[ AGENDA ]
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SØSTERSKAP
CONTEMPORARY NORDIC PHOTOGRAPHY
ÉGLISE SAINTE-ANNE
3 JULY - 24 SEPTEMBER 2023
10.00 AM - 07.30 PM
BILLETTERIE
Ikram Abdulkadir (1995), Jeannette Ehlers (1973), Fryd Frydendahl (1984), Bente Geving (1952), Hallgerður Hallgrímsdóttir (1984), Annika Elisabeth von Hausswolff (1967), Heiða Helgadóttir (1975), Hilde Honerud (1977), Tuija Lindström (1950–2017), Monika Macdonald (1969), Hannah Modigh (1980), Eline Mugaas (1969), Maria Pasenau (1994), Raakel Kuukka (1955-2022) & Yeboyah (1996), Emma Sarpaniemi (1993), Lada Suomenrinne (1995) and Verena Winkelmann (1973).
Søsterskap highlights photographers’ strong role over several generations in the Nordic countries. The exhibition explores the welfare state from a perspective of intersectional feminism. Often referred to as ‘the Nordic model’, this system is characterized by a public sector that provides all citizens with social security and welfare services, including daycare and education, and has brought significant improvement to living and working conditions. Basic values underlying the model are openness, tolerance, and the conviction that all people are equal. “The welfare state is a woman’s best friend” is a feminist slogan.
The exhibition brings together photographers based in Denmark, Finland, Iceland, Norway, and Sweden. Since the 1980s, we have witnessed many active photographers, whose works–based on different approaches from documentary to conceptual–reflect the socio-political context of the welfare state.
The interplay between photography and this social democratic model is here seen as a key factor in defining the panorama of camerawork from the region.
The project makes this model visible while questioning certain aspects, harnessing photography to investigate the friction between the subjective, the collective and the political as it plays out within the welfare state. Family life, gender roles, labor, ethnicity, and colonialism are some of the topics discussed in Søsterskap, which also considers the darker sides of the welfare state based on exclusion and continuous economic growth that is accelerating the global ecological crisis.
CURATORS: ELINA HEIKKA, CHARLOTTE PRÆSTEGAARD SCHWARTZ, ANNA-KAISA RASTENBERGER, ÆSA SIGURJÓNSDÓTTIR, NINA STRAND, ANNA TELLGREN AND SUSANNE ØSTBY SÆTHER.
PUBLICATION: SØSTERSKAP, OBJEKTIV #27, 2023.
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GREGORY CREWDSON
EVENINGSIDE – 2012-2022
MÉCANIQUE GÉNÉRALE
3 JULY - 24 SEPTEMBER 2023
10.00 AM - 07.30 PM
ACCESSIBLE
BILLETTERIE
Over the past three decades, Gregory Crewdson has been fleshing out a portrait of middle America, that America of picket-fence suburbia gazing wide-eyed at the glimmers of a fading dream. His cinematographically staged photos have gradually pieced together the fragments of a twilight world. His œuvre stunningly interweaves an autobiographical dimension with the portrait of a gloryless America. Wan lights and deserted streets are recurring tropes in his works, which are prepared like movie sets to produce photos that quite astonishingly remain images from nonexistent films.
This exhibition brings together three bodies of work made between 2012 and 2022. They offer unique insight into a decade of creation and reveal the axes of the universe that has posited Gregory Crewdson as one of the major figures of photography. Cathedral of the Pines and An Eclipse of Moths mark a pivotal phase due to the intimacy with which they vibrate, crystallized by the images’ locations, which are connected to the lives of Gregory Crewdson, his romantic and creative partner Juliane Hiam, and their children. They imbue the autobiographical dimension with political overtones, most subtly expressed in Eveningside which conclude the trilogy, shown for the first time in France.
The trilogy is introduced with the earlier series, Fireflies (1996), stripped of the sets and elaborate postproduction that usually accompany his works. Fireflies stands apart from the rest of his œuvre and was kept away from the public eye for a full decade. With its swarm of nuptial ballets in a constellation-studded twilight, Fireflies reveals the world’s poetic pulsation, and thus provides a counterpoint to the world’s slow pulverization depicted in the trilogy. The fireflies convey a deep penchant for contemplation. Here lies one of the underpinnings of his œuvre, a fine oscillation between poetics and politics, between a modest sensitivity and the glance carried on the backwash striking a world caught by a slow brutality.
Jean-Charles Vergne
CURATOR: JEAN-CHARLES VERGNE
EXHIBITION COPRODUCED BY THE GALLERIE D’ITALIA, INTESA SANPAOLO’S MUSEUMS, TURIN, AND THE RENCONTRES D’ARLES.
PUBLICATION: GREGORY CREWDSON, EVENINGSIDE 2012-2022, GALLERIE D'ITALIA – SKIRA, 2022.
WITH THE SUPPORT OF THE TEMPLON GALLERY.
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ARTY GUIDE
- 1
GUY BOURDIN: STORYTELLER
24 February – 31 August 2023
An exhibition dedicated to Guy Bourdin, that delves into the photographer’s singular lens and the striking impact of his vision as a storyteller, whose goal was not to shock, but rather to urge viewers to engage with the images and be intrigued, to question and to play. The idea behind the exhibition is to pay tribute to the work of French photographer Guy Bourdin by portraying his compositional and narrative intent, delving beyond the provocation that has always been associated with his work. In the vein of filmmaker Alfred Hitchcock and artist Edward Hopper, whom he greatly admired, Bourdin was essentially a storyteller, capable of condensing entire novels, usually crime or noir, into a single shot.
