Rosângela Renno
#Photographe
- Actualité
PhE09 Masters Campus PHE
ROGER BALLEN
In the 1970s, Roger Ballen (United States, 1950) began portraiture work on people and towns in South Africa, where he has lived to date. In the 90s, he moved away from documentary photography to explore fiction with composite images where beauty and anguish coexist. In them, people and animals are shown with unsettling poses in compositions formed by wires, shadows, sheets, stained walls, drawings and material scraps. These images with their surrealist shadings convey feelings of psychological disorientation and physical abandonment.
Featured among Ballen’s publications are Boarding House (Phaidon, 2009), Shadow Chamber (Phaidon, 2005), Fact or Fiction (Galerie Kamel Mennour, 2003) and Outland (Phaidon, 2001).
Ballen is the founder of the Roger Ballen Foundation, which promotes education on phot... - Exposition
Exhibition : Made in Brasil
Made in Brasil is the very first exhibition at Casa Daros dedicated exclusively to Brazilian art. The show presents around 60 works from the Daros Latinamerica Collection, based in Zurich, Switzerland.
Made in Brasil is conceived as a homage to the magnificent artistic environment of Brazil. With our comprehensive collection of works by Brazilian artists, it seems perfectly fitting to devote an exhibition exclusively to Brazilian art in the country of its origin.
© Waltercio Caldas
This exhibition also ties in with individual presentations of those Brazilian artists in the Daros Latinamerica Collection—such as Lenora de Barros, Iole de Freitas, Rosângela Rennó, and Eduardo Berliner—who have already exhibited at Casa Daros.
In Made in Brasil, the assembled works of Walterc... - Exposition
Rosângela Rennó present her «Strange Fruits»
Brazilian society seems to be pressing forward with devouring strength, systematically forgetting the memory of the past.
Brazilian artist Rosângela Rennó tries to fight against this collective loss of memory by appropriating found albums and photographs from private and public archives.
The use of appropriation to counter the loss of memory is a driving force in the work of Rosângela Rennó. It is a form of fighting collective repression and a future that is void of a past; appropriation is a means of combating emptiness, the vacuum in the kickback of the motor of the future. In her own way Rennó seems to operate as a tracker.
© Rosângela Rennó, Apagamento #2 (caixa) [Erasure #2 (box)], 2005
Her w...
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ROGER BALLEN
In the 1970s, Roger Ballen (United States, 1950) began portraiture work on people and towns in South Africa, where he has lived to date. In the 90s, he moved away from documentary photography to explore fiction with composite images where beauty and anguish coexist. In them, people and animals are shown with unsettling poses in compositions formed by wires, shadows, sheets, stained walls, drawings and material scraps. These images with their surrealist shadings convey feelings of psychological disorientation and physical abandonment.
Featured among Ballen’s publications are Boarding House (Phaidon, 2009), Shadow Chamber (Phaidon, 2005), Fact or Fiction (Galerie Kamel Mennour, 2003) and Outland (Phaidon, 2001).
Ballen is the founder of the Roger Ballen Foundation, which promotes education on phot...
Made in Brasil is the very first exhibition at Casa Daros dedicated exclusively to Brazilian art. The show presents around 60 works from the Daros Latinamerica Collection, based in Zurich, Switzerland.
Made in Brasil is conceived as a homage to the magnificent artistic environment of Brazil. With our comprehensive collection of works by Brazilian artists, it seems perfectly fitting to devote an exhibition exclusively to Brazilian art in the country of its origin.
© Waltercio Caldas
This exhibition also ties in with individual presentations of those Brazilian artists in the Daros Latinamerica Collection—such as Lenora de Barros, Iole de Freitas, Rosângela Rennó, and Eduardo Berliner—who have already exhibited at Casa Daros.
In Made in Brasil, the assembled works of Walterc...
Brazilian society seems to be pressing forward with devouring strength, systematically forgetting the memory of the past.
Brazilian artist Rosângela Rennó tries to fight against this collective loss of memory by appropriating found albums and photographs from private and public archives.
The use of appropriation to counter the loss of memory is a driving force in the work of Rosângela Rennó. It is a form of fighting collective repression and a future that is void of a past; appropriation is a means of combating emptiness, the vacuum in the kickback of the motor of the future. In her own way Rennó seems to operate as a tracker.
© Rosângela Rennó, Apagamento #2 (caixa) [Erasure #2 (box)], 2005
Her w...