With the installation of the 14 photographs in Voyager, Silvio Wolf leads gallery visitors on a metaphorical journey enveloping the full range of photographic capabilities, weaving in and out of representation and abstraction. Beginning with an aerial view of seats at Milan's famous opera house, La Scala, Wolf signals that we are entering a world of theater and narrative. But the gallery visitor is not merely passive viewer. Rather than rooted in our chairs, Wolf's photo suggests we have transcended our assigned place, and are active performers. Indeed, photography as medium and structure are at the heart of Wolf's ongoing discourse. The ability of the medium to record and present information takes center stage, and necessarily light serves as the nominal content. The resultant forms play in abstraction, teetering on recognizable shapes and textures, ultimately articulating a meta-photography. A Rothko-esque panel finds the exquisite beauty in the striations of film leader — normally discarded on the darkroom floor, but here elevated to a higher status that is conceptual as well as perceptual. As the association with Rothko suggests, Wolf's work is never purely about structural exercises, but is grounded by the human and the emotional. Each photograph rivals the scale of the body, and in the glassy reflection of each piece the viewer is brought into the unfolding drama of the image, an effect reminiscent of Michelangelo Pistoletto's mirror paintings. The metaphorical journey of Voyager ends with a return to definable subjects: a tree in the morning mist, perhaps other voyagers ahead in the fog. Through the rhythms of appearance and disappearance, Wolf's theater of light investigates the epistemological potential of image-making, embracing the thresholds where the visible becomes manifest.
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...