“Conflitos contradicts the image of Brazil as a pacific country and offers a retrospective outlook on the history of the country, bringing up fundamental points for understanding the present political crisis. Some of the episodes covered are the Federalist Revolution (1893-1894), the Navy Revolt (1894-1895), the Canudos War (1896-1897), the Contestado War (1912-1916), the Coluna Miguel Costa-Prestes (1924-1927), the 1930 Revolution, people’s uprising at the occasion of Getúlio Vargas’s suicide as well as violent episodes that took place during the early days of the 1964 coup. The exhibition touches on the role of photographic images during those conflicts, their political use and means of circulation, presenting a wide-ranging historical panorama of the development of Brazilian documental photography at that time.”
Instituto Moreira Salles
Visitation IMS Rio: November 26, 2017 to February 25, 2018
Visitation IMS Paulista: May 8 to July 29, 2018
“The compelling works depict naked women of all ages as well as poetic shots of flowers in water. The subjects are family, friends and acquaintances of the artist, always posing outdoors and at twilight. Honey shot the fascinating images over the course of a whole year, exclusively on every full and new moon, starting at the October 2016 Supermoon. When the Blackbird Sings is named after the bird which signals twilight with a song; while shooting the series Honey was stricken by the song’s memento mori-undertones.”
13A Dundas St, Edinburgh EH3 6QG
“Each photograph in the book is a self-contained vignette, collectively suggesting a narrative through recurring themes and symbols. The use of text, both an introductory stream of memory and interspersed throughout the book, anchor the images in Harvey’s own personal experience, and yet each image tugs on the viewers’ own memory, suggesting a place they also knew. The symbols – birds, teeth, windows, water and snow – used throughout Harvey’s work, elevate the mundane and suggest a complex jigsaw to be pieced together.”
Robert Mann Gallery, New York
Robert Klein Gallery, Boston
F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?
Zisis Kardianos: I started playing with a medium-format Lubitel camera that literally fell into my hands when I was about 15 years old. I later went on to study sociology, and that somehow sparked an early interest in the art of photo-taking. I then took a two-year course on documentary photography. Photography had an immediate and life-changing effect on me right from the start. I became fascinated by the images made by the great street and documentary photographers of the era. At the same time, I was trying to write poetry, but I soon realized that photographs can be as lyrical and ambiguous as poems, and that you can express the same ineffable and complex feelings through images. Photography gradually became a way for me to absorb a place, to be there in a state of heightened awareness, both mentally and physically, to contest my fears and limitations, to connect and to be present.
F-Stop: The current issue of F-Stop Magazine includes images from your project “In Limbo,” can you tell us about this project? What led to this work?
ZK: TThe series took shape in my mind after I’d been shooting these images for about two years. The editing process is a completely different beast than the actual shooting. The former requires a more deliberate reflection on the images, while the latter demands a more instinctive response to the life unfolding around you in all its minute manifestations. After the series took a more concrete shape, I began to look for situations or small gestures that conveyed similar feelings and moods. These pictures represent my gut reaction during the first years of the economic recession in Greece as well as my way of translating the atmosphere of this period in a sublime and understated way.
F-Stop: Can you discuss your process for making these images or your creative process more generally?
ZK: I subscribe to the notion that photography is neither pure reality nor absolute fiction. So the story plays out between these two extremes; this is the key ingredient that I aim to distill in all my projects, with varying degrees of success. My general shooting process is for the most part intuitive. A great deal depends on plain luck. I like little surprises, and I’m enthralled by miraculous situations where things come together in a way that makes sense to me.
F-Stop: How do you choose what or who to photograph, what are you looking to capture?
ZK: When I first started, I used to roam the streets of whatever city that I happened to be in with no particular agenda except a very vague idea of what I was seeking. Later my work became more deliberate, and I started to shoot more within the loose framework of a specific project. Now I shoot a combination of street documentary, seasides, urban landscapes and interesting characters. My main interest as a photographer is to extract the sense of a place and comment on the human condition.
F-Stop: What do you hope people experience or feel when they look at your photographs?
ZK: As long as they feel something, I don’t care what…but hopefully the same empathy that I felt for my subjects at the time. Photographs can transport you to where the photographer stood in the moment of the exposure; I hope they can experience that.
F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?
ZK: One of my favorite images is the one of the man carrying two bicycle wheels. I like how the wheels almost touch the ground, as if the man is depending on them to keep walking, making this image a symbolic icon of the situation Greece found itself in at the time.
F-Stop: Are you working on any other projects currently?
ZK: I’m working on several different projects concurrently, some of them being never-ending works in progress. Hopefully a few of them will end up in a book, as I like to do with most of my completed works. There is one under the title “Off-season”, which is a documentation of the infamous tourist resorts of my native island during the winter months. Projects like that, which are not dependent on travelling, serve as a motive to keep me in touch with the picture-making process as well as to fuel my creativity.
F-Stop: What photographers or other artists inspire you?
