Phase One Delivers Capture One 4 - It Next-Generation RAW Workflow Software
Built on a new architecture, the successor to Phase One’s entry-level Capture One LE offers photographers – pros and enthusiasts alike – a RAW workflow solution for superior image quality.
A newly designed user interface offers high fidelity color and detail reproduction, plus new timesaving workflow features. Capture One 4 supports medium-format digital backs and a wide range of DSLR cameras.
“Our recent survey of professional photographers shows that pros have fully adopted digital and RAW format, with 89 percent of total images now being captured digitally and over 50 percent of them in RAW format,” said Ed Lee, Director at InfoTrends.
“Capture One excels at RAW workflow,” said Jan H. Christiansen, marketing director for Phase One. “Today, it is no less an art to develop digital images than to process film in the darkroom. Ours is not an ‘end-to-end’ solution, but devoted to helping photographers achieve the highest quality from the images they have captured.”
- Capture One 4 invokes more consistent use of shortcuts, tools and naming.
- It is compatible with many other popular applications; for example, users can have a seamless workflow with Capture One to process RAW files and Adobe Photoshop to post process images.
- New user interface offers maximum space for the images.
- Images, not sliders and controls, are the focus.
- A darker background permits easier image viewing and enhancements.
- As with previous generations of Capture One, a guided workflow is available to assist the photographer in the image enhancement process;
- View and work with up to 12 images simultaneously at full resolution;
- Multiple Variants of a single RAW image can be made with virtually no disk and performance overhead;
- Manage and transfer license codes, so Capture One 4 can be used on one computer one day and on another computer the next.
- Recover details in highlights and shadows with high dynamic range control;
- Import and export images in DNG format, for more options to share and archive;
- Powerful new shortcut architecture allows faster image import, adjustment and processing
Capture One 4 is available for 129 USD and 99 EUR.
19/12/07
Kodak Wins Three 2008 CES Innovations Awards
Honors Awarded to Kodak All-in-One Inkjet Printer and Two Digital Cameras
Kodak Company’s innovation was highlighted at the recent International Consumer Electronics Show Press Preview, where the company’s products and services won three prestigious Innovations 2008 Design and Engineering Awards.
The Kodak Easyshare 5300 All-in-One Printer was awarded an Innovation honor in the Computer Peripherals category, while the Kodak Easyshare V1253 garnered Innovations honors in the Digital Imaging category and the Kodak Easyshare ZD710 received accolades for its energy efficient design in the Eco-Design and Sustainable Technology category. The Innovations 2008 Design and Engineering Awards, sponsored by the Consumer Electronics Association and endorsed by the Industrial Designers Society of America, honors superior design and engineering among the year’s most technologically advanced products. Chosen for the honor by a panel of independent industry designers, engineers and journalists, the Kodak Products will be on display at the 2008 International CES in Las Vegas from January 7-10, 2008 in the Kodak booth, Las Vegas Convention Center.
12/12/07
Spencer Finch, In Praise of Shadows at Galerie Nordenhake, Berlin
Spencer Finch, In Praise of Shadows
Galerie Nordenhake, Berlin
December 1, 2007 - January 26, 2008
Galerie Nordenhake in Berlin presents an exhibition with new works by american artist SPENCER FINCH: In Praise of Shadows. Shadows are an always present element of Spencer Finch’s artistic exploration of the psychological and physiological aspects of perception and its limits. His current show at MASS MoCA exemplifies the wide range of ideas and visual modes with which Spencer Finch approaches the paradoxical nature of light and colour. The show “In Praise of Shadows”, however, is specifically devoted to the complex world of shadows. The title derives from Jun’ichiro Tanizaki’s short 1933 treatise, a meditation on the aesthetics of shadows in Japanese culture, threatened by the omnipresence of electric light: “Were it not for shadows, there would be no beauty”, Tanazaki states. Spencer Finch’s exhibition can be seen as a small visual anthology of shadows. A drawing from 1995 is exhibited alongside new watercolours, photographs, light installations, and smaller experimental installations that explore the diverse aspects of shadows.
One of the narrow walls alongside the large gallery window is painted in a monochrome grey colour, transporting the viewer to Johann Wolfgang von Goethe’s house in Weimar. The grey is an accurate chromatic replica of the colour of the shadow cast on a November day in the house where Goethe wrote his “Theory of Colour“ (1810), and where he most likely performed his experiments on coloured shadows. Goethe defined colour as the result of a dynamic interplay between light and darkness. Although Goethe’s theory was rejected in favour of Newton’s purely physical explanation, Goethe’s observations laid the groundwork for colour psychology.
A sequence of 12 photographs captures the transient shadows cast by a lemon tree over the course of a day. The artist travelled to Spain and took the photos at equal intervals from dawn till dusk to record the revolution of the sun around the tree. The work is inspired by a poem about a barren orange tree, written by Federico García Lorca, which adds a melancholic tone to the delicate photographic renderings and points to the long tradition of ascribing shadows deeper psychological meanings. Lorca’s orange tree invokes a woodcutter to cut away his shadow because it can’t stand the torment of seeing itself in its fruitless silhouette.
Eugène Atget, master of the photographic conservation of old Paris, is honoured in a light installation in the second room of the gallery. Spencer Finch uses colour filters and fluorescent lights to re-create the exact darkness of the shadows cast in the Parisian alleyways that were photographed by Eugène Atget around 100 years ago.
What remains constant in Spencer Finch’s work is that he merges dry, scientific methods of measurement and documentation with his subjective creative expression, here demonstrating that shadows are far more than regions of darkness where light is blocked. Rather, they are optical shapes that beckon towards a subjective sublime, reflecting the human condition of never being able to completely know what exists in nature, waiting in the shadows for a stroke of lightning.
NORDENHAKE Berlin, Germany
Gallery's website: www.nordenhake.com
10/12/07
Real Photography Award Finalists
In a further round of judging, the five member international jury has narrowed down the nominees for the REAL Photography Award to six finalists:
• Julian Faulhaber, b. 1975, Germany
• Abelardo Morell, b. 1948, US
• Hans-Christian Schink, b. 1961, Germany
• Livia Corona Velazquez, b. 1975, Mexico
• Thomas Weinberger, b. 1964, Germany
• Danwen Xing, b. 1967, China
Commenting on the selection Roger Hargreaves, Chairman of the REAL Photography Award Jury, said "Photography it seems has never been livelier, more inventive and more creative. Some photographs were always destined for the final selection. As a group, the jury was conscious of wanting to produce not just a selection of the best, but a coherent exhibition that would serve as a benchmark of contemporary photography's engagement with the shifting metropolis and the ever more delicate balance of the environment. We also wanted to reflect the breadth of the submissions and acknowledge interests that recurred across a range of entrants".
The final phase of judging and the announcement of the overall winner will take place on 20 March 2008, the opening day of the REAL Photography Award exhibition incorporating the photographs of all 30 award nominees. The venue of the exhibition will be the Las Palmas II Art Exhibition Centre in Rotterdam, the Netherlands. A colour catalogue of all thirty entries will be available at the travelling exhibition.
Wanafoto previous post about this event: Real Photography Award
06/12/07
DIFC Supports Dubai International Film Festival
The Dubai International Film Festival (DIFF) announced that the Dubai International Financial Centre (DIFC) has become the festival's sole 'Supported By' sponsor.
His Excellency Dr Omar Bin Sulaiman, Governor of the DIFC commented: "Our ambition is for DIFC to highlight Dubai's reputation, not just as a hub for business and finance, but as a centre for excellence and innovation across the board. Whilst the DIFC is driving the growth of the region's financial sector, it is also stimulating Dubai's expansion into other areas, such as art and culture. By supporting DIFF, we are supporting the development of regional talent."
DIFF Chairman Abdulhamid Juma said: "We are pleased to enjoy the support of the Dubai International Financial Centre, which is far-sighted enough to see the importance of culture and the arts to Dubai's development as a true regional hub. Our areas of activity may seem far removed, but in fact are united in the purpose to raise Dubai's reputation globally and to continue to guide its development as a community with much to offer both residents and visitors alike."
DIFF 2007 run from December 9 to 16, and show top films and talent from the West, East and the Arab world gather in Dubai.
Finalists of Independent Games Festival 2007
The Independent Games Festival (IGF) has named the main competition finalists for its historic tenth annual set of awards, celebrating the creations of the independent game community this year.
From a record field of 173 entries, nominations were led by 2D Boy's physics construction game World of Goo and Invisible Handlebar's music-adapting puzzle racer Audiosurf. Games were adjudicated by a panel made up of the creators of previous IGF honorees Aquaria, Braid, Cloud and N; industry veterans from studios including Foundation 9, Crytek, Electronic Arts, Big Huge Games and Midway; and noted journalists from Newsweek, Games For Windows Magazine, Joystiq, Wired, Kotaku, MTV News, and more.
World of Goo and Audiosurf were both nominated for three prizes, including the $20,000 Seumas McNally Grand Prize category; other multiple nominees include 2D/3D platform title Fez, physics-heavy steampunk flying combat title Hammerfall, and Guitar Hero controller-using action game Fret Nice. Other notable nominees for the 10th Annual IGF Awards include stylish 2D pixel action title Noitu Love 2: Devolution, design-nominated bird-watching casual title Snapshot Adventures: Secret Of Bird Island, and evocative art-game The Path.
In addition, an initial set of sponsors for the 2008 Independent Games Festival have been announced. Wizards of the Coast's Gleemax.com is 2008 Platinum Sponsor, alongside Sony and Microsoft as Silver Sponsors and DigiPen as Platinum Student Showcase Sponsor.
The finalists for the 2007 Independent Games Festival are:
Seumas McNally Grand Prize
* Audiosurf, by Invisible Handlebar, LLC
* Crayon Physics Deluxe, by Kloonigames
* Hammerfall, by GKosh
* Noitu Love 2: Devolution, by Konjak
* World of Goo, by 2D Boy, LLC
Best Web Browser Game
* Globulos.com, by GlobZ
* Iron Dukes, by One Ton Ghost
* Tri-Achnid, by TriAchnid Inc
Design Innovation Award
* Battleships Forever, by WYRDSYM Games
* Fez, by Kokoromi
* Fret Nice, by Bits & Pieces Interactive
* Snapshot Adventures: Secret Of Bird Island, by Large Animal Games
* World Of Goo, by 2D Boy, LLC
Excellence in Visual Art
* Clean Asia!, by Cactus?
* Fez, by Kokoromi
* Hammerfall, by GKosh
* Synaesthete, by DigiPen Institute of Technology
* The Path, by Tale of Tales
Excellence in Audio
* Cinnamon Beats, by Secret Exit
* Fret Nice, by Bits & Pieces Interactive
* Audiosurf, by Invisible Handlebar, LLC
* Clean Asia!, by Cactus?
* OokiBloks, by Studio Work3 / Hermit Games
Technical Excellence
* World of Goo, by 2D Boy, LLC
* Audiosurf, by Invisible Handlebar, LLC
* Goo!, by PillowFort
* Axiom: Overdrive, by Reflexive Entertainment
* Gumboy Tournament, by CINEMAX, s.r.o.
The IGF was established in 1998 by the CMP Game Group to encourage innovation in game development and to recognize the best independent game developers, in the way that the Sundance Film Festival honors the independent film community. A separate set of finalists, for the Student Showcase award, will be announced December 17. The finalists will compete for more than $50,000 in prizes. Nominated games will be exhibited at the IGF Pavilion, February 20-22, and announced at the IGF Awards Ceremony on February 20, at CMP's Game Developers Conference (GDC).
01/12/07
The New Art Dealers Alliance (NADA) Art Fair 2007 Miami
The New Art Dealers Alliance (NADA) presents the 5th edition of the NADA Art Fair in Miami. Featuring 86 emerging art galleries from 20 countries, the NADA Art Fair is renowned for its diverse, high quality group of exhibitors as well as its unique atmosphere in the vast sound stages and gardens of the Ice Palace Studios, where the fair has been held since it made the pioneering move in 2004. The fair is open and free to the public from Wednesday, December 5 to Saturday, December 8, 11 a.m.-7 p.m. and Sunday, December 9, 11 a.m.-4 p.m. Shuttle service will be available from South Beach to the Ice Palace for the duration of the fair and the Opening Night Preview.
Schedule begins on Tuesday, December 4th at 4 pm, with a first look preview that will again benefit The New Museum of Contemporary Art, New York. This event is further a celebration of the December 1st public opening of the New Museum’s new building by cutting-edge, Tokyo-based architects Sejima + Nishizawa/SANAA at 235 Bowery, New York. Join us at the preview for a first look at the some of the most exciting emerging art being made today and a complimentary Grolsch Swingtop beer.
Directly following the fair’s preview at 8:30 pm, gallery.sora. in conjunction with the New Museum and NADA, will present a very special live performance by artist Ken Kagami and the avant-garde, musical group, Deerhoof. Having toured with bands including Radiohead and Wilco, Deerhoof is renowned for their innovative sound, acclaimed by Rolling Stone Magazine as “magical art rock.”
Maintaining NADA’s commitment to showing the freshest and most exciting emerging artists, one third of this year’s exhibitors are new to the fair including Ancient & Modern from London, Rodeo Gallery from Istanbul, Hunt Kastner Artworks from Prague and James Fuentes from New York. The 2007 fair will also be distinguished by the extensive number of solo artist booths such as Laura Lancaster with Workplace Gallery, Gateshead, UK; Soju Tao with Take Ninagawa, Tokyo; Matthew Day Jackson with Ballroom Marfa, Marfa TX; Wilfredo Prieto with Galerie Martin Van Zomeren, Amsterdam; Swetlana Heger with Galerie Frank Elbaz, Paris; Amanda Ross-Ho with Cherry and Martin, Los Angeles; Ahmet Ogüt with Rodeo Gallery, Istanbul; and from New York: Olga Chernysheva with Foxy Production; Kamrooz Aram with Oliver Kamm/5BE Gallery; Chris Lipomi with Renwick Gallery; Michael Jones McKean with Sunday L.E.S.; and Mike Womack with ZieherSmith.
For the first time, the outdoor area of the NADA Art Fair will feature a tent housing an expanded publication section, including an array of art periodicals as well as emerging presses, editions, and journals. See below for complete list of exhibitors and publications.
The tented area will also feature Blank Canvas: The Art Exhibit, presented by 7 For All Mankind, the leader in luxury denim in partnership with Condé Nast Media Group and the New Art Dealers Alliance (NADA). This distinctive collaboration between the denim brand and a group of artists from around the world will be unveiled for the first time at the NADA Art Fair. The curator of this exhibit is NADA member Sarah Gavlak, owner of the Gavlak Gallery in West Palm Beach. Gavlak selected a talented assemblage of contemporary artists including Lisa Anne Auerbach, Carolyn Carr, Jim Drain, Philip Estlund, Ruth Laskey, Dean Sameshima, and Shinique Smith. Each artist has merged the fashion and functionality of denim with their chosen artistic medium, creating something unexpectedly fresh and cutting edge.
The New Art Dealers Alliance (NADA) 2007 – Exhibitor List
* indicates first time exhibiting at the NADA Art Fair
Ancient & Modern, London*
The Apartment, Athens
ATM Gallery, New York
Ballroom Marfa, Marfa*
Bellwether Gallery, New York
Joseé Bienvenu Gallery, New York
Blow de la Barra, London
Brown, London*
Shane Campbell Gallery, Chicago
CANADA, New York
Atelier Cardenas Bellanger, Paris
Cherry and Martin, Los Angeles
Galerie Chez Valentin, Paris
Clementine Gallery, New York
Cohan and Leslie, New York
Elizabeth Dee Gallery, New York
Dicksmith Gallery, London
Elastic, Malmö
Galerie Frank Elbaz, Paris*
Eleven Rivington, New York*
Derek Eller Gallery, New York
Evergreene, Geneva
Jonathan Viner/Fortescue Avenue, London
Foxy Production, New York
Carl Freedman Gallery, London
Freymond-Guth & Co. Fine Arts, Zurich*
James Fuentes, New York*
Greed on Red, Dublin
Andreas Grimm, New York/Munich
Guild & Greyshkul, New York
Kavi Gupta Gallery, Chicago/Leipzig
Hunt Kastner, Prague*
Galerie Juliette Jongma, Amsterdam
Iris Kadel, Karlsruhe
Oliver Kamm/5BE Gallery, New York
Karma International, Zurich*
Galerie Ben Kaufmann, Berlin/Munich
Galerie Parisa Kind, Frankfurt*
Kirkhoff, Copenhagen
Nicole Klagsbrun Gallery, New York
Klaus Von Nichtssagend Gallery, Brooklyn*
Klemm’s, Berlin*
KS Art, New York
Lokal_30, Warsaw*
Linn Lühn, Cologne
Mary Mary, Glasgow
Andreiana Mihail Gallery, Bucharest*
Momenta Art, Brooklyn
Monitor Video & Contemporary Art, Rome*
Mother’s Tankstation, Dublin
Murray Guy, New York
Museum 52, London
Myto, Mexico City*
Nogueras Blanchard, Barcelona
Neue Alte Brücke, Frankfurt*
Lizabeth Oliveria, Los Angeles
Ratio 3, San Francisco
Redling Fine Art, Los Angeles*
Daniel Reich Gallery, New York
Renwick Gallery, New York*
Ritter/Zamet, London
Rivington Arms, New York
Rodeo, Istanbul*
Roebling Hall, New York
Samson Projects, Boston
Galerie Micky Schubert, Berlin*
Sister, Los Angeles
Small A Projects, Portland*
Smith-Stewart, New York*
gallery.sora., Tokyo
Nils Staerk Contemporary Art, Copenhagen
Sunday L.E.S., New York*
Take Ninagawa, Tokyo*
Uplands Gallery, Melbourne*
Upstream Gallery, Amsterdam
Vacio 9, Madrid
Van Horn, Düsseldorf*
Martin Van Zomeren/gmvz, Amsterdam
Wallspace, New York
Galerie Jan Wentrup, Berlin*
White Columns, New York
Jan Winkelmann, Berlin
Workplace Gallery, Gateshead
ZieherSmith, New York
Zinger Presents, Amsterdam
Publications
Aesthetica Magazine LTD, York
Afterall, Valencia
ANP Quarterly, Costa Mesa
Art Forum, New York
Art in America, New York
Art on Paper, New York
Art World Magazine, Kent
Article: Art and the Imaginative Promise, Oakland
ArtReview:, London
Aspect: The Chronicle of New Media Art, Boston
Beautiful/Decay, Los Angeles
BOMB Magazine, Brooklyn
Cerealart, Philadelphia
Eyemazing Magazine, Amsterdam
GLARE Quarterly, Portland
Imperfect Articles, Chicago
the journal, New York
Me Magazine, White Plains
North Drive Press, Brooklyn
Ooga Booga, Los Angeles
Paperback Magazine, London
Picture Box, Brooklyn
Pork Salad Press, Copenhagen
Revisionaries, New York
Sherbert Magazine, Brooklyn
Sienese Shredder Editions, New York
sitemagazin, Düsseldorf
SLP Art Culture Commerce, New York
Studio Voltaire, London
TOKION, New York
USELESS magazine/projects, London
Whitehot Magazine of Contemporary Art, New York
Wynwood Magazine, Miami
Dates/Times:
December 5-8, 2007; 11 a.m. to 7 p.m.
December 9, 2007; 11 a.m. to 4 p.m.
Opening Night Preview
to benefit
The New Museum of Contemporary Art, New York
Tuesday, December 4, 2007
4 p.m. to 9 p.m.
Location:
@ The Ice Palace
1400 North Miami Avenue, Miami, FL 33136
(Corner of North Miami Avenue and NW 14th Street)
29/11/07
Photographer Frank Cricchio Honored for Lifetime of Service and Innovation
Professional Photographers of America (PPA) honors Frank Cricchio with the association’s prestigious Lifetime Achievement Award. Not given every year, this award has been designated to only a select few, recognizing a lifetime of service and innovation to the field of professional photography. Cricchio will receive the award during PPA’s Awards & Degree Ceremony held January 8, 2007, at PPA’s Imaging USA convention in Tampa, Fla.
Many have reasons why Cricchio is the right choice for this award. In the words of Jack Reznicki, PPA’s President, “Frank has been an educational force in photography for many years and has influenced countless photographers. It's fitting that he receives PPA's Lifetime Achievement Award: one, because he's deserving as a photographer and educator, and two, it's important for photographers today to recognize the leaders who built the foundations that support us and the industry today.”
Cricchio is widely known as a dynamic leader and innovator in the photographic profession, and he’s always shared his knowledge and skill with others. With his work selected for exhibitions and collections from the first showing at EPCOT to the Photographic Hall of Fame, Cricchio shows the talent that made his teachings so invaluable. He was even rated one of the top ten Pictorial Color Print Exhibitors in the World by the Photographic Society of America (1967).
