Cuando Sigmar Polke hizo su descubrimiento personal de la fotografía el trabajo artístico solía terminar con la elaboración del negativo. El aspecto documental era determinante, y pocos se preguntaban por la influencia del revelado en el surgimiento de la imagen. Los fotógrafos buscaban la perfección técnica, llevados de la ilusión de acceder a la realidad misma con su cámara, como si de una lupa se tratara. Para Polke, en cambio, el efecto mimético daba pie al escepticismo. Una metodología motivada por la duda radical y marcada ya desde muy pronto por una actitud...

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The process of each work by Keisuke Shirota begins with a photograph; one of many random and banal shots he has taken over time.  It is not because of emotional attachment to a time or place that he chooses a photograph, but for his interest in its composition.  Having no clear recollection of where the photograph was taken, it is a combination of memory and creative fantasy that Shirota expands on the image, applying the actual color photograph to a canvas and extending the imagery in black and white. With great painterly skill, Shirota blends the color of reality into a colorless fiction, creating a unified work of art; one tha...

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The Galería Arnés y Röpke is pleased to present a new solo exhibition with works from the Iberia Quarries series by Canadian photographer Edward Burtynsky.

Burtynsky's large scale colour photographs document the many facets of nature as they are transformed by human industry. Industrial processes are presented as highly expressive visions where beauty is found in the most unlikely of places.

The works from the Iberia Quarries series were photographed in Spain and Portugal in 2006 after Burtynsky realized photographs of Quarries in Canada, Italy, China, India and the United States over seve...

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The images within the body of work, Moon Studies and Star Scratches, are not available to the eye until they are fixed on some photographic material. Traditional realms of the sublime -- vast night skies here -- are the subjects examined and transformed within the camera. What's left behind film suggests traces from experience.

The camera itself is a metaphor for the pervasive presence of technology within the landscape. It mediates our interaction with the natural world. It also generates new perceptual possibilities for re-interpreting experience of the sublime.

The photographs are made with an 8x10 camera...

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