Alejandro Chaskielberg

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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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.

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5.00 m 3.00 m

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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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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.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

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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5.00 m 3.00 m

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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

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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x

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

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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x

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

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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x

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

Por favor proporcione nombre y correo para información


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

Por favor proporcione nombre y correo para información


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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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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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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5.00 m 3.00 m

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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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“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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5.00 m 3.00 m

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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.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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Alejandro Chaskielberg

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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5.00 m 3.00 m

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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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5.00 m 3.00 m

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Danila Tkachenko

Heroes: 1

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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Danila Tkachenko

Heroes: 8

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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Danila Tkachenko

Heroes: 10

Archival Pigment Print

Available in 2 sizes: 100 x 150 cm and

50 x 75 cm

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5.00 m 3.00 m

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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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5.00 m 3.00 m

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Danila Tkachenko

Oasis: 1

Archival Pigment Print
2018

130 x 100 cm

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(Comisión artística para el Museo Nacional de Qatar (Qatar-Russia ’18 Culture Photographic Exchange.) El Medio Oriente concentra la historia ancestral el ser humano... Qatar fue inicialmente habitada en el tercer milenio antes de Cristo, y desde entonces, a pesar del ambiente desértico, su población ha cultivado, cosechado, pescado y construido... Al igual que en otras áreas del mundo, durante los últimos treinta años, Qatar ha disfrutado de algunas de las tasas de desarrollo económico más rápidas de toda la historia. Un pequeño puñado de nuevos multimillonarios ha florecido en las dunas de arena, mientras que la pobreza sigue siendo un devastador desafío mundial. El aspecto de las ciudades de Medio Oriente se ha transformado rápidamente, aunque sus territorios circundantes yacen igual que hace miles de años. Su infraestructura mejoró como lo hizo también su sistema educativo, con nuevas carreteras y vastos rascacielos de cristal de arquitectura imposible que aparecen en el horizonte como un espejismo. Parece que este conspicuo Neo-capitalismo no implica mucho trabajo físico para los qataríes contemporáneos, pues cientos de trabajadores han sido reclutados en el extranjero. Quizás, su pueblo aún bebe de sus antiguas tradiciones para crear una nueva identidad en una era pos neoliberal que está por escribirse en todo el mundo. En la búsqueda de una nueva tierra prometida, ¿cuál es ahora la promesa?

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ESPEJISMO

Alejandro Chaskielberg, Argentina
Edouard Taufenbach, Francia
Danila Tkachenko, Rusia

 

A a la fotografía se le ha exigido desde su invención, hace más de un siglo, la tarea imposible de reflejar la realidad. Sin embargo en tiempos de la virtualidad, la post-verdad, la realidad aumentada, los filtros de Instagram y las fake-news ¿qué es lo real? 

Las obras del artista argentino Alejandro Chaskielberg, (Premio Juror's Pick by Martin Parr y Magnum Photography Awards), consisten en poderosas puestas en escena realizadas con una compleja iluminación cinematográfica, durante largas exposiciones, en paisajes naturales. Pertenecientes a distintas series, todas son metáforas visuales en las que enfocado y borroso coinciden para subvertir con maestría, el significado de lo retratado en tomas embelesantes.

Las imágenes de la serie Spéculaire de Edouard Taufenbach (Francia, Premio Medicis-Italia y Prix coup de coeur) vibran en un presente infinito mediante la repetición de ‘platas sobre gelatina’ (del archivo Sébastien Lifshitz), tejidas por el artista con un meticuloso proceso manual que remite a lo digital. “Inyecto cine, tiempo y ritmo a mis imágenes. El espectador es quien opera la película” señala.

Danila Tkachenko (Rusia, premio 30 Under 30 by Magnum Photos, Lens Leica y Word Press Photo) presenta Oasis; el resultado de su comisión para el  National Qatar Museum, consistente en escenificaciones monumentales sobre el desierto de Doha, inspiradas en la tierra prometida y Héroes: osamentas de los caídos por la guerra y violencia en Rusia. Como en el resto de su obra, sus imágenes hacen referencias perturbadoras a lo político, lo pictórico y la utopía del porvenir.

Tres premiados artistas de lugares distantes del mundo, reunidos en México, nos invitan a pensar en la fotografía contemporánea, como medio para generar formas visuales de representación social más amplias. Un juego de ilusiones con destellos de distintos puntos de vista que recuerdan que  lo real, hoy como siempre, es solo un espejismo.

Arturo Delgado, Curador.
Ciudad de México, 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.