Posts Tagged ‘memory



28
Feb
12

Brancolina : ‘Jewish Museum in Berlin’ (Photography)

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Photo impressions of the Jewish museum in Berlin, designed by Daniel Libeskind.

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‘anxiety’
brancolina
2011
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‘agitation’
brancolina
2011
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‘fear’
brancolina
2011
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‘exile’
brancolina
2011
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‘remembrance’
brancolina
2011
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‘untitled feeling’
brancolina
2011
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Nothing is unimportant. There is no place without history, where you can just do what
you want. Every place speaks in a unique way. It needs to communicate a certain way
and to appeal to people. Architecture is an art of communication – not with words, but
with proportions and with an aura. Every building must tell a story. – Daniel Libeskind.

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Brancolina : Website

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22
Feb
12

Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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04
Feb
12

Mary Christiansen : ‘Multi Plate Etchings’ (Prints)

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‘Himmerland’
multi-plate etching
107 x 107 cm
2008
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‘Untitled 2’
multi-plate etching
16.5 x 18.5 cm
2008
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‘Shadow line’
multi-plate etching
15.5 x 16.5 cm
2008
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‘Tilt’
multi-plate etching
19.5 x 20 cm
2008
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‘Untitled’
multi-plate etching
18 x 20 cm
2007
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‘Untitled’
multi-plate etching
15.5 x 17 cm
2007
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My pre-occupation as an artist is with creating highly distilled, contemplative nuances of feeling in print. I aim to compose images – drawn from nature and memory – of stark yet tactile forms, held momentarily out of balance; forms disappearing into immaterial shadows and configurations of form in spatial settings, undergoing transformation. I’m fascinated by forms appearing like projections onto surfaces, fragile and immaterial articulations, punctuated by the interplay of light and shade. Re-discovering delicate forms in space at distances defined by rhythm and structure, are of interest to me.

My objective is to create a state of suspension of individual elements, caught in a complex of layers with deceptive simplicity. The creation of these images is intuitive in nature. The creative process is ongoing, with every intuition, reflection and configuration, pre-figuring another possibility. The printing process is an integral part of my working process. The separation and building up of layers, multiple overprinting, the use of inks of differing viscosities – these modifications inform the work as it evolves. The tactile qualities of print-making, the depth and richness of surface, are crucial. – [Artists Statement]

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Mary Christiansen : Hughson Gallery

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23
Jan
12

Osheen Harruthoonyan: ‘Black Garden’ Series (Photography)

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“It’s easy to lose sight of exactly who you are while passing through the ‘Black Garden’. At the start, things are clear, there’s you and there’s the land, you each have your names and the division is simple.

Yet even from a peak within Nagorno-Karabakh you’re lost in the panorama. Mountain after mountain begets valley upon valley. A singular road runs through it all and though the end is too far to make out, you trust there’s an end. In your immediate vicinity at any given time you lose yourself in the intimacy of the trees, the overgrown foliage, the tombstones of an abandoned graveyard like fossilised crevices disintegrating in the wind. Voices buried beneath the moss, and cumulative silence, whisper about war.

There are small signs of life, a singular bird, a crucifix like a question mark that would cease to be seen if not for a blinking flame between the dripping walls of a crumbling cave. As night falls, shadows cannot be deciphered from leaves. Something floats by your eye, mouches volontes, a schism in the visual fabric, produced by your mind or the air, it does not matter. Your heart beats out what colour is left of the fading day and at once you are included and excluded from the landscape…” – Amy Pagnotta

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‘Black Garden’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Black Mirror’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Swan’
sepia, gold, selenium toned
gelatin silver print
28 x 35 inches
2011
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‘Wave’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Schism’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Tree of Garni’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Mercury’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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Born in Persia and raised in Athens, Greece and Vancouver B.C., Osheen Harruthoonyan is a Toronto based photographer and filmmaker. Drawing upon his rich experiences living in such diverse cities, he employs a multi-faceted approach towards his artistic practice, investigating memory, history and the deconstructive process of time. Osheen’s work has been featured on Bravo! Arts Channel and his exhibitions in Toronto have consistently been noted as a top show not to miss. Harruthoonyan has also worked as a cinematographer on numerous short films, music videos, and experimental films.

Osheen Harruthoonyan’s sumptuous photographic prints evoke the uncertain, fledgling flashes encountered at the threshold of a dream. Combining traditional large-format photography with a variety of analog photo-manipulation techniques, Harruthoonyan skillfully renders his subjects within ethereally illusive environments. The fastidious striations and cracks of his altered film negatives become esoteric anomalies that hearken to a unique and singular “subterranean realm”.

Harruthoonyan’s willingness to take risks within the confines of the traditional photographic process makes this representational capacity possible. Altering each negative by hand, his works crystallize midway between the calculable and the spontaneous, addressing both the systematic and the chaotic. His careful yet playful inventiveness unravels the mysteries of our collective irreconcilable reverie. Harruthoonyan’s creations conjure the lifetimes that exist within moments, and the glimmers of strangeness that give pause to our ever-evolving subconscious states. Within his work, we witness not only the captured image, but the very process of image-making laid bare. – [Ex : La Petite Mort Gallery]

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Osheen Harruthoonyan : Website

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18
Jan
12

Magdalena Jetelová : Site-Specific Installations

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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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Jetelová works with concrete spaces. She exposes their suppressed history and stories and tries to rehabilitate their memory. In her lit installations she uses mainly lasers. Important aspects of her creations then become ephemeral, movement, constant change; all connected by different spaces and times. Ultimately the work exists only in the form of photographs and supplementary documentation.

Work with the landscape’s memory accents the changes created by man – using illuminated lines she exposes the one-time communications structure of the landscape (e.g. ‘Crossing King’s Cross’ where she uses lights to map out the future path of a train route) as well as natural changes (i.e. the ‘Iceland Project’ where she enlists lasers to draw attention to the undersea intercontinental divide). – [ArtList]

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Magdalena Jetelova : ArtList

Magdalena Jetelova : Website

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21
Nov
11

Mattia Listowski : ‘Shorescape’ (Video & Stills)

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“My work analyses the creative process and the objects emerging from it. The time involved in this process is important when we observe these objects because time is slowed down in an accelerating world, warning us of our fragility and the contempt we bear for it. It is also the unpredictable emergence caused by creation: the result evolves with time. The probability of the unpredictable is a crucial element in the quality of the process, and is what makes it beautiful.”

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Shorescape
‘Perceptive Landscapes’
Digital Print
2010
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Shorescape
‘Perceptive Landscapes’
Digital Print
2010
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Shorescape
‘Perceptive Landscapes’
Digital Print
2010
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Shorescape
‘Perceptive Landscapes’
Digital Print
2010
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Flatlight Shorescape
Video
2010

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When someone is confronted by a natural phenomenon, which is alive and moving, the first though we have to understand this phenomenon is to associate it with a similar element representing something real, sometimes on a different scale, and most of the time that first impression is the one that permeates memory. Unless you have a need to go further, the viewer is held and stick to it.

‘Shorescape’ attempts to provide directly the second reading, the one that reveals a different reality than that offered by the model. By showing photographs of a selected event perceived as a moving one, the image reveals a figurative element invisible at the first reading. [Extract : Shorescape]

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Mattia Listowski : Website

Mattia Listowski : Vimeo

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