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| | | | | | | | | | | | | | | | | |  | | | | | | | | | | | | | | | | | | | | | | | © Paul Cupido, Cabaret Nocturne, 2018 | © Paul Cupido, Still 4 am (Japan), 2017 |
| | | | | | | Kahmann Gallery will represent new and exciting works by Paul Cupido at booth #46 in the Gashouder on the site of the Westergasfabriek . | | |  | | | | | | | | | | 
© Paul Cupido, Moonvoyage (2018) | 
© Paul Cupido, Hands Together (2018) |
| | |  | | | This year, Kahmann Gallery will dedicate the entire exhibition to Paul Cupido (1972, NL). Unseen Amsterdam is back for its eighth edition from 20 - 22 September 2019. Join us to discover the latest and most cutting-edge ideas, exhibitions and projects in the world of contemporary photography.
Paul Cupido - Moments of Wonder: during Open Gallery Night
On Saturday the 21th of September from 18.00 - 22.00
Kahmann Gallery, on Lindengracht 35, will show the exhibition for an exclusive late-night visit.
Every year the programme of Unseen Amsterdam spills across the whole city for Open Gallery Night. On the Unseen Gallery Night on Saturday the 21th of September a host of local galleries and institutions will be opening their doors to welcome guests for exclusive after-hours visits. Explore Amsterdam by night and discover an eclectic mix of genre-defining exhibitions at the city’s most cherished artistic destinations. Attend the event now and see you there! | | | | |
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| | | | | | | | | | | | | | Peter Puklus, What to teach?, from the series
The Hero Mother – How to build a house (2017) | Peter Puklus, Errection II, from the series
The Hero Mother – How to build a house (2018) |
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The Interchange from the series Hive 2017 © Andrea Gruetzner | 
Stillleben mit Dahlien und Johannisbeeren from the series Morte 2016 © Lia Darjes |
| | | | | | Peter Puklus (b. 1980) is a fine art/editorial photographer living and working in Budapest, Hungary. He studied photography at the Moholy-Nagy University of Art and Design, Budapest (MOME) and new media design at the École National Supérieur de Création Industriel (ENSCI) in Paris. In 2012, Puklus published two photobooks: ‘One and a half meter‘ with Kehrer Verlag, Heidelberg and ‘Handbook to the Stars‘ with Stokovec, Banská Stiavnica. In 2016, Puklus published his third photobook ‘The Epic Love Story of a Warrior‘ in cooperation with Self Publish, Be Happy, London. This title got shortlisted at the Aperture / Paris Photo Photobook Award 2016.
Andrea Grützner (b. 1984, Germany) is an artist, photographer and communication designer, currently living and working in Berlin and New York. Grützner’s artistic work deals with the emotional and visual perception of spaces. She seeks the familiar and at the same time unfamiliar, asks questions about the memory of places and our orientation in the designed space. Using mostly photographic means, she finds and creates images as well as objects that oscillate between photography, painting and collage. She explores questions of documentary, surreal, abstraction and visual irritation.
Grützner has received several awards and scholarships and has been exhibited in Australia, Brazil, Mexico, USA, China and South Korea, among others. She was selected as one of the Gute Aussichten prize winners 2014/2015, as a recipient of a PhotoVision sponsorship and awarded by the Source Cord Prize 2014.
