about the Spring

There will be Spring

Invited guest: Chris Zedano

Chris Zedano: STAPLE STREET
It's a bit cliché, I suppose, to talk about New York City's "characters," but arriving here from South America years ago, I couldn't help but be struck by them -- and drawn to them, performers in particular.
I was also, of course, seduced by the city's landscape, especially a small, quiet, sliver in the heart of TriBeCa called Staple Street, which I came across quite by chance one day.

There’s something about Staple Street that I can’t explain with words. Maybe it’s the narrowness of the street, which makes me feel protected, cut off from the rest of the city; or maybe it’s the arched bridge between the buildings, a sort of monument to urban connection; or maybe it’s the dilapidated sidewalk that always seems on the verge of repair but never quite makes it, a little like some of the performers I met.

The street still has a grimy, industrial, and to me, romantic feel to it despite its proximity to the trendy, high-end real estate that has spread throughout lower Manhattan like an oil slick. The people I met and photographed have maintained a similar integrity, and thus for me, provided a similar romance.
I met artists and eccentrics of all stripes -- dancers, jugglers, actors, magicians, body painters, mimes, card sharks, singers, clowns. They were vibrant, defiant, shy, sad, sly, witty, odd, exuberant, angry, giving -- a perfect representation of the city itself, and of this tiny street that dates back to at least the early 19th century.

Chris Zedano

Images from the project are being exhibited in Fraser Gallery part of the 9th Annual International Photography Competition from March 12th through April 3rd. Pictures from "Staple Street" will also be exhibited at the National Art Club in New York as part of an event that will be held on June 1st 2010.
In Europe: at the Group Exhibition at AFF Berlin - Part of the European Month of Photography Biennial in November 2010.

invited by joanna

Stepan Rudik on World Press Photo

In the last few years we've seen many manipulations on photography that have appeard in the main newspapers in the world, in contests, in exhibitions, albums, etc... it is though the story of political propaganda in past. But now it's even more "common", because it's so much easier to manipulate - just few clicks in the computer.
This year in the World Press Photo Contest was revealed the manipulation. Stepan Rudik, the winner of the third prize in essay in Sport category was disqualified for removing a little object from one of the photos awarded.
Michiel Munneke, managing director of World Press Photo said: "After careful consideration, we found it imperative to disqualify the photographer from the contest. The principle of World Press Photo is to promote high standards in photojournalism. Therefore, we must maintain the integrity of our organization even when the outcome is regrettable."
More official info here.
Whole story with an interesting discussion and original picture: here.

Stepan Rudik, from the series "Antisport"

I’ve asked Stepan Rudik few questions about WPP and here are his answers:

j: How you feel about your disqualification? Does this little foot of your stands the level of copy and paste some items, or erasing whole figure we know from the history?

Stepan Rudik: I believe what I did can be equated to retouching, as if it were a defect of a film.

j: I'd like to know your attitude and the way you work. When does the final form (to have it in narrow frames, black and white, grainy, dark and dramatic) of an essay start? While working, while inventing the subject, after all pictures are done - as the final touch?

Stepan Rudik: I understood that I wanted to process the pictures in the way I did when the series was ready and I looked at it as a whole.

j: Which one submission of yours was "Antisport" to WPP contest?

Stepan Rudik: It was for the second time that I submitted to the contest this year.

j: Who are your heros in photography?

Stepan Rudik: Josef Koudelka and James Nachtwey

j: To make "Antisport" was your idea or was it the assignment from some newspaper ? How you find your topics?

Stepan Rudik: The idea was mine. I photograph life, different aspects of life, and I am interested in all subjects except the boring ones.

Stepan Rudik, from the series "Antisport"

invited by joanna

how come we are always late to the party?

Congrats Markus!

 all the best Markus!

Sunflowers for the birthdaychild

Happy birthday Markus!

Anna in the Spaceship

Meeting Maciek Stępiński

Maciek Stępiński, Go with peace (work in progress 2008-2010), Israel

Fblog: What is conceptual art for you? Do you think it is still possible to practice conceptual photography today in the artworld today? There is a lot of searching around the edges of photography in your series “Sans Titre” – these night landscapes; the series very much deals with the differences in the viewing performed by camera, by photography and by humans; this is quite a “conceptual” striving towards the specifics of the medium.

Maciek Stępiński, Go with peace (work in progress 2008-2010), Israel
Maciek Stępiński, Sans Titre, 2007, lambda, dibond plexi, 80x80cm

Maciek Stępiński: At some point, Appolinaire named cubist painting conceptual art. In the 1960s, conceptual art was a response to the aesthetics of minimalism, and was based in the replacement of the art object, by art as an idea. What seems important for me is that it also put all the media of art on the same level. The most crucial element became the process of creating, rather than the effect itself. Has that changed? To what aesthetic trend is contemporary conceptual an answer?

I’m much influenced by Duchamp’s theory, which underlined the important part of chance as a decisive factor in the creative process. And this is photographic thinking. You might even be tempted to make the assertion that to take pictures is to deal with ready-mades. The very important part played by chance and error you may find also in my “Sclerosis” project, some sort of a ready-mades collection. The neon – “Idea” was the opening object of the exhibition in the Leto Gallery, Warsaw. The work consists of a single word “ideal, but the last letter was “broken” and didn’t come on properly.

Maciek Stępiński, Idea(l), 2009, neon, 125x25x11cm

At one point, I was interested in “meta-art” – as an extreme variation on the idea of conceptual art, created by the Art & Language group. They completely negated the visual side of an art object and concentrated their attention on the theory of art only. That was an interesting collision, because artists became theoreticans. Then, the only difference between them was the motivation, the intentions of their action.

Maciek Stępiński, Sclerosis, LETO gallery, Warsaw (installation view, Idea(l), 2009, neon)

Maciek Stępiński, Sclerosis, LETO gallery, Warsaw (installation view) 2009

I don’t know whether these night landscapes from the „Sans Titre” series can really be categorized as conceptual works, but they may be unconsciously inspired by constructivist and minimalist theories, and you know this square format, could be a straight tribute to Malevitsch…. (laughing). Definitely in this series, what we are dealing with is a searching for the edge of the visible (black), but equally “invisible” are Filip Francis’ “white on white” images or Francois Soulage’s monochromes. Here it was not a question of the specifics of the medium. The main reason to make this series was the dread I was under at that time and an attempt to escape the feeling by dealing with it like this. A part of these night landscapes emerged as preparatory material for large scale oil paintings, which however I’ve never finished.

Maciek Stępiński, Sans Titre, 2007, lambda, dibond plexi, 80x80cm

Fblog: You keep interfering in the photograph, the film or the canvas. In photography you act like a pictorialist – in the terms of Jan Bulhak, but maybe also in the terms of Alfred Stieglitz. You attach great importance to the print, and before showing it of to the world you keep working with it “post factum”.

Maciek Stępiński, Warsaw City Tennis Clubs, 2009, cibachrome 50x60cm

Maciek Stępiński: I guess I do many things uncounciously inspiried by the culture I grew up in. I think of it as a whole, of a unity – constituted by many parts. Anyway I don’t think I’m a pictorialist, or a documentary photographer! To be honest, I’m not inspired (consiously!) by old photography, and the history of photography I know rather superficially. I look at art history, again – as a whole. I do not divide it into techniques, but rather try to find the common ideas that run across it. Movies, music, poetry (lyrics) or even video games and the internet – these are my inspirations. Oh yes, and painting, most of all painting. And once again music.

Maciek Stępiński, W, 2008, lambda,dibond plexi, 80x95cm

This is why I haven’t got much in common with pictorialists such as Marian Dederko (the most important amongst them for me) who invented the “photonit” technique, which was to emphasized a strong retouching of the positive, then a reproduction of that positive and making a new positive from this new contr-negative. Wolfgang Tillmans today works in a quite similar way: enlarging photographs that are photocopies of tabloid and newspaper photographs or showing “wrongly exposed” photographic papers, while making from them other reproductions, changing the form of the prints, etc.

Maciek Stępiński , W, 2008, lambda,dibond plexi, 80x95cm

Maciek Stępiński, Warsaw City Tennis Clubs, Kordegarda 2009 (installation view, WCTC, cibachrome 50x60)

But techniques and technologies (their pros and cons) that’s the final touch. A cibachrome print will look good only if the chrome is well exposed. It’s not as much of a change as, for example, in HDR where the final outcome differs substantially from the original. In the case of “Warsaw City Tennis Clubs” it’s rather the reverse.

The choice of the cibachrome technique was the best to have exactly the same colours as on a diapositive, without lambda profiles, correction by machines or an operator, calibration of the screen, part of the paper or finally the use of chemical materials… Here a great deal was made possible thanks to a great contact and full cooperation with an extraordinary French technical specialist Roland Dufau, who printed in Paris these pictures for the exhibition in Kordegarda, Warsaw. It was the first time I could show prints I’ve always dreamed of showing (thanks to Magda Kardasz – curator at the Kordegarda and Zacheta Galleries) . So, yes, I put a lot of effort into the final print of my pictures, but in order to make them as near as possible to the original (or at least as I remember it (laughing)).

Maciek Stępiński, Paysage Urbain, 1999, C-print, 78x78cm

Fblog: Do you divide somehow your artistic work from your academic concerns? You work in France and Poland. Could you compare these two cultures – as far as we are concerned, i.e. young people approaching art and photography. I’m sure it’s quite different.

Maciek Stępiński: I try to divide these two types of work, but sometimes they interfere with one another and there are influences on both sides. There’s a satisfaction in both of them: meeting people gives a lot of positive energy, their criticisms and doubts about the photographic medium is a sort of encouragement to creative work.

Maciek Stępiński, N-113, 2002, lambda, dibond, 50x50cm

As far as comparison is concerned, I can’t make one regarding education, because I have never studied photography in Poland. Regarding the level photographic education in our country, I get information from friends who teach in Lodz in the “Filmschool” or from students from Lodz, Poznan, or from my students from the Academy of Photography in Warsaw and Cracow. The level of lectures and the equipement used during workshops unquestionably matches that of the top european schools. The difference I see, might lie in the motivation for undertaking such studies.

In countries like Holland, Germany, Austria, Switzerland and France, young people are well acquainted with art from the very beginning of their school education. There is undoubtedly a much wider range of schools, with more tightly defined profiles, because they have already been active for many years now. There is a clear division between artistic and technical-commercial institutions. A very big advantage is the scholarship programme, so students may focus on their projects, instead of taking every job possible to pay their rent. But here the main point is still not about money, but about the motivation. In my opinion Poland is going through a time of high and wild consumption, as France was at the end of the 60. That’s why some might perceive being a photographer as a quite easy way to become wealthy fast, through fashion and advertisement photography.

In conclusion, I would say that the Polish contemporary art scene is much more interesting and dynamic than in Paris or Marseille. And though there are ten times fewer people interested and familiar with art as compared to the rest of Western Europe, collectors and art merchants are much more frequent visitors here now.

Maciek Stępiński, LGV 2004, lambda, dibond, 80x80cm

Maciek Stępiński - photographer, painter and video artist, working in France and Poland. interview was made in dec09/jan10 by joanna and was inspired by Maciek exhibition "Warsaw City Tennis Clubs" in Kordegarda gallery, branch of Zacheta in 2009. more info and pictures: http://www.stepinski.com/

Postcards from Sweden

"As an ongoing project of mine I present Postcards from Sweden. The theme of the pictures are that they are taken with a plastic camera and with film. The beauty of rough raw nature with a lot of black and white tones."
photographer: Johan Margulis

the Postcard-serie in an exhibition in Uppsala, Sweden at current. They are at display there until the 10th of March, opening hours Saturdays 13-16, Wednesdays 18-20 at Uppsala Photographic Association at Övre Slottsgatan 14 in Uppsala, Sweden.

inbox: General Public

photographer: Adam Mead

'General Public'

The work is portraiture based around the theme of the unique, a look in detail at the idiosyncrasies and nuances from one person to the next. The people photographed are displayed with their age and the date the picture was taken, nothing more. Toying with the idea of the quasi-ethnographic portrait, when viewed this way the work becomes anthropological, subjectivity masquerading itself as objectivity. For more images my blog - Adam Mead.

Invited guest: Bodil Frendberg

In my own work I combine fact and fiction to create a new reality. My pictorial content is staged photography and I find inspiration for it in everyday life. The objects I am using are either made props or objects that I have found in flea markets and secondhand shops. The people that I use as models in my staged photographic scenes are often people that I have found in everyday situations. Their body language and facial expressions trigger my imagination to combine the real with fiction. I deliberately stage a scene in front of the camera where a photographic fictional reality is being created. I am the director and costume designer. I create a "narrative tableaux" The human body in conjunction with the prop is placed in an open space. The space is often chosen with the light in mind and I am looking for large windows and openings for the light to travel through and within. The space is well researched before setting the scene and when I have found a space, I will visit the space several times to study the light and to prepare the scene. Props will be laid out and chosen with the space and the human body in mind. The light acts as another layer in the photographic narrative. Within the space I move the scene spontaneously along with the movement of the light. Without the light the scene won't come to life. The light gives the scene character. It's like a light play, where the light falls and shapes the space and the human body and the prop is transformed yet again into another layer of meaning. The light shapes the scene and the human body becomes the actor and with the prop and the light the photographic narrative takes on another dimension. I bring these elements together and try to instigate an interaction and choreograph the scene as it unfolds.

Many of these photographs are lith printed, a photographic darkroom process I have worked with a great deal. The characteristics of the lith print is the pink/brown tone. To see more examples: www.bodilfrendberg.com

Invited by: Markus Jenemark

Inbox: Pablo Allison

Sometimes we get photos to our inbox that really touches my heart. Such are these from Pablo Allison. I'ts a collection of warm and beautiful photos from a hard world describing the life of his friend Angel. Make sure to head over to Pablos page also to read more about Angel.

Angel
by Pablo Allison

After several years of not hearing anything certain from “Angel”, I eventually managed to get in touch with him at the beginning of 2007. The last thing I had heard about him was that he had tried to cross the border into the United States, but American border patrol officers –under the presumption that he was affiliated to a well-known Salvadorian gang –detained him and deported him to El Salvador. Another myth that circulated among friends was that he had been incarcerated in L.A. over some gang issues. I also heard that he had been murdered some time ago.
Luckily none of this was true. In fact, he had managed to enter the United States and was living in the State of Florida for some years, where he worked very hard to support his family back home.
At the end of 2007, I was able to meet up with him at his home just on the outskirts of Mexico City. Although most of his life was followed by tragedies and misfortunes surrounded by violence, it was very surprising for me to see him still alive. For the next two and a half years I embarked on this project, which seeks to document Angel’s experiences –his life as an ex-gang member in Mexico City, the journey across the Mexican-American desert and his future in the United States.