┐ She-wolf, a needle in the pile └

© Pilar Albarracín, She-wolf, 2006 “in She-wolf (2006), where she revisits Joseph Beuys’ I Like America and America Likes Me (1974). In this work she proposes a very special relationship between the wild, untamed, an imal and its “greatest predator”, man. The approach to the she-wolf is staged by Albarracín as a picnic where the viewer acts as a witness. As Donna Haraway says, when drinking wine and sharing the raw meat with the she- wolf, the taming that coexistence entails takes place.” Continue reading ┐ She-wolf, a needle in the pile └

┐ Jane Hammond └

© Jane Hammond, Self-Portrait with Twin, 2011 © Jane Hammond, Face Facts, 2006 © Jane Hammond, The Touch-Up, 2009 © Jane Hammond, Cabrito, 2007 © Jane Hammond, Chai Wan Three, 2008 all selenium toned silver gelatin prints “The photographs grew out of the scrapbooks, also. I began collecting photos to put in them, and quickly became obsessed with all the different depictions of the same thing. Soon, I had hundreds of snowmen pictures. I began collecting many more snapshots, other peoples pictures, and soon borrowed lots of my family’s own pictures. I began to think about them and in my … Continue reading ┐ Jane Hammond └

┐ Deborah Bohnert └

© Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005 © Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005 © Deborah Bohnert, Untitled, from the series The Little People, 2009 © Deborah Bohnert, Untitled, from the series The Little People, 2009 “…Dada had long operated according to the principle of instability, blurring distinctions between art and mass media (in photomontage), art and mass production (in the readymade), and intention and reception (in public provocations and spectacles). In 1921, Roman Jakobson characterized the movement as “transrational”—an indulgence in sheer relativity and paradox—citing Tristan Tzara as support: “I am … Continue reading ┐ Deborah Bohnert └

┐ Pauline Fouché └

© Pauline Fouché, from the series Cassures (Cracks), 2002 © Pauline Fouché, from the series Cassures (Cracks), 2002 © Pauline Fouché, from the series Cassures (Cracks), 2002 The Cassures materialize an event-image abundant in the newspapers by reapropriation through the gesture and the image. Abused and reduced to the fragility of their appearance as well as that of their medium, these images attempt to reveal spaces other than those represented, where the subject disconnects itself from its direct relationship to the news, expressing as such a distance between the event and its representation. « Pauline Fouché works with the relationship … Continue reading ┐ Pauline Fouché └

┐ Michal Heiman └

CRITICAL IMAGE: MICHAL HEIMAN, By Dr. Ariella Azoulay Michal Heiman chose the position of the spectator looking at someone else’s photographs taken by someone else, in which someone else is photographed, which someone else collected. Heiman turns this quintessential position of spectator (in a museum, but not only) into her own, elaboration and giving it back to it to spectator, whom she transforms not only into the subject of the artistic image but also into the subject of the psychological image. This is the spectator who is asked, on several levels, to assume Heiman’s position and to reproduce it. When … Continue reading ┐ Michal Heiman └

┐ Burkhard von Harder └

@ Burkhard von Harder, untitled, from the project Cold war in a trash bag @ Burkhard von Harder, untitled, from the project Cold war in a trash bag @ Burkhard von Harder, untitled, from the project Cold war in a trash bag Cold War in a Trash Bag is based on recently found anonymous Cold War photographic footage from the Ukraine. In the summer of 2010 thousands of abandoned black and white negatives were discovered in Vinnitsa, a place only 250 km away from Chernobyl. In miserable condition, the ripped, scratched and torn filmstrips obviously had been completely forgotten and … Continue reading ┐ Burkhard von Harder └

┐ Vincent Cordebard └

© Vincent Cordebard, Untitled, from Etudes pour Les attentats à la pudeur © Vincent Cordebard, Untitled, from Etudes pour Les attentats à la pudeur © Vincent Cordebard, Untitled, from Etudes pour Les attentats à la pudeur It’s one of those rare, and thus special occasions, when I find a body of work I completely connect to in a rational, emotional, intellectual and intuitive level. Here’s a first post about his work and I foresee making more about it once I have the time to take the plunge. What follows is an excerpt of a text written by Béatrice Han: “Vincent … Continue reading ┐ Vincent Cordebard └

║ Aneta Grzeszykowska ║

© Aneta Grzeszykowska, Untitled #21, from the series Untitled Film Stills, 2006 © Aneta Grzeszykowska, Untitled #30, from the series Untitled Film Stills, 2006 “A precise, and truly Warsaw, remake of Cindy Sherman’s seventies classic “Untitled Film Stills” starring Aneta Grzeszykowska. In contrast to the original, Grzeszykowska’s photographs are in color. The initial composition and makeup has been strictly observed, while the props, clothes and setting has been chosen by the artist according to the modern standards and local possibilities. The restaging of all 70 photographs took one year. The role-play has reached its peak – effacing her own personality … Continue reading ║ Aneta Grzeszykowska ║