The Venice Film Festival is ready to start a new edition (Venezia75) and like in the past years the opening movie looks promising: we speak about “First Man”, directed by Damien Chazelle, well known in Venice for “La La Land“.
Alberto Barbera, Venice Film Festival looks excited to have the movie in competition: “It’s a real privilege to present for the first time the new movie directed by Chazelle. It’s a fascinating and original movie, if we compare it with other epic movies of our times and it’s a prove that Damien Chazelle is a great director, one of the most important one in the american industry”. The movie produced by Universal Pictures (and also con-financed by DreamWorks Pictures) and it’s a great sign that the Venice Film Festival is taking back its place as the most important festival in the world (Sorry Cannes!).
The film features great actors such as Ryan Gosling, Jason Clarke and Claire Foy and speaks about one of the key events of our recent past: the Apollo 11. It’s a movie which explores the costs and sacrifices of Armstrong and the United States in one of the most dangerous mission in the world back at the time. This year it’s the eve of the 49th anniversary of Apollo 11, one of the events which has been featured many times at the cinema: but probably thanks to Damiene Chazelle, we should be ready for something totally new and exciting.
Written by Academy Award® winner Josh Singer (Spotlight), the drama is produced by Wyck Godfrey & Marty Bowen (The Twilight Saga, The Fault in Our Stars) through their Temple Hill Entertainment banner, alongside Chazelle. Steven Spielberg, Isaac Klausner, Adam Merims and Singer executive produce. DreamWorks Pictures co-finances the film.
The official Line up of the Festival will be presented in Rome the 25th of july, but there are in these days a lot of rumors about the movies that will be included in this 75th edition of the Venice Film Festival. So far this is what we heard about:
Summer starts when Les Rencontres de la Photographie in Arles starts, at least for photographers. I’ve been to Arles the first week of the festival. It’s always a nice moment to meet friends and professionals and to understand, in a way, what’s happening in the European photography and in the world. Infact it’s always interesting to see the masters of photography like Robert Frank, Paul Graham, Raymond Depardon, William Wegman, Renè Burri and others. It’s true, is too easy to say that the works of masters are the best but, as always, I try to find new “emergent” masters. Maybe the new generation like Paolo Verzone, Feng Li, Gregor Sailer or Caimi/Piccini (for this festival edition) could be the new ones?. Anyway, it was fantastic to see the contact sheets of “the Americans” of Robert Frank and his vintage prints. The notes about the first trip of Renè Burri in Egypt, a mix of photos and drawings. The lovely sequences by Paul Graham, the portraits and the editing. The big publishing work by Robert Delpire. Thanks Masters! I think its important to look back in the past to understand and find our way to the future, as a man and a photographer. Let’s start with this summer 2018! Good light!
After traveling a hole day, flying from Berlin to Rome, then from Rome to Marseille and catching a train with one hour delay from Marseille to Arles, I landed directly in the Tambourine bar.
My baggage still on the ground, while drinking some pastis I meet some friends and pinpoint some photographers.
I think it is the end of my day, ready to go to sleep, but I’m wrong. Everybody here is coming from a photo marathon all day long, so they are as tired as me, if not even more. The pastis let the evening be the best moment to refresh our minds.
Arles is a little and romantic town in the south of France and also the perfect scenario for a photography festival, where people meet for that common passion.
The usually hot weather doesn’t stop anyone from going around to the exhibitions, talks and bookshops and sometimes wind helps making them even go to the open air events. Beautiful museums and galleries still are the fresher places to go.
So, the atmosphere is also inviting for any tourist who wish to stay and enjoy the festival whereas for the experts the paradise of opportunities is just beginning.
Starting from the portfolio reviews, the festival offers you many activities including your own body of work as well as you as a photographer person.
It brings you to bump into well-known photographers along the street, in a public speech or at the bar in a much more friendly situation.
This year the festival has given space to many american stories, the first one I saw is „the whiteness of the whale” of Paul Graham exhibit at the église des frères prêcheurs. His photos seem like are „walking” in the church, following the sequences of the images, the observer feels himself in the very streets of the America which are pictured from the photographer.
