Thai & Singapore Artists @ Sundaram Tagore Gallery, NYC

SUNDARAM TAGORE NEW YORK PRESENTS CUTTING-EDGE MULTIMEDIA WORK BY THAI AND SINGAPORE ARTISTS

Anthropos New York 
Sundaram Tagore Gallery, NYC
Through October 4, 2014 

Chatchai Puipia

Life in the City of Angels: The Healing, 2014

Oil on canvas, 72.8 x 62.9 inches / 185 x 160 cm

Image courtesy Sundaram Tagore Gallery, New York

Sundaram Tagore Gallery brings together emerging and established artists from Thailand and Singapore in Anthropos New York. Photography, painting, sculpture, video and mixed-media installations by twelve artists exploring the human condition will be on view. Curated by Loredana Pazzini-Paracciani, Anthropos New York offers insight into the social, political and religious dynamics artists are confronting in these two diverse cultures.

This large-scale exhibition, on view concurrently at the gallery’s Chelsea and Madison Avenue locations, offers a rare opportunity to see work by some of Southeast Asia’s most innovative artists.

FROM THAILAND: Chatchai Puipia, Chusak Srikwan, Kamin Lertchaiprasert, Kamolpan Chotvichai, Nino Sarabutra, Piyatat Hemmatat and Tawan Wattuya.

FROM SINGAPORE: Ho Tzu Nyen, Jason Wee, Jeremy Sharma, John Clang and Lavender Chang.

About the ARTISTS:

CHATCHAI PUIPIA, one of Thailand's most prominent and influential artists, unveils a new series of large self-portraits. The reclusive painter’s last solo exhibition was in 2011 in conjunction with the release of his monograph Chatchai Is Dead. If Not He Should Be.

CHUSAK SRIKWAN’S work focuses on traditional Thai nang yai puppets, which have been essential instruments of performance and visual art for centuries. Srikwan carves light-and-shadow figures from cowhide, a practice he learned from his grandfather, a master of the craft-based art.

HO TZU NYEN, who was featured in the Guggenheim show No Country: Contemporary Art for South and Southeast Asia, makes films, videos and stages live performances related to historical and philosophical texts and artifacts. Ho is one of Singapore’s most prominent artists.

Dividing his time between Singapore and New York, writer and artist JASON WEE traces the arc of changing histories and spaces, transforming these changes into visual and written materials. Wee is the founder of Grey Projects, Singapore, an alternative art space that focuses on emerging practices and censorship.

JEREMY SHARMA works primarily as a painter, but his body of work includes video, photography, drawing and installation. His practice investigates the concept of art as a reflection of a conscious life in the age of mechanical, industrial and digital reproduction and interconnectivity.

JOHN CLANG’S work focuses on time, displacement and human existence. His photography examines and raises questions about the world he lives in, offering not pictorial documentation, but an intimate reflection of his mind.

Throughout his career, KAMIN LERTCHAIPRASERT has worked in a variety of media, including painting, prints, sculpture and installation. Lertchaiprasert’s primary concern is the expression of the Buddhist philosophy that life and art are one. Lertchaiprasert is one of the most important Thai artists working today; his art is in major institutional collections including the Guggenheim’s.

Informed by the Buddhist teachings of anatta (no self), KAMOLPAN CHOTVICHAI challenges the limitations of materials in her artwork through the use of simple tools and techniques, such as cutting, which she uses to dissolve her own image printed on canvas. 

LAVENDER CHANG’S conceptual photography is a reflection of her sensitivity toward the physical and psychological human experiences surrounding her. She focuses these subtle experiences to create images that invite further contemplation, suggesting the passage of time, intimacy and morality.

NINO SARABUTRA explores the human condition with her installation What Will You Leave Behind? Covering the exhibition floor with thousands of palm-sized porcelain skulls, Sarabutra encourages viewers to walk across the carpet of skulls while contemplating life and death.

