Screening ECVP Vol.1 and ECVP Vol.2
Corpse #1 (2008, 07:55min)
Marty McCutcheon (EUA), Ambuja Magaji (India), Kika Nicolela (Brasil), Zachary Sandler (EUA), Simone Stoll (Alemanha), John Pirard (Bélgica), Niclas Hallberg (Suécia), Anders Weberg (Suécia)
Corpse#3 (2008, 08:15min)
John Pirard (Bélgica), Kika Nicolela (Brasil), Anders Weberg (Suécia), Joy Whalen (EUA), Marty McCutcheon (EUA), Ulf Kristiansen (Noruega), Niclas Hallberg (Suécia), Simone Stoll (Alemanha)
Corpse #4 (2008, 10:30min)
Marty McCutcheon (EUA), Niclas Hallberg (Suécia), Hélène Abram (França), John Pirard (Bélgica), Brad Wise (EUA), Ronee Hui (Inglaterra), Lucas Bambozzi (Brasil), Kai Lossgott (África do Sul), Kika Nicolela (Brasil)
Corpse#6 (2008, 09:14min)
Kika Nicolela (Brasil), Alicia Felberbaum (Inglaterra), Ulf Kristiansen (Noruega), Anders Weberg (Suécia), Marty McCutcheon (EUA), Jan Kather (EUA), John Pirard (Bélgica), Arthur Tuoto (Brasil), Nung-Hsin Hu (Taiwan)
Corpse#8 (2008, 10:23min)
Anders Weberg (Suécia), Joshua & Zachary Sandler (EUA), Kika Nicolela (Brasil), Nung-Hsin Hu (Taiwan), Brad Wise (EUA), Stina Pehrsdotter (Suécia), Christian Leduc (Canadá), Caroline Breton (França), Jan Hakon Erichsen (Noruega), Pila Rusjan (Eslovênia)
Corpse#9 (2008, 10:15min)
Joy Whalen (EUA), Per E Riksson (Suécia), Marty McCutcheon (EUA), John Pirard (Bélgica), Alexandra Buhl (Dinamarca), Simone Stoll (Alemanha), Alicia Felberbaum (Inglaterra), Lucas Bambozzi (Brasil), Pedro Reis (Portugal), Mads Ljungdahl (Dinamarca)
Identities (2009, 08:39min)
Per E Riksson (Suécia), Ambuja Magaji (India), Guillermina Buzio (Argentina), Jake Selvidio (EUA), Jorge Lozano (Canadá)
Katja Bjorn (Dinamarca), Michael Greathouse (EUA), Joas Sebastian Nebe (Alemanha), Alicia Felberbaum (Grã-Bretanha), Giada Guiringhelli (Itália), Wai Kit Lam (China)
Marty McCutcheon (EUA), Arthur Tuoto (Brasil), Guillermina Buzio (Argentina), Giselle Beiguelman (Brasil), Ulf Kristiansen (Noruega), John Criscitello (EUA)
Michael Chang (Dinamarca), Niclas Hallberg (Suécia), Ambuja Magaji (India), Kika Nicolela (Brasil), Kim Dotty Hachmann (Alemanha), Alicia Felberbaum (Grã-Bretanha)
Anders Weberg (Suécia), Fernando Velazquez (Brasil), Ronee Hui (Grã-Bretanha), Simone Stoll (Alemanha), Dave Swensen (EUA), Matthias Roth (Alemanha)
Languages (2009, 10:24min)
Joas Sebastian Nebe (Alemanha), Marty McCutcheon (EUA), Stina Pehrsdotter (Suécia), Renata Padovan (Brasil), Jan Kather (EUA), Alexandra Gelis (Colombia)
More info : http://exquisitecorpsevideoproject.wordpress.com
SEA Gallery 06 – 14 May 2010
70 St. Johns St. London EC1M 4DT
Private View: Wednesday 05 May, from 7pm
Curated by Mary George
New work by contemporary photographers Fiona Yaron-Field, Spencer Rowell and David George.
The Cabinet, Fiona Yaron-Field
I have a cabinet. Now and again I open its doors. Inside there resides a collection of miniatures. They have been there for years. Tiny objects that I used to keep well organised in groups but over time have been neglected. They have lost their balance and are all mixed up: babies lie with monsters, animals have fallen on people, the natural world in a heap. I rummage through my collection allowing myself to be drawn to one or another character. I can almost hear them call me. I take a selection and with the same spontaneity I find the setting. This process follows intuition, there is no planned construction. The thoughts are stories from the imagination. Time and age are immaterial. It is just like I played as a child, bringing these characters to life. I hear them speak as I move them about, but now, as an adult, I don’t voice them out loud. Now, I photograph them and the act is expressed visually.
