mercredi 12 septembre 2018

More Than Two, Micah Lexier

      Micah Lexier, More Than Two (Let It Make Itself), installation view, 2013. Image courtesy of the artist and Birch Contemporary

Pour More Than Two, Micah Lexier a visité des studios d'artistes torontois pendant six mois de recherche. Il en a ramené 221 objets venant de 101 artistes : des oeuvres mais aussi des dessins préparatoires ou des expérimentations scripturales. «I’m calling it sort of like a flea market, in the sense that everything is cheek to jowl, and you as the viewer can pick out the gems. You have the power to say, ‘That’s interesting.’»

Les noms des artistes et les titres des oeuvres ne sont pas sur la table, mais sur un livret à part. Si bien que les oeuvres parlent entre elles et forment un ensemble cohérent. Aussi, ce sont les objets qui parlent, et non la notorité de leurs auteurs. Les contributions d'artistes établis comme Snow, Dean, ou Margaret Priest, cotoient celles de jeunes artistes encore inconnus.

 Micah Lexier, More Than Two (Let It Make Itself), installation view, 2013. Image courtesy of the artist and Birch Contemporary

 Micah Lexier, More Than Two (Let It Make Itself), installation view, 2013. Image courtesy of the artist and Birch Contemporary

Micah Lexier, More Than Two (Let It Make Itself), installation view, 2013. Image courtesy of the artist and Birch Contemporary
Le livre Micah Lexier: One, and Two, and More Than Two présente les images des 221 pièces faites par les 101 artistes, selectionnées et mises en scène par Micah Lexier. 

Micah Lexier, 2013

Sources: artcorejournal, 

jeudi 9 août 2018

Les chemins éponymes, Jungjin Lee


Jungjin Lee, Unnamed Road

«Her images suggest that despite the semblance of fluctuation, some fundamental truths do not alter: just as the surface of the ocean is constantly in flux, its depths in fact remain unchanged and enduring.
Lee’s work is often concerned with the materiality of printing technique, and for twenty years she has utilised a liquid photo-sensitive emulsion brushed on handmade rice paper, a method akin to painting. In Unnamed Road, for the first time digital processes were employed; and yet the images remain explorations of chance and imperfection, drawing the viewer into a realm where fullness of vision is the subject matter.»


L'encyclopédie en images, Batia Suter



Batia Suter, Radial Grammar, 2018


Radial Grammar was created by Batia Suter in 2018 on the occasion of her eponymous exhibition at Le Bal in Paris, from May 25 till August 26, 2018. The imagery in this book, which revolves around radial shapes and concepts, also forms the basis of a video work in the exhibition. Specific for the book is the use of two separate layers of black ink, allowing Suter to create double images and to merge patterns and screens. Departing from pages scanned from her collection of second hand tomes - mainly concerning natural science, precision machinery and art history - Suter freely manipulates them and reorders them within the space of a book, which can be seen as a condensed exhibition on paper. The result is a journey along visual phenomena that reconnects us with the endless curiosity and patience of our younger selves leafing through an encyclopedia, unattended and unable to read, yet all the more sensitive to its inner visual rhymes and correspondences.
With a text by Henri Michaux from 1968.













Batia Suter, Parallel Encyclopedia, 2016

Batia Suter's work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first Parallel Encyclopedia, published in 2007. Underlying themes of Suter's practice are the "iconification" and "immunogenicity" of old images, and the circumstances by which they become charged with new associative values. "In my work, I collect groups of images based on various themes and characteristics, and I investigate how they can manipulate each other, depending on where and how they are placed. In the process of making this book, narrative lines unfolded before my eyes as I shifted images around." 
Design: Roger Willems. 






Painting, sculpture, murder scenes, film stills, x-rays, people praying, people squinting, areal views of crops, areal views of cities, and hundreds of other photographs and illustrations are composed in such a way as to suggest a cinematic sequence of images.


'Parallel Encyclopedia #2 Extended' / 2018 
Inkjet on Digiwall, nails / Installation views 'Deutsche Börse Photography Foundation Prize 2018' 
The Photographers' Gallery, London GB

mardi 7 août 2018

Pictures of pictures, Sara Cwynar

 Pictures of Pictures, Sara Cwynar (2014)
Published by Printed Matter - 24 Pages, 15 x 22 cm, Edition of 350

Qu'est-ce qui est si fascinant dans la série? La répétition du même par une infinité de gens, ou alors le geste du collectionneur qui accumule des images jusqu'à ce que la répétition s'impose au regard? Je suis une grande initiatrice de collections avortées. Je me lasse aussi vite que je me suis jetée dans une nouvelle lubie. Rapidement, le petit tas de choses qui se ressemblent me dérange, occupe un espace qui devrait être vide pour permettre à du nouveau d'apparaître. Alors après quelques semaines, je jette l'embryon de collection et en commence une nouvelle. 







Sara Cwynar’s Pictures of Pictures is a taxonomy of images of photographs found in discarded printed matter, based on writings by Roland Barthes which emphasize the ‘that-has-been’ of photography – how a photo palpably brings the past back to life, while also showing you what is no more. Designed in an indexical yearbook form, the book emphasises death narratives associated with photography – saving and re-presenting a collection of unknown photographic subjects for contemporary viewership.
Encyclopedia Brid, Sara Cwynar

Encyclopedia Brid, Sara Cwynar

La photographie privée en 4 images, Céline Duval

Revue en 4 images n°031>060 - Coffret (dissociable)
Documentation Céline Duval

La revue en 4 images de Céline Duval a pour but de donner une autre chance à la photographie privée d'être vue. Les revues sont envoyées aux abonnés dans une pochette plastique. L'adresse est écrite dessus, le timbre y est collé et tamponné du cachet de la poste.















Céline Duval constitue depuis plusieurs années un fonds iconographique de sources variées : photos de presse, publicités, images de mode découpées dans les magazines, photos d'amateurs, cartes postales trouvées aux puces, auxquelles s'ajoutent ses propres photos. Cette documentation est une base à la réalisation d'un ensemble d'éditions et de cahiers d'images, révélateurs de stéréotypes photographiques. Comprendre, décoder le monde visuel qui nous entoure est au coeur du travail de la Documentation Céline Duval.