Fascinated with the Rorschach test since youth, PIYATAT HEMMATAT applies the same technique in his photographic essay Titans, mirroring shots of nature he's captured in his travels, revealing surprising and powerful likenesses to human anatomy.

The sublime watercolors of TAWAN WATTUYA explore the cultural contradiction in Thai society, which on one hand praises social respectability, yet on the other coexists with the socially unacceptable—specifically the internationally patronized sex trade, which is rarely discussed openly.

A catalogue accompanies Anthropos New York. It includes essays by the curator; Professor Nikos Papastergiadis of the University of Melbourne, author of Cosmopolitanism and Culture (Cambridge: Polity Press, 2012); and Professor Maurizio Peleggi of the National University of Singapore, editor of The Journal of Southeast Asian Studies.

ABOUT THE CURATOR: Loredana Pazzini-Paracciani holds a master’s degree in Asian Art Histories and is a lecturer in the Singapore LASALLE-Goldsmiths Fine Arts Programme. She writes for academic journals, art magazines and symposium publications, and works as an independent curator for commercial and institutional organizations in Singapore, Bangkok, New York and London, improving the visibility of young and emerging artists from Southeast Asia. Her academic and curatorial focus is the contemporary art of Thailand. 

Sundaram Tagore Gallery, New York 
Venues: 547 W. 27th Street and 1100 Madison Avenue
www.sundaramtagore.com

Niki de Saint Phalle au Grand Palais, Paris - Exposition rétrospective

Niki de Saint Phalle 
Grand Palais, Paris 
17 septembre 2014 - 2 février 2015

Niki de Saint Phalle au Grand Palais 

Affiche de la Réunion des musées nationaux-Palais 

© Réunion des musées nationaux-Grand Palais, Paris 2014

NIKI DE SAINT PHALLE (1930-2002) est l’une des artistes les plus populaires du milieu du XXe siècle mais paradoxalement la richesse et la complexité de son oeuvre restent à découvrir. Elle compte parmi les premières artistes femmes à acquérir de son vivant une reconnaissance internationale et à jouer de sa personnalité médiatique. Niki est d’ailleurs l’une des premières personnalités – au même moment que Andy Warhol – à utiliser la presse et les media pour contrôler ou orienter la réception de son travail. 

Autodidacte, Niki de Saint Phalle s’inspire de Gaudi, Dubuffet et Pollock pour mettre en place dès la fin des années 50 un univers singulier, en dehors de toute tendance et mouvement. Son parcours biographique y est sublimé par la création de grands thèmes et de mythes qui articuleront ensuite toute son oeuvre. On en connaît le caractère joyeux et coloré, mais on en a oublié la violence, l’engagement et la radicalité. Qu’il s’agisse de l’audace de ses performances, du contenu politique et féministe de son travail ou de l’ambition de ses réalisations dans l’espace public.

Cette rétrospective, première grande exposition consacrée à Niki de Saint Phalle depuis vingt ans, présente toutes les facettes de l’artiste qui fut à la fois peintre, assemblagiste, sculpteure, graveuse, performeuse et cinéaste expérimentale, et renouvelle profondément le regard posé sur son travail. Plus de 200 oeuvres et archives dont beaucoup sont inédites émaillent un parcours de 2000 m2 à la fois chronologique et thématique, ponctués d’écrans montrant l’artiste commentant son travail. Des maquettes de projets architecturaux et une sculpture-fontaine (L’Arbre de Vie) devant l’entrée du Grand Palais, permettent d’évoquer l’ampleur et la diversité de son oeuvre publique.

