Tag Archives: Group Show

Selva Virgen at Casa Inmobiliaria in Lima, Peru

I have some photos up in a group show in Lima called Selva Virgen, Salvaje y Sensual. It’s currently up at the Casa Inmobiliaria located on Javier Prado Oeste and Los Castanos (on the off chance you’re in Lima). The title translates as “Virgin Jungle: Salvage and Sensual.” The photos mostly deal with the culture and people of the  Amazon region in Peru. In the rest of Peru, the region and especially it’s largest city Iquitos is perceived as sensual and libertine, a sort of Brazil-in-Peru. A lot of the photos in the exhibit deal with this one way or another.

Here’s the promo card for the exhibit:

Selva Virgen promo image

The show features ten photographers and two painters. It was curated by the painter Christian Bendayan who is from Iquitos and whom I’ve blogged about before. It’s a real honor to be included in this group and my only regret is not being able to be in Lima to check it out. Fortunately, thanks to Facebook, I’ve been able to piece together some random shots, which I’ll share here to give you a sense of the show.

Casa Inmobiliaria, site of Selva Virgen show in Lima, Peru (photo courtesy of Carlos Pacaya)

The show is housed in a old mansion that will be demolished soon for a luxury high rise. In the meantime, the space is functioning as an art exhibition space (and sales office). Back in March, when I was in Lima, I blogged about a show there called Miscelanea (todo se queda en casa).

Here’s some work by the different photographers in the show:

Adrian Portugal

Adrian Portugal (photo courtesy of Carlos Pacaya)

Adrian Portugal of Supay Fotos, features images of female dancers and it looks like they are over-painted with black-light paint. This neon paint is used a lot in popular bars and discos in Iquitos.

Adrian Portugal (photo courtesy of guiame.pe)

(photo courtesy of guiame.pe)

I love the way the paint drips off this photo and glows under the UV light. Again, it’s a shame I can’t go to the show.

Antonio Escalante

Antonio Escalante shows photographs of older women (maybe prostitutes?) in dark interior spaces. In addition to the photos, I like the frames and the colorful wallpaper. In general, there was a lot of thought put into the presentation of the photos and the use of the space.

Antonio Escalante (photo courtesy of guiame.pe)

Antonio Escalante (photo courtesy of guiame.pe)

Sandro Aguilar has pictures of naked women in the forest and a few pictures taken with a holga that I quite like. I’d love to see more but he doesn’t seem to have a website. Update: he does have a website.

Sandro Aguilar

Sandro Aguilar (photo courtesy of Carlos Pacaya)

Sandro Aguilar (photo courtesy of Carlos Pacaya)

Rodrigo Rodrich photographs various indigenous groups in the forest with a softbox. I believe these were originally for a magazine assignment. They are nice group arrangements. I think photographing groups is next to impossible so I always appreciate it when I see it done well.

Rodrigo Rodrich

Rodrigo Rodrich (photo courtesy of guiame.pe)

Musuk Nolte shows very expressive, black and white pictures of boys with water splashing all around them. I seem to recall these having something to do with the insane asylum in Iquitos, but I may be confusing these with other photographs.

Musuk Nolte (photo courtesy of guiame.pe)

Musuk Nolte (photo courtesy of guiame.pe)

Gihan Tubbeh’s photos feature female erotic dancers.

Gihan Tubbeh (photo courtesy of guiame.pe)

Marcos Lopez, from Argentina, features several photographs from the main cemetery in Iquitos, altho it looks like they were instead painted on the wall for the exhibit, which looks really cool.

Marcos Lopez

Marcos Lopez (photo courtesy of guiame.pe)

Morfi Jimenez does black and white portraits, often with flash, which he then colors-in, in the mode of Felice Beato or Jan Saudek (the promo-card image for the show is his).

Morfi Jimenez (photo courtesy of Carlos Pacaya)

Here’s a gallery of Jimenez’s Iquitos images (since they don’t seem to be on his website).

Carlos Sanchez Giraldo is showing this series of three, round panels that look like they are painted. Sanchez also organized the Retratos Pintados show that I really liked back in March.

Carlos Sanchez Giraldo (photo courtesy of Carlos Pacaya)

Carlos Sanchez Giraldo

I’m in the show too :)

This is actually my first curated group show, so I’m really pleased. The work and the installations look amazing. I’m just sad I can’t be in Lima to see the show. I’m showing a selection of portraits that I made last year in Iquitos.