Combining creative posing styles and vast technical knowledge with the willingness to share information, Cricchio is positioned as one of the greatest teachers, photographers and authors on photographic techniques on the professional scene in America. Along with his studio (founded in 1957), Cricchio started workshops and consulting teams to share knowledge. He was the technical consultant to Fujifilm USA from 1994 to 2007. He consulted with Kodak in the marketing think tank testing Vericolor III film, and was on the team that developed the first computer-generated "Shirley" negative. In addition, he has taught around the world and in every state. Cricchio even joined the Cameracraftsmen of America in 1967, the oldest and most exclusive photographic club. Membership is limited to 40 photographers from around the world... and Cricchio was their President from 1999-2004.
The Lifetime Achievement Award is certainly not Cricchio’s first award. In recognition of his years of service, he has received—to name just a few—the United Nations International Photographic Council “Leadership Award” (2004); the Gerhard Bakker award for contribution to photography education (1993); and honorary degrees and awards from professional photography associations of the United Kingdom, Japan, Mexico, and Puerto Rico. He also received the Honorary Fellow of Photography from the American Society of Photographers (1995), which requires approval by two different Boards of Directors.
When asked about Cricchio’s photographic career, Don Dickson replied, “Frank is the godfather of photography. He was the first person to achieve 1,000 merits with PPA, a world-class photographer, an affiliate school director, PPA board member and PPA President…He has done more for photography than anyone I can think of.”
For more information on the PPA Lifetime Achievement Award and the Imaging USA convention, visit www.imagingusa.org
For more information on Frank Cricchio, Master of Photography, Photographic Craftsman, Certified Professional Photographer, Honorary Master of Photography, Fellow and Honorary Fellow of the American Society of Photographers, visit www.frankcricchio.com
22/11/07
Three Million ArtRage Downloads
In November 2007 the total number of downloads of ArtRage Starter Edition - Ambient Design’s free natural painting application - exceeded three million copies.
Since its first release in February 2004 more than three million copies of the Starter Edition of ArtRage have been downloaded from Ambient Design’s website. ArtRage Starter Edition is now at version 2.5 and has had many updates and improvements since its first release. Schools, hobbyists and people who just like getting messy with paint have been downloading and using the Starter Edition of ArtRage.
"It was just six months ago we passed the two million download milestone, and now we’re at three million downloads of ArtRage Starter Edition. It’s exhilarating to see the quality of artworks being produced. We’ve had great feedback from people who became disillusioned with the cost and hassle of using traditional art media but have started painting again in ArtRage." - Andy Bearsley, Technical Director of Ambient Design Ltd.
ArtRage Starter Edition is a fully-featured natural painting application. It has tools which look and feel like their real-world counterpart. For example, the oil paints mix and smear like real oil paints on real canvas. They even leave bristle marks from the virtual brush in the paint strokes. It is easy to use for new users while having features and technology powerful enough for advanced users. New features in the 2.5 release include rulers, DPI support, more image import/export formats, and many other new features and enhancements.
The Starter Edition of ArtRage is free to use with no time limits. It is also has *no* adware, spyware or other malware. It is available in English, French and German languages, for Windows and as a Universal Binary for MacOSX.
Recently Ambient Design also released ArtRage 2.5 Plus Edition on CD for purchase. This is the perfect way for people to share the unique painting experience of ArtRage with friends as a gift this holiday season.
ArtRage 2.5 Starter Edition can be downloaded from this web address:
20/11/07
Girls on the Verge: Portraits of Adolescence - Photo Exhibition at the ArtIC - Art Institute of Chicago
Girls on the Verge: Portraits of Adolescence
Art Institute of Chicago
December 8, 2007 - February 24, 2008
Lauren Greenfield. Alli, Annie, Hannah, and Berit, All 13, before the First Big Party of the Seventh Grade, Edina, Minnesota, 1998. Restricted gift of Anstiss and Ronald Krueck in honor of RenŽe Harrison Drake, with love and admiration. © Lauren Greenfield/VII (from Girl Culture/Chronicle Books).
The Art Institute of Chicago’s photography exhibition will showcase a collection of perceptive, subtle images focusing on the subject of female adolescence. Girls on the Verge: Portraits of Adolescence — on view in Gallery 1 — features more than 40 photographs and one video by 11 contemporary artists, ranging from documentary pieces examining peer groups and body image to posed individual portraits. These pictures reveal the complexity, power, and common humanity of the transitional moments between girlhood and womanhood. Adolescent girls find themselves on the cusp between child and adult. It is a time of physical and emotional changes, of yearning for freedom while secretly cherishing constraints, of finding the pleasures as well as the terrors of one’s own appeal to the world. Increasingly, the dividing line between innocence and adulthood seems more and more blurred. Not surprisingly, then, this simultaneously beautiful and awkward stage has provided photographers with a wealth of material. In recent years, many contemporary photographers have explored female adolescence with empathetic images, featured in this exhibition, that evoke universal experience. Girls on the Verge includes works by a wide spectrum of photographers, all of whom bring their own perspective to the topic. Artists Tina Barney and Sally Mann, for example, looking at their own families and communities, have helped to pave the way for younger photographers. Although they approach their work from different vantage points, both Melissa Ann Pinney and Lauren Greenfield aim their cameras at “girl culture”; Pinney focuses on her daughter, while Greenfield compiles records of girls and women from all walks of life. Mark Steinmetz and Judith Joy Ross have produced restrained yet poignant black-and-white images of adolescents. In her portraits of teens on the beach and her video of a lip-synching young girl, Rineke Dijkstra presents her subjects as simultaneously confident and vulnerable, while Hellen van Meene directs adolescent girls into contrived poses that highlight the clumsy grace of their changing bodies. Finally, Lalla Essaydi, Céline van Balen, and Katherine Turczan photograph young women from non-Western cultures, who are somewhat removed from the overt sexuality and consumerism of the modern West. Girls on the Verge, featuring works from the Art Institute’s permanent collection and includes recent new acquisitions, is a provocative view of the universal experience of adolescence.
Photographer Lauren Greenfield will provide an insight into her works included in Girls on the Verge on Thursday, January 31, 2008, at 6:00 p.m., in Fullerton Hall.
About Art Institute of Chicago19/11/07
Contemporary Art Exhibition at DIFC in Dubai
The Dubai International Financial Centre (DIFC) is showcasing the shifting trends in contemporary art expression with 'One Voice’ - an exhibition that will bring together some of the world's leading figures in contemporary art. The exhibition, organised by the Cuadro Fine Art Gallery, will be opened by the Governor of the DIFC His Excellency Dr Omar Bin Sulaiman at the beginning of the DIFC Week on the 17th November, and will continue until 29th November.
Acclaimed artists from South Africa, The Netherlands, Spain, Italy, the US and Middle East will be on display at the DIFC. The works are expected to be a cultural feast for art connoisseurs, who can revel in the artistic shifts in use of colour, brushstrokes and thematic interpretation.
Other highlights of the exhibition are works by regional artist Ahmed Baqer and a live sculpting session by renowned sculptor Marianne Houtkamp. Houtkamp, who is globally acclaimed for her provocative African sculptures, will unveil her first in a series of Middle Eastern sculptures. She has spent decades of research on traditional bronze casting and her works are marked by an intense appreciation of individual civilisations.
Participants at the exhibition include: collage and assemblage artists Tony Berlant and Bruce Helander (US); the late painter, sculptor and printmaker Italo Scanga (Italy/US); neo-expressionist Hunt Slonem (US); contemporary painter John Torreano (US), Chico Montilla, Goyo Dominguez, Alfredo Montana, and Alfredo Roldan (Spain); ultra realist Craig Bone (South Africa); and naïve painter Elena Narkevich (Belarus).
Marwan Bin Beyat, Director of Art and Culture at the DIFC, said: "One Voice is an effort to present the highest quality of contemporary art and culture from around the world. It is a pledge to build cultural bridges between East and West. Many of the artists are exhibiting in Dubai for the first time, and they bring with them a refreshing and truly diverse collection of today’s best works."
Fatima Al Shroogi, Founder and Director of the Cuadro Fine Art Gallery, added: "Cuadro is dedicated to celebrating and promoting contemporary art from around the world. One Voice is an exhibition of the unique and inventive interpretations of visual harmony, as appreciated by the global art scene today. The exhibition will be a different experience for art lovers, collectors and critics – all of whom will get a unique glimpse into current trends in international contemporary art."
Cuadro is also a publishing house for scholarly books, catalogues and limited edition prints. The 1000 sq meter space houses a lecture hall where visiting and resident artists will participate in Cuadro’s education programs that are aimed at people of all ages. The Cuadro Fine Art Gallery will open its new facilities at the DIFC Gate Village in early 2008.
Related post
Pino Art Exhibition at DIFC Gallery in Dubai16/11/07
Pino Art Exhibition DIFC Atrium Dubai
© Pino, The Wise Man. Courtesy DIFC, Dubai
The Dubai International Financial Centre (DIFC) is hosting an exhibition of artworks by Pino (born Giuseppe Dangelico), one of world’s most prominent contemporary realism artists who will visit Dubai for the exhibition. This exhibition is organized in support of the fight against breast cancer.
The exhibition, titled PINO, will be open from 26 to 29 November at the DIFC Atrium, The Gate.
Governor of the DIFC, His Excellency Dr. Omar Bin Sulaiman, explains that parallel to the DIFC’s mission of fostering the growth of the global financial services industry, the Centre is supporting the development of an equally rich and vibrant cultural life in Dubai.
“Hosting globally-recognised artists such as Pino at the DIFC is very much in line with our strategy to position Dubai a world-class centre for the arts and art commerce,” he says. He went on to comment, “the DIFC has a strong desire to support important social causes and Pino is renowned for his sensitive portrayal of women and it is therefore appropriate that the exhibition will benefit the Safe and Sound Breast Cancer Awareness programme”.
Internationally acclaimed artist Pino, an Italian living in New York, will exhibit 25 originals in his first visit to Dubai. The DIFC gallery is the first in the Middle East to join about 250 galleries around the world that display Pino’s works.
Marwan J. Bin Beyat, Director, Art and Culture, DIFC, says the Centre is helping to build new bridges of understanding and appreciation between East and West: “Just as the DIFC serves as a gateway for the global financial markets, its cultural commitment is to position Dubai as a new hub for the exhibition and trade of contemporary art from across the world.”
The exhibition is sponsored by Wud Flowers, Saladicious and Birdie Communication.
14/11/07
50 artistes de Rhone-Alpes, Musée Paul Dini à Villefranche-sur-Saone
Exposition : 50 artistes de Rhône-Alpes
Quelle actualité ?
