Le photographique chez Sigmar Polke par Xavier Domino

 

LE PHOTOGRAPHIQUE CHEZ SIGMAR POLKE
Xavier Domino

Artiste contemporain majeur, SIGMAR POLKE reste toutefois mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'une oeuvre polymorphe, à l'aune d'expérimentations remontant aux années 1960. Tout en restituant le contexte artistique de la production, Xavier Domino nous présente, non sans humour, le large spectre des protocoles suivis et des résultats obtenus. Le photographique ouvre enfin à la compréhension globale d'un parcours et fonde son originalité au croisement improbable du Pop-art et du post-modernisme.

Xavier Domino, ancien élève de l'École normale supérieure (Ulm), de l'Institut d'études politiques de Paris et de l'Ecole nationale d'administration, est maître des requêtes au Conseil d'État. Cet ouvrage est issu d'un mémoire de master d'histoire de l'art préparé en 2003 à l'Université Paris I Panthéon-Sorbonne.

Déployer les acquis d'un travail universitaire dans la dimension singulière de l'essai, tel est le prolongement auquel cette collection invite de jeunes chercheurs. Plutôt que la photographie en tant que telle, ils y abordent des œuvres, des questions politiques et culturelles qui s'inscrivent, de manière centrale ou emblématique, dans le large champ du photographique.

 

Xavier Domino
Le photographique chez Sigmar Polke
Le Point du Jour
Collection Le Champ photographique
mai 2007
15 x 22 cm - 144 pages
40 images en couleurs
ISBN : 978-2-912132-53-6
19 euros

The 40th anniversary of Screen USA

Forty Cheers for Screen (USA) - Company Celebrates Anniversary of Founding, Looks Forward to Bright Future

Among many major milestones in the history of Screen (USA), the company passed another one in June by marking the 40th anniversary of its founding.

Screen (USA) will officially observe its 40th anniversary on September 10 at the Art Institute of Chicago. The event is scheduled to coincide with Graph Expo 2007.

The annual graphic arts industry trade show is the perfect backdrop for celebrating an organization whose success lies in the strength of its products. Even as the company pauses to commemorate its past, the people of Screen (USA) continue to deliver products and services that create unique opportunities for printers and graphic arts firms in North America, Canada and South America. Screen recently has released the latest version of Trueflow 3. Screen’s flagship workflow management system based on Portable Document Format (PDF) and Job Definition Format (JDF) automates prepress operations and optimizes CTP plate production and digital press output. Its JDF compatibility with version 4 strengthens cooperation between management information systems (MIS) and print production.

Product introductions slated for this year include a new inkjet printing system that builds on the successful launch in 2006 of the Truepress Jet520 variable data inkjet printer and Truepress 344 digital offset press. The Truepress Jet2500UV will provide greater flexibility and speed for the fast-growing print-on-demand market. Part of Screen’s digital printing strategy, the Truepress Jet2500UV takes advantage of strong demand for high-precision, multicolor image reproduction.

Scheduled for release in 2007, the next-generation Trueflow SE workflow will implement the powerful Abode PDF Printing Engine to enhance output consistency throughout the workflow. In combination with JDF, it improves overall print productivity and profitability. Integrating this technology into Trueflow SE is further evidence of Screen’s commitment to developing software solutions aimed at providing total solution for customers that plan to drive future Screen hardware devices.

Steeped in history

Screen (USA) is an organization steeped in printing history. Starting out as the first overseas subsidiary of Dainippon Screen Manufacturing Co., Ltd., Screen (USA) supplies systems and components for production of newspapers, folding cartons, books, magazines, brochures, catalogs and many other types of printed materials. It benefits from the engineering prowess of one of the world’s largest manufacturers of prepress equipment. The parent company, incorporated in 1943 with headquarters in Kyoto, Japan, was the outgrowth of a manufacturing concern dating back to the mid-1800s. In 1868, Saigiro Ishida established a copper plate and lithographic printing shop called Ishida Kyokuzan Printing Works. Saigiro Ishida was the great-grandfather of Dainippon Screen’s chairman and CEO, Akira Ishida.

The subsequent acquisition of several patents by Saigiro Ishida and his son Keizo Ishida laid the foundation for transforming the shop into a maker of glass screens used in the photographic reproduction of halftone plates.

By 1946, Dainippon Screen had become a pioneer in wooden process cameras, arc lamps and vacuum printing frames. Dainippon Screen’s ability to deliver outstanding technological achievements and quality meant that the company quickly made a name for itself. Today, Dainippon Screen is the world’s leading supplier of CTP and prepress systems. Its diverse portfolio ranges from digital camera backs and intelligent servers to thermal imaging devices and digital printing systems.

Evolving markets

Screen (USA) is best known for serving the prepress needs of U.S. commercial printers with high-quality color scanners, imagesetters and platesetters. Ongoing development of workflow management software and upgrades to existing applications for proofing, screening and color control improve Screen customers’ production capabilities.

At the same time, Screen (USA) has broadened its reach beyond traditional boundaries and market segments, making inroads in the digital printing arena. Screen technology is found in packaging operations, newspaper companies, trade shops, in-plants and service bureaus in every state, plus Canada and all of Latin America. Simplified workflows

As an industry trendsetter, the Screen organization has been able to draw on an everexpanding wealth of experience to great effect. The company was already committed to efficient, low-cost prepress production when its TaigaSPACE automated workflow system premiered. Launched in 1993, TaigaSPACE featured a multi-functional RIP-on-server architecture. Utilizing core interpreter technology from Adobe Systems as the foundation, it converted PDF and PostScript files to TaigaSPACE’s native POM format. The system proved to be enormously successful, with close to 3,000 users worldwide by 2000. The workflow concept evolved further with Trueflow. Screen unveiled the revolutionary PDF workflow management system at Seybold Boston in 2000. Trueflow challenged the prevailing approach to automated workflows by enabling operation from networked computers and remote locations via standard Internet browsers.

Trueflow increased workflow speed and efficiency by digitally organizing individual tasks in prepress and plate production. It allowed operators to handle computer-to-film needs, and was scaleable to a multi-server, multi-user network.

Trueflow 3, a major upgrade to the workflow system available as of 2004, added enhanced JDF capability. Screen further expanded the Trueflow product with Trueflow Elite. This powerful enterprise-wide workflow system is aimed at large-size, high-volume printing companies that operate multiple production facilities.

JDF-enabled process automation

To take full advantage of the JDF workflow concept, Screen began devising in 2003 the Trueflownet family of workflow solutions. A Trueflownet operating environment provides the necessary resources to interface with customers from job submission to job approval. Technologies developed under the Trueflownet umbrella move critical production-related tasks to the customer’s desktop. Furthermore, Trueflownet’s integrated workflow modules address postpress, fulfillment and business operation needs.

Trueflow 3 is the core of Trueflownet. It strengthens cooperation between every phase of production. It also connects with other Trueflownet software modules to facilitate automated online job submission, document ordering and final production approval.

Trueflownet products are divided into three software suites, each addressing one of the foremost topics affecting the printing industry. The three suites — Rite Suite, Color Suite and Trueflow Suite — improve communication with print buyers, increase automation throughout the production process and enhance overall print quality.

Key product launches

1973: A significant event in the history of Screen was the launch of the SG-701 direct color scanner. Sales of the device set company records.

1980: Screen (together with Toppan Printing Co., Ltd.) developed a system to directly input video image signals stored on videotape to a scanner and then output the images as fourcolor film.

