhibition and accompanying publication bring together some 250 photographs by 75 different photographers, making this the first major in-depth presentation of photographic Neorealism. Six authors chart the development of Neorealism from its inception to the late 1950s, shedding light on the reciprocal influences of photography, film and literature.
The exhibition is curated by Enrica Viganò. It has been organised in collaboration with SEPIF s.a.s. (‹Studi e Progetti in Fotografia›), Turin, and La Fábrica, Madrid.

Fotomuseum Winterthur (Main Gallery and Gallery)

Undertaking a personal project - it could be an article for a magazine, a book, a website, an exhibition or a commission - offers photographers an opportunity to focus their energies and ideas and broaden their horizons at the same time as developing their art and craft. This book, which aims to be both practical and inspirational, will take them through the thought processes and planning that must be undertaken before work commences and stressing the self-discipline that must be maintained if the final objective is to be successfully achieved. It also offers a wealth of first-hand advice based upon the experience of the author and more than 20 featured photographers. The book is heavily illustrated with relevant examples from project-based practice, captioned with quotations from the photographer about the genesis of the project, its objectives and realisation. The featured photographers are a mix of commercial, fine-art, documentary and funded photographers from the UK, USA and mainland Europe. Illustrations are in both colour and monochrome and selected to be relevant to the topic and tone of the section they appear in.

‘Photo Projects. Plan & Publish Your Photography’. Text by Chris Dickie.

Argentum, London, 2006. 128 pp., back-and-white and color illustrations, 9½x10¼”.

Via Photo-Eye