| | | | Unseen Photo Fair, Amsterdam22 – 24 September 2017
Preview, Thursday, 21 September 12h - 20h
(by invitation only)
www.unseenamsterdam.com |  |
| | | 53 galleries from 14 countries will participate in the sixth edition of Unseen Amsterdam's Fair. This edition of the Fair will present a great deal of brand new photography, the highlight being the Unseen Premieres. This year 95 artists are showing Premieres – photographic works that have never been seen before at any gallery, institution or fair - which is the highest number of premiering artists Unseen Amsterdam has ever welcomed to its fair. With 15 new galleries and 95 premiere artists, the 2017 edition of Unseen Amsterdam, is the most ambitious to date.
unseenamsterdam.com/photo-fair/exhibitors | | | | |
| | | | | | | | | |  | | | | Douglas Mandry, Unseen Sights, Mountain Pass IV, 2017, 120 x 150 cm, Airbrush on C-Print, Collage, Edition 5 & 1 AP | | | | | |  | | | | | | | | 
Karina Wisniewska, Glades No. 32, 2017, Print: 30 x 45 cm, Acrylic Ink on Archival Pigment Print, Unique Piece | 
Karina Wisniewska, Glades No. 52, 2017, 30 x 45 cm, Acrylic Ink on Archival Pigment Print, Unique Piece |
| | | | | | „Far from the concept of a photograph being a witness of time, my pictures of the series Territorial Shift play with superpositions. The original image material, snapshots of places I have visited, are being altered by their own components. Pieces of rocks and found objects are used to create unique photograms prints on the landscape they have been found in. Likewise, horizons of seas are being sunk in salty water for a long period of time, letting salt crystalize on the surface of the print as the water evaporates. Images are organized according to their natural typology and aim to compose an open-ended atlas of memories. “
Douglas Mandry «When Karina Wisniewska steps into a forest glade, she intuitively senses an elemental structure behind things. It is similar to the way that Paul Cézanne saw geological and geometrical patterns in Mont Ventoux, and it lends rhythm to the landscape. (...) Suddenly and unexpectedly, the artist sees the landscape behind the landscape. She draws out her camera and readies it for action. She works with exposure times of several seconds. Click. Something new is born.
The pictures depict the metamorphoses of various forest scenes, a magical symbiosis of nature and the artist’s inner vision. In some of the forest pictures, the sense of space is dominated by a commanding structure of horizontal and vertical forms. In others, there is only an intuition of the forest. Still, we sense the real image – yet it is different, it has depth, embraces the past and the present and hints at the future. Again and again, we are drawn deep into the pictures: to the forest floor with its mosses, ferns and grasses, up into the blue of the sky shimmering through the branches. Karina Wisniewska’s works are complex, vibrant and forever in motion.»
Roy Oppenheim, Publicist | | | | | | |
| | | | | | | | | |  | | | | © Ester Vonplon, Untitled, from the series ' Wie Viel Zeit Bleibt der Endlichkeit' , 2016 | | | | | | | | | | | | | | 
© Rogier Houwen, Untitled | 
© Bastiaan Woudt, Ambo Hands 201643732 |
| | | | | | | Kahmann Gallery is proud to participate in the sixth edition of Unseen Photo Fair Amsterdam. Unseen is the leading platform for contemporary photography. Exclusively focusing on what’s new in the photography world, Unseen provides a channel for up-and-coming talent to showcase their work. This year Kahmann Gallery will represent new and exciting works by Bastiaan Woudt, Ester Vonplon, and Rogier Houwen at booth #30 in the Gashouder in the Westergasfabriek. | | | | | | |
| | | | | | | | | |  | | | | Olympic #4, 2015 © Camille Vivier | | | | | | | | | | | | | | | | 
Sans titre, 2016 © Camille Vivier/ | 
from the series LA FRONTALE © Camille Vivier |
| | | | | | | | | | | |
| | | | | | | | | |  | | | Nico Krijno / Pattern Study with Wood, Steel and Paint, 2016
181,8 x 150 cm / framed 185,6 x 153,7 cm
unique piece Inkjet print on photorag paper, ashwood frame with optiwhite glass | | | | | | | | | | | | | | 
Untitled ( gure 3) 2017 39 x 31 cm
unique piece Collage with archival inkjet print and painted paper, wood frame with museumglass
Figure 3 2017 © Ruth van Beek | 
Four figures with blue hair 2016 © Ruth van Beek |
| | | | | | Nico Krijno (1981), a photographer and sculptor, previously presented ‘Under Construction’, a collection of digitally manipulated ‘objects’, maquettes and sculptures. Krijno uses digital tools to push the boundaries of our understanding of what a photographic image is, especially when it seems to represent three-dimensional objects and spaces. There is painstaking attention to the materiality and ‘matter’ in his work, and just when the viewer establishes an understanding of semblance, or of representation, this relation collapses, thus safekeeping the sense of wonder one encounters when looking at this artist’s work. Krijno’s images are never illustrations, rather they are inventions: an image that was not there before and escaped almost as if by accident.
Krijno lives and works in South Africa. His rst solo show, ‘On How To Fill Those Gaps’ in late 2011 - and the accompanying self published book - was widely lauded and selected works has since been included in group shows in Edinburgh, Milan, Los Angeles, San-Francisco, Glasgow & London. He was nominated for the Paul Huf Award 2015. Krijno was selected as one of the 20 FOAM talents of 2016.
Ruth van Beek (1977) presented her latest series The Situation Room at The Ravestijn Gallery, in which collages, paper cuts form an enticing setting where found footage and a personal archive amalgamate into something strange and altogether wonderful. The artist collects and assembles her images by hand, cutting and rearranging them into new settings, simultaneously establishing surprising, and often humorous, conversations between the images and inviting the viewer to discover previously undiscovered worlds and mysterious connections.
Her work was shown worldwide in various solo and group exhibitions. Among others: FOMU (BE), ETAL Gallery, (VS), The Ravestijn Gallery (NL), Les rencontres d’Arles (FR), Flowers Gallery (UK) and Fraenkel Gallery (VS) Works have been featured in magazines such as Foam Magazine, IMA Magazine, The Brittish Journal Of Photography, The Aperture Photobook Review, Financial Times, Elephant Magazine and The NewYork Times. She has published several artist books, in 2017 her latest book The Cast, was published by NewDocuments in LA. In collaboration with Centerfold Editions, she is working on an ongoing series of artist publications called The Manual, of which three have come out so far. | | | | | | |
| | | | | | | | | |  | | | | SEQUENCE N°2, PASSING CLOUD, 2015 ©FILIP DUJARDIN | | | | | | | | | | | | | | | | 
Ben, 2010 © Hanne van der Woude | 
Green room, 2017 © Martina Sauter |
| | | | | | Van der Mieden Gallery was founded in 2004 by Diederik van der Mieden in Antwerp. The gallery moved to Brussels in 2012 in order to join the cultural dynamic and the diverse offer of cultural institutions, museums and galleries that bring life to the city.
Van der Mieden works with artists who work around abstraction, and do so without excluding any medium. | | | | |
| | | | | | | | | |  | | | | Adam and Eve, from the series Sacred Space Oddity, The Un/Holy Land, 2016 © Tanya Habjouqa/ILEX Gallery/NOOR | | | | | | | | | | | | | | | | 
Still image from the video Lagos, from the series Wasteland, 2016-2017 © Kadir van Lohuizen /ILEX Gallery | 
Still image from the video Mediterranean Sea, from the series Stream of Consciousness, 2015 © Francesco Zizola/ILEX |
| | | | | | | | | | | |
| | | | | | | | | |
|
|
