Archives par étiquette : Aglaia Konrad

Art Brussels 2022, les images (2)

Olivier Foulon
L’île (Swennen) / Pense-bête (Broodthaers),
2016 – 2022
film positif
Raphaël Van Lerberghe,
Divers titres, 2022
Tirage argentique C-print
sous passe partout dessiné
Marie Zolamian
Liminal, 2021
Huile sur toile, 29 x 39 cm
Marie Zolamian 
Prosodie, 2021 
Huile sur toile sur panneau, 29 x 39 cm
Jacqueline Mesmaeker
Séquence, 1978-2020 (1)
Photographies couleurs, impression pigmentaire sur papier archivable, 42 x 29,7 cm.
Edition de 5 + 2 EA.
 
Suchan Kinoshita
Palmenträumer, 2018
Aluminiumfoil and clay on
lumpen on aluminiumframe

Art Brussels 2022, les images (1)

Werner Cuvelier 
Statistic project V, 1973
1. documenta 4 – Kassel 68, 2. Sammlung Karl Ströher, 3. Sammlung Peter Ludwig
4. When Attitudes become form – Bern 69-70, 5. Sonsbeek buiten de perken – Arnhem 71
6. Documenta 5 – Kassel 1972
Technique mixte, huiles sur panneaux (6) x 35 X 35 cm et (1) x 70 x 70 cm,
Dessins sur papier (6) x 35 x 35 cm et (2) x 55 x 73 cm.
 
Werner Cuvelier
Statistic Project I
1. Sammlung Karl Ströher, 2. Sammlung Peter Ludwig, 3. Sonsbeek buiten de perken – Arnhem 71, 4 documenta 4 – Kassel 68
Technique mixte, acrylique et bois, 100 x 100 x 100 cm
Jacques Charlier
Le départ, 2017 (Route de l’art)
Acrylique sur toile, 100 x 120 cm
Aglaia Konrad
copie argentique # 01……, 2022
A4, 100 g metallic paper

Aglaia Konrad, Japan Works and Other Books by Aglaia Konrad, Enter enter, space for books, Amsterdam

Enter Enter,  space for Books, consacre à Amsterdam une exposition aux livres d’Aglaia Konrad. A l’occasion de la sortie récente de Japan Works, dernier opus de l’artiste aux éditions Roma Publication. Nieuwe Herengracht 11 Amsterdam,  du 11 septembre au 10 octobre.

Presentation of book projects by photographic artist Aglaia Konrad, including Elasticity (NAi 2002), Iconocity (König 2005) Desert Cities (JRP Rignier 2008), Carrara (Roma 2011), From A to K (König 2016) and Japan Works (Roma 2021). The exhibition includes a new large wall piece developed after making the book Japan Works, which derived from a study trip by the artist across central Japan in September 2019. The work of Aglaia Konrad is driven by her interest in urbanity and architecture in general, and cultural difference in particular. A comparative practice that runs equally warm for every possible experience of the local. The presentation runs from 11 September to 10 October, and is curated by Roger Willems.

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Aglaia Konrad, Japan Works and Other Books by Aglaia Konrad, Enter enter, space for books, Amsterdam, 11.09 -10.10

Enter Enter,  space for Books, consacre à Amsterdam une exposition aux livres d’Aglaia Konrad. A l’occasion de la sortie récente de Japan Works, dernier opus de l’artiste aux éditions Roma Publication. Nieuwe Herengracht 11 Amsterdam,  du 11 septembre au 10 octobre.

Presentation of book projects by photographic artist Aglaia Konrad, including Elasticity (NAi 2002), Iconocity (König 2005) Desert Cities (JRP Rignier 2008), Carrara (Roma 2011), From A to K (König 2016) and Japan Works (Roma 2021). The exhibition includes a new large wall piece developed after making the book Japan Works, which derived from a study trip by the artist across central Japan in September 2019. The work of Aglaia Konrad is driven by her interest in urbanity and architecture in general, and cultural difference in particular. A comparative practice that runs equally warm for every possible experience of the local. The presentation runs from 11 September to 10 October, and is curated by Roger Willems.

The work of Aglaia Konrad is driven by her interest in urbanity and architecture in general, and cultural difference in particular. A comparative practice that runs equally warm for every possible experience of the local. Previous experiences, in 1994 and 2010, intrigued her to undertake a severe study trip across central Japan in September 2019, mainly in search of Metabolist projects. Such historical, iconic architectures were also the excuse to explore the unspecific and the non-iconic of their urban setting, with the same intensity. In Japan Works, free associations of full-page photographs alternate with contact sheets that follow the chronology of this last itinerary. These are illuminated by texts written by architect and Japan scholar Julian Worrall. Design: Roger Willems. ISBN 9789492811912

https://www.romapublications.org/Roma201-400.html

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Aglaia Konrad, Japan Works

Vient de paraître chez Roma Publications

Aglaia Konrad – Japan Works
With text by Julian Worrall

The photographic work of Aglaia Konrad is driven by her interest in urbanity and architecture in general, and cultural difference in particular. A comparative practice that runs equally warm for every possible experience of the local. Previous experiences, in 1994 and 2010, intrigued her to undertake a severe study trip across central Japan in September 2019, mainly in search of Metabolist projects. Such historical, iconic architectures were also the excuse to explore the unspecific and the non-iconic of their urban setting, with the same intensity.
In Japan Works, free associations of full-page photographs alternate with contact sheets that follow the chronology of this last itinerary. These are illuminated by texts written by architect and Japan scholar Julian Worrall. Designed by Roger Willems.