1981: Screen’s first electronic page makeup system was brought to market. The Sigmagraph 2000 served as the forerunner for subsequent Screen makeup systems.

1992: By the 1990s, Screen had cast its eye toward digital workflows, developing the DTS1015 scanning device for desktop publishing.

1995: A key milestone is reached with the debut of the PlateRite 1080. The CTP recorder allowed users to write digital computer files directly onto plates for printing without film.

1998: The introduction of the PlateRite 8000 eight-up platesetter established Screen as an innovator in thermal CTP technology.

2000: Screen launched the four-color Truepress 544 digital offset press and Truepress V200 monochrome printing system. Spekta, the exclusive AM/FM hybrid screening method, also premiered.

2001: The high-speed PlateRite 8600 eight-up CTP featured an enhanced 64-channel recording head to image up to 20 plates per hour at 2,400 dpi. The Tanto 6120 imagesetter brought increased productivity to eight-page imposed film output, producing 20 sheets of film per hour at 2,400 dpi.

2002: The PlateRite 4300 was developed to meet the plate needs of printers with four-page and six-page presses. The PlateRite Ultima, a large, multiple-format platesetter, supported four-page to 32-page plate formats and featured 512-channel laser diode imaging heads based on Grating Light Valve (GLV) technology.

2003: The PlateRite 8800 thermal platesetter with GLV technology headed up Screen’s eight-up CTP series.

2004: The Truepress 344 digital offset press introduced the very latest in processless plate technologies and advanced automation. The PlateRite Ultima 16000 provided the industry’s fastest 16-page CTP device.

2005: The PlateRite News 2000 CTP solution for newspaper prepress made its North American debut at PRINT 05.

2006: The Screen PlateRite portfolio included the widest range of equipment, from twopage to 36-page formats, for commercial, newspaper and package printing. The PlateRite FX870 enabled efficient and precise flexographic plate production for labels, flexible packaging, corrugated, carton and security printing. The PlateRite 6600 targeted the plate needs for a new generation of six-page presses, with a maximum plate size of 38.5 x 26.9 inches and maximum output of 30 plates per hour. The PlateRite Ultima 24000 was engineered for output of 24-page size plates, while the PlateRite Ultima 36000 output 36-page size plates.

Also in 2006, Spekta 2, the only hybrid screen application to incorporate 12-bit halftoning technology, debuted. The Truepress Jet520, a continuous-feed, single-pass inkjet printing press, offered personalized printing for catalogs, direct mail pieces, full-color account statements and other materials based on customer databases.

Eye-Fi secures $5.5 million in series a funding

The round was co-led by Opus Capital and Shasta Ventures. Eye-Fi is developing wireless-enabled products and services that intend to make the “ease of use” promise of digital photography a reality. Carl Showalter, general partner for Opus Capital, and Robert Coneybeer, managing director for Shasta Ventures, have joined Eye-Fi’s board of directors.

“Digital cameras have made it very easy to take pictures, but it’s a chore to get photos off the camera to a place where you can print or share them,” said Coneybeer. “This is a very real problem affecting both consumers who own digital cameras, and companies in the digital photography industry looking to boost profits. We see a huge market opportunity for Eye-Fi because anyone with a Wi-Fi network and a digital camera is a potential customer.”

Eye-Fi was founded in August 2005 by Yuval Koren, president and CEO; Ziv Gillat, vice president of marketing and sales; Eugene Feinberg, hardware architect; and Berend Ozceri, systems architect. The team has five decades of collective experience in delivering successful products at companies including Apple, Atheros, Cisco and Silicon Graphics.

“Wireless technology can enhance digital photography and help the market reach its full potential by removing some key obstacles,” said Ben Bajarin, analyst and strategist at Creative Strategies. “Wireless networks will make it easier to synchronize, upload and share photos, and provide other valuable services like geo-tagging to indicate where the photograph was taken.” said Bajarin.

“Remember that sense of anticipation you felt when you picked up your prints from the local store? We want to bring that excitement back to photography,” said Koren. "Our services will use wireless technology to automatically upload photographs from a digital camera, making it easy for people to experience the real magic of digital photography."

Eye-Fi will use the funds for product development, operations, support, marketing and production. The company plans to release its first product, which is currently in beta trials, later this year.

About Eye-Fi - Founded in 2005, the company is dedicated to building services that help consumers navigate, nurture and share their visual memories. Eye-Fi’s patent-pending technology works with Wi-Fi networks to automatically send photos from a digital camera to online, in-home and retail destinations. Headquartered in Mountain View, Calif., the company’s investors include Opus Capital and Shasta Ventures. More information is available at www.eye.fi

About Shasta - Shasta Ventures is an early-stage venture capital firm investing in technology-enabled businesses serving consumers and enterprises. Located in Menlo Park, Calif., Shasta Ventures manages a $210 million fund. Shasta was formed in 2004 by venture capital veterans and has made 19 investments to date across consumer and business services, infrastructure and software. For more information on Shasta Ventures, please visit www.shastaventures.com

About Opus Capital - Opus Capital is a venture capital firm with more than $1 billion capital under management, investing in committed, high integrity entrepreneurs building early-stage technology companies. The team has participated in the successful outcomes of more than 80 companies (including 50 IPOs) in the U.S. and in Israel including AirGate PCS, Electronics for Imaging, FedEx, Genesys, Harmonic, Precept Software and Vantive. Opus Capital is headquartered on Sand Hill Road in Menlo Park, California.

Annette Messager @ Centre Pompidou, Beaubourg, Paris - Exposition Les Messagers

Annette Messager : Les Messagers

Centre Pompidou, Paris

6 juin - 17 septembre 2007

Figure majeure de la scène internationale contemporaine, ANNETTE MESSAGER a représenté la France à la Biennale de Venise de 2005, où elle a obtenu le Lion d'Or.

Elle investit les espaces du Centre Pompidou de son étonnant et saisissant répertoire de formes et de matériaux (peluches, animaux naturalisés, tissu, laine, photographies, dessins…), mêlant les registres, jouant de nos sensations et de nos sentiments avec une remarquable virtuosité.

Le parcours, non chronologique, présente un panorama de l’œuvre depuis les travaux intimistes du tout début des années 1970 jusqu’aux très grandes installations des années 1990 et 2000, qui intègrent progressivement le mouvement. Le dialogue se créé par affinités et tensions, dans une chorégraphie où se mêlent ludique et tragique.

L'artiste réalise un projet spécifique particulièrement spectaculaire pour le Forum et a également conçu un laisser-passez original pour 2007 dans le cadre du 30ème anniversaire du Centre Pompidou.

L’univers d’Annette Messager, qui emprunte à l’imagerie populaire, à l’art brut comme à l’art savant, repose sur une dualité subtile, suscitant chez le visiteur des sensations contradictoires, entre attraction et répulsion. Le visiteur est saisi, dès l’entrée dans le Centre Pompidou, par l’étonnant ballet que lui offre l’installation imaginée par l’artiste pour le Forum : La Ballade de Pinocchio à Beaubourg. Des fragments de corps humain en skaï rembourré, emprisonnés dans de grands filets noirs, semblent tomber en chute libre dans l’ouverture du Forum jusqu’au niveau inférieur, où les accueille un amas de traversins. Entourée d’un ring, cette masse au sol est parcourue par un petit personnage de bois allongé paresseusement sur un polochon: Pinocchio, dont le rêve de devenir un être humain semble s’incarner sous nos yeux.

Devant l’entrée de l’exposition, les silhouettes en tissu de La Ballade des pendus (2002), accrochées au plafond à un rail, parcourent l’espace à la manière d’un manège forain, s’agitent, bringuebalent, dans une sorte de défilé macabre.

Le visiteur pénètre alors dans l’exposition par un corridor où se déploie Eux et nous, nous et eux (2000), installation de miroirs suspendus horizontalement au-dessus de nous et servant de socle à des animaux naturalisés, dont la tête, comme greffée, est recouverte d’un « masque « de peluche. Notre reflet se combine à la vision de ces êtres ambigus, qui tiennent tout autant de la mort que du vivant.

Le début de l’exposition rend compte des deux temps forts de la première période de l’artiste, au début des années 1970 : Les Pensionnaires et les Albums-Collections, à travers lesquels elle pose d'emblée, en tant qu’artiste et femme, la question de l'identité. Avec Les Pensionnaires, petite ribambelle d'oiseaux naturalisés qu’Annette Messager soigne, habille, observe et réprimande comme s'il s'agissait de ses enfants, le rôle de la mère est mis à mal de façon tout à la fois grave et cocasse. Dans les Albums-collections, elle s'empare des fragments de notre quotidien pour les décliner dans des petits cahiers dérisoires, constitués avec une application et un soin obsessionnels, décrivant un univers féminin stéréotypé, fait de rêveries, de fantasmes, mais aussi de devoirs et de soumission. Ils sont réunis ici dans une « chambre secrète», dont l’intérieur n’est visible qu’à travers quelques fentes pratiquées dans les murs.

Les œuvres des années 1980, plus théâtrales, investissent les murs comme dans les Chimères (1982-84), imagerie fantastique et monstrueuse faite de photographies déchirées et peintes. Mes Trophées (1986-88), grandes photographies accrochées à la manière de tableaux anciens, arborent morceaux de bras, de jambes, yeux, seins, ornés de dessins précieux qui donnent à ces membres un statut d’ex-voto.

Le corps est omniprésent dans l’œuvre d’Annette Messager. Il s’expose ainsi en de multiples fragments, comme sous la forme d’une accumulation de petites photographies suspendues dans Mes Vœux (1988-90), de cheveux, dans Mes Vœux avec nos cheveux, ou à travers des substituts en peluche dans Mes petites Effigies (1988), ou encore, plus tard, dans Les Restes (1998-2000), étalages muraux de morceaux de peluche.

Les installations des années 1990, inaugurées par Les Piques (1991-93), se développent largement dans l’espace. Dans l’imposante pièce Dépendance-Indépendance (1995-1996), des éléments évoquant des organes, faits de tissu rembourré, pendent parmi des mots dans le même matériau, des fils de laine colorés ou des filets renfermant des formes incertaines, et renvoyant le spectateur à la somme dérisoire de ses constituants. Avec En Balance (1998), des fils de laine détricotée se déploient dans l’espace, tel un réseau sanguin.

L’environnement articulés-désarticulés (2001-2002), présenté pour la première fois à la Documenta XI de Cassel, est l’œuvre avec laquelle Annette Messager introduit le mouvement : des pantins-automates en tissu s’agitent au dessus de formes inertes, telles des épaves, qui semblent renvoyer à une catastrophe. Le mouvement est encore exploré avec Casino, œuvre conçue autour du thème de Pinocchio pour le Pavillon français de la Biennale de Venise de 2005, rendu ainsi méconnaissable. L’installation centrale, qui constitue le cœur de l’exposition du Centre Pompidou, utilise une soufflerie pour faire se mouvoir, telle une vague, un immense voile rouge, beau et inquiétant. La question du souffle est à nouveau explorée dans une œuvre récente, Gonflés-Dégonflés (2006), jungle d’organes, de peau, de fluides, qui « respirent » en un mouvement ondulatoire, dans une imbrication du dedans et du dehors, sorte de parodie grotesque qui nous renvoie à nous-mêmes.

Après le Centre Pompidou, l’exposition sera présentée fin 2007 à l’Espoo Museum of modern art en Finlande, en 2008 au Mori Art Museum à Tokyo (Japon), au National museum of contemporary art de Séoul (Corée) et en 2009 en Angleterre.

Commissaire de l'exposition : Sophie Duplaix, conservatrice au Musée national d’art moderne, service des collections contemporaines.

Catalogue de l'exposition en coédition Centre Pomidou/Xaviel Barral. 608 pages, 170 x 240, 500 photos couleurs. Auteurs : Jérôme Alexandre, Marie-Laure Bernadac, Elisabeth Bronfen, Maurizio Cattelan, Christian Caujolle, Jean-Pierre Criqui, Marie Darrieussecq, Georges Didi-Huberman, Sophie Duplaix, Caroline Eliacheff, Catherine Grenier, Elisabeth Lebovici, Bernard Marcadé, Marilù Marini, Suzanne Pagé, Béatrice Parent, Olivier Py, Erik Sablé, Joan Simon, Cyril Thomas

CENTRE POMPIDOU

Beaubourg, Paris

Galerie Sud, Niveau 1 et Forum

www.centrepompidou.fr

Mark Lewis first recipient of the Gershon Iskowitz Prize at the AGO

 

Photographer and filmmaker Mark Lewis was born in Hamilton, Ontario, in 1957. He now lives and works in London, England. He attended Harrow College of Art (London) and the Polytechnic of Central London. Starting out as a photographer, Mark Lewis began to experiment with film in the mid-1990’s. He is the co-founder of Afterall – a research and publishing organization – and founding editor of the Afterall Journal. Every issue of the journal brings together five international artists and discusses their works. Mark Lewis is also the principal lecturer of research at Central St. Martins School of Art and Design, in London.

On May 31, 2007, Mark Lewis has been jointly recognized by the Art Gallery of Ontario (AGO) and the Gershon Iskowitz Foundation for his contribution to the visual arts in Canada. Mark Lewis is the first recipient of the Gershon Iskowitz Prize.

The AGO’s permanent collection includes one of Mark Lewis’ most famous works – Algonquin Park, Early March (2002), in which he uses a slow reverse zoom. The four-minute film, shot in Ontario, begins with whiteness that the viewer perceives to be sky, but as the image unfolds it is revealed to be the frozen surface of a lake.

“Lewis returns to the locale made familiar and famous by the Group of Seven painters, artists such as Tom Thomson, and realizes a work of startling revelation,” says David Moos, AGO curator of contemporary art and a member of the jury that selected Mark Lewis. “As in many of Lewis’ films, the viewer is transported in both narrative and perceptual terms.”

Mark Lewis has always been fascinated with the social phenomenon and power of film. His work explores the pictorial possibilities of this art form, often using 35mm film, professional actors and basic cinematic techniques characteristic of avant-garde and mainstream cinema. His works seek to make connections between art history and cinema.

Some of Lewis’ other popular works include: Rear Projection (Molly Parker) (2006) and Rear Projection (Golden Rod) (2006). Molly Parker is a filmed portrait of the actress that is superimposed on a backdrop of an abandoned gas station. It has been described as a Renaissance cinematic portrait. Golden Rod was filmed in the same location, but from a different angle. It explores the disorienting effect of the camera’s slow movement through the landscape. Both works use a cinematic technique from the 1930’s that allowed stars to be ‘transported’ to dangerous or exotic landscapes. This technique has been supplemented by what is now called a green screen and digital technology.