Born and based in Berlin, the work of Lia Darjes is always documentary in nature. She finds it appealing to explore the limits of documentary photography and to anticipate the viewer's experience while taking pictures. Her work has been exhibited in Germany, France, Canada, Russia and Switzerland and published in national and international media such as M le Monde and CNN. She has received various scholarships and awards, including the young talent award of the Art Prize of the Lotto Foundation Brandenburg. | | |
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| | | | | | | | | |  | | | Tereza Zelenkova / Oratory (2017)
Framed silver gelatin print on fibre based paper, museumglass
image size 100 x 120 cm / framed 110 x 130 cm / edition of 5 | | | | | | | At this year’s UNSEEN Photo Festival, The Ravestijn Gallery presents three artists: Koen Hauser (NL), Tereza Zelenkova (CZ) and the artist duo Cortis & Sonderegger (CH). Whilst the sensibilities of these artists are considerably different, they all share history, mythology and iconography as critical foundations to their work. As an extention of these common ideas, the photographs here at UNSEEN have been hung as an informal reflection of the historical salon. | | | | | | | | | | | | | 
Cortis & Sonderegger / Making of ‘Draped Model (back view)’
by Eugène Durieu and Eugène Delacroix, 1854 (2017)
Digital C-type print framed with museumglass
image size 180 x 120 cm / framed 183 x 123 cm / edition of 3 | 
Koen Hauser / Transcendence No. 2 (2019)
Inkjet on Hahnemühle Photo Rag Baryta paper,
wooden frame, museumglass
image size 70 x 53,7 cm / framed 71,6 x 55,3 cm / edition of 5 |
| | | | | | KOEN HAUSER (The Netherlands, 1972)
Hauser’s work nearly always originates in historical books; from the colours that pervade through bygone publications to the expressive design language and the materiality of photographic reproductions found within. In this series entitles ‘Skulptura’, he introduces sculptural artifacts of disparate origin, processing them with a diverse assortment of approaches and working methods. Importantly, Hauser does not rely on digital rendering alone to conjure up these motifs but also, at times, involves himself in the physical craft of making such pieces with clay. Other photographs derive from the photographs of objects from art history - with their museum like backdrops and in their original reproduction quality - he transforms them into newly envisioned images with the aid of photoshop.
Koen Hauser is a contemporary artist who works with photography and film. He finished his Masters in Social Psychology (1996, Leiden University), followed later by his studes of Photography at the Royal Academy of Visual Arts and the Gerrit Rietveld Academy (2002). He frequently collaborates with various cultural institutions, museums and archives such as the municipal museum of The Hague, the National Archives and the Rijksmuseum. He uses or refers to objects from their collections both on commission and in autonomous projects.
He has received various scholarships from the Mondriaan Fund and in 2014, acquired the title of ‘Photographer of the Fatherland’. His work is held in both national and international public and private collections, including municipal museum (The Hague) and The Museum of Fine Arts (Houston). His work has been shown in Europe, the United States and China in various solo and group exhibitions, including FOAM (Amsterdam), Unseen Photofair (Amsterdam), Institut Néerlandais (Paris) and the He Xiang Ning Art Museum (Shigzen, China).
TEREZA ZELENKOVA (Czech Republic, 1976)
In her preferred black and white images Zelenkova presents a room and its curious inhabitant, evoking the fin de siècle movements of symbolism and decadence, to which the photographer pays homage, with references to the literature of Baudelaire, Rimbaud, and JK Huysmans. Together, the still lives, nudes, and portraits are a highly captivating inquiry into the cycle of decay and renewal, the relation of the individual to an interior, and the possibility of myth and spirituality in a disenchanted world.
These images, with a strong sense of detail, seem to come from another era, yet are surprising in their strong presence and newness; this is another, more mythical and ephemeral realm altogether. In this place, time has ceased to exist in its everyday, stupefying linearity. Still lives of baroque draperies, covered with dust, and a single Papaver somniferum - an opium poppy - halt the narrative of the other images, where a figure is seen lying on a bed, with impossibly long flowing hair, repeated in the flowing fabric of the silk skirt. On only one of the photographs a face is shown, but the eyes remain closed, as the character remains essentially unknowable to the viewer. While the photographs, taken in an enigmatic building of which the viewer learns little, hint at a novelistic narrative, these scenes are rather from a mysterious novel never written.
Tereza Zelenkova lives and works in Prague. She received her MA in Photography from the Royal College of Art in London (2012). Her publications include the artist’s books The Absence of Myth, Index of Time and Supreme Vice. She is a recipient of the ING Unseen Talent Award 2016, the Jerwood Photoworks Awards (2015) and 1000 Words Magazine Award (2012). Her work is shown at various international galleries and museums, among which The Impressions Gallery (Bradford, UK, 2016), Jerwood Space (London, UK), and Musée de l’Élysée (Lausanne, CH). Her work is in the collections of Fotomuseum Winterthur in Winterthur (CH), Saatchi Gallery in London (UK), and Musée de L’Elysée in Lausanne (CH).