Niki de Saint Phalle

Dolorès, 1968-1995, 550 cm, polyester peint sur grillage, Sprengel Museum, Hanovre 

© 2014 Niki Charitable Art Foundation, All rights reserved. Donation Niki de Saint Phalle

Niki de Saint Phalle : Une artiste franco-américaine

Née en France où elle passera une grande partie de sa vie mais élevée aux États-Unis et choisissant d’y passer la fin de sa carrière, elle ne cessera de voyager entre ses deux pays d’origine et d’en réconcilier les tendances artistiques. Connue comme la seule artiste femme du Nouveau Réalisme en France, on a oublié que c’était aussi une artiste américaine - dont les oeuvres sont à replacer dans une histoire des Combine Paintings Néo Dada - au côté de Jasper Johns et Robert Rauschenberg, mais aussi à l’origine du Pop Art dont son approche renouvelle la lecture. Le multiculturalisme - les références à l’art des natifs d’Amérique et à la civilisation mexicaine, la question raciale et la critique de la politique de Georges Bush sont autant de sujets américains qui caractérisent ses dernières oeuvres.

Niki de Saint Phalle : La première artiste féministe

Articuler une vie de femme avec une vie d’artiste, renouveler la représentation du corps féminin et de l’érotisme, réinterpréter les grandes figures mythiques, interroger le rôle de la femme dans la société et en proposer un autre sont autant de thèmes contenus dans son travail dès la fin des années 50 et qui seront récurrents jusqu’à la fin de la vie. Fille, épouse, mère, guerrière, sorcière et déesse, pour n’en citer que quelques-unes, sont autant de facettes ou d’interprétations possibles des fameuses « Nanas » qui sont autant d’autoportraits, à la fois réels et fantasmés, de l’artiste et de la femme contemporaine. De fait, les séries successives des Mariées, Accouchements, Déesses puis après les Nanas, des Mères dévorantes, recréent une véritable mythologie féminine. S’y ajoutent les performances, les textes et les déclarations de l’artiste, le contenu des longs métrages : autant de preuves pour réhabiliter Niki de Saint Phalle comme la première grande artiste féministe du XXe siècle.

Niki de Saint Phalle

Skull (Meditation Room), Sprengel Museum, Hanovre, donation de l’artiste en 2000 

© 2014 Niki Charitable Art Foundation, All rights reserved / Photo : Michael Herling

Niki de Saint Phalle : Une artiste engagée

Le féminisme n’est qu’un élément de sa lutte précoce et constante contre les conventions et les carcans de la pensée. Chacune de ses oeuvres comporte plusieurs niveaux de lecture et d’interprétation dont on a souvent omis le caractère politique au profit d’une lecture décorative et superficielle de son oeuvre. Aller au-delà, c’est reconnaître par exemple aux « Tirs » toute leur puissance subversive. Ces performances, où des tableaux étaient détruits à la carabine par l’artiste ou le public invité, furent à la fois fondatrices dans l’histoire du happening et particulièrement scandaleuses car orchestrées par une femme. Dirigés contre une vision de l’art, une idée de la religion, une société patriarcale, une situation politique où guerre froide et guerre d’Algérie s’entremêlent, un pays – les États-Unis – où le port d’arme est légalisé, les Tirs sont à l’image de son oeuvre ultérieure, qui se nourrit presque toujours de questionnements sociétaux. Niki de Saint Phalle fut l’une des premières artistes à aborder la question raciale et à défendre les droits civiques puis un multiculturalisme américain ; une des premières aussi à utiliser l’art pour sensibiliser le grand public aux ravages du sida.

Niki de Saint Phalle : A l’avant-garde d’un art public

Première femme à s’imposer dans l’espace public à l’échelle mondiale, Niki de Saint Phalle a eu le souci très tôt de s’adresser à tous, bien au-delà du seul public des musées. Le choix d’un art public est à voir comme un choix politique ; il est précoce puisqu’elle en fait une direction essentielle de ses recherches dès le milieu des années 60. Projets architecturaux et sculptures monumentales se suivent ensuite tout au long de sa carrière : fontaines, parcs pour enfants, jardins ésotériques et maisons habitables sont parmi ses plus importantes réalisations. Central et majestueux, le Jardin des Tarots est son oeuvre majeure, qu’elle a entièrement financé elle-même, en partie grâce au développement d’éditions ; un parfum, du mobilier, des bijoux, des estampes, des livres d’artistes.

