Pierre Leguillon features Diane Arbus / Moderna Museet Malmö

Moderna Museet Malmö

Pierre Leguillon features Diane Arbus:
A Printed Retrospective, 1960-1971
Malmö – 27 March 2010 – 1 August 2010

The French artist Pierre Leguillon has compiled a unique retrospective on the large body of work produced by Diane Arbus for the Anglo-American press in the 1960s. This spring and summer, the exhibition will be shown at Moderna Museet Malmö, featuring some 100 photos in their original context – on the pages of magazines.

Diane Arbus

Diane Arbus,
The Vertical Journey: Six Movements of a Moment within the Heart of the City, Esquire (July, 1960)
Copyright © 1968 The Estate of Diane Arbus, LLC

In the 1960s, Diane Arbus (1923-1971) was used widely by publications such as Harper’s Bazaar, Esquire, Nova and The Sunday Times Magazine. Her extensive work for the Anglo-American press is relatively unknown, however, and Pierre Leguillon’s presentation is the first time it has been shown in this way: a printed retrospective in the form of some one hundred original magazine spreads.

The exhibition presents a broad material comprising hundreds of photos that demonstrate her wide variety of subjects and genres: photo journalism, celebrity shots, kids’ fashion and several photo essays. All Arbus’ photos are shown in their original social and political context, in the pages of original magazines. The images are shown as they were intended to be seen, in their intended format and setting and in relation to a text. Interspersed in this rich array of Arbus’ photographic output are various texts and images by other photographers (Walker Evans, Annie Leibovitz, Victor Burgin, Wolfgang Tillmans, Matthieu Laurette, Bill Owens) directly or indirectly referring to a specific part of Arbus’ oeuvre and thus emphasising its strong impact on her contemporary times and the present day.

The retrospective, which was put together by the French artist Pierre Leguillon and is presented as a work of art/exhibition/collection, also encourages us to reflect on these aspects and on the relationship between the original and the copy.

Diane Arbus

Diane Arbus,
Make War Not Love!, Sunday Times Magazine (London) (September 14, 1969)
Copyright © 1969 The Estate of Diane Arbus, LLC

Exhibition View

Utställningsvy: Pierre Leguillon presenterar Diane Arbus: en tryckt retrospektiv, 1960-1971, Moderna Museet Malmö, 27 mars-1 augusti 2010. Collection Kadist Art Foundation. Foto: Prallan Allsten
© Prallan Allsten/Moderna Museet

Courtesy Moderna Museet Malmö
Copyright Images © The Estate of Diane Arbus, LLC
Copyright Images © Prallan Allsten/Moderna Museet

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• Moderna Museet Malmö

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Marc Yeats Premiere at the Manchester Pride Chamber Music Concerts

Manchester Pride Chamber Music

Article by Scott Hart for Gscene Magazine Ltd

Manchester Pride launches its annual series of Chamber Music Concerts on August 23 at the Cosmo Rodewald Concert Hall, at Manchester University..

British composer and visual artist Marc Yeats
© Stampfli & Turci

The recitals, which are now in their 3rd year, celebrate LGBT (lesbian, gay, bisexual and transgender) composers, and feature international artists as well as young, local talent.

To mark this year’s centenary of the birth of American composer Samuel Barber, each of the five concerts features one of his pieces. Barber is most famous for his “Adagio for Strings”, and Pride’s series includes some of his beautiful songs, piano works & his cello sonata.

This year also includes the world première of a work by Manchester Pride’s newly appointed Composer-in-Association, Marc Yeats. The piece, entitled “schlick’s approximation”, for clarinet, violin & piano, is based on themes by Samuel Barber. It will be performed on August 27 by the ensemble CHROMA.

There will be additional performances throughout the week including oboist Nicholas Daniel, tenor David Maxwell Anderson, cellist John Myerscough and pianists Ashley Wass, Leon McCawley & Alasdair Beatson.

Jackie Crozier, festival director of Manchester Pride, said:
“I’m really pleased to be adding even more cultural events to this year’s Pride Fringe. The past two years of chamber music concerts have been extremely successful and I’m sure this year will be no different. I’m particularly looking forward to CHROMA’s world première of Marc Yeats’ new work, which he has written especially for Manchester Pride 2010.”

Manchester Pride’s chamber music events take place between August 23-27, at 1pm.

Links

• British composer Marc Yeats at the SALT Residency at PVA MediaLab
• The Frome Maidens – A GPS-Triggered Poetic Contemporary Symphony
• Marc Yeats Myspace
• Manchester Pride
• Gscene Magazine Ltd

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El Ángel Exterminador – Exposition au Palais des Beaux-Arts, Bruxelles

Palais des Beaux-Arts, Bruxelles

El Ángel Exterminador
A Room for Spanish Contemporary Art
29.04. 2010 – 20.06.2010

El Ángel Exterminador rassemble l’œuvre de 28 artistes contemporains espagnols. Cette exposition de groupe propose à la fois des tableaux, des sculptures, des photos, des vidéos et des installations. Le curateur, Fernando Castro Flórez a sélectionné quelques artistes connus tels Enrique Marty, Bernardí Roig, Santiago Sierra, Rodrigo García, Dora García et Lara Almarcegui. L’objectif est de proposer une palette variée de l’art contemporain espagnol.

Louis Buñuel

El Ángel Exterminador
Courtesy Heirs of Louis Buñuel
© All rights reserved

Le point de départ de cette exposition est le film “El Ángel Exterminador” (1962) du cinéaste surréaliste espagnol Luis Buñuel. Ce film suit les errances de quelques bourgeois, qui sont invités à un luxueux dîner dans une villa. Une fois celui-ci terminé, les invités ne parviennent plus, pour une raison inexplicable, à quitter la pièce. Les jours passent, et la tension monte entre les convives, jusqu’à provoquer la mort d’un d’entre eux, un double suicide, des disputes hystériques et des hallucinations sur des démons issus de l’enfer. Symboles, associations et illusions visuelles – tels sont les instruments qu’utilise Buñuel pour briser la mince couche de raffinement de la bourgeoisie, jusqu’à ce qu’ils se déshumanisent complètement et agissent comme des sauvages.

Fernando Castro Flórez a pris ce film comme point de départ de cette exposition de groupe qui, de son point de vue, ressemble à la pièce dans le film : un espace au sein duquel tout peut se produire. L’espace d’exposition incarne la tension entre le besoin de s’enfuir et le désir de rester. A travers cette exposition, le curateur initie une quête des « expériences limites » et des différents modes qui existent pour les dépasser.

L’exposition est construite comme un « tableau vivant » dans lequel la dimension théâtrale est essentielle. C’est pourquoi El Ángel Exterminador est doté d’un volet spécifiquement dédié à la performance. Cinq artistes (Paco Cao, Rodrigo García, Olga Mesa, Maria La Ribot et Esther Ferrer) proposent chacun un spectacle de danse ou une performance dans la salle voisine de l’exposition.

José Ramòn Amondarain

José Ramòn Amondarain
Pintura / Fotografía
Leroy Snyder Coal Co., Donaldson, Schylkill Country, 2008
Se compone de 2 piezas: 1 óleo sobre lienzo y 1 fotografía
Óleo: 300 x 240cm; Fotografía: 40 x 30cm
© All rights reserved

Jacobo Castellano

Jacobo Castellano
Fotografía
“Serie Corrales”. 2004. Nº 7
Fotografía en color. Edición de 3+1 PA. Código: JC-256
55 x 75 cm
© All rights reserved

Bernardí Roig

Bernardí Roig
Instalación tridemensional
Wittgenstein House, 2007
Glass fibre, Two LCD monitor 12” and DVD player.
Aprox. 180 x 100 x 102cm
© All rights reserved

Artistes dans l’exposition

Abraham Lacalle, Amparo Sard, Belén Uriel, Bernardí Roig, Bestué Y Vives, Concha Pérez, Diego Santomé, Dionisio González, Domingo Sánchez Blanco, Dora García, Enrique Marty, Fernando Sánchez Castillo, Fernando Sinaga, Gonzalo Puch, Jacobo Castellano, Jaume Pitarch, Javier Pérez, Jesús Segura, José Ramón Amondarain, Juan Luis Moraza, Lara Almarcegui, Mateo Maté, Nacho Criado, Pep Durán, Rodrigo García, Santiago Sierra, Txomin Badiola, Xavier Arenós

Courtesy Palais des Beaux-Arts
Images © Tous droits réservés

Links

• Palais des Beaux-Arts, Bruxelles

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The Frome Maidens – A GPS-Triggered Poetic Contemporary Symphony

A new immersive user-mediated mobile soundscape experience

Poet Ralph Hoyte, composer Marc Yeats and coder Phill Phelps have been awarded an Arts Council GftA (Grants for the Arts) to conduct a ‘proof-of-concept’ scoping study for a GPS-triggered poetic contemporary symphony, THE FROME MAIDENS.

John William Waterhouse: Hylas and the Nymphs – 1896
Courtesy jwwaterhouse.com

This ‘proof-of-concept’ study aims to investigate how poetry and music could be fused and then placed in located virtual space. We also intend to involve ‘guinea-pigs’ with little or no previous experience of this media platform to test out how people react to and negotiate this new artform. Once we have shown that this scenario is plausible, we intend to seek further funding to make the concept real.

THE FROME MAIDENS, one of the first of a whole new generation of immersive user-mediated mobile experiences, is conceived as a located soundscape set out in virtual space along the 18-mile course of the River Frome, from her source near Old Sodbury (in Dodington Park on the escarpment along which the A46 Bath to Cirencester runs, a few miles north of the M5 motorway) to her confluence with the Avon in the centre of Bristol. The Frome is the reason Bristol is where she is, the Saxon settlement having been built at the easily defendable confluence of Frome and Avon. When Bristol Castle was built, the Backditch, connecting the two where Cabot Circus shopping mall now stands, completed the protective watery triangle.

THE FROME MAIDENSis based on the conceit that if the Rhine can have Rhinemaidens (created by Wagner for his Ring Cycle), then why can’t the Frome have Frome Maidens? Ralph has written a script based on this conceit and Marc has composed the music. All three of us are currently building a GPS-triggered ‘scratch model’ for testing purposes and intend to look for further funding to realise ‘the real thing’.

The project’s timeline is calculated to tie in with platform developers’ Calvium’s adaptation of current mediascape technology for potential iPod apps (“by late summer 2010”). We are also involving Interactive Media students from the University of the West of England (UWE). We aspire to develop further variations on the project, including a possible audio-visual installation.

Collaborators:

Ralph Hoyte is a Bristol-based professional declamatory public poet, writer and spatial word designer. He works with words and images live, visually and sculpturally, for the stage and screen, writes interpretive scripts for the Heritage sector and works, increasingly, cross-artform and in locative media. Ralph is particularly interested in ‘the music/poetry interface’ and in 2004/2005 was funded by the Arts Council for a pilot project, RESPRAY, involving experiments in this area. Ralph has recently completed a Technology Strategy Board-funded feasibility study into ‘The Dramatic Potential of Pervasive Media’ with the Pervasive Media Studio, Bristol & Hewlett-Packard Labs. In 2009 he wrote the audio and ‘Peppers Ghosts’ scripts for the refurbished Dover Castle Great Tower for English Heritage.

Marc Yeats has received performances, broadcasts and commissions nationally and internationally, working with many distinguished performers, ensembles and musicans including Psappha, the London Sinfonietta, the Endymion Ensemble, Paragon Ensemble, the Scottish Chamber Orchestra, the BBC Philharmonic Orchestra, Hallé Orchestra, Tokyo City Philharmonic and Gewandhaus Radio Orchestra, among others. “Marc Yeats’ musical voice is quite unlike anything else; the music is challenging to both performers and audiences, and very communicative. He produces extraordinary compositions that not only look and sound good, but demonstrate a very high level of academic learning, while being breathtakingly original.” (Sir Peter Maxwell Davies)

Phill Phelps has recently completed a BSc (1st Class Hons) in Music Systems Engineering from the University of the West of England.

Phill has published work and is ‘fascinated by new audio experiences and enjoys syncing unusual sounds to unusual video’. His research interests include symbiotic synthesis, circuit-bending and retrocomputing culture, human computer Interaction, speech recognition and speech synthesis, audio experimentation, electro-acoustic composition and recording.

Links

• British composer Marc Yeats at the SALT Residency at PVA MediaLab

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Ian Talbot: Retrospective – Sciagraph 04 :: Sciagraphs

Chapter XVI of the ongoing series Ian Talbot : Retrospective by British fine art photographer Ian Talbot.

Sciagraph 04 :: Sciagraphs

© Ian Talbot

“Seeing is forgetting the name of the thing one sees.” Paul Valery

Of course, the alternative to the view quoted above is to make an image of something so obscure and trivial that it remains virtually nameless. For what it is worth it is, as the others in this series, an image of two pieces of mesh overlapped to form a pattern. A pattern signifying nothing in particular, at that.

Yet a photograph is still inextricably linked to the thing photographed such that it can never truly break free. This image is not an abstract for there are no abstracts in photography. Even so I have attempted to make it as close to an image of nothing as I could. At least in this case it doesn’t really matter what it is an image of.

While creating the small series this image is a part of I had in mind this quote by Jasper Johns, “… It had all the qualities that interest me – literallness, repetitiveness, an obsessive quality, order with dumbness and the possibility of complete lack of meaning.” I share many of these interests – more and more of late – and yet I’ve found that the less meaning I attach to an image, the less meaning I wish to express, the more viewers will attach their own meaning. I guess it’s not only nature that abhors a vacuum. It’s an area I mean to explore further.

I have called these images “Sciagraphs” (shadow drawings) after the term used by W.H. Fox Talbot to describe his first attempts at fixing the image created by the action of sunlight on the silver nitrate soaked paper upon which he would lay various objects, leaves, fabrics and lace etc. It seemed appropriate here. Of course, interestingly, such was the wonder at the possibility of fixing these early images that for Fox Talbot it must have mattered little what the actual subject used was too. As for my images, and well before McCluhan coined the phrase, “The medium truly is the message”.

Ian Talbot

Text & image © Ian Talbot

Next : Chapter XVII – Shell :: Objectivity

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• Index : Ian Talbot: Retrospective






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