I was delighted with the photos of the two big names in the Espace Van Gogh: Robert Frank and Raymond Depardon. The space hosts at the wide perspective of Frank’s work, from his very beginning in the youth ‘till his famous project „ The Americans”, is shown at the ground floor. The most interesting thing here to see is the evolution of the artist’s photography during his life and even more attractive are the marked contact sheets. They are in the middle of the room under a glass case, as if they were a piece of art, and they really are.
In the first floor the exhibition continues with the work of Depardon. The room is a little bit smaller than the other one and the photos show historical events and journeys across America. After seeing Robert Frank the impact here is not so strong, but the landscapes bigger prints are extraordinary.
Last but not least, the Paul Fusco show on America, with the brilliant and touching work “Funeral Train”, a tribute to Robert F. Kennedy. His photos portray the americans waving goodbye to the body of J.F.K., in a train which crossed the country just to receive people’s greetings. This moving work of Fusco not only shows how many people believed in a better America but also the delicate and deep construction of a society. A true research of people’s way of life.
It is already 2pm when I decide to eat something and get more energies for my personal photo-marathon. Where to go? The town is obviously full of traps and touristic restaurants. Walking in the streets the sun is hitting, but thanks god, the coming evening brings its wind and everybody feels better. I decide to eat a simple sandwich.
In front of the place where I eat there is the Salle Henri-comte with the exhibition of René Burri. I go see it and get surprised with what I see. I know the works of Burri in Brazil or the famous photo of Che Guevara or his reportages, but I had never seen this photos before. The title is „The imaginary pyramids”, he plays with the real and imagined pyramids during his trip to Egypt and the exhibition shows us a particularly perspective of this journey. It’s like a personal diary with paper pages, drawings and photos, of course. So happy to see such a different project from him.
Checking the program, the exhibition of Robert Delpire catches my attention. At the Caves du Méjan there is a journey through the history of photography. It is a tribute to the creator and director of the Photo Poche. Unmissable.
To refresh my mind, I decide to go to Cosmos, the open air bookshop. Here is where many publishing houses show and sell their books. Different tables stand under a white marquise to protect themselves, but mostly to protect the books, from the sun. That’s the paradise of photographic books, everything you are looking for, you will find it here, from Luigi Ghirri to JH Engstrom, from the less known japanese photographers to the most famous ones.
It’s already 9pm, I was wandering around and a friend of mine passes running and seeing me she says: „what are you doing here? Let’s go to the Théatre Antique there is the Live magazine and it starts at 10pm, run!”. I started to run with her.
The Théatre Antique is a magic place, at that time of the evening, it becomes even more magic. The sky is blue, pink and orange at the same time and everybody is excited to be there, taking their own sit in this magnificent amphitheater. The Live Magazine is a brilliant idea to expose photographic works, it is like a magazine but rather than reading it you look at it. Photographers read their projects on stage while their photos are projected on a big screen in the background and a little band plays a soft song. Nothing better to end the day.
At 12pm I’m ready to go sleep and I leave the theatre with some friends, we all head towards the main square, we pass in front of the Tambourine and… why not, let’s drink the last pastis, the night just begun!
Last year we have been speaking about this new brand, which actually is a lot more than just a “clothing brand“. We can say is like a concept, something that is taking a lot of ideas (around 1000…) and concentrating them in one name: “One Thousand “.
One Thousand was born last year in Treviso: Federico Folladore and Alberto Ruvoletto are the founders of this new project and it’s a mix between music and fashion. Both of them are fashion designers, and their first collection, named “Decade“, was presented in Milan during the last Fashion week.
Decade is a creation of 10 stories, showing different background cultural ideas: one of them is for sure the “genderless” theme, as their clothes are for everybody, no matter who you are, it’s just a way to express yourself from the designers point of view, without and cliché.
