SHOOT ME Magazine ISSUE #18_AUG_014

co

ve

r b

y TABEA SIMPLE

2. take my picture

4. kill my old self, revive me.

3. throw me out of a canon, hit me with your arrows

and help me discover a new side of me (an artistic side)

1. hit me with a bullet

Shoot me /ʃuːt mi/

3. the art that never seizes.

2. the ever-rotating art.

rotating around itself, around me, across the universe.

1. swirling art

Art revolving /ɑːt rɪˈvɒlvɪŋ/

<<<<<<

ISAVELLA [email protected]

p u b l i s h e r _ a r t d i r e c t o r

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JAD [email protected]

p u b l i s h e r _ w e b a d m i n

GERASIMOS [email protected]

c o n t e n t c o o r d i n a t o r

KATERINA [email protected]

c u l t u r a l e d i t o r

IRO [email protected]

c o p y e d i t o r

2014, ATHENS / [email protected]

|||||© SHOOT MEMagazine | 2013-14 | coNTeNT oF THIS ISSUe IS coPyrIGHTeD by THe FeATUreD ArTISTS AND cANN

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oT be USeD WITHoUT THeIr WrITTeN PerMISSIoN

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AUG_014

cover by

TABEA SIMPLE“WAITING FOR THE WINTER”

featured artists

SERGIO FIGLIOLIA

KERRY SKARBAKKA

REHAHN PHOTOGRAPHY

MAARTEN MARCHAU

TABEA SIMPLE

featured project

SHOOT ME TWICEin collaboration withSHOOT ME WARSAW

PART#03

18#

I N D e X

32 62 100 130

0 1 6 3 2 0 S e r G I o / F I G l I o l I A

0 0 6 2 0 6 1 K e r r y / S K A r b A K K A

1 0 0 4 r e H A H N P H o T o G r A P H y

0 2 1 3 0 5 M A A r T e N / M A r c H A U

1 6 4 5 4 1 1 2 S H o o T M e T W I c e

2 4 1 2 1 7 4 2 Τ Α Β Ε Α / S I M P l e

5 1 0 5 S T . M o r I T Z A r T M A S T e r S 2 0 1 4

0 5 2 0 0 G A r r y / W I N o G r A N D

164 174

+

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d e i g n e r ’ s n o t eS“ w h e n I a m f e e l i n g l o wa l l i h a v e t o d o i s w a t c h m y c a t s a n d m y c o u r a g er e t u r n s ”― c h a r l e s b u k o w s k i

enjoy our #18th

10

ST. MorITZ ArT

A FeSTAl

To THe ArT A

FocUSING

11

T MASTerS 2014

l TrIbUTe

AND cUlTUre,

G oN INDIA

12

Pablo BartholomewChronicles of a Past Life – Bombay, 1979Archival pigment prints, 41 x 61 cm each

ed. 10 + 3 APCourtesy: the artist and Sakshi Gallery, Mumbai

13

St. Moritz and the en-

gadin host, from August

22 to August 31, exhibi-

tions of regional, national

and international artists,

focusing once again on

art and culture, espe-

cially from India.

The so-called ‘WAlK oF

ArT’ presents in the en-

gadin a wide range of in-

ternational contemporary

art exhibitions and projects,

in addition to this year‘s

focus on India. Works by fa-

mous artists will be on dis-

play, in a unique

international festival. ex-

cept for the traditional ven-

ues in St. Moritz, Samedan

and Zuoz, selected presti-

gious galleries are also inte-

grated in the ‘WAlK oF

ArT’, offering the visitor the

opportunity to admire the

works of national and inter-

national artists, as well as

works of this year's focus:

India.

The group exhibition ‘India:

Maximum city’ presents the

works of 10 artists, assuming a

dual role as practitioners and

urban citizens, facing the nu-

merous challenges of an in-

frastructure, which is about

to collapse, due to the lack

of proper urban planning

and gentrification. These

artists critically explore the so-

cial, political, architectural

and economic implications

of urbanization. The Indian

metropolis is seen as an ever

growing organism, which si-

multaneously serves as a rich

source of inspiration. The

works on display commonly

address the question if the

utopian dream of urban

modernity will ever be

deemed livable or if it will

end up in dystopia.

Three site-specific projects by

Shilpa Gupta, Subodh Gupta

and Nalini Malani, present

trans-cultural issues, ranging

from contemporizing West-

ern and eastern myths and

rituals to transgressing na-

tional borders and cultural

stereotypes.

A group exhibition is also

presented, from the Stellar In-

ternational Art Foundation -

the choudhrie family‘s pri-

vate collection- with works of

M. F. Husain, Paresh Maity

and Jayasri burman, based

on Indian modern art.

At the same time, Karsten

Greve Gallery hosts Manish

Nai's work, which is strongly

characterized by a simple

materiality. Nai uses, as the

starting point of his work, a

traditional natural product,

jute, transferred into an artis-

tic context.

14

A monumental tent instal-

lation by the Italian artist

Francesco clemente is

also presented in St. Moritz

school building. He cre-

ates these tents in India

and refers to them as

‘cave paintings’or ‘mobile

chapels’. clemente’s tents

take us to a place of si-

lence and contemplation.

At the same time, bischof-

berger Gallery presents a

retrospective that com-

bines clemente's ‘Indian’

work from the last 25 years,

with an ‘atmosphere’ be-

tween promise, seduction

and satisfaction or be-

tween faith and hope.

In robilant+voena Gallery,

the double exhibition

‘east/West’ by Jitish Kallat

and Julian Schnabel

manifests an encounter

between two cultures.

Schnabel works on pre-

existing photographic

images of the Hindu di-

vinity Shiva, while Kallat

depicts the many facets

of life by interlacing sev-

eral autobiographical,

art historical, political

and celestial references.

villa Flor hosts a collection of

recent works on paper by the

Swiss artist, author and pub-

lisher, Philipp Keel, all inspired

by the artist’s extensive travels.

Another highlight of this year‘s

festival is british artist billy child-

ish’s multi-part image series,

referencing to the engadin

artist, Giovanni Segantini.

These large-format paintings

were developed specifically

for St. Moritz Art Masters and

are being exhibited in the

French church of St. Moritz.

15

Nalini MalaniIn Search of Vanished BloodKochi Muziris Biennial, 2012

Single channel play, sound, 11:24 minCopyright: Nalini Malani

Courtesy: the artist

16

Christoph Steinmeyer“Augenblick”, 2014

Oil on canvas160 x 190 cm

Courtesy: the artist and Galerie Michael Janssen

BörseC-Print

180 x 240 cmCourtesy: The Bilderberg Collection

17

Leiko IkemuraUsagi Kannon, 2014

Bronze, 337 x 151cm breit x 124 cm© Leiko Ikemura, Photo: Ph. von Matt

18

Gigi ScariaAmusement Park, 2009

Single channel video with soundduration 5 min 24 sec, video still

Courtesy: the artist and Chemould Prescott Road, Mumbai

In addition, the chesa

Planta Museum, in

Samedan, presents the

private art collection

‘The bilderberg collec-

tion’, which contains

over 30 exhibits of differ-

ent eras of painting,

photography and sculp-

ture by unnamed artists.

This anonymity enables

to focus on the essential,

the works of art, giving

the viewer the opportu-

nity for an independent

judgment, free from art

world's trends and per-

sonality cults.

The repositioning of ‘Portable

Subway entrance’ sculpture

by the German artist Martin

Kippenberger, presents an

occasion to combine all of

the region's public sculptures

that can be visited all year

round in a ‘Sculpture course’.

existing works by olaf breun-

ing, James Turrell, roman

Signer and Hubert Kiecol can

be explored, as well as the

newly installed sculpture

‘Usagi Kannon’ by leiko Ike-

mura in St. Moritz, by the lake.

The artists, of whom the works

are presented in ST. MorITZ

ArT MASTerS 2014, are: curtis

Anderson, Pablo bartholomew,

Jayasri burman, riddhibrata

burman, billy childish, Francesco

clemente, Pratul Dash, Smriti

Dixit, Shilpa Gupta, Subodh

Gupta, lori Hersberger, Didier

Hagège, Maqbool Fida Husain,

leiko Ikemura, Jitish Kallat,

reena Saini Kallat, ranbir

Kaleka, Philipp Keel, Manish Nai,

Paresh Maity, Nalini Malani,

Manish Nai, Julian Schnabel,

Gigi Scaria, Mithu Sen, christoph

Steinmeyer, Sooni Taraporevala,

Hema Upadhyay and the

bilderberg collection.

19

Maqbool Fida HusainUntitled (Elephant with Mahout), 1954

From the Maria SeriesCopyright: The Estate of M. F. Husain

Courtesy: Stellar International Art Foundation

ST. MORITz

ART MASTERS in St. Moritz, Zuoz,

Samedan and Kulm

Switzerland

T: +41 81 833 10 28

F: +41 86081 833 10 28www.stmoritzartmasters.com

[email protected]

2020

GARRY WINOGRANA reTroSPecTIve AT

Revealing something darker ben

Los Angeles, 1964/ Winogrand

21

ND THe MeT

neath the veneer of the American dream

23

Coney Island, New York, 1952 / Winogrand

2424

The Metropolitan Museum of

Art in New york hosts, from

June 27 to September 21, the

first retrospective work of the

famous American photogra-

pher, Garry Winogrand.

Winogrand, who was the

renowned photographer of

New york city’s and Ameri-

can life from the 1950s

through the early 1980s, is

widely considered one of

the most important photog-

raphers of the 20th century,

‘the central photographer

of his generation’, as the

American photographer,

curator, historian, critic and

Director of Photography at

MoMA, John Szarkowski,

called him.

Taking pictures from Fifth

Avenue to Sunset boule-

vard, from cape Kennedy

to the Texas State Fair dur-

ing the 1950s and 1960s,

Winogrand became one

of the principal voices of

the eruptive postwar

decades. Known primarily

as a street photographer,

he photographed with

dazzling energy business

moguls, everyday women

25

on the street, famous ac-

tors and athletes, hippies,

politicians, soldiers, animals

in zoos, rodeos, car culture,

airports, antiwar demon-

strators and the construc-

tion workers who beat

them bloody in view of the

unmoved police.

Winogrand's photographs

combine the hope and

happiness as well as the

anxiety and turbulence

that characterized America

during these decades, re-

vealing a society with many

possibilities but also an anx-

iety to spin out of control.

The artist’s pictures, although

often bulged with 20 or 30

figures, reflect a feeling of

human isolation, hinting at

something darker beneath

the veneer of the American

dream. black and white, dy-

namic, with a sense of un-

foreseen and haphazard,

Winogrand's pictures reveal

a unique poetry, giving us

the cadre of middle-class life

in postwar America.

Totally dedicated to his

work, Winogrand preferred

shooting film to editing his

pictures or producing books

and exhibitions, allowing

others to perform these tasks

for him. As a result, many of

his strongest early photo-

graphs fell into obscurity as

he matured. Dying suddenly

at the age of 56, he left be-

hind proof sheets from his

earlier years that he had

marked but never printed,

as well as approximately

6.600 rolls of film (about

250.000 images) that he had

never seen. These rolls of film

were developed after his

death.

Winogrand was born in 1928

in the then predominantly

Jewish working-class area of

the bronx. His father, Abra-

ham, was a leather worker,

and his mother, bertha,

made neckties for piece-

meal work. He studied paint-

ing at city college of New

york and painting and pho-

tography at columbia Uni-

versity in New york city in

1948. He also attended a

photojournalism class at The

New School for Social re-

search in New york city in

1951.

El Morocco, New York/ Winogrand

2626

“you could

say that I am

a student of

photography

and I am;

but really I'm

a student of

America”-Garry Winogrand

John F. Kennedy, Democratic National Convention, Los Angeles

/ Winogrand

2828 In 1955 two of Winogrand's

photos appeared in ‘The

Family of Man’ exhibition at

the Museum of Modern Art.

Winogrand's first one-man

show was held at Image

Gallery in New york city in

1959. His first notable ap-

pearance was in ‘Five Unre-

lated Photographers’ in

1963, also at the Museum of

Modern Art, along with

Minor White, George Krause,

Jerome liebling and Ken

Heyman. In 1966 Wino-

grand exhibited at the

George eastman House in

rochester with lee Friedlan-

der, Duane Michals, bruce

Davidson, and Danny lyon

in an exhibition entitled ‘To-

ward a Social landscape’.

In 1967 he participated in

the ‘New Documents’ show

at MoMA with Diane Arbus

and lee Friedlander, cu-

rated by John Szarkowski.

In 1964 Winogrand was

awarded a Guggenheim

Fellowship Award to travel

through America. He was

awarded his second Guggen-

heim Fellowship in 1969 to

continue exploring on

media events and their ef-

fect on the public. Wino-

grand received a National

endowment for the Arts

Fellowship in 1975. In 1979,

with his third Guggenheim

Fellowship, he moved to

los Angeles to document

california.

Winogrand married Adri-

enne lubeau in 1952, sepa-

rating in 1963 and divorcing

in 1966. They had two chil-

dren, laurie and ethan.

Around 1967 Winogrand

married his second wife,

29

Judy Teller and they were

together until 1969. In 1972

he married eileen Adele

Hale, with whom he had a

daughter, Melissa.

Winogrand died of gall-

bladder cancer, in 1984 at

the age of 56.

The exhibition ‘Garry Wino-

grand’ brings together

more than 175 of the artist's

iconic images, a treasure

of unseen prints, and even

Winogrand’s famed series

of photographs made at

the Metropolitan Museum

in 1969, when the Museum

celebrated its centennial.

This exhibition offers a rigor-

ous overview of Wino-

grand's complete working

life and reveals for the first

time the full sweep of his

career.

‘Garry Winogrand’ is divided

into 3 parts. ‘Down from the

bronx’, presents photo-

graphs made in New york

from his start in 1950 until

1971, ‘A Student of America’

photographs made at the

same period during jour-

neys outside New york and

‘boom and bust’ Wino-

grand’s late work from

when he moved away from

New york in 1971 until his

death in 1984, with photo-

graphs from Texas and

Southern california, as well

as chicago, Washington,

Miami, and other locations,

as the artist was also an

avid traveler.

The exhibition is organized

by the San Francisco Mu-

seum of Modern Art and

the National Gallery of Art in

Washington.

New York, 1962/ Winogrand

THE METROPOLITANMUSEUM OF ART

1000 Fifth Avenue

New york 10028-0198

T: 212-535-7710

www.metmuseum.org

Hours

Sunday-Thursday:

10:00 a.m.- 5:30 p.m.

Friday and Saturday

10:00 a.m.- 9:00 p.m.

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these�are�also�the�boundary

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#03 ladies from Gallery

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The gallery space is an abstractspace, which can fit any figmentand fantasy. It begins to functiononly when there is the artist and theviewer. but among them there aremany obstacles: architecture, cab-inets, railings, fire extinguishers, hy-drants and lady guarding theworks. She is often the only humantouch in this inhuman space. Staringinto the distance, she's tired of hear-ing sounds from another video work,she's listening for months. Nobodyknows about her existence in the artworld. She's entirely unnoticed, butshe is a part of this abstract space. The image, floor, wall, chair and thelady from Gallery

174

phantasia

SHOOT ME Magazine ISSUE #18_AUG_014

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Transcript of SHOOT ME Magazine ISSUE #18_AUG_014