Four Horsemen of the Apocalypse (12)

Transcription

289
BESART / PAUL PFEIFFER
Four Horsemen of the Apocalypse (12), 2004 Digital Chromogenic Print (Process LightJet) on Duraflex · 144.7 x 175.2 x 7.6 cm · Edition 6/6
290
BESART / JOANA PIMENTEL
Joana Pimentel
Having exhibited mainly since 2001, when she had her first solo exhibition entitled Décollage at Galeria Pedro Oliveira in Oporto, Joana Pimentel (1971, Oporto,
Portugal) has shown an interest in the possibilities and limitations of the representation of time and space in photography, using her own body for the staged
performances that structure her work.
Hemisférios [hemispheres] (2005) is one of the most relevant series, comprised of a set of photographs in which the artist’s body appears against a neutral background in several choreographed poses, animated by the fluctuation
of verse excerpts from the Galician poet María do Cebreiro.
Pimentel explores the geographical notion and the psychological connotation
of the word ‘hemispheres’, broadening the visual field to a poetical vision whose
limits ultimately reside in the imagination of each viewer. It is in that exterior
extension of the image that the different levels that comprise it reach new
meanings, exercising the narrative implication of the series, and its own written
elements in particular. At its core, the work’s hybrid condition results from the
digital processing of the image that confirms the creative willingness to cross
the universes of photography, performance, drawing and literature. The artist
simultaneously proposes to question the nature of the photographic image and
the fluid materiality of contemporary sculpture.
As a result of that research other photographic series emerged, which were
presented in several recent exhibitions, including En circunstancias normales
at the MEIAC, Museo Extremeño e Iberoamericano de Arte Contemporáneo
in Badajoz (2007), I know it as I know that… at Galeria Pedro Oliveira in Oporto
(2008) and We say we know… at Appleton Square in Lisbon (2008).
Lúcia Marques
Bibliogafia seleccionada
En circunstancias normales, PLP 07 – Post-Local Project, Museo Extremeño e
Iberoamericano de Arte Contemporáneo, Badajoz, 2007.
291
BESART / JOANA PIMENTEL
Série Hemisférios (O azul só tem lugar fora do tempo), 2005 Digital Chromogenic Print (LightJet Lambda Process) · 2 x (130 x 260) cm · Unique print
292
BESART / RICHARD PRINCE
Richard Prince
As one of the most relevant figures in contemporary American art, Richard Prince
(1949, Panama, USA), has developed his career since the 1960s, in which the use
of photography and painting (as well as sculpture, on occasion) is used as a tool
in a strategy of image appropriation, featuring American popular and corporate
culture. His photographs are invariably images derived from the media and advertisements, re-shot and sometimes remixed in thematic series, which propose
an implicit critical and fascinated approach to the images that create the hypersexualised universe of America’s contemporary culture. His motives, within their
frame of reference, define a mass culture scenario in which there is no room for
critical reserve or for any hierarchy, although they exude a subtle irony. Within
that broad scenario, a new problem arises: the subtle difference between the
copy and the original, and the right to duplicate images which are in their widest
sense part of common cultural heritage.
Despite their Duchampian character (in the sense of appropriation which
already was a strategy in the readymade), Richard Prince’s photographs also pay
tribute to Pop Art, showing the same fascination for visual intoxication. One of
the most significant series by Prince is titled Spiritual America, as if spirituality
would breed from excess and saturation that lies at the heart indifference. Or,
in a more cynical manner, as if there were no other redemption to the plethora
of images but its leading to spirituality.
The work included in this collection is part of a set of images that in its entirety is titled Publicities. In it, images from magazine adverts and photographs
signed by pop stars are mixed. The world of the body cult, with its sexuality fed
by plastic surgery and steroids, define a universe, which, despite its sordid and
burlesque side (probably a great American tradition in which Prince includes
himself) maintains an irresistible fascination.
Delfim Sardo
Bibliogafia seleccionada
Richard Prince, Phaidon Press, New York, 2003.
Richard Prince, Whitney Museum of American Art, Harry N. Abrams, New York, 1992.
Richard Prince – Spiritual America, Institut Valenciá de Art Modern/Aperture Books,
Valencia/New York, 1989.
293
BESART / RICHARD PRINCE
Untitled (Publicity), 2000 Typographic prints and photographic print by chromogenic process (C-Print) · 84 x 104 cm · Unique print
294
BESART / ANDRÉ PRÍNCIPE
André Príncipe
André Príncipe (1976, Oporto, Portugal) has focused his activities in photography, a medium he uses to tell stories about subjects like absence, solitude
or ‘the other’. Following this direction, he proposes a reflection through images
on the epistemological limitations of the medium. What can we know and describe
using a camera? Emotional landscapes? People? The possible answers have
appeared in a range of exhibitions – including Tunnels, at Galeria Fernando
Santos in Lisbon, in 2005 and Smell of Tiger precedes Tiger, at the same gallery,
in Oporto and Lisbon, in 2008 – and first and foremost in a trilogy of books, with
the first volume, Tunnels, published by Booth-Clibborn Editions (the others, yet
to be published, are titled Walls and Bridges).
The three photographs presented here are part of the first series of works
and show several recurring traits in Príncipe’s work: the spontaneous nature
of the images and the city (New York, in this case) as a stage for emotions, gestures
and bodies. Subjects like the opposition of public and private (the girl who hides
her face in a coffee shop), the opacity of the other (the man who holds the bottle
while staring at the ground), or the urban space as a territory inhabited by nonreal forms (the flower stall in a shop) are captured here.
With this approach Príncipe composes small novels comprised of images that
are organised into diptychs, ellipses, repetitions and memories. Where the narrative universes of film and literature are also referred to, it is the viewer’s responsibility to complete or imagine what cannot be seen, that what is out of the
frame, left of field.
Príncipe has a degree in Film and Photography and was twice nominated for
the Deutsche Börse Photography Prize. He is also the founder of the photography
publishing company Pierre von Kleist Editions.
José Marmeleira
Selected bibliography
André Príncipe, Tunnels, Booth-Clibborn Editions, London, 2005.
295
BESART / ANDRÉ PRÍNCIPE
Untitled, from the series Tunnels, 2005 Silver Dye Bleach Print (Ilfochrome) · 66 x 100 cm · Unique print
Untitled, from the series Tunnels, 2005 Silver Dye Bleach Print (Ilfochrome) · 66 x 100 cm · Unique print
Untitled, from the series Tunnels, 2005 Silver Dye Bleach Print (Ilfochrome) · 66 x 100 cm · Edition 1/2
296
BESART / SAMUEL RAMA
Samuel Rama
Samuel Rama (1997, Coimbra, Portugal) is an artist who divides his activity not
only between sculpture and photography, but also constantly rethinks the complex story of the intertwined historical relation between these two media. He
is known for his sculptures made from soil – which marked his presence at the
2006 exhibition 7 Artistas ao 10.º Mês (Fundação Calouste Gulbenkian, Lisbon),
his first significant public presence – and by his photographs which, subverting
the scale of ephemeral constructions in desolated locations, show us landscapes
that are simultaneously bucolic and disturbing.
His fascination with materials like clay and dust, or locations like abandoned
quarries and mines, or inactive shipyards, is linked to what the artist calls ‘geological time’. That time could not have been any more distant from the most common meaning of photography, understood by all of us as the capacity to freeze
moments. In a recent interview, Rama clarifies on this subject: ‘Even when I use
photography, i.e., the art of the instant, I do it with highly extended instants. All my
photographs have an exposure time over 30 seconds and some even take hours.’
His photographic work process is articulated between simple discoveries
and interventions; he oscillates between the acceptance of structures found
as sculpture, barely modifying the pre-existing reality and simply recording
it, ultimately accepting that anything existing on earth may be considered
as sculpture – and the construction of certain objects with the aim to photograph
them, but which never reach an autonomous existence as sculptures. Two questions are therefore raised by the artist: first, how can reality become a sculpture?
And, considering that the existence of his ephemeral constructions as models
is always exposed by a slight sense of disproportion of the elements, what type
of relation is there between photographic representation and reality?
In both cases photography is never considered as mere documentation,
or as remains of an event, which distinguishes these projects from the records
of actions and performances that marked the 1960s and the 1970s. Rama’s images can only exist due to the collaboration of photography as a medium with
a certain history, as a real instrument of thought.
Ricardo Nicolau
Leonor Nazaré, 7/10 – 7 Artistas ao 10.º Mês, Fundação Calouste Gulbenkian, Lisbon, 2005.
297
BESART / SAMUEL RAMA
Árvore(s) enquanto desejo de posse do desenho, 2005 Silver Dye Bleach Print (Ilfochrome) · 100 x 100 cm; 9 x 9 cm · Edition 1/3
Untitled, 2003 Silver Dye Bleach Print (Ilfochrome) · 40 x 60 cm · Edition 3/5
Untitled, 2003 Silver Dye Bleach Print (Ilfochrome) · 27 x 40 cm · Edition 4/5
298
BESART / MIGUEL RIO BRANCO
Miguel Rio Branco
Brazilian artist Miguel Rio Branco (1946, Las Palmas, Gran Canaria), currently
living in Rio de Janeiro, divided his childhood as the son of a diplomat between
Portugal, Switzerland, Brazil and the United States, always alternating between
cinema, painting and photography. In 1980, he joined the Magnum Photos agency.
Brazil remains as the essential raw material of his diversified and varied work,
marked by a very personal perception of colour. ‘My office in São Paulo burnt in
1980 and in the fire I lost all my black and white photographs from the 1970s.
I was left with only the colour photographs and that is why people probably call
me a colourist. But in fact I do not use many colours and, in most cases, my environments are dark. I should probably start to see a little more blue in everything
but that is not easy in this world.’1
In Rio Branco’s work we find mental and visual structures that overlap. ‘My
work is an infinity of fragments. I rarely think otherwise: my life is to return to my
works and overlap their fragments.2 The status of ‘photographer’, generally associated with Miguel Rio Branco, is obviously limiting as the artist has been able to
create installations which, together with other pictorial and photographic works,
represent to him a way of creating a ‘speech’, like in Cris Sourdes, an exhibition
held in 2005 at the church of the Friars’ Preachers in Arles. Art historian Paulo
Herkenhoff stresses that Miguel Rio Branco develops a ‘multiplicity poetics that
subsequently creates a dissolution of the notion of author’. The artist rejects the
black box technology in order to photograph: ‘any camera will do and sometimes
it is interesting to find a camera with a slight optical deformation, almost imperceptible.’ Everything ends up in the degeneration of the imprecision and loss of
control, like in the diptych Untitled, Lisboa, 2004.
Jean-François Chougnet
Paulo Herkenhoff, Plaisir la douleur, éditions Textuel, Paris, 2005.
David Levi Strauss, Gritos Surdos, Centro Português de Fotografia, Oporto, 2002.