ARMANI / SILOS - Milan
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BASQUIAT × WARHOL
PAINTING FOUR HANDS
Between 1984 and 1985, Jean-Michel Basquiat (1960-1988) and Andy Warhol (1928-1987) created around 160 paintings together in tandem, “à quatre mains”, including some of the largest works produced during their respective careers. Keith Haring (1958-1990), who witnessed their friendship and collaboration production, would go on to speak of a “conversation occurring through painting, instead of words,” and of two minds merging to create a “third distinctive and unique mind.”
“Basquiat × Warhol. Painting four hands” is the most important exhibition ever dedicated to this extraordinary body of work and brings together more than three hundred works and documents including eighty canvases jointly signed by the two artists. Also featured are individual works by each as well as a set of works by other major artists (Futura 2000, Michael Halsband, Keith Haring, Jenny Holzer, Kenny Scharf...…) in order to evoke the energy of the New York downtown art scene of the 1980s.
FONDATION LOUIS VUITTON - Paris
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MAN RAY & FASHION
22 April – 13 August 2023
The exhibition includes photographs he took for prominent couturiers, such as Paul Poiret, Elsa Schiaparelli and Coco Chanel, as well as for important fashion magazines, including Harper’s Bazaar, Vanity Fair and Vogue. Man Ray was an innovator who employed technical ingenuity and humour to ultimately change the way dress would be depicted. His experimental procedures and surrealist winks of the eye brought art and fashion closer together and still influence fashion photography today. Contemporary fashion designers continue to find inspiration in his work, and this is especially true of Belgian fashion designers, with their predilection for Surrealism.
Momu - Belgium
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Sarah Bernhardt
And the woman created the star
Sarah Bernhardt, (1844-1923), was an emblematic figure who spanned the 19th and 20th centuries. The “Divine Sarah”, who was an artist as well as an actress, takes centre stage at the Petit Palais in an exceptional exhibition to mark the centenary of her death. The museum holds important collections of works linked to the actress, including the spectacular portrait of her that was painted in 1876 by her friend Georges Clairin and donated by her son Maurice.
Petit Palais - Paris
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Elliot Erwitt
A rétrospective
The exhibition “Elliott Erwitt. A Retrospective” is a tribute to one of the most important photographers of the 20th century, who has been a member of Magnum Photos since 1954.
The exhibition presents his work through a collection of 215 black and white and color photographs.
An American photographer of European descent, Elliott Erwitt is a multi-faceted artist: he’s at the same time a painter of intimacy, a photojournalist, a commercial photographer, a film director, and a portrait photographer of famous personalities such as Marilyn Monroe, Jackie Kennedy, Charles de Gaulle, Ernesto “Che” Guevara, Alfred Hitchcock, Nikita Khrushchev…
Musée Maillol - Paris
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AGNÈS VARDA
LA POINTE COURTE, FROM PHOTOGRAPHS TO FILM
CLOÎTRE SAINT-TROPHIME
3 JULY - 24 SEPTEMBER 2023
09.00 AM - 07.00 PM
BILLETTERIE
Agnès Varda cherished a particular fondness for Sète. Sétoise by adoption as a teenage refugee there during World War II, she returned to the town every year until the beginning of the 1960’s. She began in 1947 as an amateur photographer, then turned professional. Her Rolleiflex captured friends, sailors, the quays of the southern town, water jousts on the canals… and soon the fisherfolk and narrow traverses of Pointe courte, the working-class neighborhood by the Étang de Thau that anchors her first film, shot in 1954.
Agnès Varda’s contact sheets reveal her photographic journey. When we compare the 800-odd photos she took in Sète with the painstaking selection the young woman undertook in 1953 to prepare her film, we begin to see her vision. These are not film stills of the shooting or the set, but images antedating the idea of the film or forming part of its conception. These reference and scouting photographs, collected on nine sheets, were her inspiration for scenes, atmospheres, even particular shots. Her favorite subjects and motifs are confirmed by their reappearance in contemporary or subsequent prints.
Alternating a graphic and a realist style, Agnès Varda produced a radical film, appreciated by cinephiles and critics of the time. Many saluted the originality of its script and especially the daring of its maker, known as the official photographer of the Festival d’Avignon and the Théâtre National Populaire. Produced on a shoestring, La Pointe Courte’s artistic independence broke with the codes of the era’s cinema to the point of being qualified as a precursor of the Nouvelle Vague.
With her first photography show in June in her courtyard on the rue Daguerre (Paris 14) and the shooting that summer of her first film, 1954 crystallized for Varda the connection between these two modes of expression, announcing a unique body of work.
Carole Sandrin
CURATOR: CAROLE SANDRIN, ASSISTED BY ELISA MAGNANI.
WITH THE HELP OF ROSALIE VARDA AND THE CINÉ-TAMARIS TEAM: SHÉRINE EL SAYED TAIH, JULES MARTIN.
