“The Lord’s Prayer”
Music by Shiri Malckin from Israel
Lyrics and voice by Nina Maroccolo from Italy
Video art by István Horkay from Hungary
Horkay’s art is epitomic in the double meaning of the word: a fragment, an incised part of something already in existence, and – just because of this incision – is an injury to the finished surface, to the tangle of writing or a finished picture. This relies on the experience that man, handing himself down through signs, simulates a kind of sense-wholeness. In these series this textual sense-wholeness appears to be ever different as different colors enter the surface at different sites. It is the same and not the same at the same time. “Once the signs are scars, then the wounds will tell tales of some non-alleviated history” (D. Kamper – Zur Soziologie der Imagination Hanser V. 1986. p. 148).
Erik Ravelo is a Cuban sculptor, painter and multi media-artist. He is currently a creative director at Fabrica, the communications agency owned by the Benetton Group in Treviso, Italy. His campaigns for Benetton include “Unhate” which featured the controversial images of world leaders kissing. He was awarded the Grand Prix at Cannes in 2012 for this series. His other projects include Lana Sutra, The Unhate Dove and the Doping Thrower. From 2007-2011 he was the Creative Director of Colors Magazine. His work has been published internationally and exhibited around the world. He was born in Havana, Cuba in 1978 and studied art there at the Accademia Nacional de Bellas Artes San Alejandro. When he was 18 he escaped Cuba to Argentina to persue his dreams of working freely as an artist.
Elizabeth Weinberg lives and works in Los Angeles by way of Boston and Brooklyn. With an educational background in photojournalism, she specializes in cinematic storytelling and intimate portraiture for commercial and editorial clients. She has been recognized with awards from PDN’s 30 Photographers to Watch and the Art Directors Club’s Young Guns. Her work has been featured in American Photography 26 & 27, Communication Arts, PDN, Booooooom, It’s Nice That, The Great Discontent, Huh., The Fox Is Black, CITY Magazine, and many more. She has exhibited work all over the world, most recently at the Lentos Kunstmuseum in Linz, Austria, as part of the group exhibit “Pure Water.”
A Form Of View | Yoav Friedländer
As an Israeli my perception is chaotic; composed of mediated American culture, desert landscapes of childhood, and war, which became integral in my life. I was trained to see and understand the world through photographs. The motivation for this visual exploration is the strong influence American culture, specifically in the form of photography, had and still has on my Israeli origins.
Photography visually mapped reality since it started; a broken promise that we’ve made to ourselves by looking up to the medium as a neutral reflection of what visibly exists. Many of our understandings of reality, are being described by photographs and have never being experienced by us in person. Photographs have set the expectations for things we might experience in the future; at times we find ourselves considering what is real to be different from how it should be according to its own image.
My work is a conjunction between Israel and America. It focuses on similarities and differences between two different cultures and sets of geographical locations seen through my perspective as an “Americanized Israeli”.
I base my thesis on the recognition that our world is informed by images. Photographs represent and replace experiences, memories, landscapes and objects. Our past still exists in the form of photographs, and we will move on to a future which be is based on those photographs and the context through which we interpret them. Since the invention of the photograph, reality has become augmented by its own image. I am focusing my work at that point of friction.
Bear Kirkpatrick’s forbearers were an ad hoc mixture of adventurer-navigators, naturalists, whalers, Puritans, dissidents, judges, and witches. He was born in the American south to a mother raised in Brahmin Boston and to a Harvard-educated geologist father who, several days after Bear’s birth, was sent across the world to war in the jungles of Southeast Asia. His upbringing was scattered across the Eastern seaboard, resting longest on a farm in New Hampshire during his teen years where he learned the survival skills of tracking, fishing, and hunting. He was educated at Phillips Exeter Academy, the University of Michigan, and the University of Massachusetts, Amherst. He has made his living by turns as a stone-wall builder, roofer, mason’s tender, bookkeeper, furniture builder, and video art installer.
Bear Kirkpatrick defines his imagery as evidence, documents of past and present human psychological states. He is presently working to develop a model to prove that acquired characteristics are not only inheritable as a result of natural selection and artificial selection, but also as the result of psychological selection as created by the environmental pressure of human memory.
His work has been exhibited at Daniel Cooney Fine Art, 555 Gallery, Flowers Gallery, the Center for Fine Art Photography, Corden-Potts, Rayko, photo-eye Gallery, Houston Center for Photography, wall space Gallery, Drift Gallery, jdc Fine Art, Bowersock Gallery, and the Corey Daniels Gallery.