David Levi Strauss, Entre os Olhos, o Deserto, Cosac & Naify, São Paulo, 2000.
Sebastião Salgado, Lelia Wanick Salgado, Miguel Rio Branco, Aperture, 1998.
1 Bérénice Bailly, ‘Le labyrinthe
tragique de Miguel Rio Branco’,
Le Monde, 1 October 2005.
2 Miguel Rio Branco to Paulo
Herkenhoff, in Plaisir la douleur,
éditions Textuel, Paris, 2005
299
BESART / MIGUEL RIO BRANCO
Untitled, Lisboa, 2004 Chromogenic Process (C-Print) · 2 x (60 x 60 cm) · Unique print
300
BESART / BOO RITSON
Boo Ritson
Boo Ritson’s (1969, Surrey, United Kingdom) characters are American inspired anti-heroes and her fictional imagery is influenced by a literary vocabulary, graphic
novels and trash cinematography, their stereotyped characters often assuming a
supporting role. Prostitutes, policemen, burglars, gangsters, murderers, cowboys
and cowgirls, voyeurs, beauty queens and waitresses (and whatever they might
be eating, such as doughnuts and hamburgers), are some of the personal and
fetishistic clichés recreated by Ritson in plastic narratives of tragicomic everyday
lives. Namor, the Sub-Mariner (Marvel Comics, 1939) is a possible reference for
the exhibited work.
Multidisciplinarity is an essential feature in Ritson’s work. The selected human
models are meticulously dressed in accordance with their chosen alter-egos;
installed and placed in their imaginary landscapes; directly coated with thick layers
of fresh household paint, following a paint-by-numbers colour scheme; modelled
and hydrated with a remarkable performative urgency; and ultimately, fixed in
digital format, of about forty test proofs by Andy Crawford, her assistant photographer. This simultaneity of sculpture, painting, installation and performance can
only last twenty minutes to avoid premature drying of the paint and subsequent
failure of the expected result. The printed photograph is the means to a documentary recasting of the subject, inexorably connected to the original action.
Expressionistic in her gesture, plasticity and texture; realistic in her natural
and human scale; and neo-pop in her iconography and chromatic saturation, Boo
Ritson focuses her approach on the conditions of the perception of the objects’
truth, which is eluded through the manipulation of its image, that is made-up and
excessive, as if it were its own bizarre trompe l’oeil.
Cast and HotDogs and Heroes (David Risley Gallery, London, 2006 and 2007)
were some of her most recent solo exhibitions.
Lígia Afonso
Waldemar Januszczak, in The Sunday Times, London, 13 May 2007.
Sally O’Reilly, ‘Another Way of Painting Faces’, in Another Magazine, Autumn/Winter 2006.
301
BESART / BOO RITSON
Sub-Mariner, 2006 Inkjet prints · 124 x 104 cm · Edition 2/3
302
BESART / RICARDA ROGGAN
Ricarda Roggan
Ricarda Roggan (1972, Dresden, Germany) is a young artist who uses photography
to recreate discovered spaces, transforming them into timeless sets, abandoned
and isolated, free from any external element or human presence that could make
them more personal.
Associating the documentary side of the photographic image with her own
ability to act (stage) Roggan tries to create a new reality that accentuates the
sculptural dimension of spaces: using objects or things that fascinate her,
regardless of their use, and carefully preparing all steps of that formal and
space-time streamlining process.
Her series with the generic title Attika, exhibited in 2005 at one of her most
important solo exhibitions in Berlin at Galerie EIGEN+ART, was followed by
her participation in the 2006 Berlin Biennial. Two years later she had an exhibition
at erlin’s KunstWerke, which neatly illustrated that process.
Attika, as the name indicates, selects the attic as common ground for our
collective imagination. The attic is the last floor in a house, its most distant
place, sometimes difficult to reach, usually considered as a site for storing affective memories of times past. In Roggan’s photographs the attic is reconfigured,
pictured void of any object that allows us to imagine a precise story, presented
rather as a semi-obscure screen, somewhat mysterious because it is partially
hidden, onto which we can project our own memories.
Like in other series, Roggan prefers to work with artificial light sources to better control the photographed scene, isolating each element from any unwanted
external influence. She dramatises the reactivation of what was forgotten, creating spaces suspended in the mundane archaeology of our times.
Lúcia Marques
Ricarda Roggan, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Skira, Milan,
2007.
Ricarda Roggan. Das Paradies der Dinge, Museum der bildenden Künste Leipzig, Leipzig, 2004.
303
BESART / RICARDA ROGGAN
Attika 5, 2005 Chromogenic Process (C-Print) · 160 x 190 cm · Edition 1/3
304
BESART / MARTHA ROSLER
Martha Rosler
Martha Rosler (1943, New York, NY, USA) work announced a certain deviation from
conceptual art, due to the articulation of conceptual concerns through the basic
themes that would become the key-subjects discussed in the 1960s and which
completely shook the way we look at the world: notions of gender, racial segregation and class. Her working method and visual language are products of her deep
connection to contemporary theory, philosophy and sociology. She has been exhibiting her works since the 1960s, using video, image-text or installations, having
also written several books on different aspects of cultural and social theory.
Daily life and the city – as reflections of a set of exchanges, tensions and
social and political frictions – are recurrent themes that Rosler critically tackles
in her work. Perhaps the notion of a public sphere is one of the possible ways of
demarcating the range of her work, varying from architectural critical analysis –
habitable conditions, homelessness, real-estate exploitation and gentrification –
to the study of the transport system of a given city. All this is brought to bear
in her contesting of the parameters used by art – its subjects, its production
methods and its modes of reception.
The beginning of Rosler’s artistic career coincides with the war in Vietnam
(1959-75). While still at art school, between completing her BA degree and
starting her MA, she began the project Bringing the War Home, which became
symbolic of her practice. In a series of photomontages mismatching images are
overlapped: images of war and of domestic scenes. The strategy used here is the
conflict caused by the dichotomy between what is public (war, media, politics)
and what is private (family, home, comfort). Inside bourgeois houses we see –
generally placed in windows, doorways or passageways, instances of architectural thresholds, demarcating inside and outside – images of war, violence
and suffering. Cleaning the Drapes (1967) and Red and White Shades (2004) are part
of this same series, which continues to this day, even after four decades – when
the world is still as prolific a source of situations of tension as ever.
Between 1998 and 2000, her work was brought together in a retrospective
exhibition, entitled Position in the Life World, which toured five European cities
and New York. Rosler took part in the Venice Biennial in 2003, and in Documenta
and Skulptur Projekte Münster (both 2007).
Maria do Mar Fazenda
Martha Rosler. London Garage Sale, Institute of Contemporary Arts, London, 2005.
Martha Rosler. Decoys and Disruptions: Selected Writings, 1975-2001, The MIT Press,
Cambridge, MA, 2004.
Jens Hoffmann, ‘The Familiar is Not Necessarily the Known’, in NU. The Nordic Art Review,
Stockholm, 2001
Martha Rosler. Positioned in der Lebenswelt, Walther König, Cologne, 1999.
305
BESART / MARTHA ROSLER
Cleaning the Drapes, from the series Bring the War Home, 1967-1972 Photomontage · 50.8 x 60.96 cm · Edition 8/10
Red and White Shades, 2004 Photomontage · 50.8 x 60.96 cm · Edition 1/10
306
BESART / THOMAS RUFF
Thomas Ruff
Nowadays it is not possible to talk about photography without referring to the
three major artists from the so-called Dusseldorf ‘school’, the followers of Bernd
and Hilla Becher: Thomas Struth, Andreas Gursky and Thomas Ruff. This phenomenon reached such magnitude that it spawned the label Struffsky. Thomas Ruff’s
(1958, Zell, Germany) works have been perceived, not always in a positive manner,
in comparison with the conceptual legacy of his masters who worked exclusively
in black and white, on a fairly small scale and in visually repetitive photographic
series – seemingly not believing in the value and autonomy of each single image.
Ruff also works in series and he was probably one of the first artists to exhibit
his work in museums and art galleries – in 1978 his work was exhibited at PS1,
in New York. His work has often been used as an example in the debate around the
inclusion of a certain kind of photography in the wider field of visual arts. Ruff has
his own opinion on this matter: ‘I studied at an art academy, therefore I create art.’
The serial aspect in Ruff’s art is translated into a revelation of the protocols
associated with each photographic genre, supported by a research into convention-complying images which fail to suit the realm of the arts: they include
postcards, press photos and scientific images. Ruff does not show any interest
in psychological interpretations – which is particularly obvious in his portraits.
Alternatively he undermines the emergence of meaning, clearly showing that
photography does not have a privileged relation with reality but rather always
is a construction. Someone defined his images as ‘accurate reproductions of
our fantasies of reality’.
His series of portraits created during the 1980s, for instance, show passporttype photographs – but in a large format – of friends and acquaintances. The high
resolution allows for us to count each strand of hair, to see all skin imperfections,
but access to the psychology of those portrayed is barred in a very intentional
way, making it impossible for us to go beyond the surface. Ruff would say that
photography only reveals the surface of things anyway. His street photographs
share that extreme banality, a total absence of accidents – Ruff digitally erases
small details that might distract, even for a brief moment, the attention of the
viewer. More recently Ruff has been reproducing image capturing and transmission techniques that are normally associated with war photographs published
by the press, creating posters that in a way sum up the relation of the twentieth
century with propaganda. Ruff also uses the Internet as an endless archive from
where he extracts pornographic images to subsequently be digitally re-worked.
Ricardo Nicolau
Thomas Ruff. m.d.p.n., Charta, Milan, 2005.
Thomas Ruff. Machines, Hatje Cantz, Ostfildern, 2003.
Michael Houellebecq, Thomas Ruff. Nudes, Schirmer/Mosel, Munich, 2003.
Mattias Winzen (ed.), Thomas Ruff: 1979 to the Present, Walther König, Cologne, 2001.
Thomas Ruff. l.m.v.d.r., Museum Haus Esters, Krefeld, 2000.
307
Blaue Augen, 1991
Blaue Augen, 1991
Blaue Augen, 1991
Blaue Augen, 1991
Chromogenic Process (C-Print) · 39.5 x 29.5 cm · Edition 3/5
309
Nacht 2 III, 1993 Chromogenic Process (C-Print) · 189.2 x 190.2 cm · Edition of 2 + 1 AP
310
w.h.s. 03, 2001 Chromogenic Process (C-Print) · 129.5 x 168 cm · Edition 2/5
311
Maschine 1185, 2003 Chromogenic Process (C-Print) · 190.2 x 189.2 cm · Edition 4/5
312
BESART / SAM SAMORE
Sam Samore
This almost two-metre-long photograph of Lips No. 6, from a series begun in 1999,
with sums up in a metaphoric manner the hard core of the experimenting universe
of Sam Samore (1963, New York, NY, USA): the lips as a concept and visible marking
of a word, the word being a representation and symbol of behaviour. The physical
presence of photographs, with real-life, or even larger, representations of bodies
symbolise our fears and desires and enhance the emptiness that fills us.
Samore has been one of the most decisive agents in the internationalisation
of a conceptual approach in photography, by renewing previous experiments
and also through the successive re-updating of his ‘tales/performances’. All his
work is based views and investigative methods common in American psychology,
which he came across during his university days in Wisconsin. At the time experimental psychology gently continued methods derived from behaviourism, combining it with psychological and non-structuralist linguistic studies. According
to this particular approach, individual evidences of inner life are read as expressions of behaviour, but the terms in which we describe them are inappropriate
signs for explaining the data observed. The name is not the thing, but it is through
the name that we take over the thing. Therefore words and semantics gain an importance which surpasses the abstraction we see and a three-way signal-aspect
model is applied: expression/symptom, request/signal, representation/symbol.
This model was present in Samore’s exhibition Situations in the 1980s as well
as in the Eye (Details Series) or Lips details.
If Samore makes what remains unsaid in fairytales and myths happen, he likes
to recreate the attitudes common in African American cinema in his photography,
even in fragmented and staged projects like Allegories of Beauty from the 1990s.
They convey the wave of schizophrenia of a society in crisis, accumulating references without any sense unless it they are those of violence and emptiness.
Maria do Carmo Serén
The Adventure, powerHouse Books, Brooklyn, 2001.
Situations, powerHouse Books, Brooklyn, 2000.
Sam Samore. Pathological Tales/Schizophrenic Stories, Casino Luxembourg,
Luxemburg, 2000.
Sumptuous Fire of the Stars: Fairy Tales, Tropen Verlag, Sttutgard, 1998.
313
BESART / SAM SAMORE
Lips No. 6, 1990-2001 Gelatin silver print · 95 x 187 cm · Edition 2/5
314
BESART / JULIÃO SARMENTO
Julião Sarmento
Julião Sarmento’s (1948, Lisbon, Portugal) career has developed since 1972
through a very diverse range of artistic media, ranging from painting to photography, Super 8 film, video, installations and sculpture. After initially focusing on
painting, his work has from 1974 onwards mainly manifested itself in photography and film, characterised by a dryness of artistic languages, which is common
among many artists who started in the 1970s. Returning to painting at the beginning of the 1980s, his work results from an approach of manipulation of artistic
media the artist has been developing ever since.
The main themes in his work revolve around desire, expressed mainly
through multiple forms of feminine representation as developed by the artist,
often reminding us, explicitly or more intuitively, of literary and cinematographic references. In literature, Sarmento’s references to the history of libertarian
literature as well as a permanent interest in North American ‘dirty realism’ are
of particular relevance.
This passion for literature, which forms a kind of backbone for his œuvre,
has generated a subtle poetics in which the theme of the relation between bodies
is at the heart of the artist’s ambiguous and complex representations of feminine
figures, sometimes seemingly in metamorphosis or amputated, mirroring the
artist’s view of desire as the permanent drive for human relations. More recently,
Julião Sarmento has been creating work that mixes images and sound – although
he already worked with audio installations in the 1970s – aiming at generating
a more direct and intense connection with the viewer.
The work presented here, Vox (2001), is a photograph of a female face, life-size,
placed on the wall at the very same height of the model’s real face. The headphones invite the viewer to see the image with an audio background: one side of
the headphones offers a love monologue, a passionate declaration, while the other
lets us hear a conversation about hatred and despair. The confluence of these two
opposed texts spoken by the model in the image, transforms the perception of the
portrait into an experience of fracture and ambivalence for the viewer, since
‘to them’ the discourse is manufactured.
Delfim Sardo
Julião Sarmento Catalogue Raisonné, Edições Numeradas 1972-2006, vol. 1, Museo
Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, 2007.
John Baldessari, Julião Sarmento, Lawrence Weiner – Drift, Centro Cultural de Belém,
Lisbon, 2003.
Julião Sarmento, Trabalhos dos Anos Setenta, Museu do Chiado – Museu Nacional de Arte
Contemporânea, Lisbon, 2002.
Julião Sarmento, Electa, Milan, 1997.
Vox, 2001 Silver Dye Bleach Print (Ilfochrome), headphones and CD · Variable dimensions; photograph 51.5 x 44 cm · Edition 3/3
315
BESART / IRVING PENN
316
BESART / ALLAN SEKULA
Allan Sekula
The photographic activity of Allan Sekula (1951, Erie, PA, USA) is framed by a vast
theoretical and critical context. Together they are part of the ‘critical realism’ approach to artistic production. This approach is based on the observation of daily
life, and in how the effects derived from economical coordinates introduced by
capitalism and globalisation manifest themselves. Documentation of labour situations, whether in port activities and the life of freighters (Fish Story, 1990-1995)
or the exit of the morning shifts of aeronautical yard workers leaving the General
Dynamics Convair Division (Untitled Slide Sequence, 1972), they are all part of
Sekula’s line of enquiry.
Likewise the photograph titled Portrait of Victor Clothing workers by John
Valadez is included in this thematic exploration of globalisation. It is a photograph
of the portraits John Valadez painted of employees of an old Broadway shop. In the
1960s Valadez used to pay for the delayed rents of his studio this way. Before
he did these portraits, Valadez had already painted a mural for the shop in 1981,
which captured the vibrancy of the street in which the shop was located. Once
a flourishing business, the Victor Clothing company collapsed in 2001, falling
victim to the growth of the large clothing shops nearby, and the remains of the
company’s stock were auctioned. Amidst the clothes and cabinets the portraits
of former employees appeared at a time when they had long left the shop and
not even Valadez was still living at the building. Sekula photographed Valadez’s
portraits at the time of the auction, and they function as a symbol and a sign of
the activity once present in the shop. Another photograph, depicting a chequeissuing bank machine, establishes a curious dialogue with the activity of the
institution to which the art collection it is part of belongs.
Sekula took part in Documenta 11 and 12 (2002 and 2007) and in the 2007
Istanbul Biennial.
Luísa Especial
Allan Sekula. Titanic’s Wake, Maumaus, Lisbon, 2003.
Allan Sekula. Performance Under Working Conditions, Generali Foundation, Vienna, 2003.
Allan Sekula. Dismal Science, Photo Works 1972-1996, University Galleries of Illinois State
University, Normal, 1999.
Allan Sekula. Fish Story, Richter Verlag/Witte de With, Düsseldorf/Rotterdam, 1995.
317
BESART / ALLAN SEKULA
Portrait of Victor Clothing Workers by John Valadez (Victor Clothing Pictures series), 2001 Silver Dye Bleach Print (Ilfochrome) ·
2 x (91 x 158 cm) · Edition 2/5
318
BESART / ANDRES SERRANO
Andres Serrano
Andres Serrano (1950, Brooklyn, NY, USA) is, above all, a physiognomist. His work
is mostly comprised of critical, controversial, symbolic and demolishing portraits.
To consider his work is, simultaneously, to become aware of the conflicting and
contradictory history of modern America. The United States, where the artist was
born and where he lives, is the controversial target of his creative efforts, a society that insists on not assuming itself and which remains under Serrano’s ongoing scrutiny: the complex relation with the Catholic Church, homosexuals, Ku Klux
Klan, black people, homeless people (whom the artist calls nomads). But if his
work has this political element of giving a face to what society insistently doesn’t
see, there is also an attentive look at the ordinary citizen, at the men and women
who, in their daily life, become invisible.
Serrano uses baroque, impressionist atmospheres, as a technique of construction, in which the burlesque, humour, and the strategy of visual shock is
permanent: nuns who masturbate, Elvis showing his penis, women tainted with
menstrual blood, Christ drowning in his own urine. This set of portraits by Serrano
contributes to the creation of an image of America filled with contradicting emotions and iconographies and symbolisms, in which racism and social tensions are
an ongoing focus of his attention. But for the artist his actions are not exclusively
destructive, as he has states in an interview: ‘I am not a heretic. I destroy ancient
icons and build new ones.’1 And it is from these new icons that Serrano invents,
photographically describing the face of an America of contrasts and tensions.
In his entire work, famous actors, directors and celebrities appear as if showing
how the fall of religious and racial symbols happens through a system of the
glorification of the individual, who replaces the old ideals and former deities.
Nuno Crespo
The Citizen Artist. 20 Years of Art in the Public Arena, The Gunk Foundation, Critical Press,
New York, 2002.
Brian Wallis (ed.), Body and Soul, Takarajima Books, New York, 1995.
Daniel Arasse, Andres Serrano. Le Sommeil de la Surface, Actés Sud, Arles, 1994.
1 In The Citizen Artist. 20 Years of
Art in the Public Arena, The Gunk
Foundation/Critical Press, New
York, 2002.
319
Des Américains II, 2002-2004 Silver Dye Bleach Print (Ilfochrome) · 52 x (70 x 60 cm) · Unique print
320
321
322
BESART / CINDY SHERMAN
Cindy Sherman
Cindy Sherman (1954, Glen Ridge, NJ, USA) has found amazing ways of exploring
stereotypes related to gender issues in an understated feminist way. Since the
1970s she has used her own body as a model, resorting to a broad range of settings and disguises. Although always moving within the realm of photography, the
artist does not consider herself as a photographer as she combines it with other
roles such as those of actress, model and director.
The metamorphoses undergone by Sherman when simulating new identities are so impressive that her own features are often unrecognisable. However,
the purpose of the artist is not self-representation or conventional portraiture.
Sherman is interested in the mise-en-scène of clichés, such as the relevant
Untitled Film Stills series, which is a parody on the eroticism stipulated by cinema
and advertising. The female models represent immediate models of seduction
inspired by B movies from the 1950s and 1960s. The fact that these are stills
refers to the still picture of a movie, a fixed moment in a narrative. According
to Rosalind Krauss, Cindy Sherman creates simulations, copies without an original, in which a feeling of dejá vu stands out from the observation when, in fact,
the film to which the pictures refer does not exist. The artist dedicated herself
to this initial series between 1977 and 1980 and it is deemed the most emblematic
and subtle of all her works.
Untitled (2004) belongs to the Clowns series, focusing on the clown theme
and on the cultural view of this standard character. Sherman radicates the fear
inspired by the clown in the American context due to the excessive mediatisation
through publicity. This is a very psychological series in which different stages of
emotion are explored. Both photographs represent the artist’s career and contain
key-elements that underpin understanding her work.
The Museum of Modern Art (New York) presented a solo exhibition of the artist
in 1997 entitled The Complete Untitled Film Stills.
Luísa Especial
Bibiliografia seleccionada
Cindy Sherman, Éditions Jeu de Paume/Flammarion, Paris, 2006.
Johanna Burton (ed.), Cindy Sherman, The MIT Press, Cambridge, MA, London, 2006.
Cindy Sherman. Clowns, Schirmer/Mosel/Kestnergesellschaft, Munich/Hanover, 2004.
