Mara Sánchez Renero

El Cimarrón y su Fandango:

Altar (día de muertos)

Archival pigment print
2014

70 x 60 cm

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El Cimarrón y su Fandango (2014). As an allegory about the Afro-IndigenousMulato communities in Mexico and its members’ identities journey through the postcolonialism, this series proofs that their past is not merely a description; it is a definition of their present that remains unstable and ambiguous. During Colonia Española a Cimarrón was a fugitive black slave who lived a free life in the isolated corners of society. The fandango is a popular dance characterized by passionate movement. In Mexico it also means rumba, party, feast. Until 1520, the Americas population was comprised by about 1% of African community growing in two centuries to 10%, exceeding the number of the Spaniards inhabitants in current southern USA, Mexico & Central America, which conformed La Nueva España, founded on the Indigenous original civilizations territories. The lack of awareness surrounding the fact that a black community inhabits Mexico amongst indigenous, mestizo and creole, has led to all kinds of debates on sociopolitical and identity-related issues, coalescing in the current struggle for greater visibility and recognition. This series is a political and aesthetically gaze of current times of their identity, a territory celebration and a homage to the America’s Afro root in our identities.

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Mara Sánchez Renero

El Cimarrón y su Fandango:

Máscara

Archival pigment print
2014

70 x 60 cm

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El Cimarrón y su Fandango (2014). As an allegory about the Afro-IndigenousMulato communities in Mexico and its members’ identities journey through the postcolonialism, this series proofs that their past is not merely a description; it is a definition of their present that remains unstable and ambiguous. During Colonia Española a Cimarrón was a fugitive black slave who lived a free life in the isolated corners of society. The fandango is a popular dance characterized by passionate movement. In Mexico it also means rumba, party, feast. Until 1520, the Americas population was comprised by about 1% of African community growing in two centuries to 10%, exceeding the number of the Spaniards inhabitants in current southern USA, Mexico & Central America, which conformed La Nueva España, founded on the Indigenous original civilizations territories. The lack of awareness surrounding the fact that a black community inhabits Mexico amongst indigenous, mestizo and creole, has led to all kinds of debates on sociopolitical and identity-related issues, coalescing in the current struggle for greater visibility and recognition. This series is a political and aesthetically gaze of current times of their identity, a territory celebration and a homage to the America’s Afro root in our identities.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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x

Danila Tkachenko

Oasis: 3

Archival Pigment Print
2018

140 x 110 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: 4

Archival Pigment Print
2018

130 x 100 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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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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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: 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: Enfants

Silver print collage

44 x 35 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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Pixeles: Virtual Dreamers

Archival Pigment Print

Available in 3 sizes: 90 x 60 cm, 137 x 90 cm and 167 x 110 cm.

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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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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La Creciente: Escape

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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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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Fernando Bayona

The Life of the Other: The news

C-Print

Available in 3 sizes: 65 x 53 cm, 106 x 85 cm and 135 x 106 cm.

106 x 85 cm

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“Loaded with eroticism, romanticism and embitterment alike, Fernando Bayona's staged photographs display a set of individual stories and intimate acts that explore the depths of contemporary universal psychology… In The Life of the Other, Bayona mixes staged and documentary photography techniques to create a collective portrait of images in which the sleaze of violence, pain, madness, jealousy and sexual desire are intertwined with the vulnerability of love, tenderness, passion or beauty. The appearances that arise from this series, comprised by several mise-en-scènes, focus on the ability to generate intrinsic, albeit partial, narratives that come from real stories and interviews… The narrative power of the artist's images is sustained and complemented by impeccable manufacturing and technique. From the preproduction moment, up until the last edition. it is sought that each of the details of framing, lighting, layout and conceptualization be carefully planned, executed and justified. The artist defends the construction of his theatricality through these technical and conceptualization procedures, thus continuing with his constant analysis of human behaviour in which the autobiographical and the reflexive interweave with the religious, the documentary and the political.” Alberto Ríos de la Rosa, Art historian.

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(Los otros) Recuerdos del futuro: Tiempo petrificado

Inkjet / Barite Paper

210 x 50 cm

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ALEJANDRO CHASKIELBERG. Argentina, 1977. Lives and works in Buenos Aires.
A preeminent contemporary photographer from Latin America, Chaskielberg is a cinematographer graduated by the National Institute of Cinematography of Argentina, he was named World Photographer of the Year by the World Photography Organization, recipient of the BURN Emerging Photographer Grant by the Magnum Foundation (2009) and the Leopold Godowsky Jr. Award by the Boston University in USA.
With photography projects developed in Japan, Surinam, Kenia, Italy and Argentina, Chaskielberg has also published three books: Laberitno, Otsuchi y La Creciente. Chaskielberg oeuvre has been exhibited worldwide, from the Brighton Biennial curated by Martin Parr in 2009, The Daegu Photo Biennial (South Korea, 2014) and The Ballarat Photography Biennial (Australia, 2015); to the leading photo festivals and Biennials at New York, India, Japan, Greece, Turkey, UK, Argentina and Mexico (Otsuchi exhibition at Centro
de las Artes de Monterrey).
He is a visiting teacher at the Tokyo International Photography Institute and lecturer in Teds Talks. The PDN [Photo District News] listed him in the their 2009 Top Thirty Photographers Worldwide; the Spanish magazine C-Photo named hims as one of the New Latin American Look and in 2015 TIME Magazine named him between the Nine Argentinian Photographers to Watch. His work was featured in the pivotal book “Art Photography” by David Bate, professor at University of Westminster. Edited by Tate Publishing, UK 2015.