My photos (photo courtesy of Carlos Pacaya)

My photos (photo courtesy of Carlos Pacaya)

Carlos below his photo (courtesy of Carlos Pacaya)

That’s Carlos, one of the guys I photographed, standing below his photo in the show. He lives in Lima now, so he was able to attend the opening (and post a lot of these pictures to Facebook, not to mention give me permission to post them here). I haven’t put any of this work up on my website yet. I was in Iquitos again this year and made a ton more portraits which I haven’t been able to scan yet. I do have the photos from last year scanned but I’ve been waiting to do a more final edit. Still, here’s a few of my portraits that were in the show.




Here’s a full list of the participating photographers (with links, where I found them): Antonio Escalante, Musuk Nolte, Adrián Portugal, Morfi Jimenez, Rodrigo Rodrich, Marcos López, Gihan Tubbeh, Sandro Aguilar, José Ashuco Araujo, Carlos Sánchez Giraldo and Luis Sakiray.

Alex Crétey Systermans, Untitled

Alex Crétey Systermans, Untitled

Alex Crétey-Systermans

France, 2010
From the Slowdown series
Website – Systermans.com

Alex Cretey Systermans is a Paris-based fine art and editorial photographer. He received his MFA from The Villa Arson in Nice, France. His work has been featured in La Pura Vida Magazine, Conscientious, National Geographic, Le Monde, and L'Express and he regularly contributes to A/R Magazine. Alex has had group and solo shows in France, the United Kingdom and in the U.S. He'll take part of a group show in Rencontres d'Arles in July and is preparing a solo exhibition in November 2012 for the Mois de la Photo in Paris.

Número Tres: de la Casa a la Fábrica

From Summer Nights, Walking (c) Robert Adams

The Centre National des Arts Plastiques (CNAP) in France presents Número tres: de la casa a la fábrica, a group show of photography and video exploring the interplay of professional and domestic spheres and spaces as well as their representation, featuring work by Robert Adams, Darren Almond, Maria Thereza Alves, and many more.

Número tres, which opens next Thursday, May 31, 2012 at La Virreina Centre de la Imatge in Barcelona (on view through September 30), was inspired in part, and plays off of Jean-Luc Godard’s 1975 film Numéro Duex. Godard’s acclaimed experimental piece explores links between work and home, machines and people, and the power struggles of an ordinary French family. It presents two juxtaposed “observations” shot on video and played back on two side-by-side monitors which were then simultaneously recorded on 35 mm film.

Given the delocalized role of the factory in today’s multinational economy and society, Número tres offers an opportunity for the reconsideration of these links. “Through a selection of contemporary representations of domestic life, urban landscapes, and gestures of love and labor,” according to the press release, “the exhibition traces new paths from house to factory, from home to work, between these two spaces that are so far apart and yet so close.”

In related programing, CNAP presents Número cuatro/Pantallas paralelas, a panel discussion exploring art, texts, and theoretical work that addresses the privatization of public space, and the publicizing of private space, curated by Pascal Beausse, Curator of Photographic Collections, CNAP and Pascale Cassagnau, Curator of cinema, video, new media, CNAP. More info on date and time to be announced here.

Robert Adams, whose classic monographs The New West (2008) and Summer Nights, Walking (2009) were recently reissued by Aperture, also has a traveling retrospective, The Place We Live, currently on view through June 3, 2012 at LACMA, organized by the Yale University Art Gallery, profiled here by Time’s LightBox.

Adams’ work is also featured in Aperture issues 197180, 169 and 168.

Número tres: de la casa a la fábrica
Exhibition on view:
May 31 – September 30, 2012

La Virreina Centre de la Imatge
La Rambla 99
Barcelona, Spain

Success Stories: Candace Gaudiani

I first met Candace Gaudiani at the Fotofest reviews in Houston about six years ago.  She is a striking woman–elegant, self-possessed and smart.  Candace was sharing work from her series, Between Destinations, about her many train travels across the United States.  Since then, I have had the pleasure of seeing Candace at other photography events over the years, and traveled with her in China at the Lishui Photography Festival last fall, where she exhibited her wonderful train work.  I am thrilled to share that Candace now has a monograph of Between Destinations, published by Kehrer Verlag, which includes an extensive essay by Alison Nordström and an interview with Jane Reed and is available through photo-eye and Amazon.

