DILLINGER IS A CONTEMPORARY PRINTED MAGAZINE AND A JOURNAL ONLINE OF RANDOM CREATIVES DIRECTIONS. DILLINGER IS AN INDEPENDANT MAGAZINE ONLY CURATED BY THE CELEBRATION OF THE TASTE OF ART FROM AROUND THE WORLD. THE GOAL OF THIS MAGAZINE IS TO DELIVER INSPIRATION AND CONTENT RELATED TO THE LAST TENDENCIES OR JUST TALENTS WE LIKE.
Mari Katayama!s work presents the universality that exists in her autobiographical story, while
questioning the viewer about the preconceptions and norms of society that influence the construction
of individual identity. How do we perceive others, and how are we perceived by others? And where
does “I” end and "you” begin? Her work encourages us to reflect on our own shape and role as a
member of society who defines these boundaries.
Katayama's creative process began with elaborately hand-sewn fabric-based objects, which
developed into self-portrait photography. In 2024, Katayama created her most ambitious hand-sewn
work to date, which will debut physically in the autumn of 2025 at the Victoria and Albert Museum in
London.
This object, featured in her latest series red shoes, was made by stitching together the fabrics on which
photographs of Katayama!s skin and hands are printed. It functions as an accessory, a costume, and
a set, both revealing and concealing her body. The red high heels seen in her images were created as
part of the High Heel Project (HHP), with the Italian shoe brand Sergio Rossi collaborating as a
production partner. HHP was initiated in 2011 to create high heel shoes for prosthetics. This project is
still ongoing, demanding the “freedom of choice” for all no matter what physical abilities they have.
Katayama says that these red high heels belong to everyone who was involved in the second phase of
the project.
Also on view in addition to the HHP-related works is the caryatid series. This series is derived from the
ancient statues that supported the facades of Greek and Roman architecture. Having admired them
since she was small, Katayama projected her own sense of disconnection from the ground and sense
of floating (on top of prosthetic legs) on the role of the caryatid statues, which connect the skies and
the earth. At the time of her first solo exhibition abroad five years ago, Katayama felt she had to survive
in a world inhabited by two-legged creatures. Since then, while questioning fixed ideas and rules in
society, she has also accepted the complexity and gradation of these norms, and has been seeking a
way to live with them. It has also been a journey of searching for a way to "stand on the ground” as
well as a flexibility to attain it, both physically and financially, as a person and as an artist, with the
same strength and beauty as the caryatid statues. The caryatid series shines like a pillar. As well as the
forms of family or community bound not necessarily by blood or contract, which was nurtured during
the journey, this series of works illuminates her own answers to the questions about the values created
by humankind, such as “correctness” and “beauty”.
The black and white photographs of the caryatid series are hand-printed one by one together with a
trusted artisan printer to the artist.
To celebrate the 100th anniversary of Surrealism, Paris Photo invites filmmaker and multidisciplinary artist Jim Jarmusch to curate a personal selection of artworks on show, which will be held at the Grand Palais from November 7 to 10, 2024. The artist will also participate in a conversation open to the public.
The film Return to Reason brings together four recently restored films by Man Ray, for which Jim Jarmusch composed original music with his group SQÜRL. It will be projected as a preview in two theaters in Paris during the fair. The public release is scheduled for November 13.
“Surrealism, a major influence on Jim Jarmusch, celebrates its centenary this year and finds a unique resonance in the selection he has curated for the fair. This selection fosters a dialogue between cinema, music, and visual art.”
Florence Bourgeois, Paris Photo director
Born in Akron, Ohio, Jim Jarmusch lives and works in New York. He is a filmmaker, writer, musician and artist. His films include Permanent Vacation (1980), Stranger than Paradise (1984), Down by Law (1986), Mystery Train (1989), Night on Earth (1991), Dead Man (1995), Year of the Horse (1997), Ghost Dog: The Way of the Samurai (1999), Coffee and Cigarettes (2003), Broken Flowers (2005), The Limits of Control (2009), Only Lovers Left Alive (2013), Paterson (2016), Gimme Danger (2016), The Dead Don’t Die (2019), and the short Int. Trailer. Night. (2002).
Jim Jarmusch has a strong connection to photography, which has significantly influenced his films. He was a close friend and admirer of Robert Frank, whose 100th birthday will be celebrated at the fair this year. Jarmusch was “[…] captivated by Frank’s constant evolution, his relentless breaking of conventions and preconceived notions that could have confined his art” (Libération, 2019).
Alongside his cinematic creations, Jim Jarmusch is also a practicing visual artist. He has made photographs for many years and has created hundreds of newsprint collages. His collage work is collected in the book Some Collages (Anthology Editions, 2021). He exhibited his collage work in New York at James Fuentes gallery in 2021, at Les Rencontres d’Arles in 2023 and has an upcoming exhibition with James Fuentes Gallery in Los Angeles next year.
Return to Reason - 4 films by Man Ray with original music
by SQÜRL
In parallel, Jim Jarmusch continues to cultivate his musical practice with his avant-garde post-rock group, alongside Carter Logan, as SQÜRL, with whom he pays homage to Man Ray. Return to Reason features all four of Man Ray’s films in their entirety, accompanied by music from SQÜRL. A preview of the film will take place in Paris during Paris Photo.
Le Retour à la raison is the first short film directed by Man Ray, who in 1923 explored the cinematic medium as an extension of his work in painting and photography. A century later, in 2023, SQÜRL created semi-improvised music for Man Ray’s four masterpieces: Le retour à la raison (1923), Emak-Bakia (1926), L’étoile de mer (1928), and Les mystères du château du Dé (1929).
The film was produced by Womanray, committed to the artistic project, which oversaw the restoration and preservation of the four films.
Ikram Abdulkadir (1995), Jeannette Ehlers (1973), Fryd Frydendahl (1984), Bente Geving (1952), Hallgerður Hallgrímsdóttir (1984), Annika Elisabeth von Hausswolff (1967), Heiða Helgadóttir (1975), Hilde Honerud (1977), Tuija Lindström (1950–2017), Monika Macdonald (1969), Hannah Modigh (1980), Eline Mugaas (1969), Maria Pasenau (1994), Raakel Kuukka (1955-2022) & Yeboyah (1996), Emma Sarpaniemi (1993), Lada Suomenrinne (1995) and Verena Winkelmann (1973).
Søsterskap highlights photographers’ strong role over several generations in the Nordic countries. The exhibition explores the welfare state from a perspective of intersectional feminism. Often referred to as ‘the Nordic model’, this system is characterized by a public sector that provides all citizens with social security and welfare services, including daycare and education, and has brought significant improvement to living and working conditions. Basic values underlying the model are openness, tolerance, and the conviction that all people are equal. “The welfare state is a woman’s best friend” is a feminist slogan.
The exhibition brings together photographers based in Denmark, Finland, Iceland, Norway, and Sweden. Since the 1980s, we have witnessed many active photographers, whose works–based on different approaches from documentary to conceptual–reflect the socio-political context of the welfare state.
The interplay between photography and this social democratic model is here seen as a key factor in defining the panorama of camerawork from the region.
The project makes this model visible while questioning certain aspects, harnessing photography to investigate the friction between the subjective, the collective and the political as it plays out within the welfare state. Family life, gender roles, labor, ethnicity, and colonialism are some of the topics discussed in Søsterskap, which also considers the darker sides of the welfare state based on exclusion and continuous economic growth that is accelerating the global ecological crisis.
CURATORS: ELINA HEIKKA, CHARLOTTE PRÆSTEGAARD SCHWARTZ, ANNA-KAISA RASTENBERGER, ÆSA SIGURJÓNSDÓTTIR, NINA STRAND, ANNA TELLGREN AND SUSANNE ØSTBY SÆTHER.
Over the past three decades, Gregory Crewdson has been fleshing out a portrait of middle America, that America of picket-fence suburbia gazing wide-eyed at the glimmers of a fading dream. His cinematographically staged photos have gradually pieced together the fragments of a twilight world. His œuvre stunningly interweaves an autobiographical dimension with the portrait of a gloryless America. Wan lights and deserted streets are recurring tropes in his works, which are prepared like movie sets to produce photos that quite astonishingly remain images from nonexistent films.
This exhibition brings together three bodies of work made between 2012 and 2022. They offer unique insight into a decade of creation and reveal the axes of the universe that has posited Gregory Crewdson as one of the major figures of photography. Cathedral of the Pines and An Eclipse of Moths mark a pivotal phase due to the intimacy with which they vibrate, crystallized by the images’ locations, which are connected to the lives of Gregory Crewdson, his romantic and creative partner Juliane Hiam, and their children. They imbue the autobiographical dimension with political overtones, most subtly expressed in Eveningside which conclude the trilogy, shown for the first time in France.
The trilogy is introduced with the earlier series, Fireflies (1996), stripped of the sets and elaborate postproduction that usually accompany his works. Fireflies stands apart from the rest of his œuvre and was kept away from the public eye for a full decade. With its swarm of nuptial ballets in a constellation-studded twilight, Fireflies reveals the world’s poetic pulsation, and thus provides a counterpoint to the world’s slow pulverization depicted in the trilogy. The fireflies convey a deep penchant for contemplation. Here lies one of the underpinnings of his œuvre, a fine oscillation between poetics and politics, between a modest sensitivity and the glance carried on the backwash striking a world caught by a slow brutality.
Jean-Charles Vergne
CURATOR: JEAN-CHARLES VERGNE
EXHIBITION COPRODUCED BY THE GALLERIE D’ITALIA, INTESA SANPAOLO’S MUSEUMS, TURIN, AND THE RENCONTRES D’ARLES.
An exhibition dedicated to Guy Bourdin, that delves into the photographer’s singular lens and the striking impact of his vision as a storyteller, whose goal was not to shock, but rather to urge viewers to engage with the images and be intrigued, to question and to play. The idea behind the exhibition is to pay tribute to the work of French photographer Guy Bourdin by portraying his compositional and narrative intent, delving beyond the provocation that has always been associated with his work. In the vein of filmmaker Alfred Hitchcock and artist Edward Hopper, whom he greatly admired, Bourdin was essentially a storyteller, capable of condensing entire novels, usually crime or noir, into a single shot.
ARMANI / SILOS - Milan
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BASQUIAT × WARHOL
PAINTING FOUR HANDS
Between 1984 and 1985, Jean-Michel Basquiat (1960-1988) and Andy Warhol (1928-1987) created around 160 paintings together in tandem, “à quatre mains”, including some of the largest works produced during their respective careers. Keith Haring (1958-1990), who witnessed their friendship and collaboration production, would go on to speak of a “conversation occurring through painting, instead of words,” and of two minds merging to create a “third distinctive and unique mind.”
“Basquiat × Warhol. Painting four hands” is the most important exhibition ever dedicated to this extraordinary body of work and brings together more than three hundred works and documents including eighty canvases jointly signed by the two artists. Also featured are individual works by each as well as a set of works by other major artists (Futura 2000, Michael Halsband, Keith Haring, Jenny Holzer, Kenny Scharf...…) in order to evoke the energy of the New York downtown art scene of the 1980s.
FONDATION LOUIS VUITTON - Paris
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MAN RAY & FASHION
22 April – 13 August 2023
The exhibition includes photographs he took for prominent couturiers, such as Paul Poiret, Elsa Schiaparelli and Coco Chanel, as well as for important fashion magazines, including Harper’s Bazaar, Vanity Fair and Vogue. Man Ray was an innovator who employed technical ingenuity and humour to ultimately change the way dress would be depicted. His experimental procedures and surrealist winks of the eye brought art and fashion closer together and still influence fashion photography today. Contemporary fashion designers continue to find inspiration in his work, and this is especially true of Belgian fashion designers, with their predilection for Surrealism.
Momu - Belgium
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Sarah Bernhardt
And the woman created the star
Sarah Bernhardt, (1844-1923), was an emblematic figure who spanned the 19th and 20th centuries. The “Divine Sarah”, who was an artist as well as an actress, takes centre stage at the Petit Palais in an exceptional exhibition to mark the centenary of her death. The museum holds important collections of works linked to the actress, including the spectacular portrait of her that was painted in 1876 by her friend Georges Clairin and donated by her son Maurice.
Petit Palais - Paris
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Elliot Erwitt
A rétrospective
The exhibition “Elliott Erwitt. A Retrospective” is a tribute to one of the most important photographers of the 20th century, who has been a member of Magnum Photos since 1954.
The exhibition presents his work through a collection of 215 black and white and color photographs.
An American photographer of European descent, Elliott Erwitt is a multi-faceted artist: he’s at the same time a painter of intimacy, a photojournalist, a commercial photographer, a film director, and a portrait photographer of famous personalities such as Marilyn Monroe, Jackie Kennedy, Charles de Gaulle, Ernesto “Che” Guevara, Alfred Hitchcock, Nikita Khrushchev…
Agnès Varda cherished a particular fondness for Sète. Sétoise by adoption as a teenage refugee there during World War II, she returned to the town every year until the beginning of the 1960’s. She began in 1947 as an amateur photographer, then turned professional. Her Rolleiflex captured friends, sailors, the quays of the southern town, water jousts on the canals… and soon the fisherfolk and narrow traverses of Pointe courte, the working-class neighborhood by the Étang de Thau that anchors her first film, shot in 1954.
Agnès Varda’s contact sheets reveal her photographic journey. When we compare the 800-odd photos she took in Sète with the painstaking selection the young woman undertook in 1953 to prepare her film, we begin to see her vision. These are not film stills of the shooting or the set, but images antedating the idea of the film or forming part of its conception. These reference and scouting photographs, collected on nine sheets, were her inspiration for scenes, atmospheres, even particular shots. Her favorite subjects and motifs are confirmed by their reappearance in contemporary or subsequent prints.
Alternating a graphic and a realist style, Agnès Varda produced a radical film, appreciated by cinephiles and critics of the time. Many saluted the originality of its script and especially the daring of its maker, known as the official photographer of the Festival d’Avignon and the Théâtre National Populaire. Produced on a shoestring, La Pointe Courte’s artistic independence broke with the codes of the era’s cinema to the point of being qualified as a precursor of the Nouvelle Vague.
With her first photography show in June in her courtyard on the rue Daguerre (Paris 14) and the shooting that summer of her first film, 1954 crystallized for Varda the connection between these two modes of expression, announcing a unique body of work.
Carole Sandrin
CURATOR: CAROLE SANDRIN, ASSISTED BY ELISA MAGNANI.
WITH THE HELP OF ROSALIE VARDA AND THE CINÉ-TAMARIS TEAM: SHÉRINE EL SAYED TAIH, JULES MARTIN.
EXHIBITION COPRODUCED BY THE INSTITUT POUR LA PHOTOGRAPHIE DES HAUTS-DE-FRANCE AND THE RENCONTRES D’ARLES.
WITH SUPPORT FROM KERING | WOMEN IN MOTION.
In late 1976, I shot The American Friend in Hamburg and Paris. It starred Bruno Ganz and Dennis Hopper and was based on the novel Ripley’s Game by Patricia Highsmith.
At the time, Polaroid pictures corresponded to what you’d nowadays do on your smart phone. Polaroids were the analogue predecessor of instant photography. They truly represented a photographic notebook, only that the cameras spat out printed “originals”. I recorded my location survey and pinned the little prints on the wall of the production office. The script person took Polaroids of every scene for continuity reasons. I photographed my actors during preparation and sometimes in between scenes. And even in the story, Polaroids were used, in our case by Dennis Hopper who played the dubious character of Tom Ripley and who became so much our “American Friend” during the film that we changed its title from Framed to what it has become ever since.
In that scene, Tom Ripley is alone in his big house in the middle of the night and tormented by remorse, because he has manipulated the innocent German craftsman Jonathan Zimmermann (played by Bruno Ganz) into committing a murder. The way he acted out his pain was by taking a series of self-portraits with the help of his SX-70 camera, finally lying down on his pool table and letting the pictures fall down on him like rain. The scene somehow caught an early insight into the narcissist obsession we all later suffered from when we began to take selfies as if it was the most normal thing on earth. Well, it is now. Who would have thought then that we’d even get used to the fact that our cameras have lenses on both sides! That was unthinkable then, when Ripley turned the Polaroid camera on himself like a gun in order to commit suicide.
In another scene Ripley drives his fabulous Thunderbird through Hamburg and records his thoughts on a portable Walkman. Another reminder of the long and inevitable way into the digital realm…
Wim Wenders
wim-wenders.com
WITH THE COLLABORATION OF WIM WENDERS FOUNDATION, DÜSSELDORF.
EST Galerie is delighted to invite Karén Khachaturov and present his distinctive selection of photographs «Strayed Utopian» from years 2016 – 2022 in the 11th area of Paris March, 30 – April 5, 2023.
Karén Khachaturov’s work is vibrant, playfull and surrealist. Yerevan, Armenia born and based photographer, delicately wrap real people and complex subjects into his pastel universe. The visual resonance between the color palette (Utopie) and bizzare personages in his latest body of work facilitates the discourse of Dystopia without words.
His career as a photographer began with taking pictures documenting the street but soon after he chose to focus on portrait photography. It seduces thanks to a memorable soft yet striking visual imprint which has become his signature. Slowly, he stepped into fashion and commercial photography, which also shaped his artistic vision. He often uses the commercial colours and pop surrealistic entourages to open a conversation about the new reality- the digital era. In his pastel coloured universe the objects seem to stay the same, but have lost their primal essence.
His works are focusing on the modern sense of the alienation and the loss of empirical experience. In most of his works, the heroes are half people half objects, who look senseless and bored from the alienated communications and the mass cultivated individualism, which as a result turned them into good looking objects with bright entertaining colors, but lack of actual characteristics or senses.
The artist has exhibited his work worldwide from Tel Aviv, Beijing, Shenzhen, Tbilisi, New York to Yerevan and Paris. He also has published several photo books including "Pastel Poetry" in 2019 and "Dystopia" in 2021 but his taste for art and his talent does not stop there. Karén Khachaturov is also a composer of hip-hop music.
“ The consumerism has changed the concept of happiness turning it from a never-ending source of motivation into a one more “Must Have”. A color to try, a device to use, a shape to wear and a feeling to experience. The happiness in the frames of it has to suit certain rules. Anything othervised from those rules may be excluded from its concept, denied and forgotten, because it creates a brick in the perfectly retouched consumeristic world.”
The opening will take place in the presence of the artist on Thursday March 30, 2023 from 6 p.m. to 10 p.m. at the EST Galerie, 76 rue Saint Maur, 75011. The event will mark the start for the gallery in its pursuit to build a cultural dialogue between the Eastern Paris and contemporary art scene of Armenia.
Together, Azzedine Alaïa and Arthur Elgort shaped the freedom of the 80s. At the same time as the fashion
designer saw his feminine ideal embodied in the street and by the ever-increasing number of clients, the
photographer left the studios, took over the movement and the cities as a natural and new setting. Both
actively contributed to renewing the representation of the now assertive, determined, independent woman.
The exhibition presented at the Azzedine Alaïa Foundation compares timeless photographs essential to the
designer’s iconography, as well as more confidential shots, with Alaïa’s most iconic clothes.
Elgort swapped his Polaroid for a Nikon. He developed a true passion for all types of new and vintage
cameras whose techniques and unique features he appreciated. He became a master of the camera. The
chief editor of Vogue, Alexander Liberman, saw a few photographs by the newcomer and encouraged him
then introduced him to the editors of his illustrious magazine. He did his early shoots in collaboration with
Polly Allen Mellen and Grace Coddington.
Within a year he became famous.
The paths of Azzedine and Arthur obviously ended up crossing in Paris. As they worked together on magazine
shoots, Elgort and Alaïa shared a dislike for superfluous sets and props, which got in the way of Elgort’s
photographic vision and Alaïa’s sculptural creations.
His black and white photos were intended to look like snapshots. He preferred explosive movement to the
clichéd poses of fashion models. He opened the windows of studios to let in the light and turned the street
into his theatre. Alaïa instinctly identified not only with his innovative but rigorous approach. When the
images were published, it was hard to tell who was acting as a foil for whom: was it the joyful photography
that invited to garment to move, or was it the figure-hugging, suggestive dress that provided the movement
captured in the image?
The models captured by Elgort’s lens and dressed by Alaïa became the ambassadors for new forms of
expression where two artistic approaches came together but never clashed.
Linda Spierings, Jeny Howarth, Janice Dickinson, Bonnie Berman, Veronica Webb, Frederique Van der Wal,
Naomi Campbell, Christy Turlington, Cindy Crawford, Linda Evangelista, Stephanie Seymour were like
divinities dancing on the frieze created by Alaïa and Elgort.
This osmosis consists of a unique exhibition in Paris dedicated to photography and fashion, whose revival
was orchestrated by Alaïa and Elgort.
Playfulness, intuition, and spontaneity were at work here. The future showed that this unbridled game would
mark a new chapter in fashion photography, demystifying couture creations to bring them within everyone’s
reach.
Arthur Elgort was born in New York. Azzedine Alaïa in Tunis. Both hoped that the practise of official art
would guide their destiny. Elgort aspired to become a painter and enrolled at Hunter College. Alaïa learned
the techniques of sculpture at the School of Fine Arts in Tunis.
Elgort did not feel fulfilled in the discipline he had adopted. Similarly, Azzedine refused to become a secondrate sculptor. While dressmaking work for a select clientele allowed him to finance his studies, the clothes
he made built him a reputation as a budding designer whose virtuosity was acknowledged. Alaïa took the
risky decision of going to Paris and, in the mid-1950s. His story began.
A similar story characterised the early career of Arthur Elgort. His artistic ambitions deviated when, in the
1960s, he went to a camera shop. He bought a Polaroid camera and learned how to use it, exploring his
environment, showing his pictures to his teachers, and abandoning the past. It became clear that his future
layed in lenses, dark rooms, and photographic papers. He would be a photographer.
The way they evolved in their discipline in exile was different, however.
While he was preparing to sit behind the gleaming sewing machines at the great Paris maisons, Alaïa’s
destiny led him to become a mysterious and sought-after private couturier. Simone Zehrfuss, Louise de
Vimorin, the Comtesse de Blégiers, Arletty commissioned bespoke garments from him. The women who
tracked him down and recommended him gave him a greater understanding of the body and allowed him
to perfect his technique. They would be his “school”, until Thierry Mugler, his leading admirer, persuaded him
to become a fully-fledged fashion designer.
The MEP is proud to present the first retrospective in France dedicated to Zanele Muholi, the internationally renowned South African photographer and activist whose work documents and celebrates the Black LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, asexual+) community. This major event, which brings together more than 200 photographs and videos created since the early 2000s as well as numerous archival materials, covers the full breadth of Muholi’s career to date, honouring one of the most acclaimed artists working today.
Zanele Muholi was born in 1972 in Umlazi, in Durban township, SouthAfrica, and lives between Durban and Cape Town. Muholi studied at theMarket Photo Workshop in Johannesburg and Ryerson University in Toronto.Co-founder of the Forum for the Empowerment of Women and founder ofInkanyiso, a forum for queer and visual media, the artist is also an honoraryprofessor at the University of the Arts Bremen, Germany.Their work has featured in numerous solo exhibitions worldwide, includingthose at the Goethe-Institut Johannesburg (2012); the Brooklyn Museum,New York (2015); the Stedelijk Museum, Amsterdam (2017); Autograph ABP,London (2017) and the Museo de Arte Moderno in Buenos Aires (2018). Thisretrospective has been shown at Tate Modern, London; Gropius Bau in Berlin;the Bildmuseet at the University of Umea;the Valencian Institute of ModernArt andthe Kunstmuseum Luzern.Muholi has also won numerous awards, including the Lucie HumanitarianAward (2019); the Photography Book award from the Kraszna-KrauszFoundation forSomnyama Ngonyama: Hail, the Dark Lioness(Aperture); theRees Visionary Award from Amref Health Africa (2019); a fellowship from theRoyal Photographic Society, UK (2018); France’s Chevalier de l’Ordre desArts et des Lettres (2017); and the Mbokodo Award in the visual arts category(2017).The artist has also received the ICP Infinity Award for Documentary andPhotojournalism (2016); the Fine Prize for an emerging artist at the CarnegieInternational (2013); a Prince Claus Award (2013); the Casa África award; and the Fondation Blachère award at Les Rencontres africaines de la photographiein Bamako (2009). The series “Somnyama Ngonyama” was presented at the58thVenice Biennale (2019). “Faces and Phases” was shown at Documenta(13) in Kassel (2012) as well as the 55thVenice Biennale (2013), and wasshortlisted for the Deutsche Börse Photography Prize (2015).
Zanele Muholi, who defines themself* as a “visual activist”, uses the camera as a tool to confront and repair injustice. During the 1990s, South Africa underwent significant social and political change. Democracy was established in 1994 with the abolition of apartheid; this was followed by a new constitution in 1996, the first in the world to outlaw discrimination based on sexual orientation. Despite this progress, the Black LGBTQIA+ community remains the target of violence and prejudice to this day.
Muholi is deeply involved in this community, and their photographic work is inseparable from their life and their activism. Telling stories that are both individual and collective, the artist hopes to give visibility to their community while challenging conventional stereotypes and representations. Bringing to light the uniqueness and diversity of the individuals they picture, Muholi emphasizes their courage and dignity in the face of intolerance and discrimination.
These photographs encourage viewers to address their own misconceptions. Together they create a new lexicon of positive imagery for under- and misrepresented communities, promoting mutual understanding and respect.
THE TRIENNALE DI MILANO PRESENTS RICK OWENS. SUBHUMAN INHUMAN SUPERHUMAN, THE FIRST RETROSPECTIVE ENTIRELY DEDICATED TO THE VISIONARY FASHION AND FURNITURE DESIGNER RICK OWENS, AS SUGGESTED AND PRESENTED BY THE CURATOR OF THE FASHION DEPARTMENT AT TRIENNALE DI MILANO, ELEONORA FIORANI.
FOR THIS EXHIBITION OWENS IS THE AUTHOR OF HIS OWN NARRATIVE, CURATING GARMENTS, ACCESSORIES, FURNITURE, GRAPHICS AND PUBLICATIONS THAT HE HAS SELECTED FROM OVER TWENTY YEARS OF HIS CAREER.
INSPIRED BY THE EXAMPLE OF ARTISTS AND LITERATURE, OWENS HAS ALWAYS WORKED TO PROMOTE AND HIGHLIGHT MOMENTS OF BEAUTY THAT MIGHT OTHERWISE BE OVERLOOKED. KEY TO THIS RETROSPECTIVE IS A SCULPTURAL INSTALLATION, A PIECE WHICH RUNS THROUGHOUT THE SHOW. TAKING THE FORM OF A GIANT EARTHWORK COMPOSED OF CONCRETE, LILIES, ADRIATIC SAND AND HIS OWN HAIR, THE SCULPTURE SERVES AS A METAPHOR OF THE ETERNAL, PRIMAL CREATIVE DRIVE THAT PUSHES HUMANITY FORWARD FOR BETTER OR WORSE.
“I WANTED TO TAKE WHAT A DISMISSIVE WORLD MIGHT MOCK AND CREATE SOMETHING FINE, EMPATHETIC, KIND AND INCLUSIVE.”
“IF I COULD EVER SO SLIGHTLY BLUR THE RIGID PARAMETERS OF WHAT IS CONSIDERED BEAUTIFUL OR ACCEPTABLE IN OUR GENERATION, I WILL HAVE FULFILLED ANY POTENTIAL I HAD TO MAKE ANY POSITIVE CONTRIBUTION TO THIS WORLD.”
RICK OWENS. SUBHUMAN INHUMAN SUPERHUMAN ALSO PRESENTS A LIMITED-EDITION BOX PRODUCED BY ELECTA. THE BOX IS COMPOSED OF SEPARATE BOOKS OF TEXT, COLLABORATIONS WITH PHOTOGRAPHERS, OBJECTS AND HIS OWN UNRELEASED PERFUME CONTAINING CIVET AND AMBERGRIS.
BORN IN PORTERVILLE IN SOUTHERN CALIFORNIA, RICK OWENS LAUNCHED HIS EPONYMOUS LINE IN 1994. HIS FIRST RUNWAY SHOW IN NEW YORK WAS UNDERWRITTEN BY ANNA WINTOUR AND VOGUE USA. IN 2003, OWENS MOVED TO PARIS, WHICH HAS SINCE BEEN THE CENTRE OF HIS OPERATIONS. IN JULY 2005, OWENS INTRODUCED A FURNITURE COLLECTION FEATURING RAW PLYWOOD, MARBLE AND MOOSE ANTLERS, WHICH HAS BEEN EXHIBITED AT THE MUSÉE D’ART MODERNE IN PARIS AND THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES.
A RECIPIENT OF THE 2002 PERRY ELLIS AWARD FOR EMERGING TALENT AND THE LIFETIME ACHIEVEMENT AWARD BY THE COUNCIL OF FASHION DESIGNERS OF AMERICA IN 2017, RICK OWENS WAS ALSO AWARDED THE COOPER-HEWITT DESIGN AWARD FOR FASHION DESIGN, AS WELL AS THE FASHION GROUP INTERNATIONAL RULE BREAKER AWARD IN 2007.
“The clothes I make are my autobiography. They are the calm elegance I want to get to and the damage I’ve done on the way. They are an expression of tenderness and raging ego. They are an adolescent idealization and its inevitable defeat.”
Rick Owens
Aitor Ortiz, born in Bilbao in 1971, is one of the best known Spanish photographers. He has already held group and solo exhibitions in numerous big museums in Europe, Asia and America. The largest solo exhibitions include: Museo Guggenheim, Bilbao (2011), Fotogra ska Stockholm (2012), Sala Canal de Isabel II, Madrid (2012). The book » Aitor Ortiz « published by Hatje Cantz in 2011, is an important monograph about his work, for which he has been celebrated by critics and awarded numerous prizes. His works have been included in many different collections, including: Museo Nacional Centro de Arte Reina Sofía, Madrid, Museo Guggenheim Bilbao, Fundación La Caixa, AxA. Belgium, IVAM. Instituto Valenciano de Arte Moderno, Norman Foster Collection and many more.
Beyond the documental photography of architecture, and asserting the dilution factor and transmutation of reality that is associated with photographic representation, Aitor Ortiz works with space, architecture and objects as opening elements to introduce a number of visual and cognitive unknowns. His interest persistently raises a series of dilemmas between representation and interpretation (perception) while establishing a relationship between the content of his images, the physical properties of the materials on which he reproduces his works and their physical position in an exhibition. That’s why Aitor Ortiz is trying to establish a broad spectrum of work process and a relationships between photographed places, the conscious and unconscious mechanisms involved in the process of image manipulation: »the eye« (interpretation, frame, contextualisation ... ), »the camera« (focus / blur, optical distortion, motion transmission ... ), and »the brain« (the limitations of an imperfect device in the interpretation of data and empirical skills: experience, association of concepts ... ) that culminate in the exhibition space; where physical experience again transcends the content of his photographs as part of a process of constant interaction between their representation and the viewer's perception.
Chad Moore (1987, Tampa, Florida), currently lives and works in New York City. A world away from obsessive Instagramming and posed party pictures, photographer Chad Moore’s images are joyful, unselfconscious snapshots of friendship, love and youth at their best. Moore captures his friends scaling billboards, sneaking into swimming pools, going on road trips and undertaking random group activities (like showering) while naked, in shots by turns exuberant, mischievous and sweetly romantic.
Moore escaped Tampa Bay, Florida (leaving behind the remains of a half- completed business degree), via an insurance windfall from a car accident involving illegal Mexican immigrants, and came to New York to work for legendary photographer Ryan McGinley.
Although there are hints of McGinley’s colour- saturated paeans to youth in his work, the 25- year-old Moore documents a different generation of downtown New Yorkers, bringing a sincerity and innocent playfulness to his work that is completely his own. Here, Moore explains the story behind one of his favourite photographs, a picture of two old flames reunited for one night.
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