I capture the scene through a reflection, this reflection distorts and blurs the event. It turns what is figurative into narrative and somehow the distorted reflection heightens and crystallizes the real unconscious story. In the safety of the photographic frame the darker nature of our relationships are exposed. The relationship between a man and woman, and a woman to herself. The photograph is not a record of this process, it is part of it. It acts as a mirror reflecting back the hidden parts of oneself allowing the unconscious inner world to surface.
like addicts in denial
Is the grief we endure too much to bear?
we fill our lives with distractions
the whole problem of personal misery is rooted in our fear
and denial of death
as meaningful as life
(for of course creatures are immortal as they are ignorant of death)
is to know that one is mortal
Why am I unprepared
to be even inquisitive in this that society itself doesn’t equip
a state that I find uncomfortable, so.
tasks and transitions of adult life involve loss
How do I enrich my inner world
to balance the sadness to what has gone
when all our relationships come to an end
In a moment of appropriate grief
I accept the inevitability of my own limitations
And eventual death
The Gingerbread House, David George
These images look at the idea of the uncanny in a collection of photographs of utilitarian buildings and architecture. Pumping stations, park keepers lodges and portaloo’s make up some of the subjects haunted by this concept and look at an idea that goes back to at least the Enlightenment, an idea made famous by Freud in his paper of 1919 called Das Unheimliche (The Unhomely). These images aim to highlight the distinctive nature of the uncanny as a feeling of something that is not simply weird or mysterious, but in the words of Freud, “ strangely familiar”.
“The true content of a photograph is invisible, for it derives from a play, not with form, but with time. [...]
What it shows invokes what is not shown...” Understanding Photograph. John Berger, 1980, 293
On the 24th of March, Argentina commemorated the National Day of Remembrance for Truth and Justice, which remembers the victims of the military dictatorship during the 1976-1983 Argentina’s Dirty War, the blackest history of Argentina and the disappearance and murder of 30,000 people.
The Argentine photographer Gustavo Germano takes these photographs from young men and women who “disappeared” during Argentina’s Dirty War. This work articulates from the family albums previous to the military coup that captures happy moments: an excursion to the field, a wedding, and an encounter… To its side, another one, taken in 2006 visualizing the everlasting absence of family members and friends that disappeared during the Argentine military dictatorship. The photographer re-establishes the situation of old family pictures and snapshots and recreates the old image in the same scenes, with the relatives and friends, in identical position, but with the empty space of the ones that disappeared. The gaps generated by the desaparecidos outline the open wounds. The pictures above is showing Gustavo Germano and his brothers then and now.
Infectious Manipulation by Stina Pehrsdotter and Niclas Hallberg was first performed for Manipulated Image
Experimental Short Videos Co-curated by Wilfried Agricola de Cologne and Alysse Stepanian on Friday, March 12, 2010 Santa Fe Complex. Santa Fe, USA.)
Described as a form of avant-garde or conceptual art, performance art is traditionally defined by the incorporation of four basic elements: time, space, the performer’s body and the audience. However, these defining elements have become more fluid as New Media Technologies are now commonly used in performance art to alter the time, space and/or the interaction between the performer’s body and the audience. In the case of Infectious Manipulation, Stina and Niclas have used real-time live broadcast video over the Internet incorporating a digital projection and 4 monitors with previous recorded material contributing to the complexity of the performance piece.
The negative impact that ego has on listening skills is major because ego dictates the perspective from which we listen. “The concept is to visualize other people’s infectious power and egocentric orientation. You have to protect yourself from outer impact, from non-listeners and self-absorbed humans, and create a shelter to maintain your own strength.“
Shifting Perspectives >> Photographic exhibition
17th March – 28th March 2010 >> gallery@oxo >> Oxo Tower Wharf Bargehouse Street >> The Southbank London SE1 9PH >> Admission Free, Open daily 11am – 6pm
Photographers: Richard Bailey, Fiona Field, Aviv Yaron, Maria de Fatima Campos, Nadia Bettega and Shira Avni.
Photograph by Fiona Field
Fiona Field: I watch my daughter and her close friends forging their identities, aspiring to the same images of beauty, of love, of popularity as their typically developing peers. These photographs celebrate their emerging strong female sense of self.
Photograph by Richard Bailey
Richard Bailey: Having heard about her versatility as an actress Richard approached Sarah to collaborate with him in reconstructing Vermeer’s encounters with his sitters. Sarah’s grace, charm and character were perfect to emulate Vermeer’s elegant studies, but with a modern twist. Vermeer’s images with their soft and graceful tones, subtle shadows and careful light show how significant lighting is to a strong image. Some people say that a Vermeer work shouts in soft shadows. This description could easily be applied to Sarah, in that by carrying herself so well and by speaking so eloquently she is able to show ‘the public’ that people with Down’s syndrome are so much more than an outdated stereotype. By being herself she is making a very loud statement.