Here we have some photos realized by the italian photographer Luca Zambelli; the models are Joberta Netto and Giovanni Tamiello and the styling has been curated by Federico & Alberto.
History of art and history of photography abound in various depictions of the human body. Artists often strive to show the beauty and the perfection of the bodily form by creating images of young and fit men and women.
People are bombarded with them in their surroundings. Alicja Brodowicz takes a slightly different approach and focuses on the flaws and imperfections. By locking her gaze and camera on small and carefully selected fragments, she chooses the parts that are faulty, distorted and often plain ugly.
The human body in her photographs in nothing like the classic ancient sculptures and does not bear any semblance to the nude photographs of beautiful models. However, in the series of diptychs, human body functions as the microcosm.
The photographer takes interest in its’ fragments: hair, scars, texture of skin, wrinkles, stretch marks and freckles. She looks for individual particularities, distinguishing features and irregularities.
The opposing side of each diptych is taken up by photos of nature. The photographer also selects fragments of it: surface of water, grass, tree bark, stones, dry leaves, branches.
Nature is the macrocosm here.
Later, she combines the two images to create matching pairs. She focuses on finding converging lines, textures, similarities in layout and analogies in composition between the microcosm and the macrocosm and tries to depict the unity between the human body and nature. These are visual exercises, an attempt at finding perfection in the imperfect, flawlessness in the faulty and beauty in even most ordinary aspects of the human form.
The project is in the process of creation. All of the photographs were taken in the course of the last two months.
About the author: Alicja Brodowicz is a graduate of the Institute of Creative Photography in Opava (Czech Republic). Finalist and laureate of photography competitions (IRIS Award – Australia, Photo Annual Awards – Czech Republic, International Photography Awards – USA, 7th Julia Margaret Cameron competition – Great Britain). Winner of 1st place (portrait category) in Black and White Child Photo Competition. Honourable mentions: International Photography Awards 2015 – Category: Children, MIFA 2015. Laureate of Debuts 2016 and TIFF Festival Rivers and Roads 2016.
Alicja’s main focus is on subjective documentary and fine art photography.
The Tsukiji Market (Tsukiji shijō), supervised by the Tokyo Metropolitan Central Wholesale Market (Tōkyō-to Chūō Oroshiuri Shijō) of the Tokyo Metropolitan Bureau of Industrial and Labor Affairs, is the biggest wholesale fish and seafood market in the world and also one of the largest wholesale food markets of any kind.
The market is located in Tsukiji in central Tokyo, between the Sumida River and the upmarket Ginza shopping district. While the inner wholesale market has restricted access to visitors, the outer retail market, restaurants, and associated restaurant supply stores remain a major tourist attraction for both domestic and overseas visitors.
With an area of about 230,000 square meters, Tsukiji fish market is one of the largest fish markets in the world. Inside there are also many restaurants that serve the freshest fish sold, but the peculiarity of this place is the sale of tuna, which in Japan is so popular to the point that real auctions are held to win the most valuable pieces.
Tsukiji fish Market holds the world record for the most expensive tuna fish sold at auction (new year’s auction). The record was made official at a ceremony held near Tsukiji, where the tuna was sold for 155.4 million yen ($1.4 million).
About 60,000 people work in the market and there are about 900 small businesses that start the business at night: all this is a maze of “ways” traveled at full speed by the characteristic tarrets and animated by the sellers’ voices.
One is fascinated by the manual skill and the accuracy with which the fish is cut, prepared and wrapped. The final product resembles more a work of fine craftsmanship rather than a food, this sums up to perfection the attention to the almost maniacal details of the Japanese.
In the autumn of 2018 all this area will be converted to a residential area and the market, with its restaurants, will move to a modern structure and inevitably, in the name of progress, will lose some of its charm.
About the author:
Federico Bonifazi is an Italian photographer. He was born in Rome in 1981.
“Someone like you can spread the kindness too” is the ending line of the British Red Cross new spot; curated and shot by the Full Service – founded by world-famous photographer Rankin-, this new campaign portrays beautifully and touchingly the extraordinary acts of kindness of the warm-hearted volunteers who offered their help to people affected by UK most recent tragedies: the terror attacks and Grenfell Tower Fire disaster, both occurred last year.
