Jon Cazenave

Ama Lur: Uraitz 01

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AMA LUR (expuesta en Body Matters) es el capítulo final de su proyecto de investigación Galerna que inició hace 8 años. Cazenave retrocede aquí hasta el paleolítico superior y centra su estudio en el mundo simbólico y ritual del arte rupestre de ambas vertientes de la cordillera pirenaica para reinterpretar el rastro de los seres humanos que vivían en este entorno. “En vasco, URAITZ significa Agua Piedra. La materia pétrea es moldeada por el agua y es el agua la que emulsiona el pigmento rojo obtenido de la piedra que después aplico. EME OBENE significa Obene hembra. Obene es el nombre de un lugar en el bosque donde realicé esta fotografía. SAKON significa PROFUNDO. El agujero y el agua tienen el simbolismo femenino de profundidad y gestación”.

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Jon Cazenave

Ama Lur: Uraitz 02

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AMA LUR (expuesta en Body Matters) es el capítulo final de su proyecto de investigación Galerna que inició hace 8 años. Cazenave retrocede aquí hasta el paleolítico superior y centra su estudio en el mundo simbólico y ritual del arte rupestre de ambas vertientes de la cordillera pirenaica para reinterpretar el rastro de los seres humanos que vivían en este entorno. “En vasco, URAITZ significa Agua Piedra. La materia pétrea es moldeada por el agua y es el agua la que emulsiona el pigmento rojo obtenido de la piedra que después aplico. EME OBENE significa Obene hembra. Obene es el nombre de un lugar en el bosque donde realicé esta fotografía. SAKON significa PROFUNDO. El agujero y el agua tienen el simbolismo femenino de profundidad y gestación”.

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5.00 m 3.00 m

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Jon Cazenave

Ama Lur: Uraitz 03

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AMA LUR (expuesta en Body Matters) es el capítulo final de su proyecto de investigación Galerna que inició hace 8 años. Cazenave retrocede aquí hasta el paleolítico superior y centra su estudio en el mundo simbólico y ritual del arte rupestre de ambas vertientes de la cordillera pirenaica para reinterpretar el rastro de los seres humanos que vivían en este entorno. “En vasco, URAITZ significa Agua Piedra. La materia pétrea es moldeada por el agua y es el agua la que emulsiona el pigmento rojo obtenido de la piedra que después aplico. EME OBENE significa Obene hembra. Obene es el nombre de un lugar en el bosque donde realicé esta fotografía. SAKON significa PROFUNDO. El agujero y el agua tienen el simbolismo femenino de profundidad y gestación”.

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Sakiko Nomura

Nude a room: 03

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Nude | A room | Flowers’ Series,  this works are composed out of images, both sensual and dark, using both black and white and colour photographs, exuding fleshly and sensual emotions throughout each work.

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Sakiko Nomura

Nude a room: 04

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Nude | A room | Flowers’ Series,  this works are composed out of images, both sensual and dark, using both black and white and colour photographs, exuding fleshly and sensual emotions throughout each work.

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Sakiko Nomura

Night Flight

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Nude | A room | Flowers’ Series,  this works are composed out of images, both sensual and dark, using both black and white and colour photographs, exuding fleshly and sensual emotions throughout each work.

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Sakiko Nomura

Flower: Red

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Nude | A room | Flowers’ Series,  this works are composed out of images, both sensual and dark, using both black and white and colour photographs, exuding fleshly and sensual emotions throughout each work.

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Jesús León

Good, better, best, bested: 02

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Domestic Fine Arts. Bajo el pseudónimo Domestic Fine Arts, Jésus Léon ha combinado fotografía, música y prácticas periodísticas por más de quince años. Su imaginario en el que muestra a ‘modelos’ posee no solo el glamour de una revista de moda, sino que permite personificar escenas profundamente románticas. En el trabajo de León Hernández, la intensidad de la propia vida se vuelve frágil y fugaz, para mostrar una versión oscura del amor, la oscuridad y la destrucción.

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Jesús León

Good, better, best, bested: 01

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Domestic Fine Arts. Bajo el pseudónimo Domestic Fine Arts, Jésus Léon ha combinado fotografía, música y prácticas periodísticas por más de quince años. Su imaginario en el que muestra a ‘modelos’ posee no solo el glamour de una revista de moda, sino que permite personificar escenas profundamente románticas. En el trabajo de León Hernández, la intensidad de la propia vida se vuelve frágil y fugaz, para mostrar una versión oscura del amor, la oscuridad y la destrucción.

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Ricardo Nicolayevsky

Lost Photos 01

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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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Ricardo Nicolayevsky

Lost Photos 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”).

Please provide name and email for information


5.00 m 3.00 m

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Ricardo Nicolayevsky

Lost Photos 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

Ricardo Nicolayevsky

Lost Photos 04

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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

Ricardo Nicolayevsky

Lost Photos 05

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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

Ricardo Nicolayevsky

Lost Photos 06

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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

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Heji Shin

Painted body 01

2010
Ed. 7 + 2 A.P.
Archival pigment print

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Painted Body (2010) in this series, Shin is implying the process of painting, as well as a form for constructing her image into the photographic process. By incorporating a painterly process, the body in front of the camera, becomes an abstract form, it is objectified, over even fetishized. The poses of the white torso, recall Hellenistic sculptures, while the color palette Shin shows, draws a reference to the record cover of the British band’s Pulp record  ‘This is Hardcore’.

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Heji Shin

Painted body 02

2010
Ed. 7 + 2 A.P.
Archival pigment print

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Painted Body (2010) in this series, Shin is implying the process of painting, as well as a form for constructing her image into the photographic process. By incorporating a painterly process, the body in front of the camera, becomes an abstract form, it is objectified, over even fetishized. The poses of the white torso, recall Hellenistic sculptures, while the color palette Shin shows, draws a reference to the record cover of the British band’s Pulp record  ‘This is Hardcore’.

Please provide name and email for information


5.00 m 3.00 m

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Heji Shin

Painted body 03

2010
Ed. 7 + 2 A.P.
Archival pigment print

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Painted Body (2010) in this series, Shin is implying the process of painting, as well as a form for constructing her image into the photographic process. By incorporating a painterly process, the body in front of the camera, becomes an abstract form, it is objectified, over even fetishized. The poses of the white torso, recall Hellenistic sculptures, while the color palette Shin shows, draws a reference to the record cover of the British band’s Pulp record  ‘This is Hardcore’.

Please provide name and email for information


5.00 m 3.00 m

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x

Heji Shin

Painted body 04

2010
Ed. 7 + 2 A.P.
Archival pigment print

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Painted Body (2010) in this series, Shin is implying the process of painting, as well as a form for constructing her image into the photographic process. By incorporating a painterly process, the body in front of the camera, becomes an abstract form, it is objectified, over even fetishized. The poses of the white torso, recall Hellenistic sculptures, while the color palette Shin shows, draws a reference to the record cover of the British band’s Pulp record  ‘This is Hardcore’.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Heji Shin

Painted body 05

2010
Ed. 7 + 2 A.P.
Archival pigment print

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Painted Body (2010) in this series, Shin is implying the process of painting, as well as a form for constructing her image into the photographic process. By incorporating a painterly process, the body in front of the camera, becomes an abstract form, it is objectified, over even fetishized. The poses of the white torso, recall Hellenistic sculptures, while the color palette Shin shows, draws a reference to the record cover of the British band’s Pulp record  ‘This is Hardcore’.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Body Matters

Jon Cazenave (SP)

Jesús León (MX)

Ricardo Nicolayevsky (MX)

Sakiko Nomura (JA)

Heji Shin (SK)

Curating: Corinna Koch

 

In Physics, a Body is an identifiable collection of matter more or less constrained to move together in a three dimensional space. Each object has a unique and independent identity. Two objects may be identical in all properties —except position and form— but still remain distinguishable. 

We define objects by the simplest representation of its boundaries according to the personal, therefore unique observations we make about them. Atoms of an object however change over time, as well of our perception of these physical bodies  changes, due to the meaning we pore into them. 

Martin Heidegger reminds us in ‘The Origin of the Work of Art’: 

"Concealment and hiddenness are the necessary preconditions for unconcealment (Aletheia), i.e. Truth. Yet, as soon as meaning is pinned down and the artwork no longer offers resistance to rationalization, the engagement which formed that bigger picture is over, and the bits of truth disperse into space". 

When facing art we confront a riddle and the existence of truth is the product of this struggle of matter taking place within the artwork.

ALMANAQUE’s fall exhibition ‘Body Matters’, shows a lush scope from five artists around the globe who depicts a certain engagement into the deconstruction of  ‘things’ in order to crystallise a notion of beauty in their subject matters.

 

Corinna Koch & Arturo Delgado. Mexico City, 2016