496 p, ills bw/colour
20.7 × 26 cm, pb, English
ISBN 9789492811912
€ 45.- (incl. 9% VAT)

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Aglaia Konrad, Fotohof, Salzburg, les images

Aglaia Konrad participe à l’exposition Während alle fotografieren können sich manche mit der Fotografie beschäftigen (alors que tout le monde prends des photos, certains s’engagent dans la photographie) à Fotohof, Salzburg.

The exhibition curated by Ruth Horak marking the 30th anniversary of the Friedl Kubelka School of Artistic Photography in Vienna illustrates in an exemplary way how artists from within the ambit of this private school think of photography both as an image and a medium, and what their personal tribute to the medium looks like.

In 1990, when Friedl Kubelka founded the School of Artistic Photography, photography was in the process of consolidating its status as an artistic discipline. Since then, some 170 teachers have been contracted to pass on their personal working methods, motifs and materials to around 580 students.Each year brings with it the many diverse facets of photography: those of 1990 different to those of 2010, with Anja Manfredi took over as the school’s new director.

What remains the same is the fascination for a medium whose applications are more diverse today than ever before, a medium that is both sophisticated and banal, elaborately produced or incidental; a medium that belongs to everyday life, but also to science and art, and therefore always needs to be re-evaluated, sounding out where photography begins, how far it extends, and what influence its omnipresence has on artistic photography.

If one wanted to tag Aglaia Konrad’s interest in architecture, the following terms would appear: demolition, gentrification, urbanisation, brutalisme, economies, material transformation, fassadisme, lifespan reduction, glassarchitecture, failed architecture, contemporary ruins. Specifically, in the photomontage MakeUp II are photographs of the current unemployment office in Brussels (built in 1870 as the first large department shop in Belgium), and of the demolition of a Flemish ministry (Boudewijngebouw). The latter was built in 1990 by the successful team of architects Jaspers-Eyers. Their office buildings are known for their short lifespan. After 20-25 years they will be demolished and new ones built in their place by the same architects.

In her Undecided Frames she expresses a profoundly photographic theme: which of the two photographs is the better one? Which section, which distance from the motif, etc. are decisions that every photographer has to make. Aglaia Konrad: « It deals with the problematic, which is inherent to the photographic practice, the choice of the absolute best picture. To me that choice is quite often difficult to make because one step to the right or to the left or at least 5 sec. later the situation becomes different enough to justify the photographic standpoint, by offering the dilemma of choice to the onlooker, the demand for reflection is inherent in the perception process.

Aglaia Konrad
Undecided frames, 2016 (Porto 2011) colors photography, 41 x 54 cm
Aglaia Konrad
Undecided frames, 2016 (Hérémence 2012)
colors photography, 41 x 54 cm

(…) In refusing to choose, Konrad also reclaims her position as an intermediary between image and viewer. Bringing the differences between the two images (however small they might be) to the notice of the viewer, she makes clear that every photographic image is the result of her subjective choices. Moreover, by naming these double takes « undecided » she manoeuvres the viewer into a situation he normally never has to deal with, the moment of choosing being a solitary moment, safely hidden from the prying eyes of the public. Now the question of choosing becomes our problem: are we supposed to make the choice Konrad didn’t want to make? Maybe, but for us, this idea of choosing is even more senseless than it was for her, because we have no stake in this choice. The only option we are left with is to nod our head from left to right (and back again), searching in vain for a way out of this either/both/neither dilemma. We find ourselves forever stuck in the impossible logic of the photographic system. (…)

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Aglaia Konrad, The Unruly Apparatus, Koninklijke Academie voor Schone Kunsten Antwerpen

Aglaia Konrad participe à l’exposition The Unruly Apparatus à l’Académie des Beaux-Arts d’Anvers. Exposition du 16 au 31 octobre.

Aglaia Konrad Projekt: Skulptur, 2017
BW prints on ecoboard, stones, 178 x 120 cm

The exhibition The Unruly Apparatus presents the outcome of a six months long research project organized at the Royal Academy of Arts Antwerp. The aim of the research project is to bring a group of sculptors and photographers together to explore the possible meeting points between the two art practices. Starting from a survey of historical and contemporary artistic practices where sculpture and photography meet, the researchers were asked to respond in kind to these collected examples. After a careful study of the key concepts at work in the artistic practices of renowned artists like Walead Beshty, Noémie Goudal, Liz Deschenes, Bernard Voïta, Thomas Ruff, Asta Gröting and several others, the group of 11 researchers jointly developed a conceptual framework for their own exhibition. The works of the participating researchers will be shown next to some reference works of artists that inspired the project.

The exhibition will feature work by Thomas Ruff, Sine Van Menxel, Ine Kools, Filip Vervaet, Bram Rinkel, Spiros Hadjadjanos, Anton Cotteleer, Elias Asselbergh, Walead Beshty, Fabien Silvestre Suzor, Athar Jaber, Liesbet Grupping, Bernard Voïta, Aglaia Konrad, Kaat Somers, Azuli Peeters, Geert Goiris, Alix Manon, Seth Price, Bernadette Zdrazil, Miguel Cipriano and Wade Guyton, e.

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Arco Madrid 2020, Aglaia Konrad, Marie Zolamian, les images (2)


Marie Zolamian
«There is an infinite amount of hope in the universe… but not for us» Kafka, 2019
Huile sur toile marouflée sur panneau, 32,5 x 24,5 cm

Marie Zolamian
Saturne, 2019
Huile sur toile sur panneau, 41 x 52,5 cm

Aglaia Konrad Projekt: Skulptur, 2017 BW prints on ecoboard, stones, 178 x 120 cm

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