Musée Paul Dini, Villefranche-sur-Saône
Commissaires : Sylvie Carlier, Damien Chantrenne
10 novembre 2007 - 10 février 2008
Le musée municipal Paul-Dini de Villefranche-sur-Saône prend part au questionnement de la Biennale d’art contemporain de Lyon 2007 : « Quel est selon vous l’artiste qui a ou a eu un rôle essentiel dans les années 2000 ? ». Le parcours « 50 artistes de Rhône-Alpes : quelle actualité ? » met en valeur la production récente d’artistes ayant un lien de vie ou de travail avec la Région. Ils s’inscrivent dans une certaine histoire de l’art régional, française et internationale. Leurs oeuvres interrogent l’actualité et le regard du présent. Elles prendront place ou non dans l’histoire de l’art en train de s’écrire ou de s’annuler.
Cette exposition ne s’attache pas à classifier l’œuvre d’art « contemporaine », encore moins de lui trouver de nouvelles classifications. Nous avons cherché à rendre compte, au travers des œuvres choisies et présentées ici, la pluralité des expressions plastiques. Panorama large de la création actuelle en Rhône-Alpes, l’exposition propose au visiteur une photographie non exhaustive d’une diversité artistique qui se manifeste avec des mediums traditionnels et avec les nouvelles techniques (vidéo, assemblages ou installations).
Les artistes présentés : Georges Adilon, Jean-Philippe Aubanel, Armand Avril, Jean-Noël Bachès, Damien Beguet, Carole Benzaken, Stéphane Braconnier, Jean-Marc Cerino, Franck Chalendard, Alain Chevrette, Christine Crozat, Jacques Damez, Marc Desgrandchamps, Hilary Dymond, Philippe Favier, Daniel Firman, Patrice Giorda, Gordon Hart, Isabelle Jarousse, Ernst Kapatz, Jackie Kayser, Denis Laget, Gilles Lecoffre, Guy Limone, Mister Helic, Pierre Montheillet, Patrice Mortier, Hubert Munier, Kacem Noua, Olivier Nord, Numa-Droz, Agnès Petri, Bernard Piffaretti, Pierre Pinoncelli, Alain Pouillet, Paul Raguénès, Samuel Rousseau, Eric Roux-Fontaine, Jacqueline Salmon, Jean-Marc Scanreigh, Max Schoendorff, Denis Serre, Djamel Tatah, Cristina Tavarès, Isabelle Thé, Daniel Tillier, Guillaume Treppoz, Jacques Truphémus, Henri Ughetto, David Wolle.
Commissaires de l'exposition : Sylvie Carlier conservateur du musée Paul-Dini et Damien Chantrenne, chargé du service des publics
MUSEE PAUL DINI
2 place Faubert
69400 Villefranche-sur-Saône
www.musee-paul-dini.com
13/11/07
Phase One - Mamiya - Strategic Alliance
Phase One and Mamiya forms strategic alliance to develop innovative, open platform-based medium format digital camera systems and solutions for professional photographers
The alliance builds on both Mamiya and Phase One’s medium format technology expertise and deep understanding of the uncompromising demands of the modern professional photography market. The agreement includes technology-sharing and intellectual property assets as well as sales and marketing co-operation. The first new camera system will be introduced in the first quarter of 2008.
“Phase One and Mamiya together are committed to equipping photographers with what they need to surpass even their most passionate visions and enjoy the process,” said Henrik Hakonsson, CEO of Phase One. “Phase One is committed to open modular systems thus supporting photographers’ full freedom of choice.”
“With this alliance, Mamiya and Phase One together are ushering in a new chapter for photographers,” said Tsuyoshi Tsutsumi, CEO of Mamiya Digital Imaging. “As a team, we have access to all the software and hardware competences which are needed to further develop unique digital camera solutions in the coming years, including new feature combinations not in the market today.”
11/11/07
Philippe Bachelier, Frederic Buxin, Expo Photo Paris
PHILIPPE BACHELIER et
FREDERIC BUXIN, Photographies
Tirage argentique, tirage numérique, perspectives pour le noir et blanc et la couleur
Expo Photo des Rencontres Photographiques du 10e
© Philippe Bachelier et Frédéric Buxin
Photographie argentique ou numérique ? Loin des polémiques sur la supériorité de l'une ou l'autre, PHILIPPE BACHELIER et FREDERIC BUXIN exposent des photographies en couleur et des photographies en noir et blanc qui emploient ces deux techniques. L'argentique et le numérique sont d'ailleurs complémentaires dans les modes d'expression des photographes du XXIe siècle.
L'exposition s'accompagne d'une explication des différents procédés de tirage photographique.
Atelier Galerie B & B
6 bis, rue des Récollets - 75010 Paris
M° Gare de l'Est
Du lundi au vendredi de 16h à 20h
et le samedi de 15h à 19h30
Du 16/11 au 30/11
10/11/07
Ferdinand Hodler (1853-1918), Musée d'Orsay, Paris
Ferdinand Hodler (1853-1918)
Musée d'Orsay, Paris
13 novembre 2007- 3 février 2008
Ferdinand Hodler (1853-1918) est la première exposition consacrée à ce peintre suisse en France, depuis la monographie que le musée du Petit Palais lui a organisée en 1983 à Paris. Deux ans après l'acquisition par le musée d'Orsay d'un important tableau de l'artiste, Le Bûcheron (1910), cette manifestation s'inscrit dans la programmation inaugurée par le musée en 1995 visant à faire découvrir les grands artistes des écoles étrangères. Depuis une vingtaine d'années, les études et les expositions dédiées à Hodler ont mis en lumière des aspects nouveaux de son oeuvre (préparation et publication du catalogue raisonné, expositions à Genève, Zurich, Munich, etc...). L'exposition du musée d'Orsay a pour ambition de redéfinir les sources et la géographie de l'art moderne et de contribuer à rendre à Ferdinand Hodler la place centrale qui fut la sienne au sein des avant-gardes européennes du tournant du XXe siècle. Lié au symbolisme, Hodler a en effet ouvert des voies décisives vers l'abstraction mais aussi l'expressionnisme.
Ferdinand Hodler fut considéré de son vivant comme l’un des chefs de file de la modernité. Né à Berne en 1853, il vit à Genève jusqu’à sa mort en 1918, mais il accomplit, après des débuts difficiles, une carrière européenne, jalonnée de scandales et de succès. Membre des grandes Sécessions, il voit son oeuvre saluée à Vienne, Berlin et Munich à partir des années 1900. Mais, c'est Paris qui lui offre sa première consécration en 1891 lorsqu'il y présente son tableau manifeste, La Nuit (1889-1890, Berne, Kunstmuseum), interdit d’exposition pour inconvenance par la ville de Genève. Salué par Puvis de Chavannes, Rodin et la critique française, ce tableau lance la carrière internationale de Hodler et en fait un des représentants majeurs du symbolisme : cette oeuvre clé, qui ne quitte jamais le musée de Berne, est prêtée à titre exceptionnel au musée d'Orsay. Au tournant du siècle, Zurich, Genève, Iéna ou Francfort lui passent d’importantes commandes publiques qui sont autant d’occasions pour l’artiste d’expérimenter son goût pour une peinture simplifiée, monumentale et décorative. Il met en scène des épisodes fondateurs de l'histoire de la Confédération suisse (La bataille de Morat, 1917, Glaris, Kunsthaus) et des figures emblématiques comme les faucheurs et bûcherons. Hodler s'impose ainsi dès la fin des années 1890 comme le peintre national suisse par excellence. Dans sa peinture de paysage, il s'attache à magnifier la nature, et en particulier les montagnes, renouvelant profondément le genre. La fidélité à la topographie des lieux s'accompagne d'une stylisation rigoureuse, imposant Hodler comme un paysagiste hors pair, à l'égal de Cézanne (La Pointe d'Andey, vue de Bonneville (Haute Savoie), 1909, musée d'Orsay). Convaincu que la beauté repose sur l'ordre, la symétrie et le rythme, Hodler fonde ses compositions sur ce qu'il appelle le « parallélisme » (« répétition de formes semblables ») (Paysage rythmique au Lac Léman, 1908, collection particulière). Hodler est également un portraitiste profondément novateur : en témoignent des effigies de collectionneurs (Portrait de Gertrud Müller,1911, Soleure Kunstmuseum), de poètes et de critiques qui l'ont soutenu, mais aussi des autoportraits sans concession (Autoportrait aux roses, 1914, Schaffhouse, Museum zu Allerheiligen), qui préfigurent le « cycle de Valentine », sans équivalent dans l'histoire de l'art. De sa compagne à l'agonie, Ferdinand Hodler tire entre 1914 et 1915 une série de portraits qui sont autant de témoignages bouleversants de l'avancée de la maladie et de la mort (Valentine sur son lit de mort, 1915, Bâle, Kunstmuseum).
Après ce cycle, Hodler poursuit sa méditation sur la mort à travers une série de vues presque abstraite du lac de Genève où culmine la quête de simplicité et d'unité que le peintre n'a cessé de radicaliser : « Plus je m'approche de la grande Unité, plus je veux que mon art devienne simple et grand. »
L’exposition du musée d’Orsay rassemble quatre-vingts tableaux majeurs jalonnant la carrière de l'artiste, à partir du milieu des années 1870 jusqu'aux paysages ultimes de 1918 : tous les genres abordés par le peintre, grandes compositions de figures symbolistes, tableaux d'histoire, paysages et portraits sont représentés. Deux cabinets d'arts graphiques, autour des compositions symbolistes (Le Jour III, 1909-10, Lucerne, Kunstmuseum, et la Vérité II, 1903, Zürich, Kunshaus) et des peintures d'histoire, permettent de comprendre les processus de création de Hodler, dessinateur inlassable. Une quarantaine de photographies, prises par des proches et en particulier par Gertrud Dubi-Müller, amie, collectionneuse et modèle de Hodler, nous font entrer dans l'atelier du peintre.
Afin de nouer un dialogue entre l'oeuvre de Hodler et l'art du présent, le musée d’Orsay invite Helmut Federle dans le parcours de l'exposition. L'artiste, qui a toujours reconnu Hodler comme une de ses sources majeures, a choisi quatre dessins de montagnes et un grand tableau monumental 4.4 the Distance, 2002 (collection particulière) en contrepoint de la peinture de Ferdinand Hodler.
Cette exposition est organisée en coproduction avec la Réunion des musées nationaux et bénéficie du soutien de Pro Helvetia, Fondation suisse pour la culture.