EXHIBITION COPRODUCED BY THE INSTITUT POUR LA PHOTOGRAPHIE DES HAUTS-DE-FRANCE AND THE RENCONTRES D’ARLES.
WITH SUPPORT FROM KERING | WOMEN IN MOTION.
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WIM WENDERS
MY POLAROID FRIENDS
3 JULY - 24 SEPTEMBER 2023
10.00 AM - 07.30 PM
ACCESSIBLE
BILLETTERIE
In late 1976, I shot The American Friend in Hamburg and Paris. It starred Bruno Ganz and Dennis Hopper and was based on the novel Ripley’s Game by Patricia Highsmith.
At the time, Polaroid pictures corresponded to what you’d nowadays do on your smart phone. Polaroids were the analogue predecessor of instant photography. They truly represented a photographic notebook, only that the cameras spat out printed “originals”. I recorded my location survey and pinned the little prints on the wall of the production office. The script person took Polaroids of every scene for continuity reasons. I photographed my actors during preparation and sometimes in between scenes. And even in the story, Polaroids were used, in our case by Dennis Hopper who played the dubious character of Tom Ripley and who became so much our “American Friend” during the film that we changed its title from Framed to what it has become ever since.
In that scene, Tom Ripley is alone in his big house in the middle of the night and tormented by remorse, because he has manipulated the innocent German craftsman Jonathan Zimmermann (played by Bruno Ganz) into committing a murder. The way he acted out his pain was by taking a series of self-portraits with the help of his SX-70 camera, finally lying down on his pool table and letting the pictures fall down on him like rain. The scene somehow caught an early insight into the narcissist obsession we all later suffered from when we began to take selfies as if it was the most normal thing on earth. Well, it is now. Who would have thought then that we’d even get used to the fact that our cameras have lenses on both sides! That was unthinkable then, when Ripley turned the Polaroid camera on himself like a gun in order to commit suicide.
In another scene Ripley drives his fabulous Thunderbird through Hamburg and records his thoughts on a portable Walkman. Another reminder of the long and inevitable way into the digital realm…
Wim Wenders
wim-wenders.com
WITH THE COLLABORATION OF WIM WENDERS FOUNDATION, DÜSSELDORF.
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KARÉN KHACHATUROV
Strayed Utopian at EST Galerie
EST Galerie is delighted to invite Karén Khachaturov and present his distinctive selection of photographs «Strayed Utopian» from years 2016 – 2022 in the 11th area of Paris March, 30 – April 5, 2023.
Karén Khachaturov’s work is vibrant, playfull and surrealist. Yerevan, Armenia born and based photographer, delicately wrap real people and complex subjects into his pastel universe. The visual resonance between the color palette (Utopie) and bizzare personages in his latest body of work facilitates the discourse of Dystopia without words.
His career as a photographer began with taking pictures documenting the street but soon after he chose to focus on portrait photography. It seduces thanks to a memorable soft yet striking visual imprint which has become his signature. Slowly, he stepped into fashion and commercial photography, which also shaped his artistic vision. He often uses the commercial colours and pop surrealistic entourages to open a conversation about the new reality- the digital era. In his pastel coloured universe the objects seem to stay the same, but have lost their primal essence.
His works are focusing on the modern sense of the alienation and the loss of empirical experience. In most of his works, the heroes are half people half objects, who look senseless and bored from the alienated communications and the mass cultivated individualism, which as a result turned them into good looking objects with bright entertaining colors, but lack of actual characteristics or senses.
The artist has exhibited his work worldwide from Tel Aviv, Beijing, Shenzhen, Tbilisi, New York to Yerevan and Paris. He also has published several photo books including "Pastel Poetry" in 2019 and "Dystopia" in 2021 but his taste for art and his talent does not stop there. Karén Khachaturov is also a composer of hip-hop music.
“ The consumerism has changed the concept of happiness turning it from a never-ending source of motivation into a one more “Must Have”. A color to try, a device to use, a shape to wear and a feeling to experience. The happiness in the frames of it has to suit certain rules. Anything othervised from those rules may be excluded from its concept, denied and forgotten, because it creates a brick in the perfectly retouched consumeristic world.”
The opening will take place in the presence of the artist on Thursday March 30, 2023 from 6 p.m. to 10 p.m. at the EST Galerie, 76 rue Saint Maur, 75011. The event will mark the start for the gallery in its pursuit to build a cultural dialogue between the Eastern Paris and contemporary art scene of Armenia.
ESTGALERIE.COM
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AZZEDINE ALAÏA / ARTHUR ELGORT / FREEDOM
Together, Azzedine Alaïa and Arthur Elgort shaped the freedom of the 80s. At the same time as the fashion
designer saw his feminine ideal embodied in the street and by the ever-increasing number of clients, the
photographer left the studios, took over the movement and the cities as a natural and new setting. Both
actively contributed to renewing the representation of the now assertive, determined, independent woman.
The exhibition presented at the Azzedine Alaïa Foundation compares timeless photographs essential to the
designer’s iconography, as well as more confidential shots, with Alaïa’s most iconic clothes.