Slimane Raïs, Terre Promise, Musée d'art contemporain de Lyon

Slimane Raïs, Terre Promise 

Musée d'art contemporain de Lyon 

6 juin - 5 août 2007

" Terre Promise " de l'artiste SLIMANE RAIS est une oeuvre d'art née d'un voyage dans les pays de l'Europe de l'Est. En 2006, Slimane Raïs est allé à la rencontre de ces pays, non pas dans ce qui constitue les limites de leurs territoires mais dans ce qui signifie leur présence à l'échelle universelle : la musique tzigane. Qu'ils soient Roms (Tziganes des pays de l'est), Gitans (Tziganes de la péninsule ibérique), Jenisches (Tziganes d'Autriche et de Suisse), Manouches (Tziganes d'Allemagne, de Belgique, d’Alsace et d’Auvergne)… la musique prend pour ces peuples la valeur de " territoire de vie " au-delà d'un " territoire de l'habiter ". Alors que le " territoire de l'habiter " assigne à des personnes l'appartenance à une nationalité ou à un pays, la musique est le " lieu " dans lequel les Tziganes se reconnaissent comme appartenant à une communauté au-delà des frontières. 

SLIMANE RAIS, dessin préparatoire à “Terre Promise” 2007 

© Slimane Raïs

SLIMANE RAIS, dessin préparatoire à “Terre Promise” 2007 

© Slimane Raïs

Dans cette oeuvre, Slimane Raïs continue sa recherche artistique autour du concept du " PPCM ", le plus petit commun multiple, qui lui permet, dans une relation d'échange avec d'autres personnes, d'aboutir une création artistique. Fruit de six mois de voyages et de rencontres, " Terre Promise " se présente sous la forme d'une caravane élaborée à partir d'une carrosserie de voiture. " Pas n'importe quelle voiture " nous dit l'artiste, " La voiture de référence : la Mercedes ". Dans cette caravane, le spectateur est appelé à entrer et à s'asseoir sur un sol recouvert de gazon artificiel ; à l'avant de la voiture, un GPS diffuse en boucle une vidéo d'un musicien tzigane qui, accompagné de sa fille, joue du violon sous le tunnel du métro de Budapest. L'art, terre promise ?

La " terre promise " n'est jamais celle que l'on imagine. Elle est une promesse de la Bible pour le peuple juif, la représentation fantasmée du Paradis chez les Chrétiens et les Musulmans ou encore le rêve d'une terre nouvelle et vierge de toute vie pour les " premiers " arrivés en Amérique. Dans cette oeuvre, Slimane Raïs propose, le temps d'une exposition, de visiter une " terre promise ". Il ne s'agit guère de " Paradis " dans cette installation mais d'un ensemble de rencontres : rencontre de l'artiste avec les musiciens tziganes, interactions entre le " territoire de flux " de ces peuples nomades et les urbanités qu'ils traversent, et enfin télescopage entre nos projections imaginaires, parfois caricaturales, de la vie de ces peuples. Mais c'est aussi, la rencontre de différentes formes de production du visuel : la forme de l'installation dans l'art contemporain, la musique, le design de la voiture. Autant de rencontres qui un instant, peut-être, donnent l'illusion que dans l'art une terre est promise.

La seconde étape sera exposée les 13 et 14 octobre 2007 place des Terreaux dans le cadre de VEDUTA Biennale d’art contemporain de Lyon. 

Musée d'art contemporain de Lyon 

Site intenet : www.moca-lyon.org

About the MICA of Singapore

The Ministry of Information, Communications and the Arts (MICA) of Singapore is a multi-faceted ministry.  It is both an economic and social ministry with the vision to nurture and develop a Creative Economy, Gracious Community and Connected Singapore.

The Ministry's mission is to develop Singapore as a Global City for information, communications and the arts, so as to build a creative economy and a connected society with a Singaporean identity rooted in our multicultural heritage.  It aims to propel the creative economy through the development and promotion of the creative industries (arts, design and media) and infocomm technology sector to create new economic value and jobs.  It also aims to forge a strong sense of community, national identity, rootedness and inclusion among Singaporeans, and to foster better understanding between the Government and its various stakeholders through effective public communications. Information on MICA is available at www.mica.gov.sg.

Text from the MICA

Information on MICA is available at www.mica.gov.sg

Nikon Digital SLR Camera D40X Specifications

Type of Camera Single-lens reflex digital camera

Effective Pixels 10.2 million

Image Sensor RGB CCD, 23.6 x 15.8 mm; total pixels: 10.75 million, Nikon DX format Image Size (pixels) 3,872 x 2,592 [L], 2,896 x 1,944 [M], 1,936 x 1,296 [S]

ISO Sensitivity 100 to 1,600 in steps of 1 EV with additional setting one step over 1,600

Storage Media SD memory card, SDHC compliant

Storage System Compressed NEF (RAW): 12-bit compression, JPEG: JPEG baseline compliant File System Exif 2.21, Compliant DCF 2.0 and DPOF

White Balance Auto (TTL white-balance with 420-pixel RGB sensor), six manual modes with fine-tuning and preset white balance

LCD Monitor 2.5-in., 230,000-dot, low-temperature polysilicon TFT LCD with brightness adjustment Playback Function 1 frame; Thumbnail (4 or 9 segments); Magnifying playback; Slide show; Histogram indication; Highlight point display; Auto image rotation Delete Function Card format, All frames delete, Selected frames delete

Video Output NTSC or PAL

Interface High-speed USB: Mass Storage and MTP/PTP selectable

Text Input Up to 36 characters of alphanumeric text input available with LCD monitor and multi selector; stored in Exif header

Compatible Lenses*1 Nikon F mount with AF coupling and AF contacts Type G or D AF Nikkor 1) AF-S, AF-I: All functions supported,

2) Other Type G or D AF Nikkor: All functions supported except autofocus,

3) PC Micro-Nikkor 85mm f/2.8D: Can only be used in mode M; all other functions supported except autofocus,

4) Other AF Nikkor*2/AI-P Nikkor: All functions supported except autofocus and 3D Colour Matrix Metering II,

5): Non-CPU: Can be used in mode M, but exposure meter does not function; electronic rangefinder can be used if maximum aperture is f/5.6 or faster

*1. IX Nikkor lenses can not be used

*2. Excluding lenses for F3AF

Picture Angle Equivalent in 35mm [135] format is approx. 1.5 times lens focal length

Viewfinder Fixed-eyelevel penta-Dach mirror type; built-in diopter adjustment (-1.7 to +0.5m-1) Eyepoint 18mm (-1.0 m-1)

Focusing Screen Type B BriteView Clear Matte screen Mark V with superimposed focus brackets

Viewfinder Frame Coverage Approx. 95% (vertical/horizontal)

Viewfinder Magnification Approx. 0.8x with 50mm lens at infinity; -1.0 m-1

Viewfinder Information Focus indications, AE lock indicator, Shutter speed, Aperture value, Exposure/Exposure compensation indicator, Exposure mode, Flash output level compensation, Exposure compensation, Number of remaining exposures, Flash-ready indicator Autofocus TTL phase detection by Nikon Multi-CAM530 autofocus sensor module with AF-assist illuminator (range approximately 0.5-3.0m/1ft. 8in.-9ft. 10in.); Detection range: -1 to +19 EV (ISO 100 at 20°C/68°F)

Lens Servo

1) Autofocus (AF): Instant single-servo AF (AF-S); continuous servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking automatically activated according to subject status,

2) Manual focus (M)

Focus Area Can be selected from three focus areas AF Area Modes

1) Single Area AF,

2) Dynamic Area AF,

3) Dynamic Area AF with Closest Subject Priority

Focus Lock Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button

Exposure Metering System TTL exposure metering system

1) 3D Colour Matrix Metering II (type G and D lenses); Colour Matrix Metering II (other CPU lenses); metering performed by 420-pixel RGB sensor

2) Center-weighted: Weight of 75% given to 8mm circle in centre of frame

3) Spot: Meters 3.5mm circle (about 2.5% of frame) centered on active focus area

Exposure Metering Range

1) 0 to 20 EV (3D Colour Matrix or center-weighted metering),

2) 2 to 20 EV (spot metering)

Exposure Modes Digital Vari-program (Auto, Auto [Flash Off], Portrait, Landscape, Child, Sports, Close Up, Night Portrait), Programmed Auto (P) with flexible program; Shutter-Priority Auto (S); Aperture Priority Auto (A); Manual (M) Exposure Compensation ±5 EV in increments of 1/3 EV

Exposure Lock Exposure locked at detected value with AE-L/AF-L button

Shooting Modes

1) Single frame shooting mode,

2) Continuous shooting mode: approx. 3 frames per second*,

3) Self-timer mode,

4) Delayed remote mode: 2 s. delay,

5) Quick-response remote mode

*The fastest frame rates can be achieved by choosing manual focus, rotating the mode dial to S or M and selecting a shutter speed of 1/250 s. or faster, using defaults for all other settings. Shutter Electronically controlled vertical-travel focal plane shutter, 30 to 1/4000 s. in steps of 1/3 EV, bulb Sync Contact X-contact only; flash synchronization at up to 1/200 s.

Flash Control

1) TTL: TTL flash control by 420-pixel RGB sensor. i-TTL balanced fill-flash for digital SLR and standard i-TTL fill-flash for digital SLR available when CPU lens is used with built-in flash, SB-800, SB-600, and SB-400,

2) Auto aperture: Available with SB-800 with CPU lens,

3) Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s ,

4) Range-priority manual: Available with SB-800 Flash Sync Modes AUTO, Portrait, Child, Close Up: Auto, auto with red-eye reduction; fill-flash and red-eye reduction available with optional Speedlight Night portrait: Auto, auto slow sync, auto slow sync with red-eye reduction; slow sync and slow sync with red-eye reduction available with optional Speedlight Landscape, Sport: Fill-flash and red-eye reduction available with optional Speedlight P, A: Fill-flash, rear-curtain with slow sync, slow sync, slow sync with red-eye reduction, red-eye reduction S, M: Fill-flash, rear-curtain sync, red-eye reduction Built-in Flash AUTO, Portrait, Child, Close Up, Night Portrait: Auto flash with auto pop-up P/S/A/M: Manual pop-up with button release Guide number (ISO 100, m /ft.): approx. 12/39 (manual full 13/42) Flash Compensation -3 to +1 EV in increments of 1/3 EV Accessory Shoe Standard ISO hot-shoe contact with sync, signal, and ground contacts and safety lock Self-timer Electronically controlled timer with duration of 2, 5, 10 or 20 s.

Remote Control Via Wireless Remote Control ML-L3 (optional)

Power Source One Rechargeable Li-ion Battery EN-EL9; charging voltage (Quick Charger MH-23): 7.4V DC, AC Adapter EH-5 (available separately; requires optional AC Adapter Connector EP-5)

Tripod Socket 1/4 in. (ISO1222)

Dimensions (W x D x H) Approx. 126 x 64 x 94mm (5.0 x 2.5 x 3.7 in.)

Weight Approx. 495g (1lb. 1oz.) without battery, memory card or body cap

Supplied Accessories* Rechargeable Li-ion Battery EN-EL9, Quick Charger MH-23, USB Cable UC-E4, PictureProject, Rubber Eyecup DK-16, Camera Strap, Body Cap BF-1A, Eyepiece Cap DK-5, Accessory Shoe Cap BS-1

Optional Accessories Wireless Remote Control ML-L3, Capture NX, Camera Control Pro, AC Adapter Connector EP-5, AC Adapter EH-5, Video Cable EG-D100, Semi Soft-Case CF-DC1, Speedlight SB-800, SB-600, SB-400 and R1C1

*Supplied accessories may differ depending on country or area.

Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer. March 2007 ©2007 Nikon Corporation

Julian Opie: This is Shahnoza, Galerie Barbara Thumm, Berlin

Julian Opie: This is Shahnoza

Galerie Barbara Thumm, Berlin

7 June - 28 July 2007

Galerie Barbara Thumm presents an exhibition of new work by Julian Opie.

This is Shahnoza. 2006

I had arranged to meet Clare in a pub on Cambridge Circus. She turned up looking very glamorous in a shimmering black evening dress. We drank gin and tonics and I smoked a cigarette even though I don‘t smoke. Clare looks after me at my London Gallery but we talked instead about her part time charity work. I think we were both a bit nervous about the evening‘s assignment.

A month before, Clare, my friend Paul and I had visited a „gentleman‘s club“ to look at pole dancers. My friend had turned white, I had forked out a lot of cash and Clare had taken down the names of the best dancers. Clare then contacted the club and asked if Bambi or Heather would like to do some modelling. Neither of them contacted the gallery and I was running out of time for the project. I had been asked to make a wall drawing for an art museum in Ontario. The room I chose was full of Henry Moore sculptures, mostly of reclining nudes. I thought it might look good if I placed my drawings of nudes behind the Moore‘s. The naked body has been depicted in many ways. I wanted to complement and contrast with the imposing, sedate and serious white sculptures.

My drawings up till then had been very vertical, posed and static. People naturally stand and are therefore vertical. If they sit or lie down, the bed or floor or chair become part of the image and have an impact on the body shape. It occurred to me that the only way to get a more dynamic pose while keeping the body free of any background was to use a pole for the model to hang from and lean against. The pole allows the body to be seen from various angles in various positions. I had not at first intended to use the whole figure or to include the pole. Previous wall drawings had shown a small „slice“ of the body, blown up large, only just recognizable as a nude.

So anyway we headed off into Soho to look for a place called Raymond‘s Revue Bar. My last experience of a Soho club was back in the eighties with a trip to a transvestite cabaret club and it turned out that Raymond‘s had closed. So we wandered into the nearest strip club, which was much seedier than the up-market gentleman‘s bar that we had tried on the previous attempt. Every surface was painted matt black and the lighting was somehow dim but harsh. We paid a disinterested man who sat behind the counter and were sent upstairs to a small, private cinema like space. The stage was large, matt black, surrounded by mirrors and had three poles. Three girls danced. The central pole was the focus and that dancer was the most active. When she finished her dance and strip she would head off to the bar and the girls would shuffle along a pole as a new dancer came on stage.

There was only space for two rows of red velvet seating and we slid into the back row. We sat for a while trying not to look at the other customers and focusing on why we were there. One girl was easily the best pole dancer that we saw and so once she had finished her number we went into the side bar and waited for her to turn up. I asked her to sit with us and Clare showed her some of my catalogues while I asked if she would be willing to pose for a couple of afternoons. She said yes, seemed very sweet and quite interested in the idea but not at all pushy, like: „ Sure, why not? Could be fun for a change“. She told us her name was Shahnoza and that she came from Tehran. She then went back on stage, it was hard to see where she could have kept the card that Clare had given her.

As we left the doorman took pity on us, told us we should not be wandering around that area and offered to take us by cab to a much more „appropriate“ club. „ You‘re from out of town right?“ He asked. This club was more pretentious. It had a leopard skin interior, lounge seating and waitresses. You had to check your coat and buy a drink. It is difficult to choose a model. Until I start drawing I don‘t fully know what I want of a project, so its hard to tell who will be good to draw, it‘s a matter of personality as well as body type. I focused on finding someone who could dance well and had hips. We had to buy a number of the incredibly expensive drinks before ?? had time to talk to us. Again we described the project and asked if she would be interested. ??? was also very nice, a bit more air hostess like but friendly and casual. She also said she would call.

A few days later I was giving up hope when Shahnoza called. We arranged a time and I gave her instructions on the type of clothes to bring, She said she would bring her own music. I had my assistant buy a dancing pole on the internet and he installed it in the space I use to photograph models. She worked harder than me but it was an intense and tiring two days with two video cameras and a stills camera all going simultaneously. It‘s important to give a model an idea of what you want but I find that the best moves and positions usually come from the sitter. You have to guide and follow while dealing with the technical side as well ( I don‘t like anybody helping ). The music has to be right the films and batteries changed, focus, camera angle, lighting, all while I try to remember what kind of positions I wanted to draw. We picked five or six of the costumes that she bought and she spent a lot of time getting the outfits and accessories and even make-up right. We improvised a number of moves and dances and repeated them in each of the costumes. I took over a thousand photos and then did the same thing the next day but with her hair tied up and with more success.

Going through two thousand photos and hours of video is almost as much work as doing the drawings and I have to keep searching as I refine my ideas of what is working. As usual the first attempts were unsuccessful. Too dependent on previous logics. I tend to loose heart a little as I flounder around until something seems to work. Eventually a simple format emerged. Four drawings of each outfit in contrasting poses showing the whole figure and the pole that she moves around. I placed each pole under a ceiling beam to connect with the symmetry of the room in the manner of cariatyds. For this room I cropped the figures a little to achieve the scale necessary. Once a set of drawings are made I can play around with what I want to do with them. I draw on the computer over the digital photos. The drawings can be outputted in a number of ways. Here I have e-mailed the files to a vinyl cutter in Canada who used a computer guided knife to cut sheets of sticky backed plastic into shapes that are stuck to the wall. I intend to also make paintings of each pose, prints of each series of four outfits and maybe some animated dancing films.

Text: Julian Opie

GALERIE BARBARA THUMM

Dircksenstrasse 41 - 10178 Berlin

www.bthumm.de

Nikon D40x Digital DSRL Camera

François Morellet, Musée d'art contemporain de Lyon

François Morellet 

Musée d'art contemporain de Lyon 

6 juin - 5 août 2007 

Dans la suite des expositions consacrées à John Baldessari, Robert Morris et Yona Friedman, le Musée d'art contemporain de Lyon invite FRANCOIS MORELLET pour une "relecture" de ses oeuvres rassemblées dans la collection du musée. L'exposition offre l'opportunité d'un regard rétrospectif posé par le Musée sur ses acquisitions. Elle est également la réponse de François Morellet à la question soulevée par le Musée quant à la possibilité d'exposer ensemble des oeuvres esthétiquement disparates mais dont l'accumulation résulte cependant d'un projet conduit dans la durée. 

En 1985, lorsqu'il s'agit de réaliser la première année de programmation d'un musée d'art contemporain encore en devenir, François Morellet est parmi les premiers artistes invités à exposer (avec Joseph Kosuth, Lawrence Weiner, mais aussi Daniel Buren et Jean-Pierre Bertrand). L'exposition monographique réalisée du 24 mai au 9 juin 1985 donne lieu à l'acquisition de Deux lignes de tirets interférents, 1971. Cette pièce est symbolique de la participation de l'artiste au Groupe de Recherche d'Art Visuel auquel il contribue de 1961 à 1972. Quoique de grande qualité, elle reste cependant un succédané, relativement au projet d'une collection constituée d'ensembles étendus et de moments remarquables. Dans les années qui suivent, au gré des opportunités d'achat et des dons de l'artiste lui-même, plusieurs oeuvres sont venues s'ajouter à cette première acquisition.

En 1987, l'entrée d'une peinture de 1952 résume le moment où François Morellet s'engage définitivement dans l'abstraction géométrique. Peinture géométrique, trame du fait d'un chevron qui sert de motif, peinture désarticulée en plusieurs panneaux encore reliés par des charnières, Peinture, 1952, correspond à un moment clef où Morellet cherche à abandonner dans le même mouvement l'arbitraire de la composition, l'arbitraire du format et celui de la matière, qu'il trouve trop marqués par une vision romantique de l'artiste. Le don d'un Mouvement ondulatoire de 1965 complète cette acquisition. Cette oeuvre relève également de la période où Morellet côtoie le G.R.A.V. Elle en est une seconde qui affirme une dimension temporelle par l'intégration, cette fois, d'un mouvement. Ce choix répond aux orientations que s'était donné le groupe et aux exigences de l'artiste luimême. En trois oeuvres : Peinture, 1952, Mouvement ondulatoire, 1965, Deux lignes de tirets interférents, 1971, une période déterminante d'une carrière artistique se trouvait ainsi résumée dans la collection.

Invité en 1991 à participer à la Biennale de Lyon, et fidèle à sa méthode qui consiste à fixer une règle du jeu permettant de réduire le nombre de ses décisions subjectives, François Morellet propose une pièce dans laquelle les murs du lieu d'exposition sont décalés par redoublement et par basculement. Cette oeuvre par sa forme et ses modalités est atypique, rattachable peut-être aux intégrations et désintégrations architecturales que Morellet réalise depuis 1981. A l'issue de la Biennale, Sans titre, 1991, est donnée au Musée. S'ajoutant à la série d'oeuvres déjà présente, elle en perturbe la cohérence un instant trouvée. Sans titre, 1991, décale vers la question du all-over et du mur de l'exposition, le projet d'un ensemble traduisant l'oeuvre de Morellet en un espace singulier pour la collection. Le all-over systématique poussé jusque dans l'espace de l'exposition en passant par le détour du mur constitue pourtant un point premier dans les discussions entre le Musée et l'artiste en 1985. 

Un adhésif ("éphémère"), tel qu'en réalise François Morellet depuis 68 fait encore l'objet d'un possible projet d'acquisition qui ne se réalise qu'en 2006. Basculement d'un mur et une porte de 5° au dessus de 0°, 1985, est acquis en 2006 et jalonne cette fois un ensemble qui de la peinture à l'espace de sa monstration couvre une intéressante synthèse de l'oeuvre de François Morellet. Ces quelques oeuvres apparemment éparses font désormais exposition, rassemblées autour d'une Echappatoire nouvellement créée et donnée au Musée par l'artiste. Le plan de l'Echappatoire, 2006, est généré par le dessin d'une peinture de 1971 : Dix lignes au hasard. Labyrinthe qui jamais ne nous enferme, l'Echappatoire ouvre le plus souvent sur une oeuvre : Peinture, 1952, Mouvement ondulatoire, 1965, etc… Elle est comme la récente superposition qui réunit les fragments du hasard, l'interférence nouvelle du présent et du passé. 

Du 6 juin au 5 août 2007, l'exposition est la réponse de François Morellet à l'interrogation du Musée d'art contemporain : comment montrer dans un espace commun des oeuvres de moments divers et d'esprit différents, par delà les lacunes chronologiques où les failles de la représentativité, et pourtant toutes constitutives au final de l'oeuvre remarquable de l'artiste ? François Morellet conçoit la scénographie de ses oeuvres entrées dans la collection depuis 1985. Construisant une exposition, il crée un nouveau moment artistique, qui rassemble autant de moments que d'oeuvres. Il propose ainsi au spectateur de s'approprier l'univers induit par la collection pour donner du sens aux rapprochements formels, aux similitudes de temporalités, aux parallélismes de temps, aux projections de plans, aux équivalences spatiales.

Musée d'art contemporain de Lyon 

Site internet : www.moca-lyon.org

Hélio Oiticica, Tate Modern, London - The Body of Colour

Hélio Oiticica: The Body of Colour

Tate Modern, London

6 June – 23 September 2007

HELIO OITICICA (1937– 1980) was one of the most innovative Brazilian artists of his generation. Colour was central to his practice and this is the first exhibition to focus on this key element in his work. Hélio Oiticica: The Body of Colour is the first large-scale exhibition of Hélio Oiticica’s work for over 35 years in the UK. The exhibition includes more than 150 works – paintings and works on paper, reliefs and sculptural objects as well as installations and environments.

Hélio Oiticica produced a remarkable body of work throughout his career in which he continually sought to challenge the way in which art could be experienced. From abstract compositions to early environmental installations, the exhibition traces the way in which the artist deconstructed the traditional elements of painting – colour and the two-dimensional plane that supports it – reconfiguring them in new, innovative forms, and eventually liberating colour into space. This exhibition features works from Hélio Oiticica’s early career, such as the paintings and gouaches made with the Rio de Janeiro-based Grupo Frente 1955–56, which show an obvious affinity with masters of modernism such as Paul Klee, Kasimir Malevich and Piet Mondrian. This is followed by the extraordinary series of Metaesquemas, monochromatic grids of uneven abstract forms painted on board(1957–58), and a group of white on white paintings, never previously shown together.

The exhibition features Spatial Reliefs 1960, Bilaterals 1959 and Nuclei 1960–66, works which the viewer is invited to move in and around and to discover colour as a physical body or environment. A highlight of the exhibition is the fully restored, complete version of Hélio Oiticica’s incredible Grand Nucleus 1960–68. Comprising over thirty paintings suspended from the ceiling, the work will occupy the large central gallery of the exhibition at Tate Modern.

Hélio Oiticica’s most radical use of colour is found in the Bolides 1963–69, boxes or bottles containing pigment, foam, mirrors, shells, earth, fabric and poetry, and in the Parangolés 1964–79,cloth-objects that he described as habitable paintings. In the Bolides, Hélio Oiticica began the gradual dematerialisation of colour into pure sensory stimuli which would reach a climax with the Parangolés. Hélio Oiticica combined colour with rhythm, music, and performance to stimulate visual and tactile sensations, drawing in and involving his audience. The coloured capes, tents and banners of the Parangolés, were worn by members of the audience who moved to the rhythm of samba, activating and enacting the illusion of colour-in-motion.

Hélio Oiticica: The Body of Colour was organised by the Museum of Fine Arts Houston in collaboration with Tate Modern. The concept of the exhibition has been conceived by Mari Carmen Ramirez, Wortham Curator of Latin American Art and Director, International Center for the Arts of the Americas, MFAH. Hélio Oiticica: The Body of Colour was presented at the Museum of Fine Arts Houston (10 December 2006 – 1 April 2007) and travel to Tate Modern, London (6 June – 23 September 2007).

TATE MODERN, LONDON

www.tate.org.uk

First Full-Frame Ultrawide 28mm Medium Format Lens

Mamiya Introduces the World’s First Full-Frame Ultrawide 28mm Medium Format Lens for use with Film and Digital Backs.

Mamiya announce the second in a new series of high-resolution medium format lenses designed for use in the digital world... the Mamiya Sekor AF 28mm f/4.5 D Lens.

This newest entry in the Sekor D Lens series is a full-frame, ultrawide lens that utilizes the latest aspheric lens technology to produce high resolution and large image circle coverage for film and digital backs. Since wide angle lenses can cause color shift problems with digital backs (due to the extreme angle at which light rays hit the sensor), the Mamiya 28mm f/4.5 D has been designed to direct light onto the digital sensor at an angle that is ideal for digital photography.

“Mamiya Sekor lenses have been admired by both medium format and 35mm film camera users for their superior quality,” says Jeff Karp, Mamiya Product Marketing Manager, “and now this legacy will continue as Mamiya meets and exceeds current optical standards for modern photographic lenses.”

Unlike conventional design lenses, the 28mm f/4.5 Sekor D was designed with the requirement that it works with digital and film systems.

“Mamiya remains committed to our medium format users, both digital and film-based,” says Jeff Karp, Mamiya Product Marketing Manager, “Our cameras work with both media types, so it’s appropriate that our lenses perform at the same standards.”

The Mamiya Sekor AF 28mm f/4.5 D is ideal for a wide range of applications, including commercial, architectural and outdoor photography.

Mamiya Sekor AF 75-150mm f/4.5 D Lens Designed for Digital and Film Photography

Mamiya announced the first in a new series of high-resolution medium format lenses designed for use in the digital world... the Mamiya Sekor AF 75-150mm f/4.5 D Lens

This is the first entry in the Sekor D Lens series, and has been designed specifically to direct light onto the digital sensor at an angle that is ideal for digital photography. The resolving power of the lens also corresponds perfectly with a high megapixel sensor.

“Mamiya Sekor lenses have been admired by both medium format and 35mm film camera users for their superior quality,” says Jeff Karp, Mamiya Product Marketing Manager, “and now this legacy will continue as Mamiya meets and exceeds current optical standards for modern photographic lenses.”

Features

The Mamiya Sekor Zoom AF 75-150mm f/4.5 D Lens is a medium telephoto zoom lens, with an angle of view of 50 to 26 degrees. The equivalent focal length for a 35mm format is 47~ 93mm.

Its minimum focusing distance is just 3.3 feet, 1.7 feet closer than existing Mamiya AF zoom lenses. This allows for use in a diverse range of photographic scenes, from portraits to landscapes to candids. This versatility makes it indispensable in portrait studios since it lets you “crop” in the camera without changing camera position.

Autofocus and manual focus functions are easily selected with one-touch action. Simply move the focusing ring backwards or forwards. The lens comes with a floral-shaped lens hood that provides a shield against flare over the entire zooming range.

Mamiya ZD 22 MP Digital Back

Mamiya Teams Up with Adobe Systems and Introduces the Mamiya ZD 22 Megapixel Digital Back

Mamiya Digital announced the release of the new Mamiya ZD 22 megapixel Digital Back. The Mamiya ZD Back is compatible with the Mamiya 645AFD II, 645AFD and RZ67 Pro IID, cameras popular among professional photographers and advanced amateurs.