Commissaire général : Serge Lemoine, président de l’Etablissement public du Musée d’Orsay
Commissaire : Sylvie Patry, conservateur au musée d’Orsay
Publications : Hodler, 22,5 x 27 cm, broché, 240 pages, 220 illustrations, coédition Musée d'Orsay / RMN
MUSEE D'ORSAY
www.musee-orsay.fr
Musée d'Orsay, Paris
13 novembre 2007- 3 février 2008
Ferdinand Hodler (1853-1918) est la première exposition consacrée à ce peintre suisse en France, depuis la monographie que le musée du Petit Palais lui a organisée en 1983 à Paris. Deux ans après l'acquisition par le musée d'Orsay d'un important tableau de l'artiste, Le Bûcheron (1910), cette manifestation s'inscrit dans la programmation inaugurée par le musée en 1995 visant à faire découvrir les grands artistes des écoles étrangères. Depuis une vingtaine d'années, les études et les expositions dédiées à Hodler ont mis en lumière des aspects nouveaux de son oeuvre (préparation et publication du catalogue raisonné, expositions à Genève, Zurich, Munich, etc...). L'exposition du musée d'Orsay a pour ambition de redéfinir les sources et la géographie de l'art moderne et de contribuer à rendre à Ferdinand Hodler la place centrale qui fut la sienne au sein des avant-gardes européennes du tournant du XXe siècle. Lié au symbolisme, Hodler a en effet ouvert des voies décisives vers l'abstraction mais aussi l'expressionnisme.
Ferdinand Hodler fut considéré de son vivant comme l’un des chefs de file de la modernité. Né à Berne en 1853, il vit à Genève jusqu’à sa mort en 1918, mais il accomplit, après des débuts difficiles, une carrière européenne, jalonnée de scandales et de succès. Membre des grandes Sécessions, il voit son oeuvre saluée à Vienne, Berlin et Munich à partir des années 1900. Mais, c'est Paris qui lui offre sa première consécration en 1891 lorsqu'il y présente son tableau manifeste, La Nuit (1889-1890, Berne, Kunstmuseum), interdit d’exposition pour inconvenance par la ville de Genève. Salué par Puvis de Chavannes, Rodin et la critique française, ce tableau lance la carrière internationale de Hodler et en fait un des représentants majeurs du symbolisme : cette oeuvre clé, qui ne quitte jamais le musée de Berne, est prêtée à titre exceptionnel au musée d'Orsay. Au tournant du siècle, Zurich, Genève, Iéna ou Francfort lui passent d’importantes commandes publiques qui sont autant d’occasions pour l’artiste d’expérimenter son goût pour une peinture simplifiée, monumentale et décorative. Il met en scène des épisodes fondateurs de l'histoire de la Confédération suisse (La bataille de Morat, 1917, Glaris, Kunsthaus) et des figures emblématiques comme les faucheurs et bûcherons. Hodler s'impose ainsi dès la fin des années 1890 comme le peintre national suisse par excellence. Dans sa peinture de paysage, il s'attache à magnifier la nature, et en particulier les montagnes, renouvelant profondément le genre. La fidélité à la topographie des lieux s'accompagne d'une stylisation rigoureuse, imposant Hodler comme un paysagiste hors pair, à l'égal de Cézanne (La Pointe d'Andey, vue de Bonneville (Haute Savoie), 1909, musée d'Orsay). Convaincu que la beauté repose sur l'ordre, la symétrie et le rythme, Hodler fonde ses compositions sur ce qu'il appelle le « parallélisme » (« répétition de formes semblables ») (Paysage rythmique au Lac Léman, 1908, collection particulière). Hodler est également un portraitiste profondément novateur : en témoignent des effigies de collectionneurs (Portrait de Gertrud Müller,1911, Soleure Kunstmuseum), de poètes et de critiques qui l'ont soutenu, mais aussi des autoportraits sans concession (Autoportrait aux roses, 1914, Schaffhouse, Museum zu Allerheiligen), qui préfigurent le « cycle de Valentine », sans équivalent dans l'histoire de l'art. De sa compagne à l'agonie, Ferdinand Hodler tire entre 1914 et 1915 une série de portraits qui sont autant de témoignages bouleversants de l'avancée de la maladie et de la mort (Valentine sur son lit de mort, 1915, Bâle, Kunstmuseum).
Après ce cycle, Hodler poursuit sa méditation sur la mort à travers une série de vues presque abstraite du lac de Genève où culmine la quête de simplicité et d'unité que le peintre n'a cessé de radicaliser : « Plus je m'approche de la grande Unité, plus je veux que mon art devienne simple et grand. »
L’exposition du musée d’Orsay rassemble quatre-vingts tableaux majeurs jalonnant la carrière de l'artiste, à partir du milieu des années 1870 jusqu'aux paysages ultimes de 1918 : tous les genres abordés par le peintre, grandes compositions de figures symbolistes, tableaux d'histoire, paysages et portraits sont représentés. Deux cabinets d'arts graphiques, autour des compositions symbolistes (Le Jour III, 1909-10, Lucerne, Kunstmuseum, et la Vérité II, 1903, Zürich, Kunshaus) et des peintures d'histoire, permettent de comprendre les processus de création de Hodler, dessinateur inlassable. Une quarantaine de photographies, prises par des proches et en particulier par Gertrud Dubi-Müller, amie, collectionneuse et modèle de Hodler, nous font entrer dans l'atelier du peintre.
Afin de nouer un dialogue entre l'oeuvre de Hodler et l'art du présent, le musée d’Orsay invite Helmut Federle dans le parcours de l'exposition. L'artiste, qui a toujours reconnu Hodler comme une de ses sources majeures, a choisi quatre dessins de montagnes et un grand tableau monumental 4.4 the Distance, 2002 (collection particulière) en contrepoint de la peinture de Ferdinand Hodler.
Cette exposition est organisée en coproduction avec la Réunion des musées nationaux et bénéficie du soutien de Pro Helvetia, Fondation suisse pour la culture.
Commissaire général : Serge Lemoine, président de l’Etablissement public du Musée d’Orsay
Commissaire : Sylvie Patry, conservateur au musée d’Orsay
Publications : Hodler, 22,5 x 27 cm, broché, 240 pages, 220 illustrations, coédition Musée d'Orsay / RMN
MUSEE D'ORSAY
www.musee-orsay.fr
Hallelujah Film de King Vidor, 1929
Cinéma > Film américain > King Vidor, Hallelujah, 1929
Hallelujah
Film américain de King Vidor, 1929, 1h46, N&B, VOSTF
Avec Daniel Haynes, Nina Mae McKinney, William Fountaine, Harry Gray
A l’orée du parlant, King Vidor réalise un chef-d’oeuvre de cinéma sonore qui est aussi le premier film qui montre la communauté noire du Sud des Etats-Unis avec une véritable empathie. Emaillé de séquences chantées nourries au blues et au negro-spiritual, Hallelujah flirte aussi avec la danse et la transe d’une manière impressionnante. En trempant l’esprit de Broadway dans la matière documentaire du Sud, King Vidor capte les racines religieuses et profanes d’une campagne encore largement imprégnée par la mémoire de l’esclavage. De ce point de vue, Hallelujah est un film fondateur qui laissera des traces profondes et qui sera salué, dès l’époque de sa sortie, comme une pièce maîtresse.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 15 novembre 2007.
maj 05-2010
05/11/07
Macunaima Film de Joaquim Pedro Andrade, 1969
Cinéma > Film brésilien > Joaquim Pedro de Andrade, Macunaima, 1969
Macunaíma
Film brésilien de Joaquim Pedro de Andrade, 1969, 1h48, couleur, VOSTF
Avec Grande Otelo, Paulo José, Dina Sfat, Milton Gonçalves, Jardel Filho
Macunaíma, "héros sans caractère", évolue avec désinvolture à travers le pays en changeant de couleur : né noir d'une mère indienne, il devient blanc sous une pluie magique.
En pleine explosion du cinéma novo et en pleine dictature brésilienne, Joaquim Pedro de Andrade réalise, en 1969, un film inclassable, mélange ahurissant de théâtralité assumée, de farce grotesque et de syncrétisme baroque. Macunaíma met en scène le face-à-face problématique entre la culture noire et la culture blanche, tandis que la culture indienne n’est jamais très loin. Par la magie de la fable, les Noirs ont le pouvoir de devenir blancs mais, à travers ces métamorphoses successives, Joaquim Pedro de Andrade met à mal, avec un sens du comique assez saisissant, le fameux mythe du métissage brésilien.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 17 novembre 2007
Vaudou I walked with a zombie, Film de Jacques Tourneur, 1943
Cinéma > Film américain > Jacques Tourneur, Vaudou I walked with a zombie, 1943
Vaudou I walked with a zombie
Film américain de Jacques Tourneur, 1943, 1h09, NB, VOSTF
Avec Frances Dee, James Ellison, Tom Conway, Edith Barrett, James Bell
Betsy, une infirmière canadienne, part pour Haïti où elle doit soigner la femme d’un planteur, atteinte d'un mal étrange : celle-ci est sous l'emprise du vaudou.
En pleine collaboration avec le producteur Val Lewton, Jacques Tourneur signe en 1943 une oeuvre splendide et fascinante appelée à devenir un film culte. Vaudou fascine par la manière infiniment poétique avec laquelle il s’affronte aux mystères de l’invisible en plein coeur d’Haïti. Malgré ses apparences de série B, le film de Jacques Tourneur est sans doute la plus parfaite évocation d’une magie noire qui parcourt toute l’Amérique centrale, trouve des échos jusqu’au Brésil et prend ses racines en Afrique. L’inquiétante étrangeté, l’atmosphère entre-chien-et-loup, les rites de possession et d’exorcisme, les murmures et les chants, tout dans Vaudou participe à la vibration d’un film unique.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 16 novembre 2007.
Diaspora, Cycle de cinéma, Musée du Quai Branly
Cinéma > Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris
Cycle de Cinéma Diaspora
Musée du Quai Branly Salle de cinéma
15 - 25 novembre 2007
Accès libre dans la limite des places disponibles
En contrepoint de l’exposition Diaspora qui se tient jusqu’au 6 janvier 2008 dans la galerie Jardin, une programmation de films, établie par Thierry Jousse, se propose d’évoquer les multiples formes cinématographiques de la diaspora noire, de l’Afrique aux USA, en passant par le Brésil, Haïti, les Antilles, ou encore la France métropolitaine.