Elgort swapped his Polaroid for a Nikon. He developed a true passion for all types of new and vintage
cameras whose techniques and unique features he appreciated. He became a master of the camera. The
chief editor of Vogue, Alexander Liberman, saw a few photographs by the newcomer and encouraged him
then introduced him to the editors of his illustrious magazine. He did his early shoots in collaboration with
Polly Allen Mellen and Grace Coddington.
Within a year he became famous.
The paths of Azzedine and Arthur obviously ended up crossing in Paris. As they worked together on magazine
shoots, Elgort and Alaïa shared a dislike for superfluous sets and props, which got in the way of Elgort’s
photographic vision and Alaïa’s sculptural creations.
His black and white photos were intended to look like snapshots. He preferred explosive movement to the
clichéd poses of fashion models. He opened the windows of studios to let in the light and turned the street
into his theatre. Alaïa instinctly identified not only with his innovative but rigorous approach. When the
images were published, it was hard to tell who was acting as a foil for whom: was it the joyful photography
that invited to garment to move, or was it the figure-hugging, suggestive dress that provided the movement
captured in the image?
The models captured by Elgort’s lens and dressed by Alaïa became the ambassadors for new forms of
expression where two artistic approaches came together but never clashed.
Linda Spierings, Jeny Howarth, Janice Dickinson, Bonnie Berman, Veronica Webb, Frederique Van der Wal,
Naomi Campbell, Christy Turlington, Cindy Crawford, Linda Evangelista, Stephanie Seymour were like
divinities dancing on the frieze created by Alaïa and Elgort.
This osmosis consists of a unique exhibition in Paris dedicated to photography and fashion, whose revival
was orchestrated by Alaïa and Elgort.
Playfulness, intuition, and spontaneity were at work here. The future showed that this unbridled game would
mark a new chapter in fashion photography, demystifying couture creations to bring them within everyone’s
reach.
Arthur Elgort was born in New York. Azzedine Alaïa in Tunis. Both hoped that the practise of official art
would guide their destiny. Elgort aspired to become a painter and enrolled at Hunter College. Alaïa learned
the techniques of sculpture at the School of Fine Arts in Tunis.
Elgort did not feel fulfilled in the discipline he had adopted. Similarly, Azzedine refused to become a secondrate sculptor. While dressmaking work for a select clientele allowed him to finance his studies, the clothes
he made built him a reputation as a budding designer whose virtuosity was acknowledged. Alaïa took the
risky decision of going to Paris and, in the mid-1950s. His story began.
A similar story characterised the early career of Arthur Elgort. His artistic ambitions deviated when, in the
1960s, he went to a camera shop. He bought a Polaroid camera and learned how to use it, exploring his
environment, showing his pictures to his teachers, and abandoning the past. It became clear that his future
layed in lenses, dark rooms, and photographic papers. He would be a photographer.
The way they evolved in their discipline in exile was different, however.
While he was preparing to sit behind the gleaming sewing machines at the great Paris maisons, Alaïa’s
destiny led him to become a mysterious and sought-after private couturier. Simone Zehrfuss, Louise de
Vimorin, the Comtesse de Blégiers, Arletty commissioned bespoke garments from him. The women who
tracked him down and recommended him gave him a greater understanding of the body and allowed him
to perfect his technique. They would be his “school”, until Thierry Mugler, his leading admirer, persuaded him
to become a fully-fledged fashion designer.
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FASHION WEEK / Paris Femme Automne Hiver 23-24
FEVRIER / MARS 2023
lundi 27 février 2023
16h00 IFM Master of Arts
16h30-19h00 Niccolò Pasqualetti
17h00-19h30 Rui
17h30 Weinsanto
18h00-20h30 Benjamin Benmoyal
20h30 Vaquera
mardi 28 février 2023
9h30-12h00 Cfcl
10h30-13h00 Maitrepierre
11h00 Victoria/Tomas
12h30 Mame Kurogouchi
13h30-16h00 Heliot Emil
14h30 Christian Dior
15h30-18h00 Boutet Solanes
16h00 Dawei
16h00-18h30 HKFG AW 23
16h30-19h00 Anne Isabella
17h00 Anrealage
17h30-20h00 Pressiat
20h00 Saint Laurent
mercredi 01 mars 2023
10h30 Courrèges
11h00-13h30 Litkovskaya
11h00-13h30 Róisín Pierce
11h30-14h00 Nehera
12h00 The Row
13h30 Undercover
15h00 Dries Van Noten
15h30-18h00 Meryll Rogge
16h00 Cecilie Bahnsen
17h00-20h00 Minuit
17h30 Paco Rabanne
19h00 Acne Studios
20h30 Balmain
jeudi 02 mars 2023
10h00-18h00 Alexis Mabille
10h00 Shang Xia
11h00-14h00 Véronique Leroy
11h30 Off-White
13h00 Gauchere
14h00 Chloé
15h30 Givenchy
16h30 Uma Wang S
17h00-19h30 Ruohan
18h00 Rick Owens
18h30-21h00 Boyarovskaya
19h00 Schiaparelli
20h30 Isabel Marant
vendredi 03 mars 2023
10h00-18h00 Alexandre Vauthier