 

FERNANDO BAYONA. (Spain, 1980) Lives and works in Madrid & Granada.
Bachelor in Arts by the University of Granada with a Master in Photography by the Universidad NABA Milán, Italy, amongst other diplomas; he is an artist, college professor, speaker, PH student and art promoter. Bayona is recipient of the Manuel Rivera Iniciarte, Propuestas VEGAP, BilbaoArte - Spain, Eberhard y BSI-Switzerland, Kabushikikaisha-Japan, Agencia Magnum & NABA - Italy, Estampa Madrid, Unicaja, Fundación Arena and The SONY World Photography Awards, among others.
His oeuvre has been exhibited at Nueva York, Buenos Aires, Bruselas, Berlín, Milán, Roma, Venecia, Osaka, Túnez, all across Spain and Mexico City. ALMANAQUE featured his work this 2019 at Material Art Fair, Arco Madrid, arteBA Buenos Aires and Photo London, followed by his solo show “Appearances Apparatus” and SCOPE Contemporary Art Miami.
Fernando Bayona was amongst the top 20 artists of 2019 by ABC Madrid. (Los 20 Protagonistas del 2019) and included in the books: “Le Christ au miroir de la photographie contemporaine” by Nathalie Dierschy. France. ’17) and “Queer!? Visual Arts in Europe by Anton Anthonissen (Germany. ’19)

 

MARA SÁNCHEZ-RENERO. Mexico, 1979. Lives and works in Mexico City.
Artist, photographer and professor, Sánchez-Renero has sought to create settings that reveal a specific, controlled environment by addressing portraiture from a new place. Thus, we witness the dissolution of deconstructed identities by isolating men and women from their everyday contexts to portray them within the space of their own authentic imaginary.
Graduated by the Institut d'estudis Fotogràfics (Barcelona), her work has been shown in numerous museums and festivals in Europe, Asia and Latinoamérica. Widely published by global media, including The New York Times, The British Journal of Photography and Photography is Art Honk Kong. She won among other wards the POY Latam 1st place, the Voies-Off Photo Festival d’Arles, The Photographic Museum of Humanity and Sistema Nacional de Creadores de México.
In February 2018 ALMANAQUE proudly presented her solo show Iluikak with a text by Amanda de la Garza, curator of photography at MUAC Museum UNAM, as well as in Photo London, arteBA Buenos Aires, Scope Miami, Zona Maco Foto, Photo Basel Switzerland and San Francisco Photo Fairs, among others. Her series El Cimarrón y su fandango was included in the Visual Arts Program from the Mexican Foreign Affairs Ministry, on view at museums worldwide from Paris to Panamá and was included in the exhibition Afroamericanos at Mexico’s National Museum of Photography Centro de la Imagen and Amparo Museum of Contemporary Art Puebla.

 

EDOUARD TAUFENBACH. France, 1988. Lives and works in Paris.
Graduated in Art and Digital Media at the Sorbonne, his work is divided between photography, video and visual expression. In 2014, he was awarded the Coup de Coeur prize at the Ici Demain Festival and for Nuit Blanche 2015, he designed a large-scale installation, SFUMATO, as well as his first solo exhibition, HOMMAGE2, in Paris, Brussels and Rome. He has been exhibited at the Festival Circulation(s), Unseen fair in Amsterdam, the Approche photographic exhibition, France and LIBERTÉ/COURAGE, curated by Jean Pierre Blanc.
He is a guest artist at UAL: Camberwell College of Arts, and participates in the group exhibition Moving The Image, invited by Duncan Wooldridge. His work has been published by The New York Times, The British Journal of Photography, BBC and Le Monde, among other global media covering arts. In 2020, he joined Almanaque, featured in the exhibition Espejismo, followed a double exhibition in Paris and New York. His book “L’Image dans le miroir” edited by the preeminent Maison L’Artier Paris will be published this spring.

 

DANILA TKACHENKO. Russia, 1989. Lives and works in Moscow.
Tkachenko, has been capturing the remains of recent regimes at the dawn of a world’s new order. The production of the young Russian artist holds an aesthetic traversed by time, making reference to yesterday artistic movements, History and futuristic utopias. His images
are a reminder that the future is something from the past. With a deep interest in old regimes, motherland symbols, religion and monumentality, his work belongs to some of the preeminent photography collections. He has been shown worldwide and reviewed by global critique, including BBC Culture, The Guardian, El País, The British Journal of Photography, The New York Times and many, many more.
Graduated from the Rodchenko Moscow School of Photography, Tkachenko has been awarded with the World Press Photo, the European Publishers Award, the LensCulture Exposure by Voices Off Festival Arles, Burn Magazine Prize, Foam Talent Fotografie-museum Amsterdam Prize, The 30 under 30 by Magnum Photo and The Center Choice Award, amongst many other (2014-2018).
ALMANAQUE has proudly shown his world in Basel Switzerland, Photo London, Zona Maco Foto, Scope Miami, San Francisco Photo Fairs, including his first solo show in the Americas at ALMANAQUE gallery in 2018.