CORTIS & SONDEREGGER (Switzerland, 1978 / 1980)
Since 2012, artist duo Jojakim Cortis and Adrian Sonderegger, otherwise known by their shared name Cortis & Sonderegger, have been constructing exhaustive dioramas (a three-dimensional theatrical model) by hand of iconic photographs that balance between truth and fabrication. Photographs such as Robert Capa’s Falling Solider, Ansel Adams’ Moon and Half Dome, Joe Rosenthal’s Raising the Flag on Iwo Jima and Stuart Franklin’s Tiananmen Square are all etched into our collective memory and consequently have all been recreated by Cortis & Sonderegger. After each scrupulous scene is made, the pair photograph their creation including the materials, tools, structures and lighting that have conceived their trickery in the frame. By exposing their activities, the duo allow us to examine where the boundaries lie of perceived reality, how fiction can work in tandem with truth and what authenticity is in the photographic medium.
Jojakim Cortis (b. 1978) & Adrian Sonderegger (b. 1980) began their artistic collaboration during their studies of photography at Zurich University of the Arts (ZHDK) in 2005. Together they conceive and manufacture surreal worlds through their use of “staged” photography employing analogue techniques by hand. The artists live and work in Zurich, Switzerland. | | | | |
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| | | | | | | | | |  | | | | Albarrán Cabrera | Nyx #60001, 2019 | 40 x 50 cm | Pigmente auf Gampi-Papier über Blattgold | Edition 10 | | | | | | | Book signing with Douglas Mandry: Thursday, September 19, during the opening night (Bildhalle, Booth 08)
Equivalences. An artist book by Douglas Mandry (RVB books) | | | | | | | | | | | | | 
© Douglas Mandry, Eismeer–Gletscherpartie, from the series Monuments, 2019 Lithography on used Geotextile (Glacier protection blanket) Unique Piece 54x36 | 
© Douglas Mandry, Sea of Ice, from the series Monuments, 2019
Lithography on used Geotextile (Glacier protection blanket) 114x140 |
| | | | | | | Gallery Bildhalle is looking forward to be back at Unseen: an event that lies between an art fair and a contemporary photography festival that showcases the latest developments in the field of contemporary photography practices. The gallery will exhibit the new series “Monuments” by Swiss artist Douglas Mandry (Lithography on used glacier protection textile, all unique pieces) as well as unseen work by the successful artist duo Albarrán Cabrera from Barcelona. | | | | |
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| | | | | | | | | |  | | | | Chameau, from the series Palais Oublies 2019 © Thomas Jorion | | | | | | | | | | | | | | | | | 
Yuval Yairi, Cypher of Cypress Tree, 2018, Inkjet print on Baryt paper, mounted on Alu Dibond, framed with museum glass, 100x95 cm | 
Massimiliano Gatti, Le nuvole #02 from the series Le nuvole 2018 |
| | | | | | | | Thomas Jorion (b. 1976) is based in Paris, but travels the world in search of singular and timeless landscapes. Self-taught, he creates his photographs in natural light using an analogue large format 4x5'' camera. He captures images of ruins or abandoned spaces, allowing us to rediscover and to imagine their past glory. In 2013, La Martinière editions published “Silencio”, a work that combines several works of his series: ‘Silencio’, ‘The other America’, ‘Konbini’, ‘The Quest of the Soviets’... From 2013 to 2016, Thomas Jorion focused his photographic exploration on the former French colonies; this new series lead to a second book published by La Martinière “Vestiges d'empire” and presented on the occasion of his participation in Paris Photo.
The subjects of Yuval Yairi’s work relate to places, and his gaze – whether it’s a historical place, cultural, personal or political – explores these places in the context of memory. A Leper Hospital or a writer’s library, an abandoned Arab village, a cheap hotel room or a museum undergoing renovations – transform through his personal perspective, of deconstructing and recomposing spaces, times and events. Yairi’s works are exhibited in museums, galleries and festivals in Israel and abroad, and are in public and private collections. Yairi is a recipient of The Ministry of Culture Award for Visual Arts, 2017.