Candace is currently on a book tour and will soon be pulling into Boston on May 30th for a book signing at the Panoptican Gallery, in conjunction with a group show, Planes Trains and Automobiles which runs through July 9th.

Opening in New York City on June 22nd at Photoville, Candace will be exhibiting photographs from 4 train trips.  Viewers will be able to experience her work in a more monumental scale as the exhibition is housed in a shipping container.  She will continue her lectures and book signing into 2013 and her schedule can be found here.

Candace was born in Boston and grew up in Wisconsin and Maine. She holds a B.A., cum laude, in English Literature, and an MBA from Harvard University. Gaudiani studied fine art and portraiture at University of California, Berkeley, and print-making with the print maker for the late Eugene Smith. She lives and works in the San Francisco Bay area.  She has exhibited widely in the U.S. and Europe and her work is held in numerous collections


What drew you to photography? 

As a child in small town Wisconsin, I drew pictures and storyboards
and spent time alone looking at the world through my bedroom windows. By the
time I was in second grade, my father got me a Yashica camera to match his
Rollei (he was a scientist and amateur photographer). Early on, I learned to be
an observer, to look and see, living in a neighborhood without other children,
and also enjoyed riding for hours on my bike through swampland and countryside.
Being behind the camera was a perfect vantage point for me to see the world.

How long have you been working on this project and how many train trips have
you taken?

 When I took up photography seriously again
seventeen years ago – to see what I could do with it before the lights
went out, I told other people’s stories as they told and showed them to
me. My first two series explored the secretive world of body builders and then
the intimate conversations of ordinary people. Seven years ago, I was drawn to
tell my own story directly. My familiar ground involved journey and travel, as
I had been through all forty eight states by the time I was twelve years old,
with my family mostly by car, but some by train. I had traveled extensively as
an adult, too. To see those familiar memories with new eyes, I started
retracing the routes I had been on much earlier, in an
America from the 1950’s. My
journey evolved, as I initially explored photographing from cars (running off
the road several times, negotiating the steering wheel and the camera) and from
planes. None of that produced what I hoped for. So, I boarded trains and, over
the course of those seven years, discovered new ways of seeing and produced
four distinct series. In that evolution, I reinterpreted pictures through train
windows in black and white and in color, in sizes ranging from intimate cards
to larger than life windows on the world. In each case, the nature of the
object impacts how the viewer sees and interacts to the story. In most cases, I
do not include place names or text, as I want the viewer to populate the
pictures with his or her own story and memories and to accompany me on a new
journey. And I realize that as I change my art, my art changes me.
I have
been on over 20
extensive or cross
country train trips and many car and plane trips.

While you are a passenger, are you continually engaged in what’s out the
window, or do you shoot selectively?

When I began, I photographed what
caught my eye, out the passenger window, up track and down track, rather
passively. On my recent rips, I work very hard, covering two stories of the
train, shooting out different windows from varying vantage points, packing a 25
pound backpack and working two cameras. I always work alone, as I want to focus
on what I am seeing out the exit door/dining car/observation car/passenger
seat/hallway windows. It is intense and exciting – what discoveries
lie around the bend? Before trips in recent years, I
preplan, with an eye to filling in what might be missing from my series to date
and to capturing new vistas. For instance, I look at the map of the rail route
and compare it to timetable and geography. At what time will I be at point X?
Will the sun be to my west or east? Will that glare prevent me from shooting
out an east window? What side of the train will the train’s shadow be on?
What will the weather be? –
if it is sunny, the
mood will be one way, if rainy, another. And so on.

What has been your favorite train trip?  
I think my favorite train trips are my very first one and
the most recent one! Each one has covered many states and presented its own
discoveries. I will say there is something special about waking up in the
middle of the night in the desert and seeing more stars than I ever could have
imagined and going back to sleep with the rocking of the train slipping quietly
through the night.

After completing this project, would you still consider train travel?

Always! I like the concept of being
free on the train, yet yielding up to where it is going. A train is always
between destinations, and so are we all in life.