10h00-18h00 Christian Wijnants
10h00 Leonard Paris
11h30 Loewe
12h00-15h00 Lutz
12h30-15h00 Didu
13h00 Issey Miyake
14h00-18h00 Jitrois
14h30 Giambattista Valli
15h00-17h30 Andrew Gn
16h00 Nina Ricci
17h30 Victoria Beckham
19h00 Yohji Yamamoto
20h30 Coperni
samedi 04 mars 2023
9h30 Junya Watanabe
10h30 Ester Manas
11h30-14h00 Situationist
12h00 Noir Kei Ninomiya
13h00 Vivienne Westwood
14h30 Hermès
15h00-18h00 Rochas
16h00 Elie Saab
17h00 Comme des Garçons
17h30-20h00 Florentina Leitner
18h00-20h30 Enfants Riches Déprimés
18h30 Alexander McQueen
20h00 Ann Demeulemeester
dimanche 05 mars 2023
10h00-18h00 Barbara Bui
10h00-18h00 Dice Kayek
10h00 Lanvin
10h00-16h00 Margaret Howell
11h30 Balenciaga
13h00 Ottolinger
14h00 Akris
16h00 Palm Angels
16h30-19h00 Chen Peng
17h00 Atlein
18h30 Pierre Cardin
20h00 Valentino
lundi 06 mars 2023
9h00-12h00 Paul Smith
9h30 Stella McCartney
10h00-13h30 Paula Canovas del Vas
10h00-18h00 Ungaro
10h30 AZ Factory
11h30 Zimmermann
12h30 Shiatzy Chen
14h00 Louis Vuitton
15h00 Heill
15h30 Sacai
16h00-18h30 Calvin Luo
16h30 Rokh
18h00 Germanier
18h00-20h30 GmbH
19h00 Dundas
mardi 07 mars 2023
10h30 Chanel
11h00-19h00 Agnès b.
11h30 Ujoh
12h30 A.W.A.K.E. Mode
14h00 Miu Miu
15h30 Y/Project
16h30 Avellano
17h30-20h00 Mossi
18h00-21h00 Xuly Bët
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ZANELE MUHOLI / MEP / PARIS
The MEP is proud to present the first retrospective in France dedicated to Zanele Muholi, the internationally renowned South African photographer and activist whose work documents and celebrates the Black LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, asexual+) community. This major event, which brings together more than 200 photographs and videos created since the early 2000s as well as numerous archival materials, covers the full breadth of Muholi’s career to date, honouring one of the most acclaimed artists working today.
Zanele Muholi was born in 1972 in Umlazi, in Durban township, SouthAfrica, and lives between Durban and Cape Town. Muholi studied at theMarket Photo Workshop in Johannesburg and Ryerson University in Toronto.Co-founder of the Forum for the Empowerment of Women and founder ofInkanyiso, a forum for queer and visual media, the artist is also an honoraryprofessor at the University of the Arts Bremen, Germany.Their work has featured in numerous solo exhibitions worldwide, includingthose at the Goethe-Institut Johannesburg (2012); the Brooklyn Museum,New York (2015); the Stedelijk Museum, Amsterdam (2017); Autograph ABP,London (2017) and the Museo de Arte Moderno in Buenos Aires (2018). Thisretrospective has been shown at Tate Modern, London; Gropius Bau in Berlin;the Bildmuseet at the University of Umea;the Valencian Institute of ModernArt andthe Kunstmuseum Luzern.Muholi has also won numerous awards, including the Lucie HumanitarianAward (2019); the Photography Book award from the Kraszna-KrauszFoundation forSomnyama Ngonyama: Hail, the Dark Lioness(Aperture); theRees Visionary Award from Amref Health Africa (2019); a fellowship from theRoyal Photographic Society, UK (2018); France’s Chevalier de l’Ordre desArts et des Lettres (2017); and the Mbokodo Award in the visual arts category(2017).The artist has also received the ICP Infinity Award for Documentary andPhotojournalism (2016); the Fine Prize for an emerging artist at the CarnegieInternational (2013); a Prince Claus Award (2013); the Casa África award; and the Fondation Blachère award at Les Rencontres africaines de la photographiein Bamako (2009). The series “Somnyama Ngonyama” was presented at the58thVenice Biennale (2019). “Faces and Phases” was shown at Documenta(13) in Kassel (2012) as well as the 55thVenice Biennale (2013), and wasshortlisted for the Deutsche Börse Photography Prize (2015).
Zanele Muholi, who defines themself* as a “visual activist”, uses the camera as a tool to confront and repair injustice. During the 1990s, South Africa underwent significant social and political change. Democracy was established in 1994 with the abolition of apartheid; this was followed by a new constitution in 1996, the first in the world to outlaw discrimination based on sexual orientation. Despite this progress, the Black LGBTQIA+ community remains the target of violence and prejudice to this day.
Muholi is deeply involved in this community, and their photographic work is inseparable from their life and their activism. Telling stories that are both individual and collective, the artist hopes to give visibility to their community while challenging conventional stereotypes and representations. Bringing to light the uniqueness and diversity of the individuals they picture, Muholi emphasizes their courage and dignity in the face of intolerance and discrimination.
These photographs encourage viewers to address their own misconceptions. Together they create a new lexicon of positive imagery for under- and misrepresented communities, promoting mutual understanding and respect.
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RICK OWENS / SUBHUMAN INHUMAN SUPERHUMAN
THE TRIENNALE DI MILANO PRESENTS RICK OWENS. SUBHUMAN INHUMAN SUPERHUMAN, THE FIRST RETROSPECTIVE ENTIRELY DEDICATED TO THE VISIONARY FASHION AND FURNITURE DESIGNER RICK OWENS, AS SUGGESTED AND PRESENTED BY THE CURATOR OF THE FASHION DEPARTMENT AT TRIENNALE DI MILANO, ELEONORA FIORANI.
FOR THIS EXHIBITION OWENS IS THE AUTHOR OF HIS OWN NARRATIVE, CURATING GARMENTS, ACCESSORIES, FURNITURE, GRAPHICS AND PUBLICATIONS THAT HE HAS SELECTED FROM OVER TWENTY YEARS OF HIS CAREER.
INSPIRED BY THE EXAMPLE OF ARTISTS AND LITERATURE, OWENS HAS ALWAYS WORKED TO PROMOTE AND HIGHLIGHT MOMENTS OF BEAUTY THAT MIGHT OTHERWISE BE OVERLOOKED. KEY TO THIS RETROSPECTIVE IS A SCULPTURAL INSTALLATION, A PIECE WHICH RUNS THROUGHOUT THE SHOW. TAKING THE FORM OF A GIANT EARTHWORK COMPOSED OF CONCRETE, LILIES, ADRIATIC SAND AND HIS OWN HAIR, THE SCULPTURE SERVES AS A METAPHOR OF THE ETERNAL, PRIMAL CREATIVE DRIVE THAT PUSHES HUMANITY FORWARD FOR BETTER OR WORSE.
“I WANTED TO TAKE WHAT A DISMISSIVE WORLD MIGHT MOCK AND CREATE SOMETHING FINE, EMPATHETIC, KIND AND INCLUSIVE.”
“IF I COULD EVER SO SLIGHTLY BLUR THE RIGID PARAMETERS OF WHAT IS CONSIDERED BEAUTIFUL OR ACCEPTABLE IN OUR GENERATION, I WILL HAVE FULFILLED ANY POTENTIAL I HAD TO MAKE ANY POSITIVE CONTRIBUTION TO THIS WORLD.”
RICK OWENS. SUBHUMAN INHUMAN SUPERHUMAN ALSO PRESENTS A LIMITED-EDITION BOX PRODUCED BY ELECTA. THE BOX IS COMPOSED OF SEPARATE BOOKS OF TEXT, COLLABORATIONS WITH PHOTOGRAPHERS, OBJECTS AND HIS OWN UNRELEASED PERFUME CONTAINING CIVET AND AMBERGRIS.
BORN IN PORTERVILLE IN SOUTHERN CALIFORNIA, RICK OWENS LAUNCHED HIS EPONYMOUS LINE IN 1994. HIS FIRST RUNWAY SHOW IN NEW YORK WAS UNDERWRITTEN BY ANNA WINTOUR AND VOGUE USA. IN 2003, OWENS MOVED TO PARIS, WHICH HAS SINCE BEEN THE CENTRE OF HIS OPERATIONS. IN JULY 2005, OWENS INTRODUCED A FURNITURE COLLECTION FEATURING RAW PLYWOOD, MARBLE AND MOOSE ANTLERS, WHICH HAS BEEN EXHIBITED AT THE MUSÉE D’ART MODERNE IN PARIS AND THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES.
A RECIPIENT OF THE 2002 PERRY ELLIS AWARD FOR EMERGING TALENT AND THE LIFETIME ACHIEVEMENT AWARD BY THE COUNCIL OF FASHION DESIGNERS OF AMERICA IN 2017, RICK OWENS WAS ALSO AWARDED THE COOPER-HEWITT DESIGN AWARD FOR FASHION DESIGN, AS WELL AS THE FASHION GROUP INTERNATIONAL RULE BREAKER AWARD IN 2007.
“The clothes I make are my autobiography. They are the calm elegance I want to get to and the damage I’ve done on the way. They are an expression of tenderness and raging ego. They are an adolescent idealization and its inevitable defeat.”
Rick Owens
⏤
JEAN-PAUL PARADINHA
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AITOR ORTIZ
Aitor Ortiz, born in Bilbao in 1971, is one of the best known Spanish photographers. He has already held group and solo exhibitions in numerous big museums in Europe, Asia and America. The largest solo exhibitions include: Museo Guggenheim, Bilbao (2011), Fotogra ska Stockholm (2012), Sala Canal de Isabel II, Madrid (2012). The book » Aitor Ortiz « published by Hatje Cantz in 2011, is an important monograph about his work, for which he has been celebrated by critics and awarded numerous prizes. His works have been included in many different collections, including: Museo Nacional Centro de Arte Reina Sofía, Madrid, Museo Guggenheim Bilbao, Fundación La Caixa, AxA. Belgium, IVAM. Instituto Valenciano de Arte Moderno, Norman Foster Collection and many more.
Beyond the documental photography of architecture, and asserting the dilution factor and transmutation of reality that is associated with photographic representation, Aitor Ortiz works with space, architecture and objects as opening elements to introduce a number of visual and cognitive unknowns. His interest persistently raises a series of dilemmas between representation and interpretation (perception) while establishing a relationship between the content of his images, the physical properties of the materials on which he reproduces his works and their physical position in an exhibition. That’s why Aitor Ortiz is trying to establish a broad spectrum of work process and a relationships between photographed places, the conscious and unconscious mechanisms involved in the process of image manipulation: »the eye« (interpretation, frame, contextualisation ... ), »the camera« (focus / blur, optical distortion, motion transmission ... ), and »the brain« (the limitations of an imperfect device in the interpretation of data and empirical skills: experience, association of concepts ... ) that culminate in the exhibition space; where physical experience again transcends the content of his photographs as part of a process of constant interaction between their representation and the viewer's perception.
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IN INTIMACY WITH CHAD MOORE
Chad Moore (1987, Tampa, Florida), currently lives and works in New York City. A world away from obsessive Instagramming and posed party pictures, photographer Chad Moore’s images are joyful, unselfconscious snapshots of friendship, love and youth at their best. Moore captures his friends scaling billboards, sneaking into swimming pools, going on road trips and undertaking random group activities (like showering) while naked, in shots by turns exuberant, mischievous and sweetly romantic.
Moore escaped Tampa Bay, Florida (leaving behind the remains of a half- completed business degree), via an insurance windfall from a car accident involving illegal Mexican immigrants, and came to New York to work for legendary photographer Ryan McGinley.
Although there are hints of McGinley’s colour- saturated paeans to youth in his work, the 25- year-old Moore documents a different generation of downtown New Yorkers, bringing a sincerity and innocent playfulness to his work that is completely his own. Here, Moore explains the story behind one of his favourite photographs, a picture of two old flames reunited for one night.
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DÉFILÉS FASHION WEEK FEMME / PARIS / Printemps/Été 2020
Lundi 23 septembre 2019
18:00 MAME KUROGOUCHI
19:00 KIMHEKIM
20:00 ROKH
Mardi 24 septembre 2019
10:30 MARINE SERRE
11:30 AFTERHOMEWORK
12:30 VICTORIA/TOMAS
13:30 OTTOLINGER
14:30 DIOR
16:00 DAWEI
17:00 ANREALAGE
18:00 KOCHÉ
20:30 SAINT LAURENT
Mercredi 25 septembre 2019
09:30 LANVIN
11:00 MUGLER
12:00 MAISON MARGIELA
15:00 DRIES VAN NOTEN
16:00 GUY LAROCHE
17:00 ROCHAS
18:00 LEMAIRE
19:00 COURREGES
Jeudi 26 septembre 2019
10:00 CHLOE
11:00 ATLEIN
12:00 MANISH ARORA
13:00 UMA WANG
14:00 PACO RABANNE
15:00 Y/PROJECT
16:30 ANN DEMEULEMEESTER
18:00 RICK OWENS
19:00 OFF-WHITE
20:00 ISABEL MARANT
Vendredi 27 septembre 2019
09:30 LOEWE
10:30 LEONARD PARIS
11:30 BALMAIN
12:30 ISSEY MIYAKE
13:30 CHRISTIAN WIJNANTS
14:30 NINA RICCI
16:00 OLIVIER THEYSKENS
17:00 ANDREW GN
18:00 LUTZ HUELLE
19:00 YOHJI YAMAMOTO
20:30 CELINE
Samedi 28 septembre 2019
09:30 JUNYA WATANABE
10:30 HAIDER ACKERMANN
11:30 RAHUL MISHRA
13:00 ALTUZARRA
14:00 VIVIENNE WESTWOOD
15:00 ELIE SAAB
16:00 CEDRIC CHARLIER
17:00 COMME DES GARÇONS
19:00 YANG LI
20:00 HERMÈS
Dimanche 29 septembre 2019
11:30 BALENCIAGA
13:00 ANAIS JOURDEN
14:00 THOM BROWNE
16:00 AKRIS
17:00 VALENTINO
18:00 EACH X OTHER
19:00 MASHAMA
20:30 GIVENCHY
Lundi 30 septembre 2019
10:00 STELLA MCCARTNEY
11:00 SACAI
12:00 ANTON BELINSKIY
13:30 GIAMBATTISTA VALLI
14:30 AGNÈS B
15:30 BEAUTIFUL PEOPLE
16:30 A.P.C.
