A surrealist world, located in the area of tension between photography, drawing and painting. A world inhabited by graceful, dreamlike and audacious creatures. This is the world of Schilte & Portielje.
The figures who play the lead role in the duo's photographic works are characterised by the mystery that surrounds them; a sort of intangibility, impenetrability. Elegance, power and intransigence seem to struggle with each other dominance. Alongside several older works, Kahmann Gallery will present a new series on which Schilte & Portielje have worked intensively for the last two years. This series shows even more clearly the influence of political and social developments. The figures often have an impertinent, brazen overtone with which they resist the curtailment of personal freedoms and preferences. Schilte & Portielje want to make a stand for tolerance and pluriformity, particularly in the current climate when everything is supposed to be manageable and orderly.
Over the years, Schilte & Portielje assembled an image bank full of image fragments that originated from hither and yon. Very selectively and independently of each other, they use sketches from this pool of images. In a lengthy and time-consuming process, these are then collated into an entirely new concept. During this process of endless refining, filling in, removing and adding, Schilte & Portielje complement each other seamlessly: where one of them stops creating, the other unerringly takes over. The new image continuously changes hands until both of them are completely satisfied, a process that can take weeks, months, sometimes even years. This results in wonderful works that contain the soft tones of a painting, the delicacy of a drawing and the authenticity of an analogue photograph. And because of the way in which they are presented, you can also pick up and put down the works as three-dimensional objects.
Kahmann Gallery will publish a special catalogue to coincide with TRANSVERSE.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...
Je vais pouvoir tout photographier. Tout, tout. Maintenant, je n'aurai peut-être plus de chagrin de rentrer à Paris, puisque j'emporterai tous les portraits de ma campagne.
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