Massimiliano Gatti’s artistic research fits, with subtle variations, in one of the most fertile furrows of contemporary photography. The analysis of the places and the serial approach represents an established method of respectful use of photographic potential. Massimiliano Gatti, however, seems to look for a new patient and not showy conceptual angles, applying a look not driven by a need or pretence of objectivity. | | |
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| | | | | | | | | |  | | | from the series 'Soaked', 2019 © Zeynep Kayan/Zilberman Gallery
Courtesy of the artist and Zilberman Gallery | | | | | | | | | | | | | | | | | 
from the series 'Soaked', 2019 © Zeynep Kayan/Zilberman Gallery
Courtesy of the artist and Zilberman Gallery |
| | | | | | | | Soaked, 2019
Zeynep Kayan
In the new series “Soaked”, 2019, Kayan revisits the idea of capturing the movements of the production on the surface of the photograph. She soaks her printed photographs in water, lets the liquid move through the pores of their paper and reshape them. The spontaneous, uncontrollable and unrepeatable results of this gesture placed on top of the same image are then documented in Kayan’s photography of the photographs – a repeated action adding more layers, let them be the water its or the same photograph or other materials, and thus changing the image. | | |
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| | | | | | | | | | | | | | | Trapped Soul from the series Albahain 2019 © Joana Choumali | | | | | | | | | | | | | | | | 
Waves under my eyelids from the series Albahain 2019 © Joana Choumali | 
And you'd walk alongside me from the series Albahain 2019 © Joana Choumali |
| | | | | | Gallery 1957 presents a solo exhibition by the award-winning Ivorian photographer and mixed media artist Joana Choumali. Presenting new works which blend photography with collage and embroidery, the exhibition is made of works from the series Alba’hian. It will also debut additional works inspired by the artist’s early-morning explorations of Accra in the summer of 2019; marking a departure for the artist, this latest body of work sees the artist working on a larger scale (up to 2m x 1m), for the first time. Joana’s recent series "ça va aller..." (it will be OK) (2016-2019) is shortlisted for the 8th cycle of Prix Pictet “Hope”.
Joana Choumali mainly works with conceptual portraits, mixed media and documentary photography. Much of her oeuvre focuses on Africa, and what she, as an African, learns about the innumerable cultures around her. In her latest works, Joana embroiders directly on the images completing the act of creating the image with slow and meditative gestures.
Themes such as migration, identity, social justice, and the history of myth-making establish provocative voices in the canon of African Futures. The integration of different mediums and artistic practices into multi-disciplinary installations highlight the different ways in which we reflect and reinvent our imagined selves. | | | | |
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| | | | | | | | | | | | | | | |  | | | | From the series 'False Idol', 2016 © Leonard Surayajaya | | | Woven Matters | | | | | | Woven Matters is a group exhibition that explores the use of textiles in photography in a variety of ways. The exhibition will explore the relationship between the physicality and tactility of materials, such as thread and fabric, and the two dimensionality of the photographic medium. Through the use of these materials, the works weave in common themes such as family and identity – creating, and building on, narratives of cultural identity and heritage.
The main component of the exhibition is a duo presentation by the artists Zohra Opoku and Joana Choumali. Two artists who, who were chosen from within the larger group of panelists from the Living Room, curated by Unseen and LagosPhoto. Their work strongly connects to their personal histories as well as a larger conceptualisation of the African diaspora through the use of textiles. There will also be the work of Luján Agusti, Lucie Khahoutian, Mous Lamrabat, Elena Subach, Leonard Suryajaya, and Inka & Niclas Lindergård on show, giving an overview of other practitioners and their use of textile in relation to the explored themes.
Special events: Saturday 21 Sept, 18:00 - 19:00, Tour with Joana Choumali
Sunday 22 Sept, 13:30 - 14:30, Tour with Amelie Schüle, Curator Unseen | | | | | |  | | | Stiil from Deep Down Tidal © Tabita Rezaire
courtesy of the artist and Goodman Gallery, South Africa | | | |
| | | Vortex of Infinity presents three video installations from artist and spiritual seeker Tabita Rezaire. These works create complex worlds where reality revolves around our capacity for connection, and the technologies we use to connect with ourselves, one another, our environments and the whole universe; technologies that can be harnessed to facilitate healing. Tabita’s worlds are not only aesthetically intriguing, but profound inquiries into our collective consciousness and its consequent social, political, technological and spiritual manifestations. The form each work takes is often the final step of a long research-led process, weaving together practices of healing, scientific research, and ancestral wisdom. These act as strategies for addressing the intergenerational and ecological trauma inherited from imperial-colonial-capitalist-patriarchal violence while simultaneously offering an interface for healing and emancipation.
