Tag Archives: Moving Image

Slideluck Potshow London: Two highlights – Japan, I wish I knew your name by Pierfrancesco Celada and Mute: The Silence of Dogs by Martin Usborne

Slideluck Potshow London, organized by Mariateresa Salvati and invited to Brighton by the Miniclicks Photo Talks crew, held its first event in Brighton on Sunday to screen a selection of photos from past editions. 24 works were chosen by New Statesman photo editor, Rebecca McClelland, and artistic director and curator of QUAD and coFounder and director of FORMAT Festival, Louise Clements. As with Pecha Kucha, there is a particular formula for the events which take place in cities around the world. The event is free and is organised on a voluntary basis.

What is Slideshow Potluck?
“It is a NYC-based arts non-profit, operating in many cities globally, that aims to bring people together around food and art, and to give people an interesting, engaging, and fun platform for sharing art with their community.” From the website.

PIERFRANCESCO CELADA – JAPAN, I WISH I KNEW YOUR NAME

Japan, I wish I knew your name from pierfrancesco celada on Vimeo.

Pierfrancesco Celada is one to watch and his multimedia piece, Japan, I wish I knew your name, with its artful interplay of still photography, moving image and sound, was, for me, one of the highlights of the Slideshow. Why? Because the whole concept works really well as a multimedia work; it is well-conceived, wonderfully executed and is elevated by its aesthetic considerations, sequencing, use of camera shots and the ambient soundscapes. I was utterly transported for all 3mins 51 secs.

The work was produced at Magnum in Motion, New York, courtesy of Ideastap Photographic Award and received an Honourable Mention, Lensculture International Exposure Awards, 2011.

Celada writes: “During a brief visit to Japan in 2009 I was soon fascinated by the isolation and loneliness I was feeling in the streets. It started as a personal journey, a foreigner traveling in an alien environment. Language and cultural differences were only augmenting this distance between the locals and me. However, while observing people, it was clear that even indigenous were not able to interact successfully. I have then decided to come back in 2010 and better visualize these concepts.

“The Tokyo-Nagoya-Osaka Megalopolis, also called Taiheiyō Belt is a unique example of urban agglomeration with an estimated population of over 80 million people. Despite this incredibly high number of chances to interact, it seems that society is moving in the opposite direction. The purpose of this investigation is to create awareness and highlight the problems that modernization and the rapid changes in the environment create in our lives. Is it still important to be, or feel, part of a group? Do we feel part of the environment? Are we alone in the crowd?” From the website.

MARTIN USBORNE – MUTE – THE SILENCE OF DOGS IN CARS


© Martin Osborne, The Silence of Dogs in Cars, 2012
I love Martin’s body of work, The Silence of Dogs in Cars, which was featured in Hotshoe magazine. So it was fantastic to see the collection of images as a slideshow and the immersion in the backroom of the Green Door in Brighton seemed to echo that of the dogs in the cars, especially as photographers were dotted round the room taking photos as we watched the show. (Note to organizers: I find that it disturbs my concentration when I’m watching a slideshow or film and I know that people are taking photos. What about after the show, rather than during?)

I really feel for these dogs and Martin does too. In fact, he cares so much that he’s set up A year to help blog where you can follow his progress as he attempts “to save all animals everywhere” in a year. I should put him in touch with my mum, who wants some of her ashes scattered in the Coliseum or Torre Argentina where the Gatti di Roma (Cats of Rome) have special status.

I love the text on his website too: “Martin lives in East London where he has his photographic studio. He is interested in the ever-curious and often disturbing relationship between humans and other animals.” However, if he reads this, there is the letter n missing from the first ‘and’ in the text on his site, I’ve added it here. Call me pedantic, but I’d rather mention it so that it can be rectified, than ignore it.

If you’re going to Paris Photo, Martin will be doing a book signing of Mute – The Silence of Dogs in Cars tomorrow at 4pm at the Kehrer Publishing stand, EE3. And if you miss this, you can catch the show in London next year from 19 March  – 27 April 2013 when it will be exhibited at The Little Black Gallery.