The Complete Untitled Film Stills, The Museum of Modern Art, New York, 1997.
Cindy Sherman. Untitled Film Stills, Rizzoli, New York, 1990.
323
Untitled Film Still, 1979 Gelatin silver print · 76 x 101 cm · Edition 3/3
325
Untitled, 2004 Digital Chromogenic Print (LightJet Lambda Process) · 145.8 x 127.6 cm · Edition 2/6
326
BESART / STEPHEN SHORE
Stephen Shore
In an important reflection upon his photographic work, Stephen Shore (1947, New
York, NY, USA) stated that more than composing, the real job of a photographer
involves a process of resolving the image. One could think that this assertion
is based on a mere terminological preciosity – a slight semantic adjustment,
which, ultimately, would have no practical relevance. It so happens that, to Shore,
‘resolve’ and ‘compose’ not only relate to two completely different approaches
to photography, but that most of his work is also the result of a systematic testing
of the influence that minimal details and adjustments hold over the visual success or failure of a photographic image.
One of the most determining moments in Shore’s career was when in front
of a group of his American Surfaces, John Szarkowski, at the time (1972) head
of MoMA’s photography department, asked him about the precision of his 35 mm
camera viewfinder. The images analysed by Szarkowski were colour snapshots
that documented Shore’s travel experiences through a suburban and anonymous
America. They were the result of an anthropological exercise: the in-depth observation of the country’s cultural identity. The question asked by Szarkowski, which
seemed to point out a framing issue, unchained a silent revolution in the artist’s
work, the transformation of which is expressed in the images shown here.
Selecting a large-format camera, Shore continued to pursue his cultural
project, but an obsessive and strict attention to the balance of all elements
within the image started to prevail. The step leading us from the crossroad to the
picnic area, and from the latter to the baseball field, is the same one that leads
us from the notion of equilibrium to the notion of balance, and from a visual organisation following the strictness of the Cartesian rule to an elaborate combination of elements that seem to want to escape the omnipresence of perspective.
Since his solo exhibition at the New York Metropolitan Museum of Art in 1971
Stephen Shore’s work has been regularly shown in museums, cultural centres
and galleries around the world. In 1993 he received the MacDowell Colony Award
and in 2005 the Aperture Award.
Bruno Marchand
The Nature of Photographs, Phaidon, London, 2007.
American Surfaces, Phaidon, London, 2007.
Stephen Shore. Uncommon Places – The Complete Works, Thames and Hudson, London, 2004.
Stephen Shore, Lynne Tillman, The Velvet Years. Warhol’s Factory, 1965-67, Pavilion Books,
London, 1995.
Stephen Shore. Photographs, 1973-1993, Schirmer Art Books, Munich, 1995.
327
BESART / STEPHEN SHORE
Grassy Key Florida, 2000 Chromogenic Process (C-Print) · 53.3 x 61 cm · Edition 1/8
Hudson Valley Renegades, 2000-2004 Chromogenic Process (C-Print) · 50.8 x 60.95 cm · Edition 1/8
Victoria Ave + Albert St, 1974-2003 Chromogenic Process (C-Print) · 50.8 x 60.96 cm · Edition 6/8
328
BESART / MARTA SICURELLA
Marta Sicurella
Marta Sicurella (1978, Parma, Italy) has been exhibiting her photographic work
since 2003. In her latest exhibition, in particular, images appear in a context of
wandering and unpredictability and the possibility of straying (in the double
sense of the term). For the artist, whose work has always been calculated and
staged, the decision of photographing without a previous rationale was a liberating experience that allowed for a greater expression of intimacy. But this spontaneous commitment to the surprise of the places she comes across has not
eliminated elements that have always been present in the universe of the images:
the quietness of a strangely lit location; the subterraneous and secret work of the
shadow and obscurity, or of a limited and focused light; the interval between the
suspended gestures of a waiting group and the expectation of reactions to follow;
the singularity of a contour outlined by a natural excerpt, either from an architectural form or an object; threads curled and extended over the infinite location of
a narrative metaphor, as is the case in the works here.
A round lake could never be a maze: its perfect circumscription forces the
eternal return of those walking around it. However, it is around this same lake
that a female figure extends a red thread, woven by the hands and feet in the
grass and the water, and integrating into that wide gesture the mythical figure
of Ariadne. The threads of the web, forming a chromatic contrast against the
general green background, are tenuous light lines that challenge the shadows
projected into the lake.
In 2008, Sicurella created another series of photographs in which the red
thread is placed over a large rock, over transparent water streams or bare and
rocky terrain – images in which an evanescent poetry is inscribed onto the
compact and impressive nature of the backgrounds and natural contexts.
Sicurella has a degree in Literature and completed the Advanced Photography
Course from Ar.Co (Lisbon). The artist has participated in the 5th edition of the
exhibition 7 Artistas ao 10.º Mês at Fundação Calouste Gulbenkian in Lisbon. Her
solo exhibitions at the Galeria 24b, in Oeiras, and Galeria Lisboa 20, in 2004, and at
the Rock Gallery in Lisbon, in 2008, were relevant moments in her career thus far.
Leonor Nazaré
Leonor Nazaré, 7/10 – 7 Artistas ao 10.º Mês, Fundação Calouste Gulbenkian, Lisbon, 2005.
Marta Sicurella, 24b Arte Contemporânea, Oeiras, 2004.
329
BESART / MARTA SICURELLA
Série Untitled, 2004 Chromogenic Process (C-Print) · 50 x 74 cm · Unique print
Série Untitled, 2004 Chromogenic Process (C-Print) · 50 x 74 cm · Unique print
330
BESART / MIGUEL SOARES
Miguel Soares
Miguel Soares’ (1970, Braga, Portugal) multidisciplinary education has led to an
artistic practice that encompasses several areas – design, technology, photography, video, animation and music. His work method shows a permanent dynamic
between investigation and experimentation, sharing a renewed curiosity which
triggers an extensive questioning and crossing of derivations, condensed in an
intelligent humour. He has been exhibiting his work regularly since the mid-1990s
and in 2008 he won the BES Photo 2007 award with, among other work, the presentation of a series of eight photographs entitled Planets (2008) – which describe
a solar system ’discovered’ in the lighting of a domestic garden. The playful elements proposed to the viewer are characteristic of Soares’ work.
In 2004, during an arts residency in New York, he directed the 3D animation
titled H2O, which spawned Keyboard 02 (2004). This colourful animation has an
aquatic theme, and we are immersed in an ocean, in which in a chronological
sequence objects appear and mingle with the natural inhabitants of that world:
ancient statues, chairs from different times, military equipment, dollar bills,
soft drink cans and a series of technological objects – from a remote control to
satellites. At the end of the sequence and time, fish interact with the rejected
objects that have dropped to the bottom of the sea as if to the end of the world.
The critical perspective on the (over) use of technology and its relation with the
environment are elements that contrast with the playful tone of the animation,
also present in Space Junk (2000), from which Space junk ‘S436 cell’ (2004) image derives. A conversation between the astronauts on the Apollo 11, in 1969, is
juxtaposed with the technological debris orbiting around planet Earth. The appropriation of problematic issues, the option for technology as the main source
of production and the reference to American culture are revealed as fundamental
ironies in the artist’s vocabulary.
Maria do Mar Fazenda
Filipa Oliveira, ‘A Suspension of Disbelief – A dialogue about the boundaries between
representation, fiction, reality and originality’, in BES Photo 2007, Museu Colecção Berardo,
Lisbon, 2008.
Miguel Soares. Spacejunk, O Museu Temporário, Lisbon, 2001.
Miguel Soares 1996, Miguel Soares, Galeria Monumental, Lisbon, 1996.
www.migso.net
331
BESART / MIGUEL SOARES
Space junk ‘S436 cell’, 2004 Inkjet prints, Render 3D process · 127 x 151 cm · Edition 1/3 + 1 AP
Keyboard 02, 2004 Inkjet prints, Render 3D process · 127 x 154 cm · Edition 1/3 + 1 AP
332
BESART / HANNAH STARKEY
Hannah Starkey
Hannah Starkey’s (1971, Belfast, Northern Ireland) photographs result essentially
from a kind of staging in which all details are thought through in order to project
an extreme presence of the image. Combining accuracy in the elaboration
of spaces with characters momentarily living in them, Starkey seeks to represent
a sort of interval, an ‘in between’ in everyday actions. On the other hand, she
is interested in representing a spark of suspension, paying particular attention
to the universe of the feminine way of life.
Her images are therefore mostly inhabited by women, or girls, who maintain an
interpretative ambiguity between reality and fiction. It is almost a desire to freeze
time, but not in the enthusiastic sense of the photographic tradition of capturing
the moment. Above all, a visual sensation of timelessness is sought here, which
is simultaneously familiar and distant. It is actually this almost static presence
of the figures that leads us to the sensation of an enigma when seeking to understand the true nature of these images. Are they records of life or are they simulations that have become confused in it? By using actors who pose for her records
of temporary contemplation, Starkey seems at the same time to create narrative
environments that are beyond us. She seems to do so, in spite of the apparatus
and the visual density, using a deceptive communication strategy and frustrating
any more precise or conclusive contextualisations.
This approach is confirmed by The Dentist (2002) and Newsroom (2005), two
large-sized photographs that refer to suspended actions seemingly preserved in
the staged care of gestures and poses, but also in all the objects surrounding the
characters. As a type of staging that copies reality, these images also translate a
paradox relationship between the frailty of the figures and the solid social structure of the spaces in which they appear. However, Hannah Starkey is persuasive
and mixes the triviality of everyday routine with a certain density of meanings.
By playing with the lonesome voyeurism of the observer, the British artist emphasises the isolation process of both domains. Therefore her figures seem to
communicate precisely because they share a feeling of evasion and indifference
in relation to the invoked reality. Like the observer’s abstraction process during their silent contemplation, the female characters depicted here confirm the
power of evasive communication that nonetheless remains between an image
and the experience of its reception.
David Santos
Iwona Blazwick, Hannah Starkey Photographs 1997-2007, Steidl, Göttingen, 2008.
Hannah Starkey, Irish Museum of Modern Art, Dublin, 2000.
A Project for the Castle, Hannah Starkey, Castello di Rivoli, Turin, 2000.
333
BESART / HANNAH STARKEY
The Dentist, 2002 Chromogenic Process (C-Print) · 122 x 163 cm · Edition 3/5 + 1 AP
Newsroom, 2005 Chromogenic Process (C-Print) · 122 x 163 cm · Edition 2/5 + 1 AP
334
BESART / JEMIMA STEHLI
Jemima Stehli
If exhibiting her own body is a constant in Jemima Stehli’s (1961, London, United
Kingdom) work, her aim is not to show it in its sensual or erotic dimension but
rather to present it in its relation to the dynamic processes of the artist’s relation
with art and the processes of aesthetic construction. There is always an exhibitionist element in all of her images, which manifests itself through nudity or the
transformation of the privacy of her studio into a public space. The body is naked
because, metaphorically, the artist is the individual who exposes herself not
through self-representation but through the possibilities that her body, as driver
of aesthetic tension, offers her.