His work has been honored with the 2013 & 2014 Critical Mass Finalist Selection, the NH Charitable Foundation’s Artist Advancement Grant, Amy Arbus’ Curator’s Selection at The Center for Fine Art Photography’s 2014 Portraits Exhibition, and 3 International Photography Awards.
He has solo exhibitions presently at The Center for Fine Art Photography in Ft. Collins and jdc Fine Art in San Diego, and forthcoming at 555 Gallery in Boston.
Bear Kirkpatrick lives and works in Portsmouth, NH.
I take the title of this portfolio, “After Ascension and Descent,” from a phrase by Pierre Joris in A Nomad Poetics in which he calls for an approach to writing that accounts for what Gilles Deleuze and Felix Guattari refer to as “rhizomatic,” allowing for varieties of discourse, idioms, syntax, even languages.
I gave the work this title because I am at a loss when it comes to speaking of knowing one’s roots. My family, with its adopted members, silence about its past, reverence for the absolute at the expense of the profane, has taught me to speak one language only. To be monolingual is to be foreshortened, and like so many Americans I know I speak a provincial, not a global, language. The advent of “wireless” living does nothing to allay this. If anything, we are almost hopelessly tethered—to each other, to the world. It’s when we forget this, when we think we are free beyond complicity, that we encounter trouble looking for meaning.
Thinking in these terms has resulted in these images, an expression of desire for growth at the moment of inhibition, when hesitation is the gap between desiring and having.
The botanical objects I have brought into the home are stopped in transformation. Their location is often questionable and their capacity for self-motivation is ambiguous. Fluent in a secret language that’s rich in mythic rawness, they crawl, branch, sprout and mimic their surroundings. Domesticated and anthropomorphized, leaves and seeds obtain a poetic vitality through their relationship to the home – a space that welcomes imaginative rediscovery.
Given my desire to experience nature firsthand, I prepare for each photograph with a sensory exploration. It is only after I have altered the botanical material, pulled it apart and stripped leaves from its stem, that I can find in nature something new, something different and something unexpected. As Pierre Mabille notes in The Mirror of the Marvelous, “Alice’s adventures in the rabbit burrow or through the mantelpiece mirror encourage us to search for other gaps where we can penetrate the marvelous.” Like Alice, I’m hoping to find my portal into reverie.
We shelter ourselves both with and from nature but we are still part of its world. Within the home sunlight serves as a constant reminder of nature’s transience. Its luminous, shimmering and prismatic effects readily trigger the thoughts and daydreams of quiet rooms. The home is an unbounded interior; within its walls one’s mind can drift and worlds can arise. Leaves, seeds and buds I use become swarms and armies descending upon furniture. They respond to and are altered by the home’s architecture and its resident. Reclaiming their space, the natural objects remind the furniture of the life it once held. With newly acquired botanical inhabitants the home transforms into a landscape. Curtains are large open skies and the seat of a chair is an open field. These invitations to reverie are most welcome in the space of the photograph – an ideal place for the construction of new worlds. – Sarah Stonefoot
Wintery stop motion using stills from the Hipstamatic Tintype Snap Pak on my iphone. Tinto 1884 film, D-Type Plate film. About 4500 photos in all. The music is my own creation.
My M E M O R Y B O X channel…. vimeo.com/channels/memorybox
More of my music can be heard here… soundcloud.com/billnewsinger
I was born in Yuma Arizona in 1980. By the time I was an adult the Arizona desert was far from that once documented by Timothy O’Sullivan. Never have I known this landscape without roads, homes, buildings or urban sprawl. This notion of land untouched by the hand of man is so foreign it might as well be make-believe. As long as people have been in the American West, we have found its barren desert landscapes to be an environment perfect for dumping and forgetting.
The deserts of the West also have special significance in the history of photography. I have explored this landscape with an awareness of the photographers who have come before me, and this awareness has led me to pay close attention to the traces left behind by others. For this body of work, I collect discarded cans from the desert floor, some over four decades old, which have earned a deep reddish-brown, rusty patina. This patina is the evidence of light and time, the two main components inherent in the very nature of photography. I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor-intensive 19th century photographic process known as wet-plate collodion. The result is an object that has history as an artifact and an image that ties it to its location. These cans are the relics of the advancement of our culture, and become sculptural support to what they have witnessed.
Nina Maria Kleivan’s provocative images of a baby dressed up as various famous dictators – including Hitler, Stalin and Mao – have caused something of a stir. As Kleivan says: “We are all born as a blank slate. Who knows who we will become?”
THE WRITING ON THE WALL
PROJECTIONS IN BERLIN’S JEWISH QUARTER
For The Writing on the Wall project, I slide projected portions of pre-war photographs of Jewish street in Berlin onto the same or nearby addresses today. By using slide projection on location, fragments of the past were thus introduced into the visual field of the present. Thus parts of long destroyed Jewish community life were visually simulated, momentarily recreated.
The projections were visible to street traffic, neighborhood residents, and passersby. As much of my art practice is a marriage between photography and installation art, during the course of the installations, I photographed the projections.
The Writing on the Wall project was realized in Berlin’s former Jewish quarter, the Scheunenviertel, located in the Eastern part of the city, close to the Alexanderplatz.
At the heart of Berlin, the Scheunenviertel was a center for eastern European Jewish immigrants from the turn of the century. The few historical photographs which remained after the Holocaust reflect the world of the Jewish working class rather than that of the more affluent and assimilated German Jews who lived mostly in the Western part of the city.
The Scheunenviertel today is a neighborhood undergoing rapid gentrification. After the fall of the Berlin Wall, the Scheunenviertel became the new chic quarter and frontier for many West Berliners. As a result, the neighborhood has seen a huge influx of new residents and capital from the West.
Within the course of only a few years, block after block of houses and buildings in the Scheunenviertel have become completely transformed. Most have been entirely renovated, from the inside out. Others have been transformed into fashionable and trendy bars and restaurants. As a result, the Scheunenviertel has become almost unrecognizable even in the few years since The Writing on the Wall project was realized in 1992-1993.
The “re-making” of the Scheunenviertel affects both Jewish as well as post-war East German collective memory and identity, as the last physical evidence of these histories is now disappearing as well.
Panoramic interactive projection, 4.0 surround sound
Loft Project Etagi gallery
“You are standing in an empty room. There are no chairs and tables. They were there, but they took them away. There are no monsters from your bad dreams, although, they never were there. You are standing in an empty room, made of little pieces of stardust that carry the emptiness between them. And while breathing in and out, you feel the movement of the emptiness inside you and that the emptiness is you. At this moment you see that the only things which are absent in the room are the impossible ways of existence.”
Audiovisual installation “Void” is an attempt to visualize the idea of emptiness.
Emptiness here is regarded not as an absence of everything, but as an initial state when anything can appear. To see how dark room turns into the Big Bang epicenter a visitor should become “empty”. Every move and sound, captured by sensitive equipment, stops the 360 degrees audiovisual flow around.
“Void” is a social experiment, to see how long today people can stay totally calm.
The Creators Project: “Void, on the other hand, doesn’t want to suck users in, but to eradicate the world they know outside the exhibition, leaving them naked and ultimately empty, like a newborn. ”
Co.Design: “An incredible video installation will transport you throught the origins of the galaxy.”
VOID on Behance behance.net/gallery/THE-VOID/11871447
Visuals/ programming: A. Letcius, A. Sinica, M. Udchenko
Sound/ programming: A. Kochnev, K. Suhanov, S. Perevoschikov
Text concept: Bulat Sharipov
English translation: Marjolein Matthys
Dimitris Makrygiannakis is a Greek street photographer (and professional doctor) who lives in Sweden, but has mainly shot in India and other “non-Western” countries because these places have better settings for him.
I’ve recently changed the “circle” on my idea maps from “Exclave” to “Self-Discovery.” As I am progressing with nailing my certain subject, I am still definite on the genre of photography I would like to capture (and which I personally admire): street photography; surrealism.
So, Dimitris is one who relates to my intended approach because he captures reality, but still composes it in a surrealistic way in some cases. This is what I want to achieve. In my chosen book, I essentially want to capture the realities of the Exclave,but the supernatural essence of the main character and prose within this reality. Ultimately, the idea is capturing “reality” itself (specifically, “the struggle”) and combining supernatural or surrealistic qualities that transcend such a realm of being, which questions the dynamics of such a universe.