Niki de Saint Phalle

Vue du Jardin des Tarots, Garavicchio, Italie 

© Laurent Condominas

Cette exposition est organisée par la Réunion des musées nationaux - Grand Palais avec l’aimable participation de la Niki Charitable Art Foundation et co-organisée avec le Guggenheim Museum de Bilbao. Elle bénéficie de prêts exceptionnels des musées de Hanovre et Nice, qui ont reçu d’importantes donations de l’artiste. Elle sera présentée au musée Guggenheim de Bilbao du 27 février au 29 juin 2015.

Commissariat général : Camille Morineau

GRAND PALAIS, PARIS
www.grandpalais.fr

Philip Guston - Late Paintings, Peder Lund, Oslo

Philip Guston - Late Paintings 

Peder Lund, Oslo 

September 20 - November 8, 2014

Peder Lund is proud to announce an exhibition of late paintings by the American painter Philip Guston (1913-1980). Bringing works by Guston to Norway for the first time, Peder Lund exhibits six paintings and two drawings made in the last decade of the painter’s life, two of which are on loan from Louisiana Museum of Modern Art. Four of the paintings have been part of the travelling exhibition Philip Guston: Late Works, celebrating the centennial of the artist’s birth, which opened in November, 2013, at Schirn Kunsthalle, Frankfurt, and travelled to Deichtorhallen, Hamburg, and Louisiana Museum of Modern Art, Humlebæk, through August, 2014. 

Philip Guston was born in Montreal in 1913 as the youngest son of Ukrainian-Jewish immigrants, who had fled the pogroms in Odessa, Ukraine. The family relocated to Los Angeles in 1919, and Philip Guston began to draw at the age of 14. He earned a scholarship from the Otis Art Institute in 1930, but left the art school after three months and set out as an autodidactic painter, before travelling to Mexico in 1934, where he got involved with the Mexican Mural Movement. Returning to America, Guston left Los Angeles for New York in 1936 and joined the Work Progress Administration’s Federal Art Project (WPA/ FAP) (1935-43), the visual arts initiative of Franklin D. Roosevelt’s New Deal programme, for which Guston made a number of murals on public buildings. A fascination with Italian Medieval and Renaissance artists came to influence Philip Guston’s murals, and the painter further explored this interest when he travelled across Italy, Spain and France between 1948 and 1949. This fascination endured throughout Philip Guston’s oeuvre and came to play a significant part in his late, figurative works.

After leaving the WPA project, Philip Guston began to frequent the vibrant circle of Abstract Expressionists, also known as the New York School that was forming in New York, and he developed close friendships with painters including Jackson Pollock, Willem de Kooning, Mark Rothko and Barnett Newman, as well as the minimalist composers John Cage and Morton Feldman. Guston almost exclusively produced non-figurative art between 1951 and -54, but the grand narratives about art that the New York School propagated did not interest Guston, and he refused the Formalist theories of Clement Greenberg that coloured the work of the New York School. The return to figuration in Philip Guston’s paintings in the decade that followed famously provoked the New York art scene, and Guston insisted that each of his paintings justified itself and that none of his paintings were part of an overall theoretical scheme. He also dismissed the Modernists’ neglect of the tumultuous external affairs that coloured the political landscape at the time, and stated, “what kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything – and then going home into my studio to adjust a red to a blue […].”

Philip Guston relocated to the remote Woodstock in upstate New York in 1967, where he frequented other artists and poets and further developed his interest in Renaissance art, as well as the work of painters such as Pablo Picasso, Giorgio de Chirico and Max Beckmann. These influences now stood alongside an attraction to cartoons and comic strips – the work of the cartoonist George Herriman in particular. Cartoon-like figures and recurring themes such as soles or piles of shoes, people’s heads, boxy cars, self-portraits of the artist smoking, and anthropomorphic figures that Philip Guston called “Hoods” (a reference to Ku Klux Klans men) began to appear in his work, and the blocky shapes and open brushwork seen in his non-figurative period had now become caricatured humans and objects. The paintings on display at Peder Lund show several of the recurring themes in Guston’s late paintings – the “Hoods,” shoes, books, amputated legs and heads with protruding eyes. Guston's late paintings have had an unprecedented impact on artists working from the 1980s and up until the present and have earned Philip Guston the standing as one of the most important painters that reintroduced figuration into painting in the second half of the 20th Century.

Philip Guston’s work has been the subject of a vast number of exhibitions at some of the world’s most prestigious public institutions. Recent solo exhibitions include Philip Guston, which ran through 2003-04, and travelled from the Modern Art Museum of Forth Worth, to San Francisco Museum of Modern Art; Metropolitan Museum of Art in New York; and the Royal Academy of Arts in London. Guston’s work is featured in numerous public collections worldwide, including those of Albright-Knox Art Gallery, Buffalo, NY; Art Institute of Chicago, IL; Centre Georges Pompidou, Paris; Centro de Arte Reina Sofía, Madrid; Solomon R. Guggenheim Museum, NY; Los Angeles County Museum of Art, CA; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; The Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, CA; Tate Gallery, London; Walker Art Center, Minneapolis, MN; and Whitney Museum of American Art, New York, NY.

PEDER LUND

Tjuvholmen allé 27 - 0252 Oslo 

pederlund.no

Horst: Shadow & Light, Staley-Wise Gallery, New York

Horst: Shadow & Light 

Staley-Wise Gallery, New York 

September 19 – November 1, 2014 

The subject of this exhibition is women, filtered through Horst’s use of shadow and light to achieve his unique dramatic effects. Horst’s love of classical architecture and sculpture figures prominently in much of his work, as does the influence of Surrealism. His dramatic lighting, elegance and imaginative settings changed the look of portrait and fashion photography. 

In work from 1936 to 1987, Horst’s fashion, portrait, and still life photographs demonstrate his extreme sophistication and reflect the artistic spirit of their time. From the surrealism of Dali’s ballet costumes and disembodied hands to portraits of Chanel, Schiaparelli, Dietrich, the Bouvier sisters, and Yves Saint Laurent fashion, he is in tune with the era. 

Horst lived in the center of artistic and social activity of the 20th century. Born into a conventional German family, he soon left for Paris and an apprenticeship with the great architect Le Corbusier.  A chance meeting with the gifted photographer Baron George Hoyningen-Huene changed the course of his life, opening the doors to a career in photography and a life spent among the elite of Paris and New York.

Horst began working for Vogue in 1932, dividing his year between Paris and New York until the outbreak of World War II, during which he served in the United States Army. Horst worked for Conde Nast publications, and over the course of sixty years he photographed fashion, interiors, and every artistic, political, and social figure of note. Horst’s work has been the subject of numerous articles, books, and documentary films. Museum exhibitions have been held at the International Center of Photography, the Louvre, the Nassau County Museum, London’s National Portrait Gallery and Museum of Fine Arts, Boston and a retrospective exhibition at the Victoria & Albert Museum London starting September 2014.

STALEY-WISE GALLERY

560 Broadway, New York, NY 10012

www.staleywise.com

Fondation Louis Vuitton, Paris : Ouverture au Public

Fondation Louis Vuitton, Paris

Ouverture au public le 27 octobre 2014

La Fondation Louis Vuitton ouvrira ses portes au public le lundi 27 octobre 2014. Son bâtiment, conçu par l’architecte Frank Gehry, constitue à Paris un nouveau lieu pour la création artistique contemporaine française et internationale.

Le groupe LVMH annonce l’ouverture au public, le lundi 27 octobre 2014, de la Fondation Louis Vuitton. Elle se déploie au sein d’un bâtiment conçu, à l’initiative de Bernard Arnault, par l’architecte américain Frank Gehry. Véritable nuage de verre, la Fondation s’intègre au site du jardin d’Acclimatation à Paris, au nord du Bois de Boulogne.

La Fondation Louis Vuitton a pour ambition de soutenir et de promouvoir la création artistique contemporaine auprès des Parisiens et d’un public international. Elle inscrit sa collection et sa programmation dans la lignée des mouvements historiques de l’art et la création des XXe  et XXIe siècles.

Le bâtiment de la Fondation Louis Vuitton comprend des galeries d’exposition dédiées aux collections permanentes, aux expositions temporaires et aux commandes artistiques. Il se complète d’un Auditorium modulable destiné à accueillir des manifestations pluridisciplinaires.

Les terrasses du bâtiment offrent des points de vue inédits sur Paris et sur l’environnement boisé du jardin d’Acclimatation dont Frank Gehry s’est inspiré pour créer une architecture de verre et de transparence.

Dans le cadre de son programme artistique d’ouverture, la Fondation Louis Vuitton présentera une exposition consacrée au projet architectural de Frank Gehry pour la Fondation. L’exposition dialoguera avec la première rétrospective européenne que le Centre Pompidou consacrera à l’œuvre de Frank Gehry à partir d’octobre 2014.

La Fondation Louis Vuitton est une fondation d’entreprise, une initiative culturelle privée, dédiée à l’art et aux artistes. Elle constitue une étape nouvelle du mécénat pour l’art et la culture engagé par LVMH en France et dans le monde depuis plus de vingt ans.

FONDATION LOUIS VUITTON

8 Avenue du Mahatma Gandhi, Bois de Boulogne, 75116 Paris

www.fondationlouisvuitton.fr

Anna Retulainen Exhibition, Helsinki Contemporary, Helsinki - Memory

Anna Retulainen: Memory

Helsinki Contemporary, Helsinki

September 5 - 28, 2014

"I'm drawing from observation, the observation is pure. I don't know what I see, and I can't understand what functions the objects and occurrences I witness actually serve. I painted from memory. The paintings are attempts to go back. I wanted to be as frank as I possibly could, to paint as soon as I came back home before the traces in my mind would vanish or become something else. The original observation is less present and more diluted in the paintings. While they aim to evoke a colour or shape that I once appreciated, what now remain are mere fragments from the past. As if I tried to remember a person who passed by or a scenery that I left behind."

Anna Retulainen's exhibition Memory consists of a series of paintings and drawings that examines memory and remembering. The exhibition builds upon the experiences of two journeys Anna Retulainen made to Africa in 2013. The first one started at Villa Karo in Grand Popo on the coast of Benin and took her to the savannas in the northern parts of the country. The second trip, during which she spent time in Boukombe in the Atakora district in Northern Benin, also encompassed travelling in Togo.

Anna Retulainen stayed with the locals during her trips. She observed life, people and values; tried to understand. She also wrote about what she saw, attempting to render everything she was seeing and experiencing somehow believable. The drawings are her notes; drawing means being present.

"I've been drawing the routines here, this strange life that has welcomed me as its guest. I'm being present in relation to these people and their homes. I perceive myself by drawing all this unfamiliarity and strangeness that excludes me from the community. I can never belong. The smallest of all our differences is the skin colour; we don't meet except through smiles. It's useless to try to explain this in words to anybody. Nobody who has not been here can possibly imagine how it's like."

In connection to the exhibition, Anna Retulainen will publish a book, A Motorcycle Journey: Benin Togo 2013, that is based on her two trips.

HELSINKI CONTEMPORARY

Bulevardi 10, 00120 Helsinki

helsinkicontemporary.com

Panasonic HC-X1000 Ultra HD 4K Camcorder

Panasonic HC-X1000 Ultra HD 4K Camcorder 

Panasonic is today launching the HC-X1000, its first prosumer camcorder capable of recording 4K 60p/50p video images on an SD card. Featuring a LEICA Dicomar Lens alongside a new BSI Sensor, and Crystal Engine Pro 4K, the HC-X1000 produces stunning, lifelike images in Ultra HD 4K resolution.

