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MARK STEINMETZ – united states pt 2 19:00
MARK STEINMETZ – united states pt 2 @ Amerikahaus
Oct 12 2017 @ 19:00 – Jan 14 2018 @ 16:00
MARK STEINMETZ - united states pt 2 @ Amerikahaus | München | Bayern | Germania
MARK STEINMETZ united states pt 2 After the retrospective at Lothringer 13 Halle in Munich curated by Jörg Koopmann in collaboration with Lene Harbo Pedersen and Giulia Zorzi, the first comprehensive solo-show by the American artist in Germany  (read about the exhibition here), a second part of the exhibition opened at Amerikahaus, showing further images from Steinmetz’s amazing work. united states pt2 can be visited until next Sunday, January 14, 2018 (link here) Find Mark Steinmetz’s books at Micamera Mark Steinmetz, from Summercamp   MARK STEINMETZ ‘Good photography is done when you’re out of control, when you can let yourself take a step into the unknown’ says a quote at the beginning of a very interesting interview with American photographer Mark Steinmetz. A statement that recalls the Ancient Greeks’ notion of ecstasy, which is closely connected with the artistic practice and the union with the divine. A notion that survives, variously transformed, up to our days, through Renaissance first and Schelling’s artistic ecstasy in Romanticism later, where everything merges in an harmonious synthesis between the self and the outside world, in a perfect communion of divine and nature. Steinmetz, who has been practicing meditation for over twenty years, speaks of absorption. Letting your gaze be permeated by the world that is outside, with the clarity, the transparency that meditation allows you. In the end, as Brassaï wrote, the more the photographer tries to show the world, the more of the photographer is shown. In other words, you never go too far from yourself. At the same time, the relevance and meaningfulness of the author’s production is not the result of a mere merging with the world, but derives from a mindful vision of the story of man, art and literature, that the author translates through personal interpretation. The artist pushes his borders further, challenging his own work, creating new images, offering a vision that is not merely subjective, but surprising and meaningful. The strength of an image does not reside in the story it tells, but in something inexplicable. This is how a representation acquires significance. We could play at finding much valued references in Steinmetz’s images. Picasso’s Harlequin in a young man in Paris, for instance. Inspirations derive from literature, cinema, design, architecture. And photography of course. One name stands out – Garry Winogrand. Indeed, the eureka moment for Mark Steinmetz has been one of his images, precisely Utah, 1964, shot into the sun and through the car window. In front of the car, a cow is crossing the road and is caught stumbling in the photograph. The image thus becomes a representation of fragility itself. Steinmetz saw it leafing through a book he had taken from the shelves at the high school library in New Boston, Iowa. He had no clue of who Winogrand was, but, to say it with his words, he responded to it. To stay with the Greeks (Mark has a hellenistic tooth), I recall what he once said in Milan as he was introducing his master, Winogrand was like Socrates to me, thus referring to the maieutic value of the relationship with him. Many years after that photograph seen on a book page, Steinmetz is studying arts in Yale. He joined as he felt the need of sharing his vision with other people and here he found out, with a certain satisfaction, that there was a group of people that could discuss photography intelligently in the same way that you could discuss literature. He did not finish his studies though, and chose instead to move to Los Angeles in 1982, following his master’s steps. He somehow regularly came across Winogrand, and became his driver. From this relationship Steinmetz learned to relate to others and to be present with a camera – things that you are not taught at University. In those years, he shot various images (recently published by Nazraeli Press) but never presented Winogrand a single image of his own. So, photography is a serious matter, though in the simplicity and concreteness of the approach. There are no superstructures in Steinmetz’s work. Instead, there is an empathetic, conscious observation. His work is often the result of him going somewhere and wandering with the camera. He might ask someone to repeat a gesture or hold a posture. His eye looks at the relationship between the different elements within the frame and he privileges the horizontal vision to describe something that is also a constant, harmonic flow. A sort of perpetual change. In fact, speaking of his portraits, Steinmetz says: It’s not just portraits of people, they’re in the midst of activity. Time is a crucial element. It is also the pitiless judge that will determine if a photograph is (rationally) interesting and (esthetically) beautiful. It has often been said that Steinmetz’s work is timeless. On the contrary, I think his work is inside time, in his (our) time. And that the author’s ability is exactly that of describing contemporaneity through symbols – the telephone, the road, the car – while a time interval is what he needs to have the right distance to his own work and edit it. I like looking back when there’s no pressure. To be a good photographer is to be a good editor. There’s a time of practice. To start with, you can shoot with certain conditions of light (the meteorological time). The time for printing. It should not be underestimated, as the author prints himself in the darkroom, a craftsmanship that few photographers master today and that implies a working rhythm that needs to be planned accordingly. There is no randomness; there’s the unexpectedness of life flowing. Maybe this is the reason why Mark Steinmetz’s photographs are so intense. Steinmetz has published fourteen books and more are coming. Most of them show images shot in the United States. From the first photographs taken in Los Angeles in the early eighties up to the most recent works, the prints displayed in this exhibition cover a wide period of time.[...]
