Ricardo Nicolayevsky

Lost Photos: Red 02

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ALMANAQUE-Fotográfica proudly presents two body of works of photography and video-art by Ricardo Nicolayevsky.  Post-produced throughout two decades, the pieces become the time-tunnel from a poetic production process transcending words. Still and moving image from a public and a private world captured 35 years ago —at a gone New York— are reborn in another time and place. Lost Photos & NYC’83 proposes a dialogue with a present that threatens freedom of speech and human rights in a new status-quo. A photography series with intimate and enigmatic images, while the NYC’83 is a video-art portrait where the public and the private realms melt on the streets of the city open to all possibilities. The Lost Photos series —experimental by nature— has been mounted in a classic style, so its narrative and poetry may mimics with abstraction and found fortune. The NYC’83 video-art portrait captures the Punk and New Wave spirit of a young Nicolayevsky recording the idyllic XX century’s Metropolis. Late in 2016, the Museum of Modern Art of New York (MoMA) acquired the Lost Portraits series, to which NYC’83 belongs, a total portrait featuring its streets, inhabit tans and the author. Time is the prime material for these productions. As Nicolayevsky remarks in one of his aphorisms: “Es imposible matar el tiempo sin herirlo” (“It is impossible to kill time without hurting it”).

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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Ricardo Nicolayevsky

Lost Photos: Red 03

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ALMANAQUE-Fotográfica proudly presents two body of works of photography and video-art by Ricardo Nicolayevsky.  Post-produced throughout two decades, the pieces become the time-tunnel from a poetic production process transcending words. Still and moving image from a public and a private world captured 35 years ago —at a gone New York— are reborn in another time and place. Lost Photos & NYC’83 proposes a dialogue with a present that threatens freedom of speech and human rights in a new status-quo. A photography series with intimate and enigmatic images, while the NYC’83 is a video-art portrait where the public and the private realms melt on the streets of the city open to all possibilities. The Lost Photos series —experimental by nature— has been mounted in a classic style, so its narrative and poetry may mimics with abstraction and found fortune. The NYC’83 video-art portrait captures the Punk and New Wave spirit of a young Nicolayevsky recording the idyllic XX century’s Metropolis. Late in 2016, the Museum of Modern Art of New York (MoMA) acquired the Lost Portraits series, to which NYC’83 belongs, a total portrait featuring its streets, inhabit tans and the author. Time is the prime material for these productions. As Nicolayevsky remarks in one of his aphorisms: “Es imposible matar el tiempo sin herirlo” (“It is impossible to kill time without hurting it”).

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Lost Photos: NYC-83 WTC

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ALMANAQUE-Fotográfica proudly presents two body of works of photography and video-art by Ricardo Nicolayevsky.  Post-produced throughout two decades, the pieces become the time-tunnel from a poetic production process transcending words. Still and moving image from a public and a private world captured 35 years ago —at a gone New York— are reborn in another time and place. Lost Photos & NYC’83 proposes a dialogue with a present that threatens freedom of speech and human rights in a new status-quo. A photography series with intimate and enigmatic images, while the NYC’83 is a video-art portrait where the public and the private realms melt on the streets of the city open to all possibilities. The Lost Photos series —experimental by nature— has been mounted in a classic style, so its narrative and poetry may mimics with abstraction and found fortune. The NYC’83 video-art portrait captures the Punk and New Wave spirit of a young Nicolayevsky recording the idyllic XX century’s Metropolis. Late in 2016, the Museum of Modern Art of New York (MoMA) acquired the Lost Portraits series, to which NYC’83 belongs, a total portrait featuring its streets, inhabit tans and the author. Time is the prime material for these productions. As Nicolayevsky remarks in one of his aphorisms: “Es imposible matar el tiempo sin herirlo” (“It is impossible to kill time without hurting it”).

Please provide name and email for information


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Konstantin Grebnev

Abstract I

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Abstract (2015) is a series of studies and experiments that combine monochrome painting and photography. Drawing and making various manipulations with ink on glass, Grebnev put himself in the position of an observer of the process. By minimizing his influence on the formation of the work, he allows the picture to create itself. As he moves the glass, the ink spreads. He uses his camera to catch the moment of the reality during this process, and then he captures it before in the next moment the picture is changing.

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Dorine Potel

Fake Faun: Milk

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Fake Faun (2014) se inspira en el poema de Mallarmé L’après midi d’un faune (1876), que fuera adaptado a partitura musical por Debussy, posteriormente coreografiada por Nijinski para Les Ballets Russes en 1912 —causando conmoción y controversia épica— para luego ser adaptada por Nuréyev y actualmente reinterpretado por diversas compañías de ballet del mundo. La serie cuenta una mitología personal en la que el fauno salvaje se transforma en una joven mujer que encarna orgullosamente a la criatura sensual, sobre un fondo falso de cartón piedra, amenazada por la ciudad y las tentaciones contemporáneas. Entre edificios, en una sobredosis de luz azul. Ahora yace vencida por la urbanidad.

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José Luis Cuevas

Untitled (Virgin)

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Mara Sánchez-Renero

El Cimarrón y el Fandango: Los diablos

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El Cimarrón y el Fandango (2014), habla alegóricamente sobre el pasado de una comunidad de origen africano y el viaje de sus miembros a través de las fluctuaciones de la historia colonial, su integración en el territorio mexicano, y su sentido de identidad dentro de ella. No obstante, ese pasado no es solo la descripción de un concepto histórico; es -sobre todo- una definición de la presente. Un presente, en el caso de sus descendientes afro-mexicanos, que permanecen marginados, inestables e inmemorables para el discurso hegemónico.

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Fernando Etulain

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Tania Franco Klein

Our Life in the Shadows: Barren Land (Self-portrait)

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Our Life in the Shadows (2016-2017). Staged photographs meticulously elaborated for the camera result in intense images revealing an obsessive treatment of color, as the language to evoke a sense of mystery and evanescence that runs between lethargy and vigil. Her characters, entrancing yet exhausted, seem to be in an odd line between defeat and hope.

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José Luis Cuevas

Notes on bodies resistance: Untitled (Fog)

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Observations on the resistance (2014-16) is a series exploring human’s nature and destiny as a physical-emotional vulnerable subject. The images depict an approximation to mankind fragility in constant erosion upon their existence vicissitudes in time and space. Cuevas’ Observations question the constant degradation of a social and economic system which analyzes, organizes, controls, uses, dismantles and replaces once its resistance ability is diminished. Thus, Observations on the bodies’ resistance lays out a symbolic look to some of Mexico City’s inhabitants —accomplices of their own violence and tragedy — shown as characters that exist as co-perpetrators of the system that produces them. This body of works depicts our capacity to resist our own frictions and weights in our backs.

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Danila Tkachenko

LostHorizon: Monument to the atoms

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Lost Horizon (2016). The world promised by the October Revolution had to be not only fair and prosperous, but to also colonise the outer space. Socialism should have been established not only in space, but also in time, aided by technology which would allow to turn time into eternity. But over time, the economical failures had also brought disillusionment about the political utopia and about the promised bright future. In Lost Horizon, Tkachenko shot objects, which represent the image of the ideal cosmic future. He chose the format 6×6, encapsulating the utopian state projects into the Suprematist form of his fellow compatriot artist founder of the Russian Avant-Gard Kasimir Malevich’s ‘The Black Square’ from 1917, which being a revolutionary art piece, reflects the historical epoch it was conceived in.

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Dorine Potel

Endgame

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Endgame (2014) Su título hace eco a la obra de teatro de Samuel Beckett: Final de Partida (escrita en 1957), donde a pesar de rehusarse a contar algo, la obra continua. El objeto nos remonta al universo festivo de las discotecas, esos mágicos sitios nocturnos (¡que son bastante macabros durante el día!). Primordialmente un soporte para la experimentación y prueba cierta materialidad, a imagen condensa literalmente distintos significados en uno, mediante una doble exposición invertida. Un pretexto para interpretar, contemplar y relacionar, pero prestos, antes de que la fiesta termine y fenezca.

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Pablo Ortiz-Monasterio

Desparecen: Untitled

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ALMANAQUE SALÓN, a special collaboration to celebrate design culture, interiors and contemporary photography.

For the first edition of ALMANAQUE SALÓN, we proudly collaborate with Clemences Seilles, founder of the design studio Stromboli.Associates, sharing her vanguardist vision of design and interiors in dialogue with selected pieces from prestigious artists including José Luis Cuevas (MX, 1973), Tania Franco-Klein (MX), Jesús León (MX), Pablo Ortiz Monasterio (MX), Dorine Potel (FR) & Danila Tkachenko (RU).

This selection of international contemporary photography from our catalogue will be exhibited within an original immersive installation conceived by Stromboli.Associates showing furnitures, lightenings and objets d’arts.

 

ABOUT ALMANAQUE SALÓN

ALMANAQUE SALÓN is part of ALMANAQUE Portafolio, division of ALMANAQUE fótografica, specialised in professional art direction, acquisition, consulting and curatorship for private, corporate and institutional projects including México’s leading museums and art institutions, as well as the art direction for the last three campaigns of Casa Palacio and photographic interior design for multinational at two different floors of Torre Virreyes designed by Teodoro González de León.

 

ABOUT STROMBOLI.ASSOCIATES
Stromboli.Associates is a contemporary design label and studio based in Mexico City, founded by the French industrial designer, artist and poet Clemence Seilles, which provides unique and unexpected objects and furni- ture that excite our imagination. It’s discerning customer is looking for a genuine and original design that stands out from what is available on the market place, yet at an affordable price. Besides every-year’s collection, the label also releases independent production designed by artists and poets producing sculptural objects, ges- ture and experiments throughout workshops.
Stromboli.Associates has collaborated with the Italian eyewear brand OXYDO, the fashion label Andrea Crews, the designers Elisa Valenzuela, Fabien Cappello and Travis Broussard, as well as the artists Theo Demans and Melanie Bonajo.