With versatile file formats - including AVCHD, MOV and MP4 - and high bit rates, the HC-X1000 is ideal for a wide range of shooting applications. In addition, features and functions such as three manual rings, 2-Channel XLR Audio Input Terminals, ND Filters, and Dual SD Card Slots demonstrate how the HC-X1000 is designed to meet and exceed professional requirements.

Mobile, Ultra HD video in 4K

Ideal for shooting high quality documentaries and events, the HC-X1000 records in QFHD resolution (3840 x 2160) and Cinema 4K (4096 x 2160) formats which produce smooth flowing 60p/50p images.

The HC-X1000’s 1/2.3” BSI Sensor offers increased readout speed which makes it possible to handle large-volume 4K data at 60 fps/50 fps, suppressing the rolling shutter distortion that often occurs when shooting moving subjects.

In addition, the high speed Crystal Engine Pro 4K processes the massive volume of data required for 4K shooting quickly and accurately, while a new noise reduction system achieves clear images with minimal noise even when shooting in extreme low-light situations.

Featuring a high-performance lens, which has passed all of LEICA’s stringent inspection standards in areas such as resolution and contrast, the HC-X1000 is able to render sharp, crisp images and produce the distinctive nuances and subtle shading that LEICA lenses are renowned for. Three ND filters (1/4, 1/16, 1/64) are built into the lens to suppress the amount of incident light in different shooting environments. This allows you to shoot at a slow shutter speed in bright daylight for example, or fully open the lens to attain high resolution and a shallow depth of field.

Versatile and high bit rate recording

Featuring versatile recording formats, bit rates and editing options, the HC-X1000 is ideal for a wide variety of prosumers and professionals.  AVCHD format is available alongside MOV and MP4 for quick and easy editing, and Full HD recording employs ALL-Intra compression for a maximum bit rate of 200 Mbps, bringing outstanding quality to the image production.

The HC-X1000 has also been designed with cinematographers in mind - its 4K video supports not only QFHD resolution (3840 x 2160) for TV broadcasting, but also Cinema 4K (4096 x 2160) for movie production.

The superb 4K recording capabilities offered by the HC-X1000 also provides a lot more flexibility in the editing suite. 4K allows you to crop your composition and choose the perfect frame, as well as zoom 200 percent while maintaining HD quality; turn stationary footage into panning shots; tilt and level the footage; or easily stabilise your film.

Ergonomic design with professional features and functions

The HC-X1000 boasts an ergonomic design, with covers to prevent operating errors while shooting, and a button layout that's designed for easy operation wherever you’re filming.

In spite of the HC-X1000's compact body, it features a wide variety of manual controls to enable fast and intuitive camera work, including a focus ring, iris ring, a zoom ring on the lens barrel, and an illuminating LED ring to easily verify that recording is in progress.

The HC-X1000’s versatile 3.5” Slide-Retractable Touch LCD serves as a high definition, 1,152,000-dot monitor and menu-setting touch panel. When not in use, it slides into the front handle for extra mobility and safety. It also rotates 270 degrees vertically for easy high-angle, low-angle and self-interview shooting.

In addition, the HC-X1000’s two built-in SD card slots provide extra flexibility and peace of mind.  Using two slots enables you to record the same data onto both SD cards at the same time, meaning you can easily swap between them and never have to worry about losing the data. Additionally with Auto-Switch Recording, when the first card reaches full capacity the system automatically and seamlessly switches to the second card.  Furthermore, with Background Recording [only available in Full HD], you can set the SD card in Slot 2 to record continuously from the moment a recording event starts, and record only necessary scenes onto the SD card in Slot 1 by turning REC on and off. This eliminates the worry of not recording important scenes that take place while the REC switch is turned off.

The HC-X1000 also sports a 2-channel XLR audio input terminal for external microphones or line recording with a +48 V phantom power supply, enabling the use of professional-spec, high-performance sound recording equipment.