Hers is a complex and dense œuvre as it always unfolds into multiple positions
and different points of observation. The photographs presented here show that
the memory of the artist’s physical presence is never questioned but rather the invocation of what her presence represents as generator of images and sensations,
by invoking the figure of the double. Stehli’s works are nurtured by a certain experience between absence and presence, visible and invisible. The use of mirrors is
derived from an insertion of the photographic stage – which designates the human way of building images – in the way the artist organises the space. A resource
turning her work into more than a simple photographic work, extending it into
research on the presence of objects in the space and on the very limits of spatiality. The cuts created by the mirrors in the pictures are mechanisms that transport
the depth held by the sculptural object to the centre of the photography.
It is not about making sculptures with images but making the photographic
gesture – where the artist highlights the nature of the composition – into a space
configuration gesture. It is as if Stehli extends the consequences of the spatial
manipulations towards the inside of an image and thus instigates a new type
of three-dimensionality.
Nuno Crespo
Emily Butler, ‘Jemima Stehli, Studio Double’, in Next Level, Autumn 2006.
Jemima Stehli, Centro de Artes Visuais, Coimbra, 2004.
Jemima Stehli, ARTicle Press, Birmingham, 2002.
335
BESART / JEMIMA STEHLI
Studio Double #1, 2004 Chromogenic Process (C-Print) mounted on aluminium · 126 x 166 cm · Edition 1/3 + 2 AP
Studio Double #2, 2004 Chromogenic Process (C-Print) mouned on aluminium · 126 x 157 cm · Edition 1/3 + 2 AP
336
BESART / THOMAS STRUTH
Thomas Struth
The most well-known photographs by Thomas Struth (1954, Geldern, Germany),
created in the 1980s and 1990s, marked his contemporary artistic production
through its discerning thematic and formal serialisation – a strategy inspired by
Bernd and Hilla Becher, his teachers at the art school in Dusselforf – and through
the large dimensions which he has been using since the 1990s. Individual portraits, isolated buildings, apparently empty public spaces or museum rooms
filled with visitors are some of the most recurring subjects in his body of work.
But all these subjects are characterised by the deliberate distance in relation
to the identity of the elements contained in the pictures. It is not impossible to
identify them as Thomas Struth gives them specific titles, accurately identifying
the images’ origins. However when we focus only on the image’s greatness, a distanced sublimation of the documentary element prevails, a sort of aestheticisation of the cold and trivial record that characterises photography as a document.
In the Unconscious Places series, produced in black and white in the 1980s,
two examples of which are included in this collection, the artist captures places,
buildings and streets as if their living urbanity, that is, people, were irrevocably
absent. A suspension still determined by the centralisation of perspective brings
the observer to raise questions on the truthfulness of the record of everyday life.
Despite being generated from reality, an enigmatic strangeness keeps these images within the boundaries of fiction and the secret phenomenological presence
of things and the process of becoming conscious of their existence.
On the other hand, overviews of public spaces and urban areas in cosmopolitan cities, like Shanghai Panorama (2002), drift away from a conventional record
when we perceive the detailed level of all image plans. Although they reveal the
presence of people, these grand images mainly stand out due to the distinction
given to other elements that characterise the portrayed spaces, like their architectural complexity, advertising and the urban lines that encapsulate the entire
space. The degree of visual breadth between reality and its abstraction that
distinguishes these images contrasts with the serene attention that emanates
from the series dedicated to museums. In Museu del Prado 7 (2005) Struth seeks
the meeting of different perspectives somewhere in between the contemplation
of the museum’s visitors and his own desire to capture the observation of others.
The details captured in these images are linked to the tendency for detailed identification that characterises the contemplation of artworks in those museums.
David Santos
Thomas Struth. Marking Time, Turner, Madrid, 2007.
Thomas Struth, Galerie Max Hetzler Berlin, Munich, 2001.
Thomas Struth. Portraits, Sprengler Museum, Hanover, 1997.
UnbewuBte Orte/Unconscious Places, Kunsthalle Bern, Bern, 1987.
337
Leipzigerstrasse, Essen, 1989 Gelatin silver print · 45 x 58 cm · Edition 5/10
Wunsiedlerstrasse, Weissenstadt 1982, 1982/1989 Gelatin silver print · 42.5 x 59 cm · Edition 5/10
338
Shanghai Panorama, 2002 Chromogenic Process (C-Print) · 176 x 209 cm · Edition 3/10
339
Museo Del Prado 7, Madrid, 2005, 2005 Chromogenic Process (C-Print) · 169.5 x 210.5 cm · Edition 2/10
340
BESART / HIROSHI SUGIMOTO
Hiroshi Sugimoto
With various academic interests (he studied Sociology, Politics and Architecture),
Hiroshi Sugimoto (1948, Tokyo, Japan) became not only a photographer with
a particular way of working (for which he received the Hasselblad Honour in 2001),
but he is also known as an experimental student of time and its effect in photographic exposure and on the true character of photography.
In 1978 Sugimoto started working on the series of photographs of old cinemas and American drive-in cinemas, entitled Theatres, making the exposure
time coincide with the duration of the film screened. Thus he obtained his
famous images of totally white screens, proving that the mobility of film images
only holds them as latent images when captured in photographs. Still objects
(chairs, for example) remain visible. The camera seems to be disconnected
from speed and is only conquered by the solidity of stable images. The result
is time saturation, an accumulation of light and time and a stable and permanent structure, the picture does not show everything the eye (which always
moves) can see. On the other hand, in the series Seaspaces the images include
very subtle light definitions, which conversely the eye has difficult in seeing.
Sugimoto emphasises this difference by studying shadows (which have little
luminosity but a clear range of light and dark greys). The photograph Colors
of Shadow: C1019 (2006) belongs to this particular investigation.
Sugimoto represents (and at the same time enriches) conceptualism’s experimental research and nowadays his work is part of great contemporary art
collections across the world. The shapes he refers to in Conceptual Forms and in
Mathematical Forms are stable but sometimes intriguing, implying the representations may be computer generated. One of them, Conceptual Forms 0026 (Worm
Gear) (2004), indicated as being a black and white photograph, appears to us as
if the metal is glowing hot. Even if he doesn’t follow in the footsteps of the avantgarde artists from the beginning of the twentieth century, his obvious admiration
for them eventually begins to seep through, whether in the subtitles of his works
or in images like this one.
Maria do Carmo Serén
Hiroshi Sugimoto. Conceptual Forms, Fondation Cartier, Paris, 2004.
Hiroshi Sugimoto. Architecture, Museum of Contemporary Art, Chicago, 2003.
Theaters, Sonnabend Sundell Editions, Eyestorm, New York, 2000.
Sea of Buddha, Sonnabend Sundell Editions, New York, 1997.
Time Exposed, Kyoto Shoin International, Kyoto, 1991.
341
Colors of Shadow: C1019, 2006 Inkjet prints · 169.55 x 140.34 cm · Edition 2/5
343
Conceptual Forms 0026 (Worm Gear), 2004 Gelatin silver print · 182.25 x 152.4 cm · Edition 3/5
344
BESART / JOÃO TABARRA
João Tabarra
Coming from a photo-journalistic background in the 1980s, João Tabarra (1966,
Lisbon, Portugal) is nowadays one of the most significant Portuguese artists
who uses mostly photography and video as his creative tools for communication.
His work is also increasingly appreciated internationally, with a series of exhibitions in important contexts since the late 1990s, such as the São Paulo Biennial
in Brazil, MARCO in Vigo, Caixa Fórum in Barcelona, Bloomberg Space in London
or the Institut d’Art Contemporain of Villeurbanne in Lyon, alongside solo exhibitions in Portugal, in the Museu de Arte Contemporânea de Serralves, in Oporto,
and in Museu do Chiado – Museu Nacional de Arte Contemporânea in Lisbon,
both in 2000.
The work by João Tabarra – whether in video or in large-sized photographs
like the one in the selection here – examines the connections between the
aesthetic dimension of art and a very particular archaeology of reality. Using
humour and judicious irony in relation to mankind’s fate at the beginning of this
century, by working with an ambiguous visual and narrative staging the artist
projects a kind of reflection on his own inability to communicate as well as situations of social indifference, harshly criticising the a-critical scenario of our times.
Like in the photographic series Vols de nuit (2003), the artist develops a fiction
that has been planned into the smallest detail, and that reflects various reading
levels and that subvert the hypothetic stability of the process in which meaning is formed. If the indexed symbols allow for an immediate recognition, their
configuration and combination here will produce a clash, which will lead the
viewer via humour to a sense of ambiguity that questions our human condition.
The insinuated inability to communicate, as in the ridiculous confessional-like
conversation with the embalmed lion, refers to a progressive process of levels
of consciousness about the inevitable creation of meanings that are involved
in any intermediate point of view, whether they are artistic, social or political.
For that reason João Tabarra’s photographs and his entire video production emphasise the manipulative character of the images surrounding us. Only by really
recognising their potentialities and characteristics will we be able to develop
any critical view in relation to our contemporary reality.
David Santos
David Barro, João Tabarra, Dardo, Santiago de Compostela, 2007.
João Tabarra, Instituto de Arte Contemporânea/Ministry of Culture, Lisbon, 2002.
No Pain, No Gain, Museu do Chiado – Museu Nacional de Arte Contemporânea, Lisbon, 2000.
345
BESART / JOÃO TABARRA
Vols de nuit, 2003 Digital Chromogenic Print (LightJet Lambda Process) · 55 x 80 cm · Edition 1/4
Vols de nuit, chroma travel, 2003 Digital Chromogenic Print (LightJet Lambda Process) · 53 x 120 cm · Edition 2/4
346
BESART / WOLFGANG TILLMANS
Wolfgang Tillmans
Wolfgang Tillmans (1968, Remscheid, Germany), moved to London at the end of
the 1980s. There he developed his activities as a fashion photographer for several
British magazines, like I-D and The Face, while he later worked for the German
magazine Spex and the French magazine Purple. His artistic affirmation occurred
in the following decade when he started mixing photographic art with fashion
photography to portray people – mostly young ones from his circle of friends – at
parties or through scenes and situations in their relationships. However, Tillmans’
production was not limited to the reference of youth culture or pop-culture
magazines. The exploration of more ‘traditional’ subjects, associated with daily life
(still-lives, objects, domestic interior spaces, natural phenomena) or the interest
in experimenting with the effect of light in the creation of abstract images rapidly
started marking his photographic practice.