In this solo exhibition, we present three of Tabita’s recent installations: Deep Down Tidal, Satellite Devotion and Ultra Wet.
Special events: Sunday 22 Sept, 14:30 - 15:00, Tour with Line Matson, Curatorial Assistant Unseen
Sunday 22nd Sept, 15:00 - 16:00, Offering: Healing Circle, more details soon
Curator: Marina Paulenka. This exhibition is made in collaboration with and support of Jur Lights and BeamSystems.
| | | | | | | Beyond 2020 By Japanese Photographers #7 | | | Showcasing emerging Japanese artists
This exhibition highlights contemporary work from emerging Japanese artists created in the diversity of the modern times. In response to the theme ‘Over to another parallel world’, six young photographers choose to face our history and attempt to find new forms of expression in photography. The exhibition investigates how millennials, as the newest generation of makers, use photography to reflect on today’s fast-changing world. The world they see is neither the preexisting reality nor fiction anymore, it is another parallel world.
Featuring: Ayako Ishiba/ Naoyuki Hata / So Mitsuya / Kazuma Obara / Miko Okada / Hayahisa Tomiyasu
Special event: Friday 20 Sept, 17:00 - 18:00, Lumix Meets Beyond 2020 by Japanese Photographers #7 talk moderated by Shinji Otani | | | | | |  | | | | From A Global Sense of Place, 2019 © Felicity Hammond | | | |
| | | | Within her latest series ‘A Global Sense of Place’ Felicity Hammond addresses the material collision between the global image and local urban realities by re-printing images onto surfaces commonly used in billboard advertisements, and tearing, folding, sun-bleaching, and rephotographing them. The project includes images that are punctured by photographs taken both in Amsterdam and London, alongside other cities which might be considered to have a ‘global’ identity. | | | | |
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| | | | | | | | | | | | | | | |  | | | | Book Market, Unseen Amsterdam, 2017 © Iris Duvekot | | | | Book Market | | | | This year the Book Market features more than 70 participating independent international publishers and distributors. During the event, there will be over 60 book launches and signings, special events and discussions with creative forces of the photobook publishing industry. Another highlight will be the Unseen Dummy Award, which will be on show for visitors to browse through. The Unseen Dummy Award gives exceptional photographers from around the world the opportunity to publish their photobook dummy. | | | | | | | Living Room | | | | The Living Room brings together creatives and influencers from across the globe for a comprehensive three-day speakers programme packed with lectures, interviews, and panel discussions about the state of photography today. For the 2019 edition, the programme is organised in close collaboration with renowned art and design museum The Victoria and Albert Museum (London, United Kingdom), and LagosPhoto (Lagos, Nigeria), one of Africa’s first international photography festivals. Topics will include the power of images to change social behaviour, how to set up new terms in curating photography, and the influence of modern technology on the way images are made, shared, and experienced. | | | | | | | On-site Projects | | | | Each year Unseen aims to develop and strengthen its programme by collaborating with innovative institutions and artists, enabling visitors to engage with a variety of photographers and their unique methods. This year’s On-Site Projects will include a visual presentation of talented Dutch students from Dutch Academies KABK, HKU and Rietveld. New work from the collective Charles Goes Arles w ill also be screened from a camper van, as well as work from the photography platform Docking Station. More details on further projects and exhibitions to be announced. | | | | | | | FUTURES | | | | The ‘headquarters’ for Futures where the platform will present the artworks of the 69 artists and collectives selected for this year. Visitors are invited to explore the works on show at the Westergastheater and learn more about these exceptional artists. There is also a programme of showcases, talks, lectures and private meetings. | | |
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| | | | | | | | | | | | | | | |  | | | | David LaChapelle | Act of Nature on view until 28 September 2019 at Reflex Amsterdam | | | Amsterdam Open Gallery Night
Saturday, 21 September 2019, 20.00 - 22.00 | | | | | | On the evening of Saturday 21 September, from 20:00 to 22:00, a number of local galleries, museums, project spaces and other art institutes will open their doors to welcome guests for exclusive after-hours visits. Explore a diverse selection of exhibitions, meet the artists behind your favourite photographs, or join an exclusive, curator-led tour. Open Gallery Night offers exciting experiences for all photography enthusiasts.