The Cool World, de Shirley Clarke © Zipporah Films, 1964
A travers cette programmation, les formes, les personnages et les questions nés de cette diaspora noire sont interrogés et mis en évidence : de l’esclavage aux Black Panthers, de l’immigration au métissage, du colonialisme à l’émancipation de l’Afrique, de la négritude à l’apartheid, de la mémoire spoliée aux mouvements de libération, des mélanges culturels aux revendications identitaires, sans oublier des genres musicaux comme la soul music américaine et la samba brésilienne. Cette programmation est aussi l’occasion de mêler classiques et raretés, courts et longs-métrages, fictions et documentaires, nouveaux cinémas et genres traditionnels.
Une manière de dessiner, à même la carte du cinéma, les traces d’une diaspora qui, au fil des années, a définitivement changé la face d’un art particulièrement apte aux métamorphoses et aux mélanges les plus étonnants et les plus explosifs.
Certaines séances sont présentées par Thierry Jousse lui-même et une séance exceptionnelle autour du film rare Come Back Africa de Lionel Rogosin (samedi 24 novembre 2007 à 18h30) est présentée par le fils du réalisateur, Michael Rogosin.
PROGRAMME (Sur le blog, chaque film est présenté dans un message séparé)
Hallelujah, Film King Vidor, 1929 : Jeudi 15, 18h30
Vaudou I walked with a zombie, Film de Jacques Tourneur, 1943 : Vendredi 16, 18h30
Royal Bonbon, Film de Charles Najman, 2001 : Vendredi 16, 18h30
Macunaíma, Film de Joaquim Pedro de Andrade, 1969 : Samedi 17, 14h30
Nelson Cavaquinho, Court-métrage de Leon Hirzman, 1969 : Samedi 17, 16h30
Rio Zone Nord, Film de Nelson Pereira dos Santos, 1957 : Samedi 17, 16h30
Brésiliens d’Afrique, Africains du Brésil, Film de Yannick Bellon et Pierre Verger, 1974 : Samedi 17, 18h30
Le Sergent noir, Film de John Ford, 1960 : Dimanche 18, 14h30
Big Ben, Court-métrage de Johan Van der Keuken, 1967 : Dimanche 18, 16h30
Rio Zone Nord, Film de Nelson Pereira dos Santos, 1957
Cinéma > Film brésilien > Nelson Pereira dos Santos, Rio Zone Nord, 1957
Rio Zone Nord
Film brésilien de Nelson Pereira dos Santos, 1957, 1h30, NB, VOSTF
Avec Grande Otelo, Malu Maia, Jece Valadao, Maria Petar
Deuxième long-métrage de Nelson Pereira dos Santos, grand précurseur du cinema novo, Rio Zone Nord explore la vie d’un compositeur de samba, interprété par le grand acteur noir Grande Otelo.
Comme souvent dans le cinéma brésilien, la musique est ici un moyen d’explorer un territoire, ici le Rio noir cantonné dans la zone nord, celle des bidonvilles et des collines de la ville que le cinéaste arpente avec passion. Mais c’est également une situation sociale que Nelson Pereira dos Santos capture, celle d’un personnage exploité dans son travail et plus globalement, celle d’une communauté noire en butte aux humiliations mais animée par une force de vie inlassable.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 17 novembre 2007.
Nelson Cavaquinho Film Leon Hirzman 1969
Cinéma > Court métrage brésilien > Leon Hirzman, Nelson Cavaquinho, 1969
Nelson Cavaquinho
Court-métrage brésilien de Leon Hirzman, 1969, 14 minutes, VO
Figure quelque peu secrète du cinéma novo brésilien, Leon Hirzman rencontre en 1969 le grand sambiste Nelson Cavaquinho, considéré comme un des grands maîtres du genre, méconnu en Europe mais très célèbre au Brésil, et lui consacre un court-métrage documentaire. Rien de spectaculaire dans ce film mais tout au contraire, la captation du quotidien d’un musicien qui navigue dans les quartiers noirs de Rio, bien loin des plages de sable fin de la zone sud. D’un bar à l’autre, d’une rue à l’autre, la samba noire et blanche de Nelson Cavaquinho semble couler de source et s’inventer sous nos yeux, à la fois produit d’une culture, d’un paysage, d’une ambiance.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 17 novembre 2007.
Royal Bonbon Film Charles Najman 2001
Cinéma > Film français > Charles Najman, Royal Bonbon, 2001
Royal Bonbon
Film français de Charles Najman, 2001, 1h25, couleur, VOSTF
Avec Dominique Batraville, Verlus Delorme
Royal Bonbon de Charles Najman © Gemini Films
A travers la trajectoire d’un personnage qui se prend pour la réincarnation du roi Christophe, figure historique et libératrice d’Haïti, Charles Najman questionne, dans Royal Bonbon, l’histoire d’un pays dont la mémoire se confond très largement avec le mythe. Dans un style qui n’est pas sans rappeler celui de Werner Herzog à l’époque d’Aguirre, la colère de Dieu, et en usant du réalisme magique, Charles Najman parvient à capter la texture baroque d’une culture métissée et quasi-ancestrale en même temps que les échos des dictatures successives subies, depuis des décennies, par les Haïtiens. Royal Bonbon a obtenu le prix Jean Vigo en 2002.
Film diffusé dans le cadre du Cycle de Cinéma Diaspora africaine - Musée du Quai Branly, Paris, 16 novembre 2007
04/11/07
Bob Dylan, Kunstammlungen Chemnitz - The Drawn Blank Series
Bob Dylan: The Drawn Blank Series
Kunstammlungen Chemnitz
October 28, 2007 - March 24, 2008
With The Drawn Blank Series, the Kunstammlungen Chemnitz (Chemnitz Art Collections) are presenting the world's first museum exhibition with around 140 watercolors and gouaches by Bob Dylan. The works are based on motifs that the artist sketched, predominantly in pencil and charcoal, during his travels through the USA, Mexico, Europe and Asia between 1989 and 1992. 92 of the black and white drawings created at that time were published in book form in 1994 under the title Drawn Blank, but have never been publicly exhibited.
Bob Dylan presents familiar subjects such as portraits of women and men, interiors, landscapes, still lifes, female nudes, city and beach views, streets, buildings, cars and ships in expressive images. In contrast to the delicate black and white drawings from Drawn Blank, the works in the Drawn Blank Series show several versions of one of the original motifs in a dynamic, expressive painting style that creates completely new images from the first black and white motifs. Bob Dylan gave all of the works in his Drawn Blank Series additional titles that make the locations more real and more vivid for the viewer.
What is particularly fascinating about this exhibition project is that you can almost be an eyewitness to the creation of an artistic work. The result is of impressive authenticity. They are travel or experience reports that describe locations or capture snapshots. The artist appears like a participating but always invisible observer. The viewing angle is often from a bird's eye view, and an imaginary narrator looks from a great height at the events far below him. A perspective that emphasizes the artist's perspective as a superior observer.
It is a phenomenon of our time that multiple talents are viewed with suspicion. Although it has actually been linked to human nature since time immemorial. The exhibition of the Chemnitz Art Collections shows that Bob Dylan, with his extraordinary synesthetic perceptual talent, succeeds like few other artists in conveying complex perceptions and feelings in several artistic areas.
An extensive catalog with 170 color and 85 black-and-white illustrations in German and English is published by Prestel Verlag for the exhibition, edited by Ingrid Mössinger and Kerstin Drechsel, with text contributions by Prof. Dr. Frank Zöllner, Leipzig, Dr. Diana Widmaier-Picasso, Paris and Dr. Jens Rosteck, Nice.
KUNSTSAMMLUNGEN CHEMNITZ
Theaterplatz 1, 09111 Chemnitz
03/11/07
ArtRage 2.5 Plus edition on CD Released
ArtRage 2.5 Plus edition on CD was announced by Ambient Design. This CD edition of ArtRage contains ArtRage 2.5 Full edition with additional content, tutorials, and demonstration movies. It also comes with a full color, glossy, 80 page printed manual, presented in a DVD case. The ArtRage 2.5 Plus edition CD is compatible with Microsoft Windows and Apple MacOSX. It has been tested with the new edition of Apple Mac OSX (10.5, Leopard) and also 10.3 and 10.4. It is a Universal Binary so it will run on PowerPC as well as Intel processors. For Microsoft Windows ArtRage 2.5 Plus edition is a Windows Vista Certified application, and has also been tested with Windows XP and Windows 2000. ArtRage 2.5 Plus edition on CD is available for purchase for US$39.95
01/11/07
Christian Gidon, Expo Photo Paris
CHRISTIAN GIDON, Photographies
Scènes, Paris-Plage
Expo Photo des Rencontres Photographiques du 10e
Photo © Christian Gidon
" Pendant une vingtaine d'années " photographe historien ", témoin du rite blanc du mariage à l'image ancrée dans la pose, je poursuis mon chemin dans notre quotidien. Pas en humaniste, juste en observateur de mes contemporains, autres moi-même, figures inconnues, éphémères sourires, à la recherche de repères pour apaiser mon angoisse de la vie " Christian Gidon.
Canal Pictures & Art
4, impasse Chausson - 75010 Paris
M° Colonel Fabien
Du mardi au samedi de 14h30 à 19h30
Du 06/11 au 30/11
Richard Chevallier, Expo Photo Paris
RICHARD CHEVALLIER, Photographies
Paris 10 : Portraits et commerces
Expo Photo des Rencontres Photographiques du 10e
Photo © Richard Chevallier
" C'est en arrivant dans le 10ème arrondissement de Paris qu'a germé cette idée de photographier ses habitants. Le choix était multiple pour rendre hommage à ce quartier cosmopolite et extrêmement vivant : accueilli avec une grande gentillesse par ses commerçants, c'est à travers ses commerces que j'ai tenté d'en attraper sa chaleureuse diversité. Portraits et commerces, c'est un point de rencontre à travers chaque regard. Photographe et comédien, je suis né à Paris" - Richard Chevallier
Canal Pictures & Art
4, impasse Chausson
75010 Paris
M° Colonel Fabien
Du mardi au samedi de 14h30 à 19h30
Du 06/11 au 30/11
Estelle Dougier, Expo Photo Paris
ESTELLE DOUGIER, Photographies
Passages Noctambules
Expo Photo des Rencontres Photographiques du 10e
Photo © Estelle Dougier
" Cette série de 10 diptyques est née d'une apparition : celle, un soir, d'une personne dans un endroit désert. Trouver des endroits exclus et poétiques, les photographier la nuit lorsqu'ils sont vides et attendre (parfois en vain) que quelqu'un vienne frôler l'objectif. Les deux images s'associent alors pour créer une histoire instantanée. Une rencontre noctambule " - Estelle Dougier.
Née en 1971 à Paris, les photographies d'Estelle Dougier ont fait l'objet de plusieurs expositions et publications.
Canal Pictures & Art
4, impasse Chausson - 75010 Paris
M° Colonel Fabien
Du mardi au samedi de 14h30 à 19h30
Du 06/11 au 30/11
30/10/07
Eye-Fi World First Wireless SD Memory Card
Eye-Fi 2GB SD Card Uses Wi-Fi to Automatically Upload Photos to Computers and Online Photo Sharing and Social Networking Sites Eye-Fi Inc. today unveiled the Eye-Fi Card — the world’s first wireless SD memory card for digital cameras. The Eye-Fi Card uses home Wi-Fi networks to create an effortless and convenient way for users to send photographs directly from digital cameras to PCs, Macs and online photo and social networking sites. Priced at $99.99 with 2GB of storage, the Eye-Fi Card is available now from major online retailers.
“Digital cameras have made it extremely easy to take pictures, but the rest of the process is a hassle,” said Jef Holove, chief executive officer of Eye-Fi. “The Eye-Fi Card removes the barriers and lets users get to the fun part of sharing and printing their memories. We’re putting the magic back into photography.”
Eye-Fi uses home wireless networks to eliminate the time-consuming chore of dealing with cables, card readers or software plug-ins associated with uploading photos. Users simply turn on their digital camera and their pictures are wirelessly uploaded. The Eye-Fi Card works with existing and new SD-compatible digital cameras and stores photos like a conventional SD memory card.
“We know that a large percent of digital images captured each day are never printed or shared. That adds up to significant lost revenues for photo sharing and printing sites,” said IDC analyst Ron Glaz. “We anticipate wireless cameras will fundamentally change the way people manage their digital photographs in the future and believe that the Eye-Fi Card will help drive these changes.”
How the Eye-Fi Card Works
During a simple set-up process, users can select from among 17 popular online photo sharing, printing, social networking or blogging sites to share their photographs, and select where on their PC or Mac they want to archive their images. Once the set-up is complete, users can focus on taking pictures and sharing memories — and not on the process of uploading photos from their camera.
Eye-Fi’s free upload service allows users to transfer an unlimited number of photos. It handles full-resolution JPEG pictures and intelligently resizes the images if required by the selected online destination.
“We’re thrilled to be among the first to sell the Eye-Fi Card and we expect it to be a big hit for the holidays,” said Aaron Maguire of Buy.com. “Eye-Fi understands how time-starved our customers are, and this solution matches their needs.”
The 2GB wireless SD memory card, which holds approximately 1,000 images, is available now at major online retailers for $99.99 USD. For more information, please visit http://www.eye.fi/. About Eye-Fi
Online Photos Destinations support Eye-Fi
Eye-Fi Card allow users to automatically upload photos from their digital camera directly to 17 online photo sharing, printing, social networking and blogging sites. Eye-Fi users are free to select from popular online photo destinations including KODAK Gallery, Shutterfly, Wal-Mart, Snapfish, Photobucket, Facebook, Webshots, Picasa Web Albums, SmugMug, Flickr, Fotki, TypePad, VOX, dotPhoto, Phanfare, Sharpcast and Gallery.
“We’ve eliminated the hassle and made it simple for users to do more with their photos,” said Ziv Gillat, co-founder and vice president of marketing and sales for Eye-Fi. “By partnering with 17 of the top online photo destinations, we’re giving users the greatest choice and flexibility to do what they want with their photos — from posting to a blog, printing them for relatives, or sharing them online with friends.”
“KODAK Gallery is committed to helping people tell their stories and we are thrilled that the new Eye-Fi Card will help people free their pictures from their cameras so they can share them with friends and family,” said Mark Cook, worldwide director of marketing for KODAK Gallery. “We’re excited that our customers can now spend less time dealing with the upload process and more time creating beautiful and meaningful personalized holiday items like cards, calendars, photo books, and more.”
Eye-Fi users can also choose from top social networking, digital media and blogging sites including Photobucket, Facebook, TypePad and VOX.
“User-generated content is now a defining feature of the online experience, especially when it comes to linking and sharing that content across social networks,” said Alex Welch, president of Photobucket, one of the Web’s most popular creative hubs. “Eye-Fi has made it even easier for Photobucket users to express themselves, and share photos with their community of friends and family.”
About Eye-Fi, Inc.
About Eastman Kodak Company - Kodak is the world’s foremost imaging innovator. With sales of $10.7 billion in 2006, the company is committed to a digitally oriented growth strategy focused on helping people better use meaningful images and information in their life and work. Consumers use Kodak’s system of digital and traditional products and services to take, print and share their pictures anytime, anywhere; Businesses effectively communicate with customers worldwide using KODAK solutions for prepress, conventional and digital printing and document imaging; and Creative Professionals rely on KODAK technology to uniquely tell their story through moving or still images. More information about Kodak is available at http://www.kodak.com/
About Photobucket - Photobucket is one of the Web’s most popular hubs for managing media. Photobucket’s users upload, link to, share and search for billions of personal photos, graphics, and videos every day. The company was founded in 2003 and acquired by Fox Interactive Media, Inc., a division of News Corp., in July 2007. The company is headquartered in Denver, Colo. with offices in Palo Alto, Calif., and is available online at http://photobucket.com/
27/10/07
Carla Accardi, Galerie Greta Meert, Brussels
Carla Accardi
Galerie Greta Meert, Brussels
October 26 - November 24, 2007
GALERIE GRETA MEERT
13 rue du Canal, 1000 Brussels
galeriegetameert.com
Updated 30.06.2019
Galerie Greta Meert, Brussels
October 26 - November 24, 2007
Carla Accardi, who lives and works in Rome, became widely known in the early 1950s for her radical and individual style that departed from both Italian provincialism and post-cubism. In 1947 she co-signed the Forma 1 Manifesto, with artists such as Dorazio, Sanfilippo and Turcato, who were to develop and propagate a more analytical approach to art.
She fills the canvas with a strict lexicon of abstract forms that continuously manage to strike a balance between writing and drawing, as well as between the painting and the sign.
The fresh modernity of her work resides in covering linen canvas, paper or plastic with mechanically applied patterns or antpatterns.
At times the pictorial writing breaks out of the frame format and starts to overrun transparent surfaces or tents. The latter are actualpainted housing units that remind us of Mario Merz’s igloos, but rather without the archaeological and primitive aspects that characterize Arte Povera.
For her present exhibition in Galerie Greta Meert the artist has selected some recent canvases and gouaches on paper. The work on linen canvas presents a very lively ensemble of colours and forms that are reminiscent of her work on plastic (Sicofoil) from the 1960s.
In some pieces Carla Accardi leaves the supporting canvas partly unpainted in reference to writing on paper.
Her work has kept its impressive beauty and power for over 40 years, and through its artistic consistency richly expressed in cheerful and optimistic signs, it has provided a fertile source of inspiration for numerous young Italian artists.
It is commonly accepted among art critics that Carla Accardi, like Marisa Merz, has been one of the most extraordinary female artists of her generation.
This is Carla Accardi’s fifth exhibition in Galerie Greta Meert.
13 rue du Canal, 1000 Brussels
galeriegetameert.com
Updated 30.06.2019
26/10/07
Phase One Microsoft Strategic Alliance
Microsoft and Phase One Form Strategic Alliance to Improve Digital Photography Solutions
Microsoft Corp and Phase One will work together to develop solutions for the Microsoft Windows platform that further innovation in the digital photography space. The alliance combines Phase One’s industry expertise with Microsoft’s widely used platform technology and includes technology sharing and intellectual property assets as well as joint marketing.
“Microsoft and Phase One are joining forces to develop solutions for the Windows platform that meet the sophisticated needs of professional and ‘prosumer’ photographers,” said Kostas Mallios, general manager of the Rich Media Group at Microsoft. “Today’s announcement is another example of Microsoft’s commitment to our customers and the digital imaging industry.”
Microsoft has a strong record of making investments in digital imaging technology for Windows Vista, HD Photo, Photosynth, Digital Image Suite and other products that provide superior solutions for professional photographers and enthusiasts alike. The alliance builds on Microsoft’s focus in the digital imaging market by ensuring that professional-quality tools for the Windows platform are accessible enough for enthusiasts. Phase One has a deep knowledge of the industry, having built software that streamlines the image-capture and post-production process for 14 years.
“Professional photographers are always looking for ways to reduce the amount of time they spend in front of the computer,” said Henrik Hakonsson, CEO of Phase One. “At the same time, enthusiasts want professional-quality tools but don’t want to be bogged down with features and functions they won’t use. We believe our combined expertise in digital imaging technology will help address these unmet needs to the benefit of our digital back customers and our digital SLR software customers.”
Related Post
Phase One and Mamiya Digital Imaging Strategic Alliance
24/10/07
Christian Hoischen, Renwick Gallery, NYC - Jagdszenen aus Niederbayern
Christian Hoischen
Jagdszenen aus Niederbayern
Renwick Gallery, New York
October 20 – November 17, 2007
Renwick Gallery presents Christian Hoischen, Jagdszene aus Niederbayern. This is Christian Hoischen's first solo show in New York.
Christian Hoischen's paintings, collages, photographs and sculptures scratch on the faux facades of the seemingly glossy objects of desire. Christian Hoischen has developed an idiosyncratic technique, related to that of verre églomisé, that allows him to spray, pour, paint and scratch into a layer of acrylic that, after drying out, is mounted onto thick plates of polystyrene. By subtracting the tactile and encasing the gestures of painting, Hoischen enforces a distance between the painting and the viewer. His process of painting onto a layer of transparent acrylic, a skin that is placed paint side down onto thick layers of polystyrene, allows the piece to operate both symbolically and metaphorically. Although the viewer is drawn towards and seduced by the narrative potential of the images, which are derived from media such as the press and advertisement, their essence remains obscure. With their mood ranging from latent sensuality to open violence they mirror the broad variety of Christian Hoischen's painterly approach: treating its subjects with careful detail as much as with disrespectful vehemence. The content or lack thereof is meant to suspend the resulting image on the edge between banality and violence. Christian Hoischen ultimately seeks to elicit from his viewers their own interpretation in this moment.