The campaign is willing to celebrate one of the largest humanitarian responses experienced by the Red Cross in its 148 year history. These volunteers promptly acted every single time the adversity struck, overcoming difficulties and providing vital support to the victims and their families.
“We wanted to draw attention to the unsung heroes, the ones that worked tirelessly in the background and away from the limelight. This campaign is a way of saying thank you to them, while showing that these people are from within your community; they are just like you or me and they made a huge difference. We feel that this message is unbelievably important in these problematic times.”
The Red Cross (with the help of many others) was able to raise a big sum of money for the ones in need: the London Fire Relief Fund raised £7.3m for those affected by the fire at Grenfell Tower, We Love Manchester Emergency Fund in partnership with MEN and Manchester City Council raised £21m and the UK Solidarity Fund has raised £3m for the victims of terror attacks.
These volunteers gathered together supporting almost 2.300 people affected by the terrible incidents happened in London and Manchester; despite the sense of impotence that strikes humans when a great tragedy occurs, the help these individual were able to provide is invaluable.
The campaign, released on the Red Cross week (6-12 May) is a message of gratitude sent to the people who offered their help during times of misfortune, while the data reported is a the proof of how much every single person counts.
This year I started the Gallery Weekend tour with the largest side-event, NgoroNgoro, an exhibition with works by over 150 artists – including Mark Manders, Shirin Neshat, Marlene Dumas, Anri Sala, Martin Eder, Alicja Kwade, Anselm Reyle, Marie Steinmann, Gregor Hildebrandt, Sophia Pompéry, Julian Rosefeldt, Michael Sailstorfer, Björn Melhus, Marius Bercea, and Nasan Tur – on a vast 6,000 m2 artist studio complex in Weissensee.
This project, with no commercial background, was initiated by the artist Jonas Burgert and his fellows Andrej Golder, Christian Achenbach, Zhivago Duncan, John Isaacs, Andreas Mühe, and David Nicholson. As expected, a very diverse range of artworks were shown, many were good, some were great.
Upon entering the courtyard of the former GDR factory, with a mix of old and new buildings, you face one of Michael Sailstorfer‘s early works, “Elektrosex“ (2005) – an installation inspired by Constantin Brancusi’s “The Gate of Kiss” – composed of two street lamps opposing each other in the form of arch. At irregular intervals the voltage comes up in one of the lamps, and once it is high enough, an electric spark jumps from one lamp to the other; then the circuit closes. “The same occurs between humans”, explains Sailstorfer.
Two steps away from Sailstorfer’s work you find yourself at the base of a monumental eight meter endless column by Gregor Hildebrandt, titled “Säule”(2018), made out of moulded vinyl records elegantly casted in bronze. The sculpture is part of his series of columns rooted as well to the Romanian sculptor Constantin Brancusi’s work, one of most important artists of the 20th century.
In the same yard you also see perhaps the smallest work at NgoroNgoro, “Impianto” by Jeewi Lee, a work that makes reference to conservation practices, and was created during her fellowship at Villa Romana in Florence and borough to Berlin to be „implanted” in a building wall.
Once you move in, crossing the large-scale studios of each of the artists, it gives you feeling of a utopian space filled with a wild combination of works, mediums, and artists internationally established or local who’s works coexist without name tags, nor ordered by a type of narrative.
NgoroNgoro presents a generation of artists represented by its diversity, which is reflected in the use of a different mix of technologies, while also working with defined media, such as sculpture, painting, drawing, or video installations like Julian Rossenfeld’s or Shirin Neshat’s.
The Iranian-born artist and filmmaker, Neshat, shows a work that is part of a trilogy of video installations entitled “Dreamers”. Neshat is powerfully stating the poetics of video and intimacy, as she invites you to emphasize with the aloneness and grief of an unknown woman, a single female protagonist whose emotional and psychological narratives remain on the border of dream and reality, of consciousness and sub-consciousness.
In front of her video there are moments when you are literary facing the act of looking someone else in the face. Her work has another aspect, it refers to the socio-political agenda of migratory culture and reminds us how often we fail to face people who go through loss and sacrifice.
Another work that caught my attention was Mark Manders’s installation of expressionless sculpture faces with stylized anatomical features, typical in the ancient Greek art. The artist has a misleading way of using materials and fragmentation of form. The grey contourless figures apparent to have been formed by hands shaping soft clay, are actually made of painted bronze.
Shifting between the exhibition rooms I found a small paiting by Marius Bercea, an artist from Cluj who’s artwork reflects a surreal situation through the use of colour and forms of architecture.
The NgoroNgoro principle was simple, a radical exhibition where artists invite other artists to show their works, with no curators, no barriers of inclusion, where also „ugliness” has its place. “There’s a free spirit here,” said Jonas Burgert, who showed four paintings himself.
A look back at some of the exhibitions still on view after Gallery Weekend
My program proceeds with the welcoming reception for the Gallery Weekend at the Staatsoper Berlin, followed by a guided tour in the solo exhibition dedicated to Louise Bourgeois, an icon of feminist art ”The Empty House” at the Schinkel Pavillion.
Bourgeois’s selected works from the past two decades of her life show a sensibility for corporeality and gender, revealing a continuous examination of birth and death. The works deal with the central themes of her life, a self analysis that links to her creative process – a parallel “form of psychoanalysis”. Her personal relationships and conflicts inform her work. Bourgeois is representing mostly the female body in its various aspects of evolution and decay, offering privileged access to her forms of mental mending.
Also in the Mitte quarter you can check out ”Back to Nature?”, on view until mid-August 2018 at Frieder Burda Salon Berlin, an exhibition that deals with changed concepts, and images of nature in contemporary art. The curator, Patricia Kamp, explores the question of the contribution of art in ecological debates with works by Camille Henrot, Timur Si-Qin, Tue Greenfosrt, Sissel Tolaas, David LaChapelle, Laure Prouvost, Tim Eitel, Nikita Shalenny, and Flavio de Marco in dialogue with Georg Basezlitz’s ”Eschenbusch II”.
The Norvegian artist and “olfactory master”, Sissel Tolaas has created a smell-mapping installation. She reproduces and archives the scents of oceans in her collection, which can awaken quite subjective memories in the people who smell it, but at the same time her work represents a snapshot full of geographical, cultural and historical references.
On a Saturday morning, after a PR-Event with BMW at Soho House, my next stop was KOW gallery to see the ”El Otro, El Mismo / The Other, The Same”, the first solo exhibition of the Cuban artist duo Los Carpiteros in Berlin.
Marco Castillo Valdes and Dagoberto Rodríguez Sánchez are influential voices in contemporary Latin America, and have been operating since the early ’90s, documenting changes in contemporary Cuban society through art. The exhibition at KOW combines sculpture, films, and new watercolour paintings by the artist collective.
A short walk away from KOW, I dropped by Galerie Neu, featuring a new series of works by Yngve Holen, but I also took some time to see ”Not to Belong to Themselves” at neugerriemschneider – an exhibition with hanging sculptures made out of glass and bronze by Mario García Torres.
On my way to the west part of Berlin I stopped by the König Galerie, where Claudia Comte is on show with her immersive environment installation ”When Dinosaurs Ruled the Earth”. In the main space of the gallery, a multi-channel video installation and twenty spruce trees suspended from the ceiling offer an analogue perspective of time. Each wood is revealing a bronze sculpture in its carved reliquary. The use of wood, marble, and bronze but also digital material create a juxtaposition between old and new, one where past, present, and future interweave.
I couldn’t miss out WENTRUP gallery showing ”Muster”, an exhibition with two new series by Nevin Aladag – Social Fabric and Jali.
Aldag’s new sculptural works with titles like Jali Arrow, Jali Ring, or Jali Tree refer to the net or grid as a structuring element in Indian architecture. The installation was shown also at documenta 14 in Kassel, and represents a delicate abstraction of building elements that often imitate forms in nature such as a branching-out treetop. The ceramic tiles, which are stacked to create a screen-like wall, contain repetitive patterns and abstract structures.
My final stop of the day was Tanya Leighton, which hosted Oliver Laric’s latest video ”Betweenness” (2018) and a new group of a cast of pigmented resin sculptures, all titled ”Hundmensch” (2018), depicting a figure with the head of a dog and the body of a human, holding a smaller dog in its arms. Laric reflects, through his work, on the beliefs about authorship and authenticity, inquiring the form of replication. The ”Hundmensch” sculptures have a beguiling nature with a layer of symbolism that has been derived from a melding of sources, from prehistoric to contemporary – by using 3D models to cast their forms.
My Saturday evening ended with a drink at the Outset after party at Kino International. During Gallery Weekend you can literally feel Berlin’s excitement rising in the air, and finding your way around crowds of people may not be the ideal way to view art, that’s why I totally recommend to pay a visit to the galleries in the upcoming week.
All photographs by Maria Nitulescu, (if not differently indicated).
This project is a multifaceted exhibition that presents two simultaneous and overlapping readings of the actions of destruction and construction produced by earthquakes in Mexico. On one hand, you have a general presentation of the facts, an informative piece of what happened during and after the earthquake. On the other hand, at the same time, you have a sensitive representation on the subject: videos, projects and installations from renowned Mexican architects, institutions and artists that relate with destructive and reconstructive of the physical environment.
An earthquake is a force so powerful responsible for over 10,000 deaths each year by the collapse of our built environment. The damage is material, the loss is physical and that is because we belong to the realm of the concrete. Making evident our mundane dependence and attachment to the constrained surface of the constructed world.
After the loss of the material hosting habitat the immediate response is Re Construction. Rebuilding what was lost, reclaiming our territory, reassuring our existence in an always dynamic and threatening place.
However, the concept of ReConstruction can be deceiving or maybe confusing, yes in a moment of tragedy, of immediate reaction to a recent cathartic event that literally shook millions of people’s lives, it can be presented as a positive set of actions to restore order.
Arch. Luis Carbonell
This project starts from the devastating effects of this natural disaster and the reaction of the population and of Mexican artists and architectures, beginning aid projects for the reconstruction of the city. Many of the projects were born with the aim of assisting the affected communities. Some of them are lead by architects such as Manuel Cervantes – CC Arquitectos; Julio Gaeta and Luby Springall – Gaeta Springall Arquitectos; Mariana Ordoñez and Jessica Amescua – Comunal Taller; Luis Carbonell and Andres Souto – MUCHO / TDPD; Jose Amozurrutia and Carlos Facio – TO Arquitectos; Paul Curuchet and Luciana de la Garza – Estudio Atemporal; Juan Casillas – Laboratorio de Arquitectura Básica; Maruicio Guerrero, Luis David Arredondo, Rodrigo Escobedo, Alejandro Gutiérrez – La Metropolitana; just to name a few. These architects are participating in this collective show of efforts and social driven architectural projects.
Throughout this exhibition works by Adela Goldbard, Andres Souto, Carlos Iván, Fernando Ocaña, Jerónimo Reyes Retana, Julieta Gil, Karen Rodriguez, Miguel Angel Salazar, Nestor Jimenez, Isauro Huizar, Sofia Garfias and Sumie García will be showcased during the calendar of activities. There will also be a web platform with all the architecture projects, institutions and organizations related to the reconstruction, archiving all the contents related to the exhibition too.
Luis Carbonell and Andres Souto work for a multidisciplinary and multilayered practice in Mexico City, engaging within the wide spectrum of architecture, design and art. Their individual profiles combine together, producing work that goes from creative design in the architectural field to a more conceptual field of research and art production. They have also been actively involved in the efforts of reconstruction and social aid, working with communities in Chiapas, the south of Mexico.