ILARIA TURBA – JEST @ L'Atelier, espace dédié à l’art contemporain
Jan 19 @ 18:00 – Feb 11 @ 15:00
ILARIA TURBA - JEST @ L'Atelier, espace dédié à l’art contemporain | Nantes | Pays de la Loire | Francia
The City of Nantes CCNN Centre Chorégraphique National de Nantes The Festival Trajectoires present: JEST an exhibition by ILARIA TURBA 20 January – 11 February 2018 opening on January 19 l’Atelier , espace dédié à l’art contemporain 1 Rue Châteaubriand, 44000 Nantes, France A thing is not seen because it is visible but conversely, visible because it is seen (Passage underlined by Diane Arbus in her copy of The Works of Plato) JEST originates from ilaria Turba’s exploration of her own family photo archive: five generations of images dating from 1870 to today are the starting point for a visual search that is here presented as installation and performance acts implying an active participation of the visitors. Photography, manipulated or not, is intertwined with other disciplines like dance, sound and storytelling.The exhibition, involving game and action, offers the viewer a new experience of perceiving and seeing. JEST is an English word meaning ‘playful act, joke’   The exhibition itinerary consists of five rooms and is marked by the letters forming the word JEST + the full word. J / JEMEUX The twin rooms: at a first glance, the exhibited works might seem identical. But they are not! E/EXPERIENCE The JEST games: Kaleidoscope, a double, oversized kaleidoscpope for your own photographs or images from the JEST archive;  Lady T, a thamatrope twirling machine and pre-cinema toy, and three spots for the Memory JEST game S / SECRET European première of the performance/installation Eventails  written with choreographer Ambra Senatore and produced by the Centre Chorégraphique National de Nantes. Dance and photography are blended in a dark room, where fragments of female secret stories emerge. The stories have been collected in France and in Italy. T –TEMPETE The Storm installation consists of a big 200-pieces-image of a storm progressively dissolving over the exhibition period and accompanied by a sound composed by Alessandro Bosetti. JEST – The JEST studio: an installation revealing the creative process behind the JEST universe. JEST is a book released by Peperoni Books (DE) at the end of 2016. Ilaria Turba is represented by Micamera gallery, to purchase a print contact Giulia Zorzi, [email protected] :::::: collaborations Alessandro Bosetti – ‘Storm’ soundtrack / JEST ACT #3 Mammafotogramma studio – realization of ‘Lady T’ / JEST ACT #6: ———— Texts: Giulia Zorzi Exhibition design: Marina Malavasi ———— Prints: Studio Fahrenheit Frames: Le cornici di Marta Netti Coproduced by: Ville de Nantes, CCNN Centre Chorégraphique National de Nantes With the kind support of: 
Mutty, A14 / for JEST ACT#5 “Eventails”/ Le cornici di Marta Netti ———— For the performance: Production : CCNN – Centre Choréographique National de Nantes, within the Festival Trajectoires Choreogreaphy :  Ambra Sentore With : Lola Janan and Ilaria Turba Scenography :  Pierre Yves Chouin Music : Jonathan Seilman Images and objects: Ilaria Turba The fans have been printed and produced by: A14 Milano The artwork is based upon real secret stories told by women and collected by Ilaria Turba during two residencies: CCNN (F) and Mutty (I) ::::::: Ilaria Turba Festival Tajectoires – exhibition Festival Trajectoires – performance :::::::

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