New Era: Untitled (House)

2009 - 2014
Ed. 7 + 2 A.P.
Archival pigment print

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New Era (2009-14) suggests a fiction about a world where man passes spiritually taciturn ways in which predominates despair with the desire for liberation and transcendence. The series evokes the malaise of a society in which man is constantly faced with his own evil and overcomes their fears. The images evoke the metaphor of the spiral that renews what withers and blooms again and again, before a symbolic -and distant, quasi-futurist rebirth of man.

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5.00 m 3.00 m

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New Era: Untitled (Curtain)

2009 - 2014
Ed. 7 + 2 A.P.
Archival pigment print

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New Era (2009-14) suggests a fiction about a world where man passes spiritually taciturn ways in which predominates despair with the desire for liberation and transcendence. The series evokes the malaise of a society in which man is constantly faced with his own evil and overcomes their fears. The images evoke the metaphor of the spiral that renews what withers and blooms again and again, before a symbolic -and distant, quasi-futurist rebirth of man.

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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Tania Franco Klein

Our Life in the Shadows: Toaster (Self-portrait)

2016
Ed. 6 + 2 A.P.
Archival pigment print

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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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5.00 m 3.00 m

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Tania Franco Klein

Our Life in the Shadows: Positive Disintegration (Self-portrait)

2017
Ed. 6 + 2 A.P.
Archival pigment print

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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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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Tania Franco Klein

Our Life in the Shadows: Morning Ritual

2016
Ed. 6 + 2 A.P.
Archival pigment print

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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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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Tania Franco Klein

Our Life in the Shadows: Contained (Self-portrait)

2016
Ed. 6 + 2 A.P.
Archival pigment print

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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.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Akadem Gorododok: Novossibirsk’s Girl

2014
Ed. 10 + 2 A.P.
Archival pigment print

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Akadem Gorodok (2014). An invitation by the Russian Ministry of Culture to a selected group of international preeminent artists brought Pablo Ortiz Monasterio to make this series of contemporary photo published as a photo book with a text by José Manuel Prieto, the Latin American authority in Russian History, with the prestigious photography editorial house RM based in Spain. Ortiz Monasterio shows his original view from the iconic scientific city located near Novosibirsk, which seems to arrived directly from a time tunnel. His images abundant in information, color components of our industrial days represent some of the few images of those premises whose laboratories dedicated to observe the elemental particles behavior, still have international recognition while reveal a certain unexpected aesthetic that pendules between anachronism and futurism.

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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Akadem Gorododok: Organic Chemistry Lab

2014
Ed. 10 + 2 A.P.
Archival pigment print

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Akadem Gorodok (2014). An invitation by the Russian Ministry of Culture to a selected group of international preeminent artists brought Pablo Ortiz Monasterio to make this series of contemporary photo published as a photo book with a text by José Manuel Prieto, the Latin American authority in Russian History, with the prestigious photography editorial house RM based in Spain. Ortiz Monasterio shows his original view from the iconic scientific city located near Novosibirsk, which seems to arrived directly from a time tunnel. His images abundant in information, color components of our industrial days represent some of the few images of those premises whose laboratories dedicated to observe the elemental particles behavior, still have international recognition while reveal a certain unexpected aesthetic that pendules between anachronism and futurism.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Mara Sánchez-Renero

El Cimarrón y su Fandango: Threshold

2014
Edition A: 6 + 2 A.P.
Archival pigment print

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El Cimarrón y su 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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5.00 m 3.00 m

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Anika Schwarzlose

Disguise and Deception: Hollow stones

2011
Ed. 12 + 2 A.P.
Archival pigment print

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Máscara y engaño (2014), es un intercambio mimético de estrategias para hacer creer. Una división especial del ejército alemán llamado 'Tarnen und tauschen' (Máscara y engaño ) se ocupa de los asuntos más curiosos. La unidad está dedicada a la investigación y el desarrollo de la tecnología de camuflaje y la fabricación de armamento señuelo - tanques inflables , vehículos y minas terrestres de imitación. La militarización del entorno visual tal como se practica por los técnicos en la base, se convierte en un prisma de las consideraciones estéticas de los sistemas ideológicos, así como los efectos recíprocos que se producen entre los dos. En forma de un diálogo visual , ‘Máscara (o Disfraz) y engaño’ examina conjuntos particulares de las relaciones entre la estética y la ideología.

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5.00 m 3.00 m

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Danila Tkachenko

Lost Horizon: Monument to the atoms

2016
Ed. 7 + 2 A.P.
Archival pigment print

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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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5.00 m 3.00 m

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Lost Horizon: Model of the Headquarters of the Third International. Moscow

2016
Ed. 7 + 2 A.P.
Archival pigment print

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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.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x