Communing with Spirits
The series I am currently engaged in deals with traditions of ghostlore, accounts of ghost sightings, the common themes and ethereal threads that connect them. The images I create involve spirits who inhabit environments of the living, in some cases interacting with the living. The spirits are dressed as they were in life, indicating their desire to remain among us. In the instances where the living interact with these spirits, the living are alone and are willing participants in the encounter. A common motive for haunting is the ghost’s need for answers, but in these images the living seem to be also seeking something from the apparitions. In Dancing with the Spirit, a young man dances with a woman’s ghost as the graveyard they’re in becomes a makeshift ballroom. The young man’s longing suggests that he may be more of a lost soul than his partner. Are these specters real or imagined? By these encounters I mean to bring into question the boundary between the two realms, and whether in fact we are all ghosts in some regard. Some of the images and narratives are based on specific legends or sightings, while others are fictional. Although ghosts have held a place in horror fiction and cinema, these works are not meant to invoke fear. No violence is present, and the spirits inhabit the material realm in a relatively peaceful manner.
The majority of the works are two-dimensional pieces incorporating a toned black and white photograph into a heavy frame and behind glass which is treated with shellac. Other works take the form of Victorian era stereocards. These stereophotographs allow the viewer to see the ghosts’ transparent form in three dimensions and really bring the audience into the scene.
The presentation of the work is as much a part of the concept as the imagery and it is tailored to give a period feel, both antiquated and distressed, owing to a different era. The frames I use are intregral to the works, and I consider them part of the pieces.
“An Afternoon Without Gravity” / “POSLIJEPODNE BEZ GRAVITACIJE”
Nadija Mustapić, 2010
Two-channel video installation with four-channel sound
HD video, PAL, color, 16:9, 14’41’’, loop, 4.0 surround sound
(Each projection is minimum 3 m x 1.68 m size. The videos are projected onto two screens stretched on erected scaffolding that constructs a 90-degree-angled architectural corner. Scaffolding is rusty and used.)
A curious game occurs in an abandoned industrial setting, an old Torpedo factory in Rijeka, Croatia. A logical action in an actual space becomes transformed into surreal. The sounds we hear start to unwind the time of this building’s past. Under the afternoon sun, we are taken on a journey through waves of fiction and reality to join a (perhaps) imaginary protagonist in a game of discovery.
Ivana Meštrov: from her text for the exhibition catalogue at SC Gallery (08.12.-22.12.2010.)
“A sense of discovery is being introduced through a curious game, in this space where location’s hermetic quality and the porosity of time continuously alternate. The two-channel image sometimes function as a mirror reflection, depending on the representations of the heroine’s symbolic appropriation of space. The sound is also treated as a “symphonic” reflection of spatial impressions of the industrial building, where documentary sound recordings of launched torpedoes, sounds of wind and of functionless space, and the sounds of author’s presence, simultaneously exchange. Nadija Mustapić captures the spatial dynamics in a way that could be linked to the Situations practice of psycho-geography. She threads visual strategies to research urban and geographical environments, and measures how much spaces transform individual and collective actions and vice versa, how the individual actions transform spaces – in the time of neo-liberal reality.”
Dalibor Pranjčević: from his text for the art magazine Kontura
“The architectural frame for “An Afternoon Without Gravity” (2010) is the launching station of the Torpedo factory in Rijeka. The levitational component suggested by the title of this two-channel video installation is visually present in the skeleton of this dilapidated abandoned industrial building, in which the upper, heavier part stands on rusty metal columns, which are visually weakened by the pulsating surface of the sea. The narrative problematizes the current moment, but also the past times. Different “timely” components are being distinguished by different sounds. The author’s exploration of found objects, relics of functional items from the past, is in a dialogue with the sounds of nature, confirming the unity of the place and time in which the narrative is situated. The field of divergences in this piece is described by the swinging action that seems to move not only the static devastated architecture, but also the mental “time machine”. The sound then becomes artificial and reminiscent of sliding and launching of torpedoes, while the time-lapse method enables the visualization of the “enveloping” of time. It becomes clear that Nadija Mustapić references the places of her own identity. In this context, the artist shifts her work from previously used non-descriptive spaces into a recognizable architectural location, and by doing so questions the stability of her geographic origin.”
Ksenija Orelj: from her text for the exhibition catalogue at Gallery MKC (05.11.-19.11.2010.)
”We swing on the waves of fiction and reality, maybe in an imaginary building, maybe with an imaginary character. The experience of a logical action in a real time is being baffled by the use of close ups, inserted sequences and double editing, and cedes in front of an overall sense of parallel development of different events, interpretations of two-folded meanings – simultaneous immersion and distancing of the actors and the scene. These passages through time are being used to interrupt the one-dimensional level of representation, and point at the author’s thoughtful use of the medium. They disrupt our frames of view and our frames of personal reference. The internal world of the character lives in the internal world of the video medium, the very immaterial reality, which is experienced in the mind of the subject, and exists as a lucid reminder of the answer to the question where does “I” live.’
Nadija Mustapić: director, producer, performer, camera, editing, image/color correction
Marin Lukanović: camera
Toni Meštrović: camera, quadriphonic sound editing
Marin Alvir: sound composition
The City of Rijeka Office for Culture
The Ministry of Culture of Republic Croatia
TOPOGRAPHY IS FATE | His most recent project, Topography Is Fate—North African Battlefields of World War II, published as a monograph by the German publisher, Kehrer Verlag, considers the varied landscapes of North Africa that the Allied soldier of World War II was forced to endure. Thousands of miles from home, largely untraveled and ignorant of lands and peoples outside his home country, he was dropped onto the shores of what must have seemed to him a dangerous and alien environment—his understanding of the land limited to stereotype, myth and the relevant army field manual.
Some World War II battle sites, such as the D-Day beaches of Normandy, are well known and frequently visited. The critical battlefields of the North African campaign, which took place between June 1940 and May 1943, are particularly inaccessible, both because of their geographic location and because they exist within a region that continues to be affected by political strife and violent upheavals. Yet, in 2011 and 2012, I spent several months traveling from Egypt to Tunisia to document remote WWII battlefields where Axis and Allied forces fought against each other and against the elements amid challenging terrain.
The project presented many obstacles, not only in locating all of the sites but also in obtaining the necessary travel documents, finding safe lodging and transport, and avoiding groups of protestors and rebel forces. I utilized World War II military maps to follow the route taken by the Allies. Along the way, I photographed the captivating beauty of the now-peaceful landscape, from its craggy coastlines and lowland marshes to its rocky hills and barren expanses of sand. 70 years have not yet eradicated traces of the fighting—campsites can still be found—evident by the amount of ration tins, trench systems and pill boxes that still carry the marks of battle. Unexploded shells, barbed wire and mines still litter the landscapes of North Africa and occasionally claim yet another victim, as if the very land itself is reminding us of the tragedy of war. These photographs depict the peaceful landscape that it is today, so very different from yesterday.
The approach is conceptual, with the photographs of the North African battlefields presented, similar to the New Topographic photographers of previous generations, in an almost anonymous and neutral tone of voice. The images are taken in daylight, without complexity and noise, portraying a peaceful quietness of the desert or grassland to allow viewers to fill in that negative space with their own visualization of the war. I have documented the battlefields as they currently stand in a personal style of landscape photography; impressionistic muted horizons of desert, coastal seascape and grassland, incorporating bunkers, trenches and physical artifacts of the conflict that remain as part of the environment.
Photographer Michiko Makino was born in Gunma, Japan and has been exhibiting in Japan and internationally since 2007. Her rich double exposures of life in Toyko are presented in her project: Toyko Kingyou.
“Everything has two sides in it：beauty and ugliness, vice and virtue, light and darkness, etc. and it depends on you how you look at it and how you understand it. At the crossing of Shibuya, at the station of Shinjuku and at the main street of Ginza, I photograph scenery of what I see there and then think about the present time which was linked from the past and to the future.
Photographs might be the capture of one single moment of the world. However, I always have a strange feeling that there might be another world behind my photographs, another tense behind. The only thing I need in a motion of my shooting photographs is the understanding of a moment of capturing things by heart. It is what I used to do when I really deserved to do.” – Michiko Makino
Black Holes & Blind Spots
2010 – ongoing
Inspired by the ideas of American Transcendentalism, I photograph non-descript situations that make me pause and consider the varied relationships people have with the natural world. I wonder if it is possible to have a transcendental experience in a residential landscape with my camera, far from the ideal, traditional places of the sublime. Black spots are digitally applied to each image to characterize how I am compelled to photograph such situations, pulled in to the subject matter like the gravity of a black hole. Conversely, the black spots partially disguise each image, disrupting the viewer’s field of vision and negating the photograph’s function as an effective communication tool.