“Mamiya’s careful planning in the design of the communication protocol MSCE (Mamiya Serial Communication for External) has successfully optimized two-way communication between our cameras and the digital back,” states Jeff Karp, Mamiya Product Marketing Manager, “this produces a unified operating experience identical to using a one-piece digital camera.”

From the icon-based white balance settings, to the ability to shoot at 1.2 frames per second, to the option of controlling the camera through a computer, the Mamiya ZD Digital Back provides the features and tools needed to easily produce beautiful images. To make this experience even easier, Mamiya will include Adobe Photoshop Lightroom with all ZD Backs.

Save files as RAW, JPEG or both at the same time

The advantages are significant. For optimum results you should save your shots in RAW format. This allows maximum post-shooting manipulation. For high quality images that need to be placed into other programs, use JPEG mode. No special programs or “processing” is needed. However, when you need highest quality plus a file that can quickly be used for positioning only (FPO) in layouts, or quick review, you can shoot both at the same time and process the RAW file later.

Compact Flash and SD Card Compatible

By having the choice of cards (both can be inserted at the same time) you get additional flexibility of storage options. You could tell the back to record to CF, then to SD without the need to remove/replace the card. This lets you keep shooting. It also guarantees you will be able to go to any store in the world and find a compatible storage card. A 4 GB card can store approximately 100 frames of RAW images.

Exclusive Interchangeable IR/Low Pass Filter System

To suit a variety of photographic scenes, the standard IR (infrared) cut filter can be interchanged with the optional Low-Pass filter. The Low-Pass filter reduces or removes moiré effect which makes unusual patterns when photographing clothing and also fixes aliasing. Aliasing is seen when a thin straight line is slightly tilted with respect to the array of pixels. The line will be on one line of pixels, then jump to the next, then to the next, producing a “stairstep” effect. The ability to decide which filter to use guarantees the best possible results over a wide range of situations.

Lightroom software included with the ZD Back

Mamiya is the first camera manufacturer to include Lightroom software with every Mamiya ZD Digital Back. Lightroom is an all-new digital imaging solution for serious and professional photographers. Its ease of operation and ability to read Mamiya RAW digital files makes it the perfect choice for photographers looking for a modular, task-based and streamlined program that delivers a complete photographic workflow solution.

Mamiya ZD 645AFD II Digital System

Mamiya Digital announced an exciting new product – the Mamiya ZD 645AFD II Digital System. The System consists of the Mamiya 645AFD II Medium Format Camera with 80mm f/2.8 AF lens and the newly introduced Mamiya ZD 22 Megapixel Digital Back. At a retail price of $9,999, the digital system marks a new era in the high-end digital market.

“Mamiya has always been a manufacturer of high quality, professional products at reasonable prices,” states Jeff Karp, Mamiya Product Marketing Manager, “By offering this incredible system for under $10,000, we expect to see a broad range of photographers who have been waiting for the right combination of quality and price, to finally step into the medium format digital world.”

The platform for the system is the highly acclaimed Mamiya 645AFD II autofocus medium format camera with 80mm f/2.8 AF lens. With an excellent range of high quality lenses, precise auto-focusing and fast handling, the 645AFD II has become the choice of professional photographers.

The Mamiya ZD Digital Back offers all the features serious photographers demand. “Mamiya’s communication protocol MSCE (Mamiya Serial Communication for External) has optimized two-way communication between the 645AFD II and the ZD Digital Back,” says Karp, “producing an operating experience identical to using a one-piece digital camera.”

To further enhance the results of the ZD Digital Back, Mamiya is including Adobe Photoshop LightroomTM software with all ZD Backs. Mamiya is the first camera manufacturer to include Lightroom software with every Mamiya ZD Digital Back sold. Lightroom is an all-new digital imaging solution for serious and professional photographers. Its ease of operation and ability to read Mamiya RAW digital files makes it the perfect choice for photographers looking for a modular, task-based and streamlined program that delivers a complete photographic workflow solution.

Rétrospective Erwin Wurm, Musée d’art contemporain de Lyon

Erwin WURM : Rétrospective
Musée d’art contemporain de Lyon
6 juin - 5 août 2007

Le Musée d'art contemporain de Lyon présente du 6 juin au 5 août 2007, une importante rétrospective des oeuvres de l'artiste ERWIN WURM. Conçue pour les espaces du musée de Lyon, cette exposition d'une ampleur exceptionnelle, présente plus d'une centaine d'oeuvres de l'artiste, avec des pièces rares telle que la Fat House, (étonnante maisonnette devenue géante comme si elle avait été soudainement gonflée) appartenant à la West Collection (USA), mais également la toute première Fat Car (voiture déformée comme prête à exploser), ou encore, l'étonnant Truck, (camion dont l'arrière remonte sur le mur défiant les règles de l'apesanteur) spécifiquement réalisé pour Lyon.

Exprimant sa vision du monde avec beaucoup d'humour, à travers vidéos, sculptures, photographies ou installations, Erwin Wurm propose entre autres ses Instructions on How to be politically incorrect, ou encore ses One minute sculptures qui l'ont rendu célèbre et avec lesquelles le visiteur est invité à expérimenter lui-même la notion de sculpture.

Né en 1954 à Bruck en Autriche et formé à la Kunstakademie de Vienne, Erwin Wurm s'inspire autant de Fluxus que de la dérision Dada pour dénoncer, avec une légèreté mêlée de gravité, un quotidien illusoire et l'incongruité de nos existences. Dans ses tout premiers travaux, l'artiste semble vouloir se signaler par son absence avec ses pièces de poussière réduites à une simple empreinte ou ses vêtements accrochés, vides et fragiles enveloppes corporelles. Sculpteur à l'origine, il s'inspire, dans ses dessins, photographies et vidéos, de nos rapports avec les objets usuels dont il détourne l'usage. Attentif aux petits gestes et à l'absurdité du quotidien, le travail de Wurm développe une analyse de la sculpture - de son volume, de son poids, de l'équilibre, du déséquilibre - qui devient pour lui manière de vivre, de mettre en scène, de perturber nos codes et nos habitudes. Avec ses célèbres One Minute Sculptures (1997), Erwin Wurm nous propose une vision originale de la sculpture dans laquelle des actions humaines habituelles sont modifiées, décalées, ou détournées pour un bref instant.

" En se servant du corps humain - et notamment du sien - comme matériau, en utilisant des objets du quotidien, en faisant du temps une dimension essentielle de son travail photographique et vidéo, il a remis en question les fondements de la sculpture - Comment créer une sculpture qui ne soit ni figée dans le temps, ni dans l'espace ? Une sculpture peut-elle devenir un objet quotidien ? ". One Minute sculpture, devient alors le titre générique de ses oeuvres : Erwin Wurm les réalise en invitant une personne, à suivre un protocole simple, en se mettant par exemple en situation temporaire avec un vêtement ou un objet.

Mais Erwin Wurm interroge également dans ses sculptures, les apparences et la réalité qu'elles masquent : le sens de la possession et de l'accumulation. Il développe des recherches sur le processus de création, basées sur les transformations des formes et du poids. Il crée ainsi d'étranges objets ou encore des personnages rendus difformes, exagérément boursouflés, à la limite de l'éclatement. En laissant le visiteur exécuter lui-même sa sculpture Erwin Wurm tend à créer des situations déconcertantes, provocant confusion ou stupéfaction mais conduisant toujours à une réflexion nouvelle emprunte d'humour et de plaisir.

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