Zona Maco Foto 2017

Mara Sánchez-Renero

Eutopía lúcida: Carrousel

2017
Ed. 5 + 2 A.P.
Archival pigment print

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Eutopía lúcida (2017). A menudo, el ser humano entiende su espíritu a través de la arquitectura que nunca se verá encarnada en la realidad. Fantasía es aquel fruto de la imaginación que se sabe ficticio. Esta es una serie fotográfica de escenarios recreativos donde el ser humano ha abandonado su ser-identidad para convertirse en su ser-imaginario. En esta arquitectura de la distracción es dónde el hombre busca construir una realidad efímera. Eutopía lúcida observa estos escenarios alejados de su funcionalidad habitual buscando otro significado, quizá más místico y tenebroso, sin el componente que la retroalimenta. Las fotografías están realizadas durante la noche por medio de largas exposiciones. En este momento deshabitado las obras capturan un flujo de tiempo, manifestando la actividad propia del espacio, dándole autonomía y vida, alejándose de la imagen estática. Eutopia lúcida abre un diálogo sobre el significado de estos espacios y nuestra necesidad de refugiarnos en ellos.

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5.00 m 3.00 m

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Mara Sánchez-Renero

Eutopía lúcida: Dragón

2017
Ed. 5 + 2 A.P.
Archival pigment print

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Eutopía lúcida (2017). A menudo, el ser humano entiende su espíritu a través de la arquitectura que nunca se verá encarnada en la realidad. Fantasía es aquel fruto de la imaginación que se sabe ficticio. Esta es una serie fotográfica de escenarios recreativos donde el ser humano ha abandonado su ser-identidad para convertirse en su ser-imaginario. En esta arquitectura de la distracción es dónde el hombre busca construir una realidad efímera. Eutopía lúcida observa estos escenarios alejados de su funcionalidad habitual buscando otro significado, quizá más místico y tenebroso, sin el componente que la retroalimenta. Las fotografías están realizadas durante la noche por medio de largas exposiciones. En este momento deshabitado las obras capturan un flujo de tiempo, manifestando la actividad propia del espacio, dándole autonomía y vida, alejándose de la imagen estática. Eutopia lúcida abre un diálogo sobre el significado de estos espacios y nuestra necesidad de refugiarnos en ellos.

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Dorine Potel

Fake Faun: Dead Faune

2014
Ed. 7 + 2 A.P.
C print on metallic paper

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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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Dorine Potel

Endgame

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

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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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Ricardo Nicolayevsky

Lost Photos: Red 02

1983 - 2017
Ed. 7 + 2 A.P.
Archival pigment print

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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

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Ricardo Nicolayevsky

Lost Photos: Red 03

1983 - 2017
Ed. 7 + 2 A.P.
Archival pigment print

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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

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Pablo Ortiz-Monasterio

Desparecen: Untitled

2016
Ed. 5 + 2 A.P.
Archival pigment print

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José Luis Cuevas

Notes on bodies resistance: Untitled

2014- 2016
Ed. 7 + 2 A.P.
Archival pigment print

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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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José Luis Cuevas

Notes on bodies resistance: Untitled (Fog)

2014- 2016
Ed. 7 + 2 A.P.
Archival pigment print

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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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5.00 m 3.00 m

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Danila Tkachenko

Lost Horizon: Model of the rocket which carried the first cosmonaut

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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Danila Tkachenko

LostHorizon: 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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x

Danila Tkachenko

Lost Horizon: Marx generator for high-energy physics experiments

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

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x

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.

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5.00 m 3.00 m

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x

Danila Tkachenko

Lost Horizon: “Friendship” Pension, Crimea

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

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x

Ricardo Nicolayevsky

Lost Photos 05

1983 - 2016
Ed. 7 + 2 A.P.
Archival pigment print

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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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x

Pest Control: Railway TH 332

2015
Ed. 6 + 2 A.P.
Archival pigment print

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Pest Control (2015) El sociólogo francés Marc Augé acuñó en la década de los noventa el concepto de “no lugar” para definir aquellos espacios carentes de identidad en los que la comunicación se daba de manera más artificial. Se trataba de espacios como hoteles, aeropuertos, restaurantes que, en su condición de transitorios o efímeros, no podían considerarse “lugares”. Partiendo de esta idea y utilizando de forma satírica el miedo y la histeria colectivos, la autora realiza una representación ficcional de una ciudad plagada de pinchos anti-palomas. Con esta metáfora Franco Klein nos acerca a las relaciones fracturadas de la actualidad y a la repulsión generada por los medios hacia todo cuanto parece diferente en términos de ideología, etnia, religión o cualquier otro factor que puede amenazar nuestro “pacífico” modo de vida. Pest Control busca ser el reflejo de una soledad y contradicción propias de nuestros días como parte de la sociedad del espectáculo y logra representar visualmente la relación surrealista (o la falta de ella) entre los individuos, los espacios públicos y los nombrados no-lugares.

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Our Life in the Shadows: Locked Rooms (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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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.

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Tania Franco Klein

Our Life in the Shadows: Barren Land (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

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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

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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

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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.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x