ZK: I’m constantly looking at the work of other photographers, and I’m easily carried away to explore different paths in my work. That’s why my output is varied and not very cohesive, one could say, but I don’t mind that, since the least of my concerns is to develop a recognizable style and to repeat myself. Therefore, besides the obvious key figures like Josef Koudelka or Robert Frank, my inspiration has been nourished by the work of completely different photographers…Philip Perkis, Krass Clement, Ken Grant and the late Lars Tunbjork come to mind. My visual literacy has also been nurtured since an early stage by Italian cinema auteurs like Fellini and Antonioni.
Opening Reception Saturday January 27th, 4-6 pm
“British photographer Edmund Clark has spent more than a decade exploring the unseen processes, experiences and sites of contemporary conflict, with particular focus on the so-called War on Terror. The Mountains of Majeed is a reflection on the end of ‘Operation Enduring Freedom’ in Afghanistan through photography, found imagery and Taliban poetry. Based at Bagram Airfield, the largest American base in Afghanistan, and formerly home to 40,000, Edmund Clark examines the experience of the vast majority of military personnel and contractors who have serviced Enduring Freedom without ever leaving the base. Clark distills their war down to a concise series of photographs of the two views they have of Afghanistan: what they experience of the country over the walls or through the wire of their bases, and what they see through pictorial representations within these enclaves of high technology and occupation.”
Flowers Gallery New York
529 W. 29th Street, New York, NY 10011
Opening – Thursday 25 January 2018
“By exploiting our beliefs and representations of the world, thwarting scale relationships and image making protocols, Thomas Paquet arouses our curiosity for the immensity of the universe and tries to reveal to the spectator the emotion that comes from the evocation of a familiar form.”
galerie Thierry Bigaignon
Hôtel de Retz, 9 rue Charlot, Paris III
“The Hospital Club presents The Baldwin Gallery’s Betwixt, exploring organic and psychic transference between selves and species, featuring the shape-changing photography of Meryl McMaster and David Ellingsen.”
The Baldwin Gallery
The Hospital Club, 24 Endell St, Covent Garden
Opening Wednesday, November 29, 2017, from 18h to 21h in the presence of the artist
Galerie Esther Woerdehoff
36 Falgui Street era
75015 Paris – France
“The exhibition features shortlisted entries from Picfair’s international competition Women Behind the Lens, which aims to redress the gender imbalance in commercial photography by celebrating a new generation of female photography talent. From people, places and buildings to the natural world, the exhibition will showcase a refreshing range of images and perspectives from women taking pictures in countries all over the world.”
The Guardian News & Media Gallery
Kings Place, 90 York Way, London N1 9GU
Found Polaroids is a collection of the best stories from the Found Polaroid Project, a personal archive of over 6,000 orphaned images collected since 2011. The concept behind the project is simple, to breathe new life into long-forgotten images by asking creative minds to write stories about them.
Eerily distant yet warmly familiar, the stories, and the Polaroids that inspired them, have a way of not only transporting us to a different time but also into the intimate lives of complete strangers. By exploring a colorful range of narratives and emotions, these images allow us to glimpse into a fictional, but paradoxically universal, reality that can only be found through storytelling. The short stories in the project are contributions from a dynamic online community of writers, photographers and artists. The stories have been published via the website and social media channels of Found Polaroids, and the book is a selection from those submissions.
More than simply for storytelling, the project has also become a platform to advocate and explore the cultural importance of found and material photography as well as the iconic Polaroid. This is addressed in the book by essays from Found Polaroid’s founder Kyler Zeleny, as well as Dr. Peter Buse and a preface by Dr. Lisa Jaye Young.
For me personally, the white border, the classic square format of the SX-70 Polaroid print, and the occasional written note at the bottom of the print, always made me feel I was witness to something deeply personal and private. There is no photo lab technician who would see these images; no shame picking up the prints from the lab, no explanation needed. It didn’t matter if it was Uncle David shooting pool while cradling the dog and a beer, or Auntie Kate sitting on the couch just staring off into the distance, or someone’s bare ass at a forbidden pool party. These images are quick and dirty and intimate. Because Found Polaroids is culled from a collection of found images, and invented backstories, the book gives the project even more intrigue. Discarded ephemera like photographs and handwritten personal notes evoke a mysterious sense of the past.
Dr. Peter Buse speaks to this topic in the book. “All photographs, not just Polaroids, are enigmatic, mute. They are almost always accompanied by a caption or a narrative, explaining what we see. In the absence of such a text, a photograph harbors secrets, holding the promise that it will disclose them under the right gaze. The stories in this book unfold the secrets of their Polaroids, but by openly proclaiming themselves fictions, they carefully and paradoxically preserve the secret of each image. It is not the truth of each Polaroid that is revealed, but its potential.”
by Kyler Zeleny
7″ x 9″, 96 pages,
Edition Size 500
ISBN : 978-1-944005-13-9
Published by: Aint–Bad