As it happens, the sensual experience of images and the invocation of bodies
and ephemeral subjectivities did remain visible in these works. Venus Transit,
Edge and Venus Transit, Clouds (both from 2004), for example, do not claim to
be a ‘scientific’ documentation of said phenomenon (the passing of the planet
before the Sun as seen from the Earth), but they are testimonials through someone’s visual experience (a body). Freischwimmer 25 (2003) seems to show remains of hair or other filaments, while in actuality it is an abstraction produced
by the hands of the artist in his laboratory: abstract realities created by light
alchemy. In other images we see an update of the notion of the still-life – petals,
objects, food remains – which suggest the making of individual marks in a world
of mass signs. Like the image of Kate Moss in installations in which all images
are arranged in fluid hierarchies and different scales, they allow for a freer relationship with the viewer.
Tillmans won the Turner Prize in 2000 and has exhibited in institutions
such as Tate Britain in London in 2003, and the Stedelijk Museum Post CS in
Amsterdam in 2008.
José Marmeleira
Julie Ault, Daniel Birnbaum, Wolfgang Tillmans, Yale University Press, New Haven, 2006.
If One Thing Matters, Everything Matters, Tate Publishing, London, 2003.
Wolfgang Tillmans. Still Life, Harvard University Art Museums, Cambridge, 2002.
Burg, Taschen, Cologne, 1998.
Wolfgang Tillmans, Portikus, Frankfurt am Main, 1995.
347
Freischwimmer 25, 2003 Chromogenic Process (C-Print) · 182 x 243 cm · Unique print
348
Installation, 1999 Chromogenic Process (C-Print) · 17 prints, variable dimensions (between 15.2 x 10.2 cm and 186.6 x 135.9 cm) ·
3 unique prints; 9 of an edition of 10; 5 of an edition of 3
349
350
BESART / JANAINA TSCHÄPE
Janaina Tschäpe
Janaina Tschäpe’s (1973, Munich, Germany) work leads us into a mythological
aquatic universe inhabited by primitive creatures. These variously shaped beings
are invariably feminine, a fact that doesn’t seem odd when we know that Janaina
(or Iemanjá) is the name of the Water Goddess in the Candomblé religion. And she
is a powerful goddess, capable of granting or taking life. The artist was born to a
Brazilian mother and elements of Brazilian culture clearly resonate in her work.
Tschäpe’s practice encompasses photography, drawing, watercolours, painting
and video installations. According to the artist, the articulation of these different media is important for the creation of a complex and interconnected body
of work. If drawing is in her opinion a sketch of a thought, video allows for her to
explore the world of moving images, while, because it represents a fragment of
time, photography invites the viewer to discover the story behind that fragment.
The most persistent element in Tschäpe’s vocabulary is the reference to water.
For her this is the element that unifies the universe and that contains a mystical
potential way beyond human reach. The photographs Dani 1 and Juju 2 are part
of two series – After the Rain (2003) and The Sea and the Mountain (2004) – and
are inhabited by characters that resemble embryos that appear to be constantly
developing and mutating. The artist's curiosity about the potential of performance is visible in both works.
Tschäpe has had regular exhibitions since 1994. Her works are included in a
variety of collections, including the Museo Nacional Centro de Arte Reina Sofía.
In 2008 she spent time in Japan during a residence at the Nichido Gallery, in
Tokyo, which resulted in an exhibition.
Luísa Especial
Melantrofics, Contemporary Art Museum St. Louis, St. Louis, 2006.
Agua Viva, Dream Matter, The interior of Water, Nichido Gallery, Tokyo, 2004.
100 Little Deaths, Le College Éditions/Frac Champagne, Ardenne/Reims, 2004.
351
BESART / JANAINA TSCHÄPE
Dani 1 (After the rain), 2003 Silver Dye Bleach Print (Ilfochrome) · 127 x 101.6 cm · Edition 5/5
Juju 2 (from The Sea and The Mountain), 2004 Silver Dye Bleach Print (Ilfochrome) · 101.6 x 127 cm · Edition 2/6
352
BESART / JÚLIA VENTURA
Júlia Ventura
Although Júlia Ventura (1952, Lisbon, Portugal) has used different media, photography and painting are the ones that she has dedicated most of her career to.
Living between Amsterdam and Lisbon since the end of the 1970s, it was in the
Netherlands that her exhibition career started to manifest itself in the 1980s.
Her photographic work is methodically organised into series, her moments
of investigation depicting a factual concern. Self-representation has been always
present in the artist’s œuvre, however, it is stripped from any biographical or
psychological impetus. In fact, the focus on gesture that is contained in it shows
some theatricality, and such perception prevents the viewer from believing
in the reality of the expressed emotions. They appear as symbols, creating small
fictions, representations of a state of mind or feelings. The variations on the
subjects are made by the shadows, by accentuating the grain or the black in
the image or by the gestures themselves.
Photographs of her face (and in other series of her upper body), always shown
fully frontal, are joined by occasional props, of which the rose (one or several,
depending on the work) appears most frequently. A true symbol of feminine and
pure love, it is an instrument used by the artist to deepen the critical reading
of the image focused on the stereotyped gender. Similarly to hagiographic attributes, Júlia Ventura matches this particular attribute to women examining its
conventions. In her emblematic series From Here to Eternity, the perfect flower
bud is blossoming, whereas the woman dramatises her vulnerability.
Centro Cultural de Belém (Lisbon) staged a solo exhibition of the artist’s work
in 1994. In 1997 Museu de Arte Contemporânea de Serralves (Oporto) dedicated
a solo exhibition to Júlia Ventura with an overview of works produced between
1982 and 2003.
Luísa Especial
Júlia Ventura, Marcar, Imprimir, Expor, 1982-2003, Fundação de Serralves/Asa, Oporto, 2004.
Júlia Ventura, Two Ways of Life, Centro Cultural de Belém, Lisbon, 1997.
353
BESART / JÚLIA VENTURA
From Here to Eternity, 1983 Gelatin Silver Print · 5 x (68 x 90 cm) · Edition 1/3
354
BESART / VALTER VINAGRE
Valter Vinagre
Valter Vinagre (1954, Avelãs de Caminho, Anadia, Portugal) is a photographer
who creates images of reality without limiting it to defined typologies or subjects.
A place in the city, travel and the landscape all may be the subjects of his work,
but they do not determine it. Rather they are part of a reflection on reality in a
game in which metaphors, portraits and gestures are hidden and then uncovered.
This approach, removed from the genre of documentary, may be found in works
like Carta do Sentir, a series exhibited at Galeria do Palácio as part of the Vila
Franca de Xira Photography Biennale, in 2001, or in Bored in the USA, exhibited
for the first time at Museu do Hospital e da Cidade, in Caldas da Rainha, in 2002.
The two works presented here are part of the series Variações para um Fruto
[variations for a fruit], dedicated to the growth cycle of cherries in the Fundão region, in Beira Baixa (Portugal). Similar to other works, it resulted from a practice
that transforms the original motive into raw material for parabolas or small, suspended stories. For this set of photographs, Valter Vinagre took inspiration from
popular legends and religious metaphors (associated to cherries and the cherry
tree), before determining his intervention, as photographer, in time and space.
Myths, fables and concrete realities are interspersed as they portray the relation
between nature and man: an empty ladder leaning against a tree or a lonely fire,
among other images.
However, separated from the time sequence that underpins the series, the
photographs in this exhibition can survive on their own. The first one shows a
cherry tree, which, like a respectable elder, seems to accept the passage of time
with dignity. The other depicts a landscape in which a sound or a movement is
expected at any moment.
In 1996 Valter Vinagre received the Vila Franca de Xira Photography
Biennial award.
José Marmeleira
Para, Assírio & Alvim, Lisbon, 2006.
Bored in the USA, Assírio & Alvim, Lisbon, 2004.
Variações para um Fruto, Assírio & Alvim, Lisbon, 2004.
Carta do Sentir, Bienal de Fotografia de Vila Franca de Xira, Póvoa de St.ª Iria, 2001.
355
BESART / VALTER VINAGRE
Untitled #19, from the series Variações para um fruto, 2003 Silver Dye Bleach Print (Ilfochrome) · 100 x 125 cm · Edition 1/3
Untitled #17, from the series Variações para um fruto, 2003 Silver Dye Bleach Print (Ilfochrome) · 100 x 125 cm · Edition 1/3
356
BESART / JEFF WALL
Jeff Wall
Jeff Wall (1946, Vancouver, Canada) is an artist and renowned essayist, the author
of texts which have thoroughly influenced the way in which we approach not only
photography, specifically so-called conceptual photography, but also the status
of the image in general. His photographic work became famous in Europe in the
1980s, especially after he was invited to take part in Documenta 7, in 1982.
Wall’s images are characterised by an enormous attention given to detail: both
to the subject and to the composition. A passionate fan of the history of painting,
he has tried to find a way to translate this into contemporary photography, into
our technologically advanced society, with as frame of reference the sophistication achieved by painters he most admired, including Eugène Delacroix and
Edouard Manet. He has managed to do that in photographs by using tools that
are simultaneously associated to ancient painting – historical references,
an accurate composition – and with the fields of cinema and advertising. He works
like a film director, creating scripts, searching for stage sets, directing actors and,
from a certain moment on, the presentation of photographs inside light boxes,
like those used in advertising, which have become his hallmark.
Jeff Wall has managed to establish a connection between high and low culture, between the old and the modern. Simultaneously he has been able to
reintroduce the narrative in photography, or in experimental art, a characteristic that for a long time was scorned because it was presumed to represent an
anachronism. Ultimately, what Wall constantly tries to establish is a synthesis
between vanguard aesthetic traditions and mass culture, recovering the past, the
grand art from the museums, while critically participating in our current society
of the spectacle.
Ricardo Nicolau
Jeff Wall, Jeff Wall. Selected Essays and Interviews, The Museum of Modern Art, New
York, 2006.
Theodora Visher and Heidi Naef (ed.), Jeff Wall. Catalogue Raisonné 1978 – 2004,
Schaulager/Steidl, Basel/Göttingen, 2005.
Jeff Wall. Tableaux, Astrup Fearnley Museet for Moderne Kunst, Oslo, 2004.
Jeff Wall. Space and Vision, Lenbachhaus, Schirmer/Mosel, Munich, 1996.
Jeff Wall. Transparencies, Schirmer/Mosel, Munich, 1986.
357
BESART / JEFF WALL
Pipe Opening, 2003 Transparency by chromogenic process mounted in lightbox · 47.6 x 55.8 x 14.6 cm · Edition 5/8
358
BESART / JEFF WALL
A Woman with a Covered Tray, 2003 Transparency by chromogenic process mounted in lightbox · 182.8 x 227.6 x 26 cm · Edition 3/3
360
BESART / CHRISTOPHER WILLIAMS
Christopher Williams
Christopher Williams’ (1956, Los Angeles, CA, USA) photographs are never taken
by the artist himself. Instead they are taken by hired professionals, selected
depending on the kind of project he is working on and the type of protocols or
conventions he wants to refer to, which may include documentary photography,
architecture photography or fashion or advertising photography. This approach
highlights his connection with conceptual art from the 1960s and 1970s. This
strategy allows him to absolve himself from having to make major decisions regarding composition, through which he can explore a territory of apparent banality, and negate the idea of photographer-author, in short all the rhetoric that comes
with the decisive moment. The artist has stated that there are essential moments
for the creation of sense in photography before and after the presence of the photographer: the contexts in which photography is created and distributed.
The apparent clarity of his images – neutral backgrounds, front planes, descriptive captions – is permanently contradicted by implied narratives, and by
the diversity of the possible interpretations that come with the selection of the
photographed objects, almost always representatives of multiple historical
developments. In his most recent works for instance, the focus is on relevant
social transformations, specifically the Cold War and the restructuring of social
and cultural life during and after that period. His interest in that period led him
to create a series of images – including the photographs of a Kiev 88 camera –
which he titled Dix-huit Leçons sur la Societé Industrielle, a title borrowed from
Raymond Aron’s sociology and economy treaty that was published in 1963.
The photographs of the Kiev 88 camera look almost like advertising images,
showing the product in the clearest way possible. They are, however, fake images: after careful observation, the viewer can see that these are not what they
seemed, simple black and white photographs. Likewise, their serenity contrasts
with the processes of social transformation they refer to, particularly the appropriation of foreign technology during the Cold War. This apparently sophisticated
camera is, after all, a cheap copy of the famous Hasselblad manufactured in the
Ukraine. What seems to purely modernist self-reflexivity – the artist observing
the properties of his medium – are in fact photographs mostly related to the
photographic industry. Thus the historical conditions from which a certain object
originated are revealed after all.
Ricardo Nicolau
Christopher Williams, Walther König, Cologne, 2007.
Mark Godfrey, ‘Christopher Williams in Conversation with Mark Godfrey’, in Afterall, London,
Autumn 2007.
Timothy Martin, Christopher Williams, Fama & Fortune Bulletin, Verlag Pakesh &
Schlebrügge, Vienna, 1995.
Stephen Prina, Christopher Williams (org.), New Observations. The Construction and
Maintenance of Our Enemies, New York, 1987.
361
BESART / CHRISTOPHER WILLIAMS
Kiev 88, 2003 Dye Transfer Print · 3 x (40.6 x 50.8 cm) · Edition 8/10
362
BESART / JANE AND LOUISE WILSON
Jane and Louise Wilson
Jane and Louise Wilson (1967, Newcastle, United Kingdom) belong to the generation that has become known as the Young British Artists (YBA) and whose collective fame catapulted some of its members towards a kind of stardom usually
bestowed upon pop stars rather than visual artists. Known as the ‘Wilson Twins’
the sisters have worked together ever since their BA, but became known as a
duo doing their MA at Goldsmiths’ College, and their work there led to a nomination for the Barclays Young Artist Prize in 1993. Following this promising start the
sisters consolidated their notoriety with the participation in what was possibly
one of the most paradigmatic exhibition of British art during the 1990s, the 1995
British Art Show. The Wilsons were nominated for the Turner Prize in 1999.
With an œuvre based mostly on photographs and videos the Wilsons started
by filming urban housing and quickly expanded their focus to an ongoing interest
in architectural structures. Oil platforms, old Stasi archives, the Cosmodrome by
Baikonur in Kazakhstan, an immense base for the soviet space programme, or
Star City, a former training centre for cosmonauts North of Moscow, are, among
others, the selected contexts for their films or, in better words, these contexts
are their films. Elegies to the world of the Cold War, cameras slowly pan corridors,
empty rooms, either underground or in bunkers, keeping us in a state of constant
unease, as if we were strolling through the entrails of an alien thought to be dead
but feared to be alive.
Unlike the industrial era so intensely characterised by euphoric motivation
and effusive participation, the cyber era has generated dystopic structures
in which our sensations oscillate between claustrophobia and agoraphobia.
Managed by an alienating bureaucratic machine and operating intrusive control
strategies those structures exude a sense of insidious power. And the Wilsons
are fascinated by the aestheticisation of this power. A power captured postmortem, the presence of which is marked precisely by its absence. The megalomanic constructions and funereal buildings of Platform I, Gorilla VI, A Free and
Anonymous Monument (2003) and Rising I.S.S. Hydrolaboratorium (2000) bear
witness thereof.
Ana Pinto
A Free and Anonymous Monument, Baltic Centre for Contemporary Art, Gateshead, 2003.
Jane & Louise Wilson, Universidad de Salamanca, Salamanca, 2003.
Jane and Louise Wilson, The Museum of Contemporary Art/Thames & Hudson, Los Angeles/
London, 2001.
Jane & Louise Wilson, Film & Video Umbrella, London, 2000.
363
Rising I.S.S. Hydrolaboratorium, 2000 Chromogenic Process (C-Print) mounted on aluminium · 180.3 x 180.3 cm · Edition 4/4
365
Platform I, Gorilla VI, A Free and Anonymous Monument, 2003 Chromogenic Process (C-Print) · 182.9 x 182.9 cm · Edition 3/4
BESart:
Banco Espírito Santo Collection
368
BESART / BANCO ESPÍRITO SANTO COLLECTION
Ignasi Aballí
1958, Barcelona, Spain
Reflexió XXIII, 2006
Chromogenic Process (C-Print) ·
125.5 x 193 cm · Unique print
Page 29
Vito Acconci
1940, New York, USA
Reflexió XXVII, 2006
125.5 x 193 cm · Unique print
Page 29
Doug Aitken
1968, Redondo Beach,
California, USA
here to go (ice cave), 2002
Chromogenic Process (C-Print)
mounted on aluminium · Ø 183 ·
Edition 5/6
Page 33
New World Trade Center,
(New York, USA), 2002
and handwritten text · Ø 183 cm ·
Unique print
Page 31
Gabriela Albergaria
1965, Vale de Cambra,
Portugal
nighttrain, 2004
mounted on aluminium ·
96.52 x 200.44 cm · Edition 3/6
Pages 34-35
parc monceau #71, 2006
Digital Chromogenic Print (LightJet
Lambda Process) and green pencil ·
2 x (35 x 100 cm) · Unique print
Page 37
parc monceau #73, 2006
Lambda Process) and green pencil ·
Page 37
369
Jennifer Allora e
Guillermo Calzadilla
1974, Philadelphia,
Pennsylvania, USA / 1971,
Havana, Cuba
Helena Almeida
1934, Lisbon, Portugal
Tela Habitada, 1977
Gelatin silver print on RC paper and
acrylic paint · 12 x (29.5 x 39.5 cm) ·
Unique print
[detail]
Pages 39-41
Land Mark (Foot Prints) #7, 2002
48.80 x 60.30 cm · Edition 2/3
Eu estou aqui #1, 2005
Gelatin silver print on RC paper ·
130 x 130 cm · Unique print
Page 42
Gelatin silver print on RC paper
and acrylic paint · 130 x 105 cm ·
Unique print
Page 43
Gelatin silver print on RC paper ·
Page 42
Untitled #11, from
the series Shelter, 1999
Silver Dye Bleach Print (Ilfochrome) ·
41 x 50 cm · Edition 1/3
Page 45
Untitled #14, from
Page 45
Augusto Alves da Silva
Untitled #20, from
Page 45
370
Augusto Alves da Silva
Untitled, from the series CNB, 2001
125 x 152 cm · Edition 3/5
Series Die Schönste Fahne
der Welt, #1, 2006
154 x 154 cm · Edition 1/5
der Welt, #3, 2006
154 x 154 cm · Edition 1/5
Horóscopo, 2004
Lambda Process) · 126 x 156 cm ·
Edition 1/3
Page 47
Marilyn, 2004
Unique print
Page 48
Canto II, 1991
Gelatin silver print · 10 x (46 x 60 cm) ·
Edition 1/3
Page 50
Wiesent-Cinema-Still, 2001
Gelatin silver print with multiple
exposure · 93 x 115 cm · Edition 1/3
Page 50
Duarte Amaral Netto
Dieter Appelt
1935, Niemegk, Germany
der Welt, #8, 2006
154 x 154 cm · Edition 1/5
371
Vasco Araújo
Dilema, 2004
150 x 250 cm (approx.) · Edition 1/3
[detail]
Page 52
O que eu fui, 2006
Silver Dye Bleach Print (Ilfochrome)
and sound installation · 94 x 139 cm ·
Edition of 1
Page 53
Intersection Series: Seascape,
Man (with Brick) and Man
(with Pencil), 2002
Inkjet prints, mounted on Sintra board ·
174.62 x 215.26 cm · Unique print
Pages 56-57
Five Yellow Divisions: with Persons
(Black and White), 2004
Inkjet prints mounted on Sintra
board · 349.25 x 26 x 4.45 cm ·
Unique print
Page 55
Contenedores 7, 2005
Digital Chromogenic Print (Process
LightJet) on paper Fuji Crystal
Archive · 299.2 x 144.6 cm · Edition 1/3
Page 59
Contenedores 8, 2005
LightJet) on paper Fuji Crystal
Archive · 298.5 x 144 cm · Edition 1/3
Page 59
John Baldessari
1931, National City,
California, USA
José Manuel Ballester
1960, Madrid, Spain
372
Pedro Barateiro
Matthew Barney
1967, San Francisco, USA
Cremaster3: Brethren, 2002
137 x 112 cm · Edition 4/6 + 1 AP
Page 63
Late Modernism / Late Capitalism,
2006
Acrylic on Chromogenic Process
(C-Print) · 127 x 126.5 cm ·
Unique print
Page 61
Rita Barros
Victor Hugo, 1990
Sophie Leberre, 1991
Orla Barry
1969, Wexford, Ireland
Allan Midgette, 2000
Gelatin silver print · 68 x 51 cm ·
Edition 1/6
Island sisters, 2004
Colored proof mounted on aluminium ·
