Alejandro Chaskielberg

Labirynth: Dream

C-Print
2017

Available in 3 sizes: 80 x 60 cm, 120 x 90 cm and 160 x 120 cm.

80 x 60 cm

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In 2014, he travelled with his one and a half year old daughter Lara to remote Patagonia, where he discovered the El Hoyo labyrinth. He was mesmerized: The labyrinth seemed to transform everyone who meandered through it. Children became elfin, adults became childlike. Everyone seemed under a spell as they made their way through the maze. Chaskielberg, a photographer who also works as a cinematographer, decided to put to use his cinematic experience to fully capture the magic of the labyrinth. Inspired by Stanley Kubrick’s The Shining, which famously concludes in a hedge maze, he took on the role of director. He created scenarios – he painted trees, used torches, moved people around, had them pretend to sleep on the ground and stretch out on the top of the hedges. In effect, he created a magical piece of land art that he then documented. Chaskielberg’s photographs visualize the feelings people experience while wandering through the giant maze. He created tableaus and made light visible. The images are spectacularly beautiful and seductive, showing us the transformation –and the fragility – of nature.

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Labirynth: Waterfall

C-Print
2017

Available in 3 sizes: 80 x 60 cm, 120 x 90 cm and 160 x 120 cm.

120 x 90 cm

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In 2014, he travelled with his one and a half year old daughter Lara to remote Patagonia, where he discovered the El Hoyo labyrinth. He was mesmerized: The labyrinth seemed to transform everyone who meandered through it. Children became elfin, adults became childlike. Everyone seemed under a spell as they made their way through the maze. Chaskielberg, a photographer who also works as a cinematographer, decided to put to use his cinematic experience to fully capture the magic of the labyrinth. Inspired by Stanley Kubrick’s The Shining, which famously concludes in a hedge maze, he took on the role of director. He created scenarios – he painted trees, used torches, moved people around, had them pretend to sleep on the ground and stretch out on the top of the hedges. In effect, he created a magical piece of land art that he then documented. Chaskielberg’s photographs visualize the feelings people experience while wandering through the giant maze. He created tableaus and made light visible. The images are spectacularly beautiful and seductive, showing us the transformation –and the fragility – of nature.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Alejandro Chaskielberg

La Creciente: Su propia agua

C-Print
2014

Available in 3 sizes: 100 x 80 cm, 140 x 110 cm and 190 x 152 cm.

100 x 80 cm

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La Creciente series creates a wildly visual atmosphere, making us see that there is value in rethinking the techniques of photography as a mean to disrupt the all-too familiar patterns of visual thinking that inhabit wider social forms of representation. His aesthetics challenges the viewer’s perception of a subject and its meaning, which is what tends to be forgotten as a more critical aspect of the history of pictorialism”. David Bate. Art Photography. Tate Editions, London.

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Edouard Taufenbach

Spéculaire: The hug

Silver print collage

36 x 40 cm

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“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

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Edouard Taufenbach

Spéculaire: La sequance

Silver print collage

47 x 47 cm

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Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

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5.00 m 3.00 m

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Edouard Taufenbach

Spéculaire: Enfants

Silver print collage

44 x 35 cm

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Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

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5.00 m 3.00 m

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Edouard Taufenbach

Spéculaire: Les triplettes

Silver print collage

45 x 38 cm

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“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

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5.00 m 3.00 m

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Edouard Taufenbach

Spéculaire: Waves

Silver print collage

37 x 40 cm

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“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

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5.00 m 3.00 m

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Edouard Taufenbach

Spéculaire: Dune

Silver print collage

50 x 30 cm

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Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Please provide name and email for information


5.00 m 3.00 m

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Edouard Taufenbach

Spéculaire: La garniciòn

Silver print collage

29 x 40 cm

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Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Otsuchi Future Memories: Debris #12

C-Print

Available in 2 sizes: 60 x 75 cm and 100 x 125 cm.

60 x 75 cm

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Following the most powerful earthquake ever to hit Japan, the sheer scale of the tsunami that smashed into northeastern Japan on March 11, 2011 –together with the nuclear disaster that came along with it -, was unprecedented. Coastal communities were devastated by waves, which at their highest reached 40 meters above sea level, traveling up to 10 km inland. This project presents a visual documentation of destruction and loss, by connecting portraits of the Otsuchi survivors with family photographs recovered from the waters, swept away by the tsunami. The survivors of Otsuchi were portrayed in the spaces where their former homes and workplaces were located. The importance of the colors becomes crucial in this approach. The colors from the destroyed photographs - deformed and blurred images, altered by the effects of the salty water, sometimes creating new colors or mixing the former ones - are revalued on an exercise of color archeology, where each of the colors found in the destroyed photographs were used to colorize the portraits of the survivors.

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5.00 m 3.00 m

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Otsuchi Future Memories: Street Light

C-Print

Available in 2 sizes: 75 x 60 cm and 100 x 125 cm.

75 x 60 cm

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Following the most powerful earthquake ever to hit Japan, the sheer scale of the tsunami that smashed into northeastern Japan on March 11, 2011 –together with the nuclear disaster that came along with it -, was unprecedented. Coastal communities were devastated by waves, which at their highest reached 40 meters above sea level, traveling up to 10 km inland. This project presents a visual documentation of destruction and loss, by connecting portraits of the Otsuchi survivors with family photographs recovered from the waters, swept away by the tsunami. The survivors of Otsuchi were portrayed in the spaces where their former homes and workplaces were located. The importance of the colors becomes crucial in this approach. The colors from the destroyed photographs - deformed and blurred images, altered by the effects of the salty water, sometimes creating new colors or mixing the former ones - are revalued on an exercise of color archeology, where each of the colors found in the destroyed photographs were used to colorize the portraits of the survivors.

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5.00 m 3.00 m

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Otsuchi Future Memories: Vending Machine

C-Print

Available in 3 sizes: 60 x 75 cm and 100 x 125 cm.

60 x 75 cm

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Following the most powerful earthquake ever to hit Japan, the sheer scale of the tsunami that smashed into northeastern Japan on March 11, 2011 –together with the nuclear disaster that came along with it -, was unprecedented. Coastal communities were devastated by waves, which at their highest reached 40 meters above sea level, traveling up to 10 km inland. This project presents a visual documentation of destruction and loss, by connecting portraits of the Otsuchi survivors with family photographs recovered from the waters, swept away by the tsunami. The survivors of Otsuchi were portrayed in the spaces where their former homes and workplaces were located. The importance of the colors becomes crucial in this approach. The colors from the destroyed photographs - deformed and blurred images, altered by the effects of the salty water, sometimes creating new colors or mixing the former ones - are revalued on an exercise of color archeology, where each of the colors found in the destroyed photographs were used to colorize the portraits of the survivors.

Please provide name and email for information


5.00 m 3.00 m

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x

Otsuchi future memories: Deer dancer

C-Print

Available in 2 sizes: 70 x 90 cm and 90 x 120 cm.

70 x 90 cm

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Following the most powerful earthquake ever to hit Japan, the sheer scale of the tsunami that smashed into northeastern Japan on March 11, 2011 –together with the nuclear disaster that came along with it -, was unprecedented. Coastal communities were devastated by waves, which at their highest reached 40 meters above sea level, traveling up to 10 km inland. This project presents a visual documentation of destruction and loss, by connecting portraits of the Otsuchi survivors with family photographs recovered from the waters, swept away by the tsunami. The survivors of Otsuchi were portrayed in the spaces where their former homes and workplaces were located. The importance of the colors becomes crucial in this approach. The colors from the destroyed photographs - deformed and blurred images, altered by the effects of the salty water, sometimes creating new colors or mixing the former ones - are revalued on an exercise of color archeology, where each of the colors found in the destroyed photographs were used to colorize the portraits of the survivors.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

SALINAS-1

Pixeles: Virtual Dreamers

Archival Pigment Print

Ed. 7 + 2 A.P. 90 x 60 cm/ Other sizes availaboe, please inquire.

90 x 60 cm

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“Chaskielberg uses very slow exposures on a large-format camera to dislocate the naturalism… in photographs of rural and landscape…carefully lighting and sharply focussing it, balancing and blending artificial and natural light sources… The resulting effect is a combination of focus and blur in effect reconfiguring the old pictorial.

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Alejandro Chaskielberg

La Creciente: Escape

C-Print
2014

110 x 80 cm

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La Creciente series creates a wildly visual atmosphere, making us see that there is value in rethinking the techniques of photography as a mean to disrupt the all-too familiar patterns of visual thinking that inhabit wider social forms of representation. His aesthetics challenges the viewer’s perception of a subject and its meaning, which is what tends to be forgotten as a more critical aspect of the history of pictorialism”. David Bate. Art Photography. Tate Editions, London.

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La Creciente: Su propia agua

C-Print

Available in 3 sizes: 100 x 80 cm, 140 x 110 cm and 190 x 152 cm.

100 x 80 cm

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La Creciente series creates a wildly visual atmosphere, making us see that there is value in rethinking the techniques of photography as a mean to disrupt the all-too familiar patterns of visual thinking that inhabit wider social forms of representation. His aesthetics challenges the viewer’s perception of a subject and its meaning, which is what tends to be forgotten as a more critical aspect of the history of pictorialism”. David Bate. Art Photography. Tate Editions, London.

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Heroes 1 Danila Tkachenko

Heroes: 1

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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Heroes 8 Danila Tkachenko

Heroes: 8

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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Heroes 10 Danila Tkachenko

Heroes: 10

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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Danila Tkachenko

Oasis: 3

Archival Pigment Print
2018

200 x 150 cm

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The Middle East concentrates our ancient human history… Qatar was populated in the third millennium B.C. and since then, despite the desert environment, its population has farmed, harvested, fished and built. Like other areas of the world, over the past thirty years, Qatar has enjoyed some of the fastest economic development rates from the entire history. A small handful of new billionaires flourish on the sand dunes while poverty remains as a challenge in the whole world. The appearance of Middle East cities has been transformed rapidly, yet the rest is exactly the same as thousands of years ago. Infrastructure improved as education did with new modern roads and vast crystal skyscrapers with imposible architecture appearing on the horizon like a mirage. It seems that this conspicuous new capitalism heave does not imply much physical labour for the contemporary Qataris, since workers were invited from abroad. Perhaps, though Qatari people drinks from their ancient traditions to create a new identity in a post Neo liberal era yet to be described worldwide. In the seek of a new promised land, what is now the promise?

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Danila Tkachenko

Oasis: 1

Archival Pigment Print
2018

130 x 100 cm

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Oasis (Commissioned by Qatar Museums | Qatar-Russia 2018 culture photographic exchange). Premiered in the Art Fairs circuit by ALMANAQUE Mexico City: 2019 The Middle East has an ancient human history. Qatar was populated in the 3rd -2nd millennium BC. Since then, despite the desert harsh environment, its population has farmed, harvested, fished and built. Like other areas of the world, over the past 30 years Qatar has enjoyed some of the fastest economic development rates of the entire history. New billionaires flourish in an eternally arid desert. The appearance of the cities was transformed rapidly, the rest is exactly the same as thousands of years ago, but infrastructure improved as did education, with new modern roads and vast crystal skyscrapers with imposible architecture standing on the sand like a mirage. Expensive cars, top services and state-of-the-art technologies. It seems that the new capitalist heaven does not imply physical labour for the Qataris, since workers were invited from abroad to perform physical labour. Qatari drink from their past traditions, values and lifestyle to create a new identity yet to be described.Leaving behind the stark desert, the XXI Century’s population is facing a reality thirsty of comfort and luxury. Will the people manage to retain their identity or will they fell in favor of an Occidental safe comfort? In the seek of the promised land, what is now the promised land?

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MIRAGE

Alejandro Chaskielberg, Argentina
Edouard Taufenbach, France
Danila Tkachenko, Russia

 

Photography has been required since its invention, more than a century ago, the impossible task of reflecting reality. However, in times of virtuality, post-truth, augmented-reality, Instagram filters and fake-news, what is real now?

The works by the Argentinian artist Alejandro Chaskielberg, (Juror's Pick by Martin Parr Award and Magnum Photography Awards), consist of powerful staged photographs made with a complex cinematographic lighting, during long exposures, in natural landscapes. Belonging to different series, this selection are visual metaphors in which focused and blurred coincide to subvert with mastery the meaning of the portrayed in captivating shots.

The Spéculaire series by Edouard Taufenbach (France, Medicis-Italy Prize and Prix coup de coeur,) vibrate in an infinite present by repeating ‘silver on gelatine’ from the Sébastien Lifshitz archive, woven by the artist with a meticulous manual process that refers to the digital. “I inject cinema, time and rhythm to my images. The viewer is the one who operates the film-strip” he says.

Danila Tkachenko (Russia, 30 Under 30 prize by Magnum Photos, Lens Leica & Word Press Photo) presents: Oasis, the result of his commission for the National Qatar Museum, consisting of monumental mice-en scenes on the Doha desert, inspired by the promised land, and Heroes: bones of heroic men, killed by war or violence; disappeared in Russia. As in the rest of his work, his images make disturbing references to the political, the pictorial and the utopia of the future.

 

This collection of three award-winning artists from distant parts of the world in Mexico, is an invitation to think about contemporary photography, as a means to generate wider visual forms of social representation. A game of illusions with flashes of different points of view that remind us that the real, today as always, is only a mirage.

Arturo Delgado, Curator.
Mexico City, 2020

 

ALEJANDRO CHASKIELBERG. Argentina, 1977. Vive y trabaja en Buenos Aires.
Uno de los más destacados fotógrafos contemporáneos del mundo, Chaskielberg es cineasta graduado por el Instituto Nacional de Cinematografía de Argentina, y ha sido nombrado Fotógrafo Mundial del Año por el World Photography Organization, ha sido merecedor de la BURN Emerging Photographer Grant de Magnum Foundation (2009) y el Leopold Godowsky Jr. Award by the Boston University in USA. Con proyectos fotográficos en Japón, Surinam, Kenia, Italia y Argentina, Chaskielberg también ha publicado tres libros: Laberitno, Otsuchi y La Creciente.
La obra de Chaskielberg se ha exhibido en todo el mundo, desde la Bienal de Brighton comisariada por Martin Parr en 2009, la Bienal de Fotografía de Daegu (Corea del Sur, 2014) y la Bienal de Fotografía de Ballarat (Australia, 2015); a los principales festivales de fotografía y bienales en Nueva York, India, Japón, Grecia, Turquía, Reino Unido, Argentina y México (exposición Otsuchi en el Centro de las Artes de Monterrey). Es profesor visitante en el Instituto Internacional de Fotografía de Tokio y conferencista para Teds Talks. El PDN [Photo District News] lo incluyó en su lista de los treinta mejores fotógrafos del mundo en 2009; la revista española C-Photo lo nombró como uno de los nuevos looks latinoamericanos y en 2015 la revista TIME lo nombró entre los Nueve Fotógrafos argentinos para ver.
Su trabajo fue presentado en el libro fundamental "Art Photography" de David Bate, profesor de la Universidad de Westminster. Editado por Tate Publishing, Reino Unido 2015.

 

EDOUARD TAUFENBACH. Francia, 1988. Vive y trabaja en París.
Graduado en Arte y Medios Digitales por la Sorbonne, en su trabajo alterna fotografía, video y expresión visual. En 2014, recibió el premio Coup de Coeur en el Festival Ici Demain y para Nuit Blanche 2015, diseñó una instalación a gran escala, SFUMATO, así como para su primera exposición individual, HOMMAGE2, en París, Bruselas y Roma. Ha sido expuesto en el Festival Circulation, la Unseen en Amsterdam y en la exposición fotográfica Approche, Francia y LIBERTÉ / COURAGE, comisariada por Jean-Pierre Blanc.
Fue artista invitado en la UAL: Camberwell College of Arts, y participó en la exposición colectiva Moving The Image, invitada por Duncan Wooldridge. Su trabajo ha sido publicado por The New York Times, The British Journal of Photography, BBC y Le Monde, entre otros medios globales que cubren artes.
En 2020, se unió a Almanaque, presentado en la exposición Espejismo, seguido de una doble exposición en París y Nueva York. Su libro "L’Image dans le miroir", editado por el prestigiado sello editorial Maison L’Artier Paris, se publicará esta primavera.

 

DANILA TKACHENKO. Rusia, 1989. Vive y trabaja en Moscú.
Desde hace una década, Tkachenko se ha dedicado a capturar los vestigios de los pasados regímenes en los albores de un nuevo orden mundial. La producción del joven artista ruso posee una estética atravesada por el tiempo, haciendo referencia a movimientos artísticos de antaño, a la historia y a las utopías. Sus imágenes son un recordatorio de que el futuro es algo del pasado. Con un profundo interés en los viejos sistemas de poder, los símbolos nacionales, la religión y la monumentalidad, su trabajo pertenece a varias de las colecciones de fotografía más importantes del mundo.
Ha sido mostrado en toda la orbe y publicado por la crítica global, incluyendo BBC Culture, The Guardian, El País, The British Journal of Photography, The New York Times y muchos, muchos más. Graduado de la Escuela de Fotografía Rodchenko de Moscú,
Tkachenko ha sido galardonado con los premios World Press Photo, el European Publishers Award, LensCulture Exposure by Voices Off Festival Arles, Burn Magazine Prize, Foam Talent Fotografie-museum Amsterdam Prize, The 30
under 30 by Magnum Photo y The Center Choice Award, entre muchos otros (2014-2018). ALMANAQUE ha mostrado su trabajo alrededor del mundo en Photo Basel (Basilea, Suiza), Photo London, Zona Maco Foto, Scope Miami, San Francisco Photo Fairs, incluyendo su primera exposición individual en América en la galería ALMANAQUE en 2018.