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| | | | | | | | | | | | | | | | | | | | | | | | | |  | | | Lady Gaga / Leonor, 2015
Print 152,5 x 226 cm / framed 156 x 230 cm / Edition of 3 + 1AP
Pigment print on watercolor paper, mounted, white painted wooden frame, museumglass.
Other sizes are available as part of the total edition of 3 by request.
© Inez & Vinoodh | | | | | | I See You in Everything | | | | | | | | | | | | | | | The Ravestijn Gallery is proud to present I See You in Everything, the first solo exhibition at the gallery of the artist duo, Inez van Lamsweerde and Vinoodh Matadin, better known by their collaborative name Inez & Vinoodh. Without a singular theme or period, the exhibition will comprise of an array of work selected from a colossal career that sprawls over thirty years including photographs made for Vogue Paris, New York Times Magazine, Purple and The Face.
Such a myriad of work is emblematic of Inez & Vinoodh; unrestricted by a fixed aesthetic and allowing their approach to be determined by those in front of the camera, the idea behind each photograph always take precedence. Each work is authored by their collective name and by eschewing further information of their individual roles, we are reminded of their devotion to the image and the person, rather than to context and expectation. And whilst their methodology is constantly responding and fluctuating, it is a persistent duality (both in their artistic work and in life as partners) that creates their unifying and unmistakable character. As Inez says herself, “there’s always a tension between the beautiful and the grotesque, the spiritual and the mundane, high fashion and low fashion, male and female”. Indeed, this duality can be seen in many of the photographs included in the exhibition. In Lucy Fer, the Estonian supermodel Carmen Kass is transmuted into a mythological three-headed creature; a vast flood of wiry haired faces sits atop her naked body and here the elegance and realism of the human form is pitted against monstrous fantasy. | | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |  | | | | © Paul Cupido | | | | | | | | | | | | | | | | | | | Kahmann Gallery is pleased to introduce Dutch artist Paul Cupido (NL, 1972) with his first solo exhibition in the Netherlands.
Cupido's ongoing project 'Searching for Mu', is a deep exploration of the philosophical concept of absence, or 'mu', and the fragile beauty found inn the evanescence of life.
His residency in the Brazilian Amazon in 2018, was dedicated to examining the concept of the ephemeral and the symbolic affinity between the body and the earth. Letting go of the ego and reconnecting with deeper levels of consciousness are also important themes in this work, which so far has included two artist books, photography and film. | | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |  | | | | Installation view Walid Raad - Let's be honest, the weather helped, Stedelijk Museum Amsterdam, 2019, Photo: Gert Jan van Rooij | | | | Amsterdam City Programme | | | | | | | In addition to all activities at the Westergasfabriek, Unseen Amsterdam presents the City Programme in which visitors can experience photography at leading institutions across the city. The programme will include a series of inspiring and challenging exhibitions and initiatives that push the boundaries of photography in unexpected ways. | | | | |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Streetwalker near Place d'Italie, 1932
© Estate Brassaï Succession, Paris | Gala Soiree at Maxims, 1949
© Estate Brassaï Succession, Paris |
| | | | | | | iconic images of 1930s Parisian life | | | | | | | | | | | | | | | Foam is proud to announce the first retrospective of Brassaï in the Netherlands. This French photographer of Hungarian descent is considered as one of the key figures of 20th-century photography. Brassaï (1899- 1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals - among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.
Gyula Halász, Brassaï's original name, was born in 1899 in Brassó, Transylvania (then part of the Austro-Hungarian empire, nowadays Brasov, Romania). He studied at the University of Arts in Berlin before finally settling in Paris in 1924, a city that was to become the main subject of his work. He started as a painter but soon discovered that his strongest and most original talent lay in photography. To keep his real name for his paintings, he signed journalistic work, caricatures and photographs with ‘Brassaï’ (‘from Brassó). His photos would make this pseudonym more famous than his real name. Brassaï’s work of the 1930s would become a cornerstone of a new tradition as photography was discovered as a medium with aesthetic potential. A generation earlier photographers had merely emulated the established arts. Now photography became an art in itself and the perfect medium to capture modern life. | | |
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| | |  | | | | Room 1, 2019 © Kévin Bray | | | | | | | | | | | | | | | | | | | There is likely no other artist who mixes and matches more than Kévin Bray (France, 1989). Trained as a graphic designer at L’Ésaab (Nevers, France), then attached to the Design Department of the Sandberg Institute (Amsterdam, the Netherlands) and now a resident at the Rijksakademie van Beeldende Kunsten (Amsterdam, the Netherlands), he moves with ease across the boundaries of various disciplines. His work is a hybrid of techniques, motifs and formal languages in which he brings together painting, graphic design, sculpture, video, 3D-photography and sound design.