Tell us how the book came about? 

six years into this project, I met at several photography portfolio reviews the
acquisition manager of Kehrer Verlag, a highly respected small art publishing
house in Germany.
As my work progressed and the four series developed, Kehrer expressed an
interest in publishing all of my train pictures, both black and white and color.
That happened in April, 2011. I thought I had one to two years to complete the
book, but the acquisitions manager emailed me three weeks later and asked
“How about publishing in January 2012? And, by the way, we need
specifications, a title, and cover art in three weeks for our catalogue”.
Of course, I said Of Course! Those three weeks were among my most intense
creative efforts. The whole experience with Kehrer was positive. I went to Germany
to be pre press and on press, with guide prints for every image in the book
– all of which were crucial to the outcome for the book. And it is
beautiful, even better than I hoped.

What can you share with emerging photographers about getting their work out
into the world?

Always make time to do work. Be clear and present and see clearly and well when you work. Build from what you are familiar with but see it with new eyes. Always follow what you are drawn to – you will have something of yourself in whatever photo you make, and it will be stronger. Every portrait or photograph is a self-portrait. Move beyond sharing with family and friends to put your work in front of industry experts through portfolio reviews and local colleagues. Mess around. Always do something that scares you. Just when you think you cannot continue a particular photo shoot, hang in there, because that is when the best photos are made. Talk with industry consultants when you feel you are ready for a next step but don’t know how to get there.

What event took your work to the next level?  
 I think there were different events at different stages
and different people. In my book, my Acknowledgments section honors many who
made a difference to me over time. But what in general took my work to the next
Seeing with new eyes, setting aside my accustomed ways
of looking at things, and getting advice from wise colleagues and friends.

What’s next?  

Well, it’s too
early to talk about it, but it might include circling back and supplementing my
earlier series on body builders, titled “Do I Measure Up?…” I remain passionate about storytelling and
photography and issues of impermanence, intimacy, place, and memory.

And finally, what would be your perfect day? 

After checking email, I would take a walk with my dog in
the California
hills, come back and quietly look at and edit new work. I would plan an
upcoming trip. Mostly alone, but a connection with friends,

Yaakov Israel: The Quest for the Man on the White Donkey

I am always thrilled for photographers whose work I feature and then write back a year or two later that their project has been realized in book form. Yaakov Israel is one of those fortunate photographers. I featured his work almost two years ago and I am happy to share that Schilt Publishing has just released his monograph, The Quest for the Man on the White Donkey. The book is currently available in Europe and will be release in the US and Canada in September/October 2012. It can be purchased directly from Schlit if desired.

Yaakov Israel lives in Jerusalem, Israel and that fact informs much of the work he creates. Yaakov received a B.F.A in photography, from the Bezalel Academy of Art and Design and his work has been shown in solo exhibitions in Israel at the Tel-Hai Museum of Photography and the Haifa Museum of Art. He has participated in a variety of group show and is currently a teacher of photography at leading photography collages and institutions in Israel.

Congratulations Yaakov! How did the book come about?

I started the Q.M.W.D in 2002, from the beginning I knew I wanted to build this body of work in a different way from the other bodies of work I was working on. The other projects were based on the idea of accumulating images that were done in the same visual language and thus defined the idea, content and story. The narrative in the Quest evolved around the idea of connecting images that were about an idea, images that were done in a verity of visual languages. In a way I was learning to use the photographic medium in a different way. I hoped that the images would connect around the context of the story. After a few years of work I reached the understanding that the kind of narrative I was pursuing would convey itself best in book form, so I started editing my images with this thought in mind. Then I started to look for a publisher that would be interested in the work and was extremely lucky that Maarten Schilt took an interest in it.

What have you learned from seeing “the Past, Present, and Future” all at once?

This is a sentence from my statement about the work. I wrote it after a specific experience. While viewing a scene I was about to shoot I observed visible fragments from the past, the present and in a way the future that may emerge (at least in my imagination). I can’t really say that I learned anything; I don’t photograph with an objective to learn. In a way photography is an excuse to stop and look at the world. I photograph what I find interesting and try to convey the experience in the image.

What has informed you most about Israel? Do you see it differently after this project?

I wasn’t informed by anything but my personal history, experience and understanding of my country. I can say that in the last 10 years I bumped into many extremely nice and helpful people from all origins, nationalities and political backgrounds, these encounters with people and places are very much at the core of this project.

Describe a typical shooting day–are you hiking, sitting and waiting, exploring?

Usually my shooting day starts at about 04:00 in the morning. I head out in my car in a direction I had decided on beforehand and I just stop when I get a hunch, or if something caches my eye. Usually I walk a lot but I wouldn’t call this hiking, my cameras are very heavy, so I try to avoid lugging them for too long or too far. Occasionally I do climb up or down a hill to get to the spot that I think is interesting to me. I rarely reach my original destination; too many interesting things stop me on the way. Sometimes I try to start again from where I stopped before, in these cases I usually drift off in a new direction. For me the journey is the important aspect not getting to a specific destination. I find that once I know what I am looking for it presents itself everywhere.

What camera do you shoot with?

Most of my work is done with an old 8×10 inch camera and sometimes with a 4×5. I like working with a big camera as it slows me down, so I make less mistakes not to mention the fact that people are more willing to stop and participate when they see the big camera (they understand the importance to me so a lot of the time they will let me make a portrait even if it is time consuming). I also carry with me a 6×17 that a friend was kind enough to lend me and I enjoy using when it suits my vision.

What’s next?

I’ve got a few ideas I’m thinking of, but simultaneously I’m going to finish up my other two projects that I’ve been working on in the last decade. I assume this will take a few more years…

What took your career to the next level?

I find it difficult to answer this question. I guess I just really believed in what I was doing and kept working hard and never compromising.

What advice can you give for emerging photographers?

I would advise any emerging photographer to simply find a theme that is of real interest to him, and stick to it no matter what the trends of the day happen to be. I find that photography I’m interested in always reflects how fascinated the photographer was in its making.

And finally, what would be your perfect day?

There are many options to answer this Q as I enjoy and cherish many things, but I will share with you a day I experienced mid winter 2011.

It was a very rainy day and I was driving Emanuel, my 6 year old son to kindergarten when the mobile rang. A friend was on the phone telling me that the weather was getting better and urging me to take the day off and go walkabout. Emanuel caught on to this and immediately said:”I’m coming with you”. After a second’s thought I said ‘why not?’ so I turned the car around headed home, collected the camera and some food and we headed out. I can’t say I made as many exposures as I usually do per day, but we had a tremendous time arriving home late at night muddy and happy.

Standing on an abandoned bunker top, on the Jordanian border, completely covered in mud and nibbling a piece of bread Emanuel quoted a cartoon he loves: “we went till infinity and beyond!”

Photographer #441: Tereza Vlčková

Tereza Vlčková, 1983, Czech Republic, is a conceptual and fine-art photographer currently studying at the Silesian University in Opava, the Institute of Creative Photography. In 2007 she completed the series A Perfect Day, Elise… showing floating girls with a mountainous background. Since then she has been in numerous exhibitions amongst which are Paris Photo in 2010 and 2011 and the traveling reGeneration2 group show. Throughout her series we find deeper layers dealing with themes as fear, the self and dreams. In her series Two she photographed indentical twins in a scary forest setting. The project deals with the questions of the “I” and the psychology of how we perceive ourselves. She seeks a fine line between fiction and reality. Are all of the twins truly twins or have some been created merely showing an alter-ego of some of the girls? Her work has been featured in a large number of photography / art magazines and catalogs as Exit, Picnic and Photonews. The following images come from the series Mirrors Inside, Two and A Perfect Day, Elise...

Website: www.terezavlckova.com

Satomi Shirai, Breakfast

Satomi Shirai, Breakfast

Satomi Shirai

New York City, 2007
Website – SatomiShirai.com

Satomi Shirai is originally from Tokyo. She received her BA from Musashino Art University in Tokyo in 1996 and MFA from CUNY Hunter College in 2010. Her work investigates the concept of “home” from the perspective of an immigrant assimilating to life in urban America. She has exhibited internationally, including shows at the Tokyo Metropolitan Museum of Photography and National Portrait Gallery in London. Her work is featured in the recent issue of European Photography 89 and is on view in the group show Portraiture Now: Asian American Portraits of Encounter at the Smithsonian National Portrait Gallery in Washington D.C. through October 2012. She lives and works in New York City.