Christian Hoischen's new sculptures aim to draw out the moment between function and larger abstract concerns. The title "Geklärt im rechten Winkel" which when translated means "clarified in the right angle" acts as a metaphor for the artist. The 90 degrees of a picture frame presents a moment of clarity where the interpretation of a line, an image, or an object transforms from ordinary to being infused with meaning; a process that can only be done when removing the line/image/object from it's original environment. Christian Hoischen again leaves the interpretation from this point on to the viewer. The sculptures can be viewed as a further reduction of his paintings and the goals he sets out to accomplish with them.
Christian Hoischen recent exhibitions include "Eigenartige Geschäfte und Johnny im Wachkoma", Galerie Barbara Thumm, Berlin, 2006; "Fat & Guilty", Galerie Figge von Rosen, Köln, 2006; Städtische Galerie Bremen, 2006; "Steiler Konter", Bregenzer Kunstverein, Bregenz, 2006; "SPEED", Galerie Barbara Thumm, Berlin, 2006; "Ballermann. Die Ausstellung", Kunsthalle Kiel, Kiel, 2006.
RENWICK GALLERY
45 Renwick Street, New York, NY 10013
www.renwickgallery.com
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22/10/07
FIAC 2007: Acquisitions de l’Etat
Le ministère de la Culture et de la Communication a procédé pour la troisième année consécutive à une série d’acquisitions d’œuvres exposées à la 34ème édition de la Foire internationale d’art contemporain (18-22 octobre 2007). Ces œuvres viendront enrichir la collection du Fonds national d’art contemporain.
La commission nationale consultative en charge des acquisitions Arts plastiques a proposé l’acquisition des oeuvres dont la liste se trouve dans la suite de ce message.
Ces acquisitions représentent un budget de 400.000 euros.
Les œuvres acquises par le Centre national des arts plastiques viendront enrichir les collections publiques et seront inscrites sur les inventaires de la collection du Fonds national d’art contemporain.
Le Fonds national d’art contemporain est la plus grande collection internationale d'art vivant rassemblée en France. Constituée par les achats et commandes effectués auprès des artistes en activité et des galeries, la collection s’est enrichie, depuis 1981, de plus de 20.000 oeuvres relevant aussi bien des arts plastiques et de la photographie, que des arts décoratifs et du design.
Le Centre national des arts plastiques en assure la gestion pour le compte de l’Etat, ainsi que sa conservation. Il s’occupe également de la diffusion de la collection par une politique active de dépôts, dans les musées, les administrations et lieux publics, mais, également de prêts lors d'expositions temporaires en France et à l'étranger. Par ailleurs le Centre national des arts plastiques organise chaque année des expositions en région constituées uniquement d’oeuvres de la collection.
Ainsi, du 22 octobre 2007 au 16 décembre 2007, est organisée l’exposition « Début de Siècle, un choix dans la collection du Fonds national d’art contemporain », en partenariat avec le musée départemental d’art contemporain de Rochechouart.
Membres de la commission :
La commission nationale consultative en charge des acquisitions se compose de 9 personnalités qualifiées pour les arts plastiques et de 5 responsables, dans le même domaine, du ministère de la Culture et de la Communication.
Artistes : Daniel FIRMAN, Bernard PIFFARETTI
Collectionneurs : Bruno CARON, Michel POITEVIN
Critiques d’art : Henri-François DEBAILLEUX, Philippe PIGUET
Deux directeurs de lieux de diffusion en région: Le directeur général du musée d’art moderne de Saint-Étienne : Lorand HEGYI, Le directeur du FRAC Champagne-Ardenne François QUINTIN
Une conseillère pour les arts plastiques DRAC Ile de France : Isabelle MANCI
Ministère de la Culture et de la Communication : Olivier KAEPPELIN, délégué aux arts plastiques
Chantal CUSIN-BERCHE, directrice du CNAP
Bernard BLISTENE, inspecteur général de la création artistique, Délégation aux arts plastiques
Christian BRIEND, conservateur à la DMF Camille MORINEAU, conservateur au MNAM-CC
OEUVRES D’ART ACQUISES PAR L’ETAT :
Dennis ADAMS, Make down Vanity, 2006. Vidéo couleur avec son, 26 mn, 2/5. Galerie Gabrielle Maubrie, Paris
Eleanor ANTIN - 2 oeuvres :
The King, 1972. Vidéo d’après film original, 52mn, Galerie Erna Hecey, Bruxelles
Portrait of the King, 1972. Photographie noir et blanc, 58 x 47 cm, 1/1, Galerie Erna Hecey, Bruxelles
Kader ATTIA, Skyline, 2007. Réfrigérateurs, peinture noire et tesselles de miroirs, 1/3. Galerie Anne de Villepoix, Paris
Robert BARTA, Rosso Corsa, 2007. Glissière de sécurité laquée, 80 x 450 x 50 cm. Galerie Frank Elbaz, Paris
Vincent BEAURIN, Coco, 2007. Polystyrène et sable, 167 x 89 x 40 cm. Galerie Frédéric Giroux, Paris
Inaki BONILLAS, Una Tarjeta para J. R. Plaza, 2007. Impression digitale pigmentée sur papier coton, Galerie Projecte SD, Barcelone
Tony BROWN, Pinocchio, Truth, Lies, 2007. Photographie Cprint sur aluminium, 110 x 70 cm, 1/ 5, Galerie Collet Park, Paris
Isabelle CORNARO, Savana (12 paysages différents), 2007. Impression numérique sur papier, série de 12 photographies. 35 x 50 cm chaque, Galerie De Multiples, Paris
Tony CRAGG, Sans Titre, 2000. Aquarelle sur papier, 75,5 x 56 cm, Galerie Karsten Greve, Paris
Matali CRASSET, Nature à habiter : chaise longue, 2007. Bouleau, vernis et peinture laquée, 283 x 122 x 83 cm, Galerie Thaddaeus Ropac, Paris
Wim DELVOYE, Action Doll, 2007. Poupée et 4 tee-shirts, 37 x 17 x 40 cm, Galerie Emmanuel Perrotin, Paris
Véronique ELLENA, Le Pas des ondes, 2006. Photographie couleur, 31 x 39,5 cm, 1/10, Galerie Alain Gutharc, Paris
Mounir FATMI, Connection, 2004-2007. Photographie couleur, 100 x 75 cm, édition à 5 exemplaires, Galerie LA BANK, Paris
Ceal FLOYER, Monochrome Till Receipt (White), 2006. Encre sur papier, 28 x 8 cm, Galerie Esther Schipper, Berlin
Joanne GREENBAUM, Ice Sculpture, 2004. Huile sur toile, 127 x 178 cm, Galerie Nicolas Krupp, Bâle
Camille HENROT, King Kong Addition, 2006. 5 exemplaires + 5 photographies couleur sans titre, 20,8 x 26,3 cm chaque, édition de 3, Galerie Kamel Mennour, Paris
Changha HWANG, Eyetime, 2007. Acrylique sur toile, 213 x 213 cm, Galerie Baronian Francey, Bruxelles
Armand JALUT - 2 oeuvres :
Doigt crumble, 2007. Huile sur toile, 100 x 81 cm, galerie Michel Rein, Paris
La Limace, 2007. Huile sur toile, polyptyque, 61 x 50 cm, 61 x 54 cm, 65 x 50 cm, 65 x 50 cm, Galerie Michel Rein, Paris
Véronique JOUMARD, Travelling II (Hiroshima), 2004. Photographie couleur contrecollée sur aluminium, 180 x 180 cm, édition de 3, Galerie Serge le Borgne, Paris
Julius KOLLER - 2 oeuvres :
Yo yo, 1982. Photographie couleur, Galerie gb agency, Paris.
Anti-Performance, 1980. Photographie couleur, Galerie gb agency, Paris.
Frédéric LECOMTE, Sac de nœuds, 1995-2007. Verre sablé et moteur, 100 x 150 cm, Galerie Claudine Papillon, Paris
Tobias LEHNER, Sans titre, 2007. Acrylique sur toile, 230 x 400 cm, Galerie Suzanne Tarasieve, Paris
Frédérique LUCIEN, Dessin, 2007. Pastel gras et calque additionné, 138 x 110 cm, Galerie Jean Fournier, Paris
Arnaud MAGUET, Fender, Vox et Marshall de la série « Le Caractère fétiche de la musique ». Toile d’amplificateur sur châssis. 3 x (70 x 55 cm), Galerie La Blanchisserie, Paris
Christian MARCLAY, Stereo (série Imaginary Records), 1987. 2 pochettes de disque recollées, 30 x 40 cm, Galerie Paula Cooper, New York
Philippe MILLION, Buffet Combeau. Bois, contreplaqué, medium et peinture, 140 x 110 x 40 cm, 2/7, Galerie Alain Gutharc, Paris
Ivan NAVARRO, The Edge, 2007. Porte en aluminium, miroir et ampoules, 218 x 91,5 x 24 cm, 1/3 + 1EP + 1EA, Galerie Daniel Templon, Paris
Joao ONOFRE, Untitled Version (I see a Darkness), 2007. Vidéo couleur avec son, 4m’18, 1/6, Galerie Cristina Guerra Contemporary Art, Lisbonne
Alexandre PERIGOT, Funky pipe. Aluminium, inox et moteur, 210 x 70 x 70 cm. Galerie Grégoire Maisonneuve, Paris
Guillaume PINARD, Sans Titre, 2007. Crayon sur papier, 250 x 150 cm, Galerie Anne Barrault, Paris
Philippe STARCK – 2 œuvres :
Miss Wirt, 1982. Métal peint, assise et dossier en tissu et cuir, Galerie Peyroulet, Paris
Miss Beason, 1983. Métal peint, cordon et canevas synthétique, Galerie Peyroulet, Paris
Stéphane THIDET, Refuge, 2007. Photographie couleur, 90 x 120 cm, 1/5, Galerie Aline Vidal, Paris
Cécilia TRIPP, Boogie Man, 2007. Film 16 mm, 1’50, 1/3 + 2 AP, Galerie Grégoire Maisonneuve, Paris
Catherine VAN EETVELDE, Glu, 2007. Film d’animation, 3m’, 3/12, Galerie Anne Barrault, Paris
Danh VO, Sans Titre, 2007. Installation composée de 4 sculptures en bois dans 4 caisses en bois. Isabella Bortolozzi, Berlin
Pavel WOLBERG, Sans Titre, 2005. Photographie couleur, Cprint, 1/3, 100 x 150 cm, Dvir Gallery, Tel Aviv
Virginie YASSEF, Astéroïde rampant, prévision pour un astéroïde-étoile, 2007. Roche magnétique et billes de fer, système électrique. 40 x 40 x 4,5 cm, Galerie Georges-Philippe et Nathalie Vallois, Paris
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