Filed under: Documentary photography, Photographers, Photographers blogs, Photography Shows, short films Tagged: brighton, HotShoe, Japan I wish I knew your name, Kehrer Publishing, Louise Clements, Mariateresa Salvati, Paris Photo, Pierfrancesco Celada, Rebecca McClelland, Slideluck Potshow Brighton, The Little Black Gallery, The Silence of Dogs

The London Photographers’ Gallery Reopens with Edward Burtynsky and Animated GIFs

© Kate Elliott, Courtesy The Photographers’ Gallery

Likely few would consider animated GIF images–those primitive computer animations often just a few pixels wide–fit enough for a photography exhibition. Perhaps that’s because there has yet to be a space fit enough to exhibit them. Now, London’s Photographers’ Gallery, which finally reopened this May with double the exhibition space after an 18-month, £9.2m renovation, offers digital facilities to support a rapidly evolving medium.

One of the main reasons behind the renovation which began in 2010, Gallery Director Brett Rogers says in a video interview with the Guardian, was to develop ”facilities that are fit for purpose in the 21st century, to show works of a larger scale, but also to reflect the conditions in which most people experience photography.”

The Soho gallery was the first independent public space in Britain devoted to photography when it was founded in the 1970s. Today, in addition to three floors of gallery space, room enough for the commanding, large-scale prints in their inaugural exhibition of Edward Burtynsky’s oil photographs (on view through July 1, 2012), they’ve also built what they call a “digital wall.”

This display, located near the gallery entrance, is made up of eight large screens presenting a running program of digital images visible from the outside street. Wendy McMurdo, one of 40 artists that includes Penelope Umbrico, was asked to produce a moving image GIF for the wall by Katrina Sluis, the galley’s new curator of digital programing. McMurdo writes on the FOAM blog on the “joy” of contributing to their inaugural digital exhibition Born in 1987: the animated GIF (on view through July 1, 2012). This initiative, McMurdo says, demonstrates the gallery’s “recognition that it is in the digital and social domain that photography must, ultimately, discover its new purposes and new meaning.”

On the other hand, the Photographers’ Gallery is also offering opportunity to counterbalance what Edwin Heathcote for the Financial Times calls the “culture of browsing and glancing”–when people end up scanning thousands of images a day–that has come to prominence with such development. One room in the space is dedicated to exhibiting a single image that will change four times a year.

Moreover, their new education center doubles as a camera obscura, which in conjunction with the digital wall, Rogers says, should “enable people to reflect on the history of optics,” in its entirety.

Burtynsky: Oil
Exhibition on view:
May 19 – July 1, 2012

Born in 1987: the animated GIF
Exhibition on view:
May 19 – July 1, 2012

This Sunday, June 3, 2012 at 3:00 pm, join Katrina Sluis for a FREE discussion on “Curating the Digital Image.”

The Photographers’ Gallery
16 – 18 Ramillies Street
London, UK W1F 7LW
+44(0)20 7087 9300

Art in the 1970s: Through the Lens of Francesca Woodman

On the occasion of the first comprehensive survey of work from the extremely brief but prolific career of American photographer Francesca Woodman (1958-1981), the Guggenheim Museum presents Art in the 1970s: Through the Lens of Francesca Woodman. The program examines the relationship between the still and moving image in Woodman’s and other artists’ production during the 1970s, particularly as associated with Post-Minimalism, performance, and video.

The program is organized by Jennifer Blessing, Senior Curator, Photography, and includes conversations led by an esteemed roster of acclaimed contemporary artists and scholars: George Baker, Associate Professor of Art History, University of California, Los Angeles, Jane Blocker, Professor of Contemporary Art and Theory, University of Minnesota, Twin Cities, William Kaizen, Assistant Professor of Art History and Media Studies, Northeastern University, Moyra Davey, an artist and photographer, based in New York, and Joan Jonas, acclaimed multi-media performance artist.

Francesca Woodman is organized by the San Francisco Museum of Modern Art, where the exhibition was on view earlier this year. You can find a video walkthrough of that show shot on January 2, 2012 on YouTube.

Art in the 1970s: Through the Lens of Francesca Woodman

Friday, May 184:00 pm
$10, $7 members, FREE for students with a valid ID
To reserve a student ticket, please [email protected]


›› Read more about Woodman’s “deeply personal photographic revelations” in critic David Levi Strauss’ Between the Eyes: Essays on Photography and Politics (Aperture 2003).

›› View a slideshow of images from the exhibition at Guggenheim on The New York Times website, after which you can read Ken Johnson’s review of the show.


Samuel Bland

This week we are exploring the work of the Fiveleveninetynine Collective of London, the creators of the Broken Train and A Royal Wedding.

Based in London, Samuel Bland is freelance and fine art photographer and a teacher. “If he hadn’t been a photographer Samuel would have gone into thinking about stuff a lot. He sometimes takes himself off round the country on foot, with only a tent and a camera for company.” Samuel’s work focuses on identity, ecology and the relationship between man and his environment. He interested in combining media – still and moving image, text and sound – to create unusual bodies of work that explore these issues. Samuel graduated with a Distinction from the MA Documentary Photography course at London College of Communication. He has exhibited in the UK and Ireland and was recently selected for the Magenta Foundation’s Emerging Photographers for 2011.

Samuel has a number of interesting series, including the one that follows, The Long Walk Back, documenting a 500 mile walk back to his roots. If you need the text larger, simply click on the image.

The Long Walk Back: The Long Walk Back is a document of an unusual journey through England: a 500-mile walk, back to the place where I came into the world.

It came out of a desire both to confront my own memories and identity and explore the character of my country and it’s people as they are today – hoping that these two strands would overlap and that I would learn something about each.

This desire emerged out of a sense of disconnection from belonging to a place, or a people, or from the notion of being English. Conversations I had with others suggested this was not an uncommon set of feelings, and so I decided to try to discover what it was, if anything, that connected people to a place and to each other, in this country in this time.

So I decided to quite literally go back to my roots: to walk from my place of residence (on the South Coast) to the place where I was born (just shy of the northern border) through all the places I had lived in-between. This would take me through a huge swathe of the country: cities and villages, fields and forests, national parks and industrial wastelands.

The journey took 54 days, during which time I only walked, avoiding all vehicular transport, motorized or otherwise. I was especially drawn to the idea of walking through the country rather than driving around it or taking public transport; of seeing the whole thing, the places in-between places, and of connecting with something more ancient in it, through travelling in the most ancient and innately human way there is.

I documented the journey in photographs and words (on a blog), and the finished project includes words, images, a graphic representation of my trajectory through the country, as well as old photographs from my past and that of my family.

I am particularly interested in the play of meaning that can occur between paired images and words. The resulting project is not a definitive visual record of England today, or a rational examination of the development of English identity, but a personal view of the country glimpsed through fragments of thought, memory and of course vision.

“Between the Frames” exhibition opening tomorrow

Microscope Gallery presents the first Brooklyn solo exhibition of the film and video pioneer Takahiko Iimura. Between The Frames is a comprehensive exhibition featuring works made from 1975 to the present, many of which are constantly evolving. dallas county . He will present silk-screen prints, photo prints, drawing of scores on celluloid and DVD, all related film or video,never-before-seen sculptures made from 16mm film loop and more.Iimura has been working with the moving image on film since the 60s and video since the early 70s.

Takahiko Iimura has been a pioneer artist of Japanese experimental film and video, andis recognized as one of the most important Japanese artists today.His work is shown widely with numerous solo shows including MoMA, the Whitney Museum, the National Gallery Jeu de Paume, Paris, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo. Iimura currently lives and works in Tokyo and NYC.

“Between the Frames” will be on view at Microscope Gallery from March 19th – April 11th, 2011. The Opening Reception will be held March 19th from 6pm – 9pm. For more info, please visit the gallery’s website at http://www.microscopegallery.com/ .