18:00 SHIATZYCHEN
20:00 ALEXANDER MCQUEEN
Mardi 01 octobre 2019
10:30 CHANEL
12:00 KWAIDAN EDITIONS
13:30 JARELZHANG
14:30 MIU MIU
15:30 JUNKO SHIMADA
16:30 LACOSTE
19:30 LOUIS VUITTON
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PARIS FASHION WEEK / EVENTS / SPRING-SUMMER 2020
ZIMMERMAN Cocktail Ouverture Boutique
23/09/2019
jusqu'à 20h30
Apicius
20 rue d'Artois
75008 Paris
VIRGIL ABLOH Exposition "Effloressence" - Cocktail
24/09/2019
jusqu'à 21h00
Galerie Kréo
31 rue Dauphine
75006 Paris
KARL LAGERFELD Exposition - Cocktail par Carine Roitfeld
25/09/2019
jusqu'à 21h00
21 rue Saint Guillaume
75007 Paris
LANCEL Soirée - Lancement nouvelle identité
25/09/2019
jusqu'à 21h30
8 place de l'Opéra
75009 Paris
ZADIG & VOLTAIRE Aftershow
25/09/2019
20:30 > 23:59
Hôtel Ritz
15 place Vendome
75001 Paris
ANDAM Diner
25/09/2019
20:30 > 23:00
Ministére de la Culture
3 rue de Valois
75001 Paris
ATELIER COLOGNE 10th Anniversary Cocktail
25/09/2019
19:30
ARTCURIAL
7 rond-Point des Champs-Elysées
75008 Paris
FABIEN BARON Diner
26/09/2019
21:00 > 23:00
Ecole Nationale des Beaux Arts
14 rue Bonaparte
75006 Paris
DUNDAS X RTA Party
26/09/2019
22:00 > 05:00
Hotel Bourbon
39 rue des petites écuries
75010 Paris
ASSOCIATION AZZEDINE ALAÏA Lancement du livre Le Bouquin de la Mode
26/09/2019
19:00 > 22:00
18 rue de la Verrerie
75004 Paris
MAZARINE DJ SET & Drinks
26/09/2019
jusqu'à 02h00
Serpent à plume
24 place des Vosges
75003 Paris
KARL LAGERFELD X L'OREAL Cocktail
27/09/2019
19:30 > 22:00
3 rue mazarine
75006 Paris
BYREDO X CRAIG MCDEAN Book signing
27/09/2019
jusqu'à 20h00
Boutique Byredo
199 rue Saint Honoré
75001 Paris
BOTTEGA VENATA Cocktail
27/09/2019
jusqu'à 20h00
Galerie Lafayette - Champs Elysées
60 avenue des champs Elysées
75008 Paris
RALPH LAUREN X VANITY FAIR Cocktail + Party
28/09/2019
19:00 > 23:59
Boutique Ralph Lauren
173 boulevard Saint Germain
75006 Paris
AU DEPART Cocktail - Sebastopol DJ SET
28/09/2019
jusqu'à 23h00
352 rue Saint Honoré
75001 Paris
WOOLMARK MODERN MERINO Cocktail
30/09/2019
jusqu'à 21h30
Résidence de l'Ambassadeur Australien
4, rue Jean Rey
75015 Paris
SUPIMA DESIGN LAB Cocktail
01/10/2019
19:00
Hôtel de Talleyrand
2 rue Saint Florentin
75001 Paris
HOLIDAY Lancement magazine Holiday
01/10/2019
20:00 > 23:59
Holiday Boileau
11 rue parent de Rosan
75016 Paris
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“TERRAIN OF LIGHT”: PRADA MEN’S AND WOMEN’S AUTUMN/WINTER 2019
For the 2019 Fall/Winter Prada Men’s and Women’s show, AMO has created a theatrical field of lights in the grand hall of the Deposito, the multifunctional venue for performances that is part of the Fondazione Prada complex.
Spectators are seated along the perimeter of the room, occupying several architectural devices – a terrace, newly built stages and a balcony – that give shape to the show space and surround a rectangular void in the center. A platform stippled by a regular grid of light bulbs, balancing between a performative landscape and bygone scientific experiments by Nikola Tesla, shimmers in the darkness of the room.
The models walk, distanced from the crowd, through an artificial terrain made of dimly lit glass and soft spiky foam; evoking a mysterious and uncanny atmosphere, reminiscent of a scene from a science fiction movie. A series of dramatic spotlights enhance the spectacle adding an intimate dimension to the performance, which contrasts with the vastness and industrial character of the
Deposito.
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EAMES RADIO BY VITRA
Eames Radio, Charles & Ray Eames (1946)
After developing a successful method for moulding plywood in the early 1940s, Charles and Ray Eames employed the acquired know-how to create a wide range of products – including radio cabinets. By 1952, roughly 200,000 radios designed by the Eameses had been sold by various manufacturers.
One design, however, never went into production: an elegant table radio with a moulded plywood case, whose compact shape and austere, more technical look were unusual for the time. Conceived in 1946, the radio was rejected by the designated manufacturer, who wanted a 'normal design'. Charles and Ray sent photographs of the prototype to the magazine 'Interiors'; matchbooks were included in the pictures as a scale reference. Their aim was to increase the acceptance of smaller, more modern devices. However, this goal proved elusive, and the production of Eames radios was discontinued in the early 1950s.
More than 70 years later, Vitra has joined the Eames Office to revive the design of this compact radio, which was a favourite of Charles and Ray. Encased in an elegant walnut cabinet and equipped with up-to-date technology by the British manufacturer REVO, the Eames Radio today bears witness to the designer couple's unwavering belief in progress.
The Eames Radio is available in a limited edition of 999 units.
Furniture by Charles and Ray Eames has been a cornerstone of the Vitra Design Museum collection since its inception. A major part of the objects in the couple's estate was received in 1988. After presenting the exhibition 'The Work of Charles and Ray Eames' in 1997/98, the Vitra Design Museum is now holding a comprehensive retrospective of the couple's lifework in 2017/18 entitled 'An Eames Celebration', divided into four parallel exhibitions on the Vitra Campus in Weil am Rhein. To mark the occasion, the Vitra Design Museum has published the 'Eames Furniture Sourcebook' and 'Essential Eames: Words & Pictures'.
https://www.vitra.com/
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