Archives par étiquette : photography

Aglaia Konrad, Monolith/Life, Villa Romana, Firenze

“Monolith/ life” is a joint exhibition by Aglaia Konrad (born in Austria, in 1960) and Willem Oorebeek (born in the Netherlands, in 1953). Both live in Brussels but have never exhibited together before. While Aglaia Konrad explores the structure of spaces and perspectives, the appropriation of space and the composition of social forms through the medium of photography and film, Willem Oorebeek works with levels of perception in the printed and pictorial media.The starting point for their joint exhibition in Florence was a 16mm film Aglaia Konrad shot in the marble quarries of Carrara in 2010 while resident as an international visiting artist at the Villa Roma. It is part of her cycle of 16mm films, “Concrete & Samples”, dedicated to sculptural architects, which is now being shown in full.Also premiered is the video “Angertal”, which records the architecture of ants in a small biotope in an Austrian valley and intercuts the diligent work of the insects with fundamental questions about senses of belief, perspective and orientation. “Angertal” is being shown in the new garden pavilion of the Villa Romana.The “Monolith/ life” exhibition thematizes the presentation of films in a space installation developed specially for the rooms of the Villa Romana in collaboration with the Belgian architect Kris Kimpe. It is accompanied by a printed edition, which bears a motif based on Bruegel’s “Tower of Babel”.

Aglaia Konrad has taken part in numerous international exhibitions, including among others “documentaX”, 1997 in Kassel, “Cities on the Move” 1998 and 1999 (Bordeaux, New York, London, Helsinki, Vienna), the Shanghai Biennale 2000, “Gazes of Architecture on the Body”, Tokyo Wonder Site and Museum of Contemporary Art, Kumamoto (2010), as well as “In the First Circle” and the Barcelona Tapies Foundation (2011). In 2009, the Museum of Contemporary Art in Siegen granted Aglaia Konrad and Armin Linke a joint exhibition.

Willem Oorebeek has simultaneous exhibitions in the autumn of 2011 in both the Robert Miller Gallery in New York and at Modern Art in London. In 1994, he had a solo exhibition in the Witte de With in Rotterdam, and in 1997 his art was on display in the Netherlands Pavilion at the Venice Biennale. His works were exhibited at the Generali Foundation in Vienna (2011), at the Culturgest in Lisbon (2008), at the SMAK in Ghent (2006), at the Badischer Kunstverein in Karlsruhe (2004) and in the Boymans-van Beuningen Museum, Rotterdam (1988; 2001), among others.

Aglaia Konrad and Willem Oorebeek
Monolith/ life
30.09. – 04.11.2011
Opening of the exhibition: Friday 30th September 2011 at 7.30 pm
Opening times: Tuesday – Friday from 2 pm to 6 pm and by appointment

Aglaia Konrad, Photo Festival de Manheim

Aglaia Konrad participe à la quatrième édition du « Photo Festival » de Manheim – Ludwigshafen – Heidelberg. « The Eyes is a lonely hunt images of humankind ». Du 10.09 au 6.11.2011.

Exhibited work:
Carrara, 2010
Exhibition places:
Wilhelm-Hack Museum, Ludwigshafen

The 4th edition of the Fotofestival Mannheim_Ludwigshafen_Heidelberg will take place from September 10 to November 6, 2011, and bears the title THE EYE IS A LONELY HUNTER: IMAGES OF HUMANKIND. The festival takes as its point of departure a humanist perspective in the tradition of documentary photography. It will showcase a variety of practices that are situated at the intersection between documentary and artistic photography, practices that are characterised by a strong sense of visuality but also a keen sense of sociopolitical awareness.

What are some of the key issues and challenges facing humanity today and how are they represented? How does contemporary photography transport ethnographic and anthropological knowledge with the hindsight of postcolonial discourse? And how would a portrait of humankind look like in the year 2011? The 4th Fotofestival will focus on the new and critical ways photography transports anthropological knowledge and aims to be a photographic survey of the human condition as we enter the second decade of the 21st century, seen from a plurality of geographic angles. While acknowledging the post-modern discourse of the camera’s capacity to lie and the ‘demise of photographic truth’, the 4th edition of the Fotofestival argues for photography’s capacity to bear witness to the human condition and to human experience within real social and political conditions.