By investigating the particularities of a medium, and then stretching the visual codes, creative possibilities open up and give space to the unpredictable and otherworldly forms that are so characteristic of Bray. His work contains many art historical references but is equally apocalyptic, as if it were a backdrop for a science fiction story. | | |
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| | |  | | | | CG visualisation, 2019 © Dominic Hawgood | | | | | | | | | | | | | | | | | | | In this exhibition, titled Casting Out the Self, Hawgood visualises the effect of the drug dimethyltryptamine (DMT), which he personally experienced as a transfer into the digital realm. His work creates a hallucinatory effect: photographs seem to move, flat surfaces reveal hidden depths, and the perception of space turns out to be an illusion. Hawgood researches and appropriates elements of computational photography into his work, leading into intriguing site-specific installations and sculptural elements that refer to both spiritual ceremonies and the digital rituals of computer graphics. Through lighting design, Hawgood creates a unique atmosphere that transforms the exhibition space into a twilight zone between physical and digital reality. Hawgood not only pushes the boundaries of the medium of photography but also expresses a highly innovative approach to exhibition design.
In the ceremonial atmosphere of the exhibition, spirituality is endowed with digital features so that digital reality also appears to be idolised. In this way, Hawgood accurately captures the ambivalence of the digital world we live in: the magic of infinite possibilities contrasts sharply with our brief attention span, information overload, persistent distraction, loneliness and seclusion. | | |
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| | | | | | | | | | | | | | | | | | | | | |  | | | | Welkom Today - archive picture, Thabong, around 1970 |
| | | | a critical sequel to the photo book Welkom in Suid-Afrika (1991) by Van Denderen and many others | | | | | | | |
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| | | | | | |  | | | | Installation view Walid Raad - Let's be honest, the weather helped, Stedelijk Museum Amsterdam, 2019, Photo: Gert Jan van Rooij |
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| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Jacquie Maria Wessels: Garage Stills #10/2014 | Martijn Doolaard: Wilde boerndochter, 2019 |
| | | Galerie Baudelaire on Tour | | | | during Unseen Amsterdam (Westergasfabriek) | | | | | | | 19 - 22 September, 2019 | | | Opening: Thursday, 19 September, 18-21h
Galerie Baudelaire [Antwerp, BE] presents a duo exhibition during Unseen Amsterdam at the Westergasfabriekterrein with photography by Jacquie Maria Wessels and by Martijn Doolaard from their latest series, respectively "Garage Stills" and "Fiction Romance". | | | | | | | | | | | | | Garage Stills – Jacquie Maria Wessels
For her Garage Stills project, Jacquie Maria Wessels is looking for traditional car repair garages all over the world. She is fascinated and intrigued by the shapes and colours of the mysterious, to her completely unknown objects she discovers in this wonderful universe. With the found attributes she creates painterly still lifes on the spot, which she captures with an analogue camera. The poetic Garage Stills with challenging colour formations and staging surprise and have an attractive beauty, but are also a document of a disappearing world.
Fiction Romance – Martijn Doolaard
The starting point for each photo is an existing image, whether created by Doolaard or not, which he then digitally edits. His interventions are those of a painter: he wipes, fragments, fades, scratches, deforms, obscures or attacks with fierce swipes with his digital brush. The final designs generate a wealth of visual and interpretative possibilities that far exceed the modest parameters of the original image. In a moment of inconsideration the familiar world disappears, and at the same time something unknown appears, that dismays and troubles, but also fascinates and attracts. | | |
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© 13 Sep 2019 photo-index UG (haftungsbeschränkt)
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Editor: Claudia Stein & Michael Steinke
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Galleries Unseen Photo Fair 2019