100 x 100 cm · Edition of 3
Arthur Miller, 1994
Gelatin silver print · 68 x 56.5 cm ·
Edition 1/6
373
Uta Barth
1958, Berlin, Germany
Bernd and Hilla Becher
1931, Siegen, Germany –
2007, Rostock, Germany /
1934, Potsdam, Germany
Water Towers, 1963-1988, 2005
Gelatin silver prints ·
Page 69
Sundial (07.12), 2007
LightJet) · 3 x (76 x 95.5 cm) · Edition
5/6 + 2 AP
Pages 65-67
Daniel Blaufuks
Travelling Light, from the series
Collected Short Stories, 2002
Pages 72-73
Untitled, 2005
120 x 160 cm · Edition 2/5
Page 71
Calatañazor,
en torno ao año 1000, 1995
85 x 150 cm · Edition 1/10
Page 75
Covadonga, año 718, 1996
85 x 150 cm · Edition 5/10
Page 75
Bleda y Rosa
María Bleda, 1969,
Castellón, Spain /
José María Rosa, 1970,
Albacete, Spain
Campo de S Jorge,
14 de Agosto de 1385, 1999
85 x 150 cm · Edition 1/10
Page 75
374
Christian Boltanski
1944, Paris, France
Catarina Botelho
Marta verde, 2005
Edition 3/3
Page 79
Lumières
(blue pyramid – Claudine), 2000
Black and white photograph and 46
blue light bulbs · 236 x 205.5 cm ·
Edition of 1
Page 77
Emanuel Brás
1967, Coimbra, Portugal
Joana e copo de água, 2005
Edition 1/3
Page 79
#25 lugares de afecção, 2004
Edition 2/5
#27 lugares de afecção, 2005
Edition 2/5
Untitled #8, from the series
Cota – 470, 2003
100 x 100 cm · Edition 2/5 + 2 AP
Cota – 470, 2003
100 x 135 cm · Edition 2/5 + 2 AP
Augusto Brázio
1964, Brinches, Portugal
Cota – 470, 2003
100 x 100 cm · Edition 2/5 + 2 AP
375
Carla Cabanas
Interiores #1, 2005
Edition 2/3
Cota – 470, 2003
100 x 135 cm · Edition 2/5 + 2 AP
Pedro Cabrita Reis
The sleep of reason #1,
II series, 2000
mounted on Alubond and acrylic
paint · 50 x 75 cm · Unique print
Page 81
The sleep of reason #2,
III series, 2000
mounted on Alubond and acrylic
paint · 50 x 75 cm · Unique print
Page 81
Untitled #08/05, 2005
Edition 2/3 + AP
Page 83
Untitled #43/06, 2006
Edition 2/3
Page 83
Rui Calçada Bastos
Travel pictures #1, 2006
Edition 1/3 + AP
376
Sophie Calle
1953, Paris, France
Exquisite Pain (Count Down – 54),
2000
Photographic prints stamped with
red ink · 38.5 x 61 x 3 cm · Edition 1/3
Page 85
2000
Photographic prints stamped
with red ink · 40.5 x 31.5 x 3 cm ·
Edition 1/3
Page 85
2000
Photographic prints stamped with
red ink · 52 x 61.5 x 3 cm · Edition 1/3
Page 85
Lisboa, 1956
Gelatin silver print · 50 x 40 cm
Page 88
Roma, 1957
Page 88
Monsaraz, 1963
Page 89
Paris, 1985
Page 89
Gérard Castello-Lopes
1925, Vichy, France
Exquisite Pain (Day 6), 2000
Photographic prints and embroidery
text panels · 2 x (50 x 62 cm);
2 x (134.5 x 62 cm) · Edition 2/3
Page 86
Sines, 1958
Page 88
Paris, 1958
377
Quinta da Mitra, 1986
Portugal, 1987
Portugal, 1988
Lisboa, 1998
Lisboa, 1998
Homenagem a José Manuel
Rodrigues, Baux de Provence, 2000
Edimpresa, Átrio Central,
Edifício S. Francisco de Sales,
Paço de Arcos, 2003
Lambda Process) mounted on
aluminium · 150 x 120 cm · Edition 2/5
Rio Murtiga, Alentejo, Agosto, 2005
Edition 1/5
Paulo Catrica
Porto, 1989
Page 89
378
André Cepeda
1976, Coimbra, Portugal
Anacronia, Bruxelas, 2000
mounted on aluminium · 70 x 70 cm ·
Edition 2/5
Page 91
Anacronia, Bruxelas, 2000
Edition 3/5
Page 91
Dark Forces #1, 2004
Lambda Process) mounted on Diasec ·
70 x 100 cm · Edition 2/3 + 1 AP
Page 93
70 x 100 cm · Edition 2/3 + 1 AP
Page 93
70 x 100 cm · Edition 3/3 + 1 AP
Espírito Santo (caixa forte
desactivada), 2003
Page 95
Espírito Santo (caixa forte), 2003
Lambda Process), mounted on
Page 95
Espírito Santo (arquivo informático),
2003
Page 96
Nuno Cera
1972, Beja, Portugal
Filipa César
1975, Oporto, Portugal
379
Hannah Collins
1956, London,
United Kingdom
True Stories (Lisbon 1), 2006
LightJet) · 175 x 235 cm · Edition 1/3
Page 98
Espírito Santo (sala das máquinas),
2003
Page 96
Espírito Santo (arquivo morto), 2003
Page 96
Page 99
Page 98
Page 99
Untitled (Isabel e Mariana),
from the series Pli, 2004
Lambda Process) · 34 x 60.5 cm ·
Unique print + AP
Page 101
Untitled (Isabel e Mariana),
from the series Pli, 2004
Lambda Process) · 34 x 60.5 cm ·
Unique print + AP
Page 101
Cecília Costa
1971, Caldas da Rainha,
Portugal
Let’s Dance, (pair 1), 2004
Lambda Process) · 2 x (80 x 100 cm) ·
Unique print
Page 103
380
Cecília Costa
Lambda Process) · 80 x 100 cm;
Page 103
Unique print
Page 103
Unique print
Page 103
Untitled, from the series Pli, 2005
Edition 1/2
Nagoya, 2000-2005
Inkjet print mounted on Plexiglas
and rotation mechanism · Ø 25 cm ·
Edition 2/6
Paris, 2000-2005
Inkjet print mounted on Plexiglas
and rotation mechanism · Ø 25 cm ·
Edition 2/6
BAOBAB II (II of VI), 2001
Edition 1/6
Page 105
BAOBAB III (III of VI), 2001
Edition 1/6
Page 106
Luc Courchesne
1952, St. Leonard d’Aston,
Quebec, Canada
Untitled, from the series Pli, 2005
Edition 2 + AP
Tacita Dean
1965, Canterbury,
United Kingdom
BAOBAB I (I of VI), 2001
Edition 1/6
Page 105
381
BAOBAB IV (IV of VI), 2001
Edition 1/6
Page 106
BAOBAB V (V of VI), 2001
Edition 1/6
Page 107
Thomas Demand
1964, Munich, Germany
BAOBAB VI (VI of VI), 2001
Edition 1/6
Page 107
Philip-Lorca diCorcia
1951, Hartford,
Connecticut, USA
MARYLIN, 28 Year Old, Las Vegas,
Nevada, from the series Strangers,
1990-1992
39 x 57.5 cm · Edition 8/20
Page 112
Gangway, 2001
mounted on Diasec · 225 x 180 cm ·
Edition 3/6
Page 109
Rineke Dijkstra
1959, Sittard,
The Netherlands
DeBruce, 1999
Lambda Process) on Fuji Crystal
Archive paper mounted on Plexiglas ·
Page 112
Head #5, 2000
Lambda Process) on Fuji Crystal
Archive paper mounted on Plexiglas ·
122 x 153 cm · Edition 10/10
Page 111
Vila Franca, Portugal, May 8,
1994 B, 1994
90 x 72.5 cm · Edition 3/6
Page 114
382
Willie Doherty
1954, Derry, Northern Ireland
Grey Day I, 2007
Gelatin silver print mounted
on aluminium · 101.5 x 87 cm ·
Edition 2/3
Page 117
Rineke Dijkstra
Montemor, Portugal, May 1,
1994 C, 1994
92 x 74.5 cm · Edition 3/6
Page 115
Grey Day IV, 2007
Edition 2/3
Page 117
Grey Day VIII, 2007
Edition 1/3
Page 118
Grey Day X, 2007
Edition 1/3
Page 118
La Casa de la Moneda/Concert Hall,
Habana Vieja, 2004
122 x 139 x 6 cm · Edition 2/7
Page 121
Las Siervas de Nuestro Señor Convent
Chapel/Manuel Bisbe Secondary
School Library, Miramar, 2004
126 x 142 cm · Edition 3/7
Page 120
Stan Douglas
1960, Vancouver, Canada
Grey Day III, 2007
Edition 2/3
Page 117
383
António Júlio Duarte
Shanghai #483, from the series
We can’t go home again, 2002
Pingyao #18, from the series
Edition 1/5
Pingyao #58, from the series
Edition 1/5
Dust Bells 2 – Record Album
in Rear Window, 1965-75
Dye Transfer Print · 72.5 x 55.5 cm ·
Edition 3/15
Page 123
Dust Bells 2 – Woman Walking
on Sidewalk, 1965-75
Dye Transfer Print · 72.5 x 55.5 cm ·
Edition 3/15
Page 123
Dust Bells 2 – Light Bulb on Plywood
Ceiling, 1965-75
Dye Transfer Print · 56.5 x 70 cm ·
Edition 3/15
Page 124
Dust Bells 2 – Car and Bicycles
in Garage, 1965-75
Edition 3/15
Page 124
Dust Bells 2 – Child on Bureau,
1965-75
Edition 3/15
Page 125
Dust Bells 2 – Torch Café Billboard,
1965-75
Edition 3/15
Page 125
William Eggleston
1939, Memphis,
Tennessee, USA
Dust Bells 2 – Couple in Red Car
at Drive-in Restaurant, 1965-75
Edition 3/15
Page 124
384
Olafur Eliasson
1967, Copenhagen, Denmark
Série Islandserie, # 19, 2003
William Eggleston
Dust Bells 2 – Brown House
in Sunshine, 1965-75
Edition 3/15
Page 125
Dust Bells 2 – Poster in Hallway,
1965-75
Edition 3/15
Page 125
Chromogenic Process (C-Print) · 60 x
90 cm · Unique print
Amos Coal Power Plant, Poca,
West Virginia, 2004
114 x 147 cm · Edition 4/6
Page 129
Palm Springs, California, 2006
114 x 147 cm · Edition 1/6
Page 129
Mitch Epstein
1952, Holyoke,
Massachusetts, USA
the hekla twilight series, 2006
20 x (30 x 40 cm); 145 x 240 cm (total) ·
Edition 2/6
[detail]
Page 127
385
Luis Espinheira
1979, Oporto, Portugal
Light Emotion #2, 2003
Edition 1/3
Elger Esser
1967, Stuttgart, Germany
Short Message #1, 2004
Unique print
Hans-Peter Feldman
1941, Dusseldorf, Germany
Two Little Girls, 2004
Manipulated print · 41 x 27 cm ·
Unique print
Page 133
Baie de la Somme, France, 2005
mounted on Diasec · 181 x 242 cm ·
Edition 3/7
Page 131
João Paulo Feliciano
1963, Caldas da Rainha,
Portugal
Infinity-Fractality, 1990
(Photograph) and 2005 (Sculpture)
Inkjet print, creased, cardboard
and aluminium · 40 x 25 x 20 cm ·
Unique print
Flow Motion Originals, 2004
Inkjet print · 125 x 250 cm ·
Unique print
Page 135
Sliced Slit Bits, 2005
Inkjet prints · 194.7 x 126 cm ·
Unique print
386
Claudia Fischer
1969, Jena, Germany
Crisálida #6, 2000
Transparency by chromogenic
process mounted in lightbox ·
Roland Fischer
1958, Saarbrücken, Germany
Crisálida #18, 2000
process mounted in lightbