Archive

Tag Archives: landscape

La Fabrique du pré – The making of a meadow

Photographies Cyrille Weiner, Nanterre, 2004-2012

Prix Lucien Hervé et Rodolf Hervé 2012 – Rodolphe Hervé et Lucien Hervé Prize 2012

De l’urbain à l’humain

Ce lit de verdure n’inspire pas l’abandon mais l’attente. Surplombant un échangeur immense, cerclé de tours, il est une butée végétale contre laquelle l’axe historique de l’ouest parisien s’est rompu. Sur ce bout d’autoroute retourné à l’état sauvage, les pierres ne racontent plus rien. Elles laissent advenir l’inouï. Sensible aux interactions du naturel et du construit, Cyrille Weiner interprète cet espace dans sa force de destruction et de renouveau : les poussées de sève font craquer le bitume, le sable fluide détruit des murs de soutènement, les plantes s’agrippent aux parapets de l’autoroute. Tout communique, déborde et se déploie sur ces infrastructures qui façonnent un paysage à la mesure de l’homme. La friche, avec ses emmêlements de plantes, convertit le territoire en une zone libre, ouverte à de multiples usages. Comme rescapés de villes où triomphent le repli sur soi, la propriété privée et l’isolement, quelques hommes reconquièrent ici leur temps, leur énergie et leur imaginaire. Cyrille Weiner observe cette réappropriation concrète de la friche, ces corps et mains qui bêchent, plantent, défrichent et fabriquent le pré. Mais cette réalité première est filtrée, transcrite en une fiction de fin du monde et de paradis perdu. Dans la friche au dessein suspendu, les repères de temps se troublent, ces hommes ressemblent aux premiers et aux derniers.

Marguerite Pilven, octobre 2012

From urban to human

This bed of greenery inspires not abandon but an awaiting. Overhanging a vast motorway junction, circled by towers, it is a vegetal stop against which the historical axe of the Parisian West comes to break. On this section of motorway returned to a state of wilderness, the stones tell no more stories. They allow the unexpected to come into being. Sensitive to the interactions of the natural and the man-made, Cyrille Weiner interprets the space in its force of both destruction and renewal: spurts of sap crack through the cement, fluid sands destroy the supporting walls, plants grip onto the motorway parapets. Everything communicates, overflows, spreading out over the infrastructures that shape the landscape to the measure of man. The wasteland, with its tangles of plants, converts the territory into a free-zone, open to a multitude of uses. As if escaped from towns in which introversion, private property and isolation triumph, a few men here seem to reconquer their own time, energy and imagination. Cyrille Weiner observes this concrete reappropriation of the wasteland, the bodies and hands that dig, plant, weed and hence create the field. But this primary reality is filtered, transcribed into a fiction of the end-of-the-world and a paradise lost. In this wasteland of designs suspended, usual bearings of time become blurred ; these men come to resemble both the first and the last.  

Marguerite Pilven, October 2012

Prix Lucien Hervé et Rodolf Hervé 2012

Créé à l’initiative de Judith et Lucien Hervé, ce prix de la photographie couronne le travail d’un jeune photographe professionnel, en mémoire de leur fils Rodolf, photographe.

L’École Spéciale d’Architecture de Paris est partenaire du Prix Lucien Hervé et Rodolf Hervé depuis 2004. Elle accueille l’exposition de Cyrille Weiner et Ildi Hermann dans la Galerie Spéciale.

The Lucien Hervé and Rodolf Hervé Prize

Created upon the initiative of Judith and Lucien Hervé, in memory of their son Rodolf, himself a photographer, the prize recognizes the work of a professional photographer, according to the objectives originally established by its founders.

The École Spéciale d’Architecture in Paris, is a privileged partner of the Lucien Hervé and Rodolf Hervé Prize and currently hosts the Cyrille Weiner and Ildi Hermann exhibition, in the Galerie Spéciale.
Exposition du 16 novembre au 7 décembre dans le cadre du Mois de La photo à Paris

Galerie Spéciale, Ecole Spéciale d’Architecture, 254 Boulevard Raspail, 75014 Paris

cyrille_weiner_prix_lucien_herve_installation_01

wec1212esa_0007

wec1212esa_0009

Installation views, Galerie Spéciale, Ecole Spéciale d’Architecture, Paris, 2012

Domingo Milella : A view from Castelmezzano

Outer edges of some buried age. A view from Castelmezzano: rupestrian cultures in the Mediterranean region and beyond

Castelmezzano, Basilicata, 2010

Castellaneta, Basilicata, 2010

On the 3rd of September in Castelmezzano, Italy, opened Outer edges of some buried age. An exhibition curated by Chiara Capodici and Fiorenza Pinna featuring the work of photographer Domingo Milella. The exhibition takes place at Palazzo Coiro, an old aristocratic palace in the centre of the village, and it is visible only by daylight.

Pietrapertosa, Basilicata, 2010

Outer edges develops around the concept of landscape, identity and memory referencing Pier Paolo Pasolini’s notion of Post-history as the acknowledgement of an inevitable clash of ancient and modern times in a society that is slowly losing any sense of community and belonging.

“I am a force of the Past. My love lies only in tradition. I come from the ruins, the churches, the altarpieces, the villages abandoned in the Appennines or foothills of the Alps where my brothers once lived […] Or I see the twilights, the mornings over Rome, the Ciociaria, the world, as the first acts of Post-history to which I bear witness, for the privilege of recording them from the outer edge of some buried age.”

This site-specific exhibition moves from a study on the identity of the village of Castelmezzano and reaches out to the countries and the populations that settled along the coast of the Mediterranean Sea—Italy, Egypt, Turkey, Greece—and Mexico in search of territories marked by a similar ancient history and cultural experience of the landscape.

Acitrezza, Sicily, 2009

In his journey Domingo Milella explores and compares the different expressions of a sense of belonging and community which leaves a legacy that, impressed on the stones, determines the face of the landscape. Territory and identity are considered part of a collective history and memory that connect these cultures throughout the globe.

Domingo selects specific places and stories following a fil rouge that takes him on a historical pilgrimage from Castelmezzano to Mexico via the regions of Southern Italy and the Anatolia. The images of the rupestrian settlements in Phrygia, Cappadocia, Giza, Polignano, or Mexico City all reveal how deeply intertwined the relationship between man and nature has been over the years.

Sanctuary-Monastery, Phrygia, Turkey, 2011

Soganli, Turkey, 2011

Valley of Ilhara, Turkey, 2011

The Arabs took advantage of the natural architecture of Pietrapertosa to preserve the safety of their community. They used to take refuge in the hole of the mountain that overlooks the town—after which Pietrapertosa was named—to observe without being seen. Similarly, the image of the Tomb of Midas depicts the encounter of nature with archaic and modern civilisation. The tomb, as a symbol of the myth, is carved in the stone while a person holding a digital camera stands in front of it photographing the monument. Lastly, Mexico City which is represented as a crossroad of three different cultures—the Aztec, the precolonial and the modern state—all of which indelibly imprinted their own identity onto the face of the city.

The interventions of man shaped the landscape the same way as the landscape influenced the development and the identity of the society.

Elisa Badii

Domingo Milella, Outer edges of some buried age. A view from Castelmezzano: rupestrian cultures in the Mediterranean region and beyond

Until October 3, 2011

Palazzo Coiro
Castelmezzano
Potenza
Italia

Tlatelolco, Square of the Three Cultures, Mexico City, 2004

Giza, Egypt, 2009

All images Courtesy of Domingo Milella and Brancolini Grimaldi

http://www.treterzi.org
http://www.brancolinigrimaldi.com

The exhibition is an initiative of The View From Lucania, a project devoted to the South of Italy based in Basilicata. TVFL in collaboration with the township of Castelmezzano, which has financed the exhibition and the whole project.  www.theviewfromlucania.com

thanks to La lettre de la photographie

Thomas Ruff

ThomasRuffjpegs

Thomas Ruff ,Essay by Bennett Simpson

11 1/8″ x 15″
132 pages
65 color images

Thomas Ruff is among the most important international photographers to emerge in the last fifteen years, and one of the most enigmatic and prolific of Bernd and Hilla Becher’s former students, a group that includes Andreas Gursky, Thomas Struth, Candida Höfer, and Axel Hutte.

In 2007, Ruff completed his monumental Jpegs series in which he explores the distribution and reception of images in the digital age. Starting with images he culls primarily from the Web, Ruff enlarges them to a gigantic scale, which exaggerates the pixel patterns until they become sublime geometric displays of color. Many of Ruff’s works in the series focus on idyllic, seemingly untouched landscapes, and conversely, scenes of war, and nature disturbed by human manipulation.

Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. A fittingly deluxe and oversized volume, Jpegs is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series.

Nel-Ruff2-02G
Thomas Ruff, JPegs, 2005. C-print. 188 x 257 cm.
Nel-Ruff2-03G
Thomas Ruff, JPegs, 2004. C-print. 188 x 311 cm.
In an interview, the artist explained its history as follows : “Everything began with 9/11, the attack on the World Trade Center. That week […] I was in New York […]. I took many photos. When I got the negatives back from the lab in Germany, they were all blank. […] I finally downloaded a lot of images from the web. […] That was when I began to experiment with the ‘jpeg’ images […] The 9/11 images were iconic, but of terribly low resolution. With the […] jpeg structure and the results from work with image structures I managed to modify the terribly poorly resolved but still visually aesthetical images my way. ‘Terribly beautiful’ images they were.” In a nutshell, this is the idea behind jpegs. Ruff eventually expanded his jpegs into a rather large set, the subject of two large shows at Zwirner gallery, and the subject of Jpegs.
bb03
Jpeg, 2007 , C-Print with Diasec
72 7/8 x 98 1/4 inches 185.1 x 249.6 cm
Edition of 3
bd01
Jpeg, 2007 , C-Print with Diasec
104 3/4 x 72 7/8 inches 266.1 x 185.1 cm
an01
jpeg, 2004, C-Print with Diasec
Framed: 74.02 x 113.78 inches 188 x 289 cm

see JM Colberg’s review on Jpegs

Robert Adams
Fondation Cartier pour l’art contemporain
16 novembre 2007 – 27 janvier 2008

adamsr_newworld1.jpg

%d bloggers like this: