26 July 2007

re-title.com newsletter - Photography / Film & Video July 2007

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Monika Sprüth Philomene Magers London Bank, Los Angeles Fruitmarket Gallery, Edinburgh MADDER139, London emily Tsingou gallery, London Next from re-title.com         sign up!

Monika Sprüth Philomene Magers London STEPHEN SHORE The Velvet Years. Warhol's Factory 1965-67 26 July - 25 Aug 2007 'One May afternoon when we were filming in L'Avventura, a young kid named Stephen Shore came by to take pictures of us. He'd made a short film that was shown at the Film-Makers' Coop the same night in February as my 'The Life of Juanita Castro' and afterward he'd come over to me and asked if he could come by the Factory - he was taking still photographs and had heard there was a lot going on there.' (Andy Warhol in 'POPism: The Warhol Sixties,' Andy Warhol and Pat Hackett). Celebrated for his groundbreaking work with colour photography in such seminal series as American Surfaces (1972) and Uncommon Places (1973-1979), Stephen Shore is rightly considered one of the most influential photographers to have emerged from the last half of the twentieth century. This exhibition focuses on the period 1965-67 which Shore spent at Warhol's Factory, a time which was to have a great influence on his own work. As somewhat of a child prodigy, Shore had developed an interest in photography from the age of six and by the age of fourteen had already famously sold three of his prints to Edward Steichen at the Museum of Modern Art. In 1965, shortly after an initial request, Shore was invited to take photographs at the restaurant L'Avventura where Warhol was shooting what was to become the film Restaurant. From that time on, Shore spent almost every day at the Factory observing and photographing the many goings-on of a now famous cast of characters - amongst others Warhol himself, Edie Sedgwick, Lou Reed, Billy Name, International Velvet and Paul Morrissey. The photographs taken at this time not only document the 'golden days' of the Factory before the attempt on Warhol's life by Valerie Solanas in 1968. This was a time when Warhol was making films almost on a weekly basis and Shore was clearly influenced by the laconic nature of these films, Warhol's use of serial imagery and his obsession with recording everything around him, aspects which would take Shore's own documentary photography to a new level. 'I think I learned by observing, not observing him in order to learn, just by being exposed to the decisions and actions he was making.. By the end of my stay at the Factory, I found that just my contact with, and observation of, Andy led me to think differently about my function as as an artist. I became more aware of what I was doing.' (Stephen Shore in 'The Velvet Years. Warhol's Factory, 1965-67.' Text by Lynne Tillman). In a distinguished career that stretches back to his first solo exhibition at the Metropolitan Museum of Art in 1971 (the first to be given to a living photographer), Shore has exhibited widely and is currently Susan Weber Soros Professor in the Arts; Director, Photography Program at Bard College, New York. His retrospective 'Biographical Landscape: The Photography of Stephen Shore, 1969-79' is currently on view at New York's International Center of Photography until 9th September, 2007. Phaidon will publish a monograph on Shore this autumn and 'A Road Trip Journal' in Spring of 2008. Concurrent with this exhibition, 'Warhol Part 1' a season of Warhol films at the British Film Institute runs from 7th August to 30th September. Image: STEPHEN SHORE Andy Warhol, the Factory, NYC 1965-1967 black and white photograph 32,4 x 48,3 cm Image courtesy of Monika Sprüth Philomene Magers London © Stephen Shore Monika Sprüth Philomene Magers London Read on... Monika Sprüth Philomene Magers London

Bank, Los Angeles "The Region of Unlikeness:" Viola Yesiltac Corinna Schnitt Simon Cunningham Dorit Cypis Esther Teichmann Curated by Kim Schoen 31 July - 25 Aug 2007 The Region of Unlikeness The idea of portraiture carries a lot of baggage with it; namely, that there is a name behind the portrait, there is a fidelity to, a likeness of. One need only to be a 'sensitive' enough artist to let the inner person emerge through the image. This transcendental desire has dogged portraiture for centuries. The Region of Unlikeness presents a group of artists from the U.K., Germany and the U.S., working with portraiture in video to confront and interrogate this assumption. The title of the exhibition is taken from Plato's concept of 'regio dissimiltudinus' here, reinterpreted in secular form. Concentrating on what is most unlike us is where the imagination or destruction can begin to take hold. In not keeping fidelity to the likeness to our 'true' selves, we may operate in a region of negative construction. The work in this show experiments with the confines of the contours of what is given, either the limits of the given body, or the social restrictions that are given to it. In the introduction to August Sander's People of the Twentieth Century, Alfred Doblin argued that the likeness of a portrait was the key to its artistry. Sander himself said: "It is not just a person's face that characterizes him, but also the way he moves." It was an intimation of the essential problem of a photographic portrait: in its stillness, it cannot represent the actuality in movement that is the sitter. All the artists in this show play with the tension between the still and the moving in portraiture and video. In Simon Cunningham's Mollymuddle we see a male cradling his leg as if it were an infant, in a pose that recalls religious iconographic painting. The frame is composed as if it were a still photograph, but as we watch we notice a slight hovering to the body keeping still, heightening the sense of absorption and dislocation. The pose introduces a duality in the subject, what is of us, and not of us, a oneness and a fracturing both. Esther Teichmann also focuses on the strangeness of the slight in her three-minute piece Drinking Air. The piece depicts a woman immersed in bath-water, the water line against her stomach rises and falls as she breathes; we only know the figure by her torso. In Dorit Cypis's The Rest in Motion, a curtain is sucked and blown in and out of a hotel room window in Tel Aviv. The contours it forms in the strong wind suggests a constantly moving body, in a constant pull and push between what is interior and what is exterior. Viola Yesiltac's Regional Express plays with early feminist filmmaking and current day reality show fetishes. Out of the thick of the forest, we see the form of a woman emerge; she struggles to pull a large black suitcase with her over the uneven ground. Her movement has a seriousness of purpose, but the source point for its action remains obscure, only determination remains. As the camera drifts farther and farther away in Corinna Schnitt's Sleeping Girl, we are both more estranged from the normality of the scene, and more and more of an omniscient observer, forced to try and make sense of the drift. The camera finally comes to rest on a faded reproduction of Vermeer's portrait, the girl who becomes the backdrop persona for Schnitt's deadpan use of an language which teases out the absurdity of structural norms, the confines of which we live within, and our complicity in participating in them. The artists in The Region of Unlikeness are restless in their investigation of how to represent the absurdity of being in one's own body. Kim Schoen's work in photography, video and film explores re-enactment and repetition, playing in the intersection between history, memory and fiction. She received her M.F.A. in Photography from California Institute of the Arts in 2005 and is currently persuing a Masters in Philosophy in the photography department at The Royal College of Art in London. Her photographs and video installations have exhibited in Los Angeles, Berlin, Madrid, and London. Kim was recently selected for the Artist Pension Trust in Los Angeles, and is one of the founding editors of the forthcoming MATERIAL, a journal of writing by visual artists. Image: Viola Yesiltac "Regional Express" 2001 6.25 min looped single-channel video Courtesy of Bank, Los Angeles Bank, Los Angeles Read on...Bank, Los Angeles

Fruitmarket Gallery, Edinburgh Alex Hartley 27 July - 21 Oct 2007 The Fruitmarket Gallery's 2007 Edinburgh Art Festival exhibition is the first major British solo presentation of the work of Alex Hartley, a British artist whose work confronts our experience and understanding of the built and natural environments. One of the yBa generation of artists, Hartley works primarily with photography, though often incorporating it into sculpture and installation. His practice offers an extremely original analysis of modernist and contemporary architecture and its relationship to landscape. He investigates buildings in terms of vision and the visionary, the individual and the institution, and the relationship of utopian schemes, whether successes or failures, to works of fiction. The exhibition brings together a significant body of existing and new work. It begins on the façade of The Fruitmarket Gallery on which Hartley will make a new work that particularly exemplifies his highly individual approach. He is interested in 'buildering' (climbing on buildings) and has clad the Gallery in an image of itself, marked with routes up the façade that he has climbed as preparation for the exhibition. This work relates to Hartley's putative guide book to Los Angeles, LA Climbs: Alternative Uses for Architecture, (Black Dog, 2003), a funny and curiously insightful book in which he looks at the city as surface, and through photography and topographic drawings presents landmark buildings in LA in terms of the routes a climber might take to explore them. Inside the Gallery, other new work extends the possibilities of solo climbing as a metaphorical and actual approach to the built as well as the natural environment, with photographs of the artist tackling a variety of buildings around Scotland. These extreme explorations of the relationship an individual might form with a building are complemented by other photography-based works, including Don't want to be part of your world, an ongoing series in which Hartley looks at the relationship and interdependence between architecture and nature, and the individual's position with regard to both. Each work in the series takes the form of a photograph of an impressive natural wilderness into which Hartley has inserted a hand-made architectural relief. The reliefs are all models of highly individualistic buildings, often utopian in aspiration and more often than not doomed to failure. Two major installations take on the interior architecture of The Fruitmarket Gallery, inserting photographs of unattainable, idealised modernist spaces into the fabric of the building. Untitled (Installation), 2007, offers a tantalising glimpse of an illusory space beyond the Gallery, while the monumental Case Study, 2001 is a photograph of an imaginary, idealised, domestic interior, held within a structure made of translucent glass, wood and plaster. At first glance, it seems as though one might be able to enter the space. Walking round it, however, it reveals itself more of a sculpture than a structure - a closed, tapering, inaccessible form. Hartley's practice examines the influence of architecture on the individual in and against the landscape in a physical and conceptual context. It offers a variety of approaches to the built environment, Hartley occupying a shifting set of roles from photographer and architectural historian to builderer, rambler, mountaineer and explorer, offering an original analysis of architecture and its relationship to landscape. Image: Alex Hartley In the future no one will live in cities, 2005 mixed media and c-type photograph 82.2 x 101.6 x 8 cm (detail) Courtesy of the artist and Victoria Miro Gallery, London Fruitmarket Gallery, Edinburgh Read on...Fruitmarket Gallery, Edinburgh

MADDER139, London Marcel Dinahet 6 July - 11 Aug 2007 Madder139 is pleased to present the first UK solo show for Marcel Dinahet. Video installations by this influential sculptor, who has shown extensively in France and Spain, including the Museum Reina Sofia, Madrid, and the Venice Biennale, Aperto '95. Where are we? Exactly nowhere, because always at the limit. Between water and earth.. just under the surface of the sea or half- immersed. At the limit of water, air, earth and fire.. Everything is under construction, everything is being transformed and is fluctuating, inexplicably, as if by alchemical transmutation. Pascale Risterucci, La caméra, le cadre et le cadreur, Editions le Quartier, Quimper, 2001 Dinahet is building up an exacting body of work, guided by the littoral, the periphery where land becomes water. What began with the creation of traditional sculptural objects, led to the submersion of these in water. Eventually in 1995 he discarded the object entirely in favour of moving images. This investigation into the coast and the metaphorical limits of the self, is 'Romantic' in both a descriptive and true historical sense. Dinahet, the lone diver, is obsessed with this impossible theme - he is in awe of the edge of things, the sublime cusp. Kliazma 2004, the screen dissects the water, and heavy raindrops fall. Above and below, our eyes see more than they would, the view is more explicit than reality. The sound is louder, there is no water deadening our ears. Narrative is discarded in favour of experience. Partially submerged, half consumed by the ocean, if often we encounter art, here it occurs to us. The camera bobs, abandoned, pulled by the waters. Free from gravity, from our bodies, and yet somehow fixed, defined. Seconds pass, measured only by the sound of breathing. Movement gauges space. The body in motion becomes the axis, the only location, and yet this is an axis in flux - a site without limit. Video is made by sound waves, light translated magnetically. Film is gaze, the animation of photographic images. Closer to our own quiet drone, video shapes time through vibration, experiences are made rather than described. Through video to the seas edge, and further still to deeper thresholds. Dinahet explores boundaries we know, yet have not encountered. That which we know, but have not yet felt. We welcome you to an unravelling of the experience of space. To the experience of impossible places. Image: Marcel Dinahet Danseurs-Immobiles (installation shot) 2006 Courtesy of MADDER139, London MADDER139, London Read on... MADDER139, London

emily Tsingou gallery, London Henry BOND : Forensic Series 11 July - 4 Aug 2007 Emily Tsingou Gallery is pleased to announce Henry Bond's fourth one-person exhibition with the gallery. In his most recent body of work, Bond continues his interrogation of photographic signification, Psychoanalysis and representations of the everyday. Each image in the show is a re-photographed detail of original crime scene documentation held in the British National Archives. These close-ups catalogue the banal details of day-today life in 1950s England. A coffee tin or wallpaper pattern seem strangely familiar, perhaps not from personal experience but rather a remembrance of film or other visual motifs from popular culture. The familiarity of these images references a collective subconscious, but within these scenes of domesticity lies an interruption of the quotidian. Each of the seemingly benign details is actually part of a larger room or space, in which a corpse was present. Excluding the harrowing image of violence from view, Bond's work instead scrutinises incidental details - hair pins, newspapers folded on a chair, biscuits arranged on a plate - as crucial entry points to understanding the dynamics underpinning the crime scene. Just as Psychoanalysis excavates meaning through anomalies, 'slips', or details which index the subconscious, Bond's photographs, like a criminologist's investigations, pursue underlying meaning through residual traces of preceding actions or events. Since graduating from Goldsmiths college, Henry Bond has exhibited internationally, including one person shows at: Fotografisk Centre, Copenhagen, Denmark; FotoMuseum Antwerp, Belgium; Le Consortium, Dijon, France; Centre de la Photographie, Geneva, Switzerland; Fotomuseum Winterthur, Switzerland. His work was included in: How to Improve the World, 60 Years of British Art, Hayward Gallery, London; Something of the Night, Leeds City Art Gallery, UK; Rapture, Art's Seduction by Fashion since 1970, Barbican Art Gallery, London; Century City, Tate Modern, London. Publications to date: Interiors Series (2004); What gets you through the day (2002); Point and Shoot (2000); La vie quotidienne (1999); The Cult of the Street (1998); Safesurfer (1996); Deep, Dark Water (1995); Hotel Occidental (1993) Image: Henry BOND Forensic Series 15-3, 2005 Courtesy of emily Tsingou gallery, London emily Tsingou gallery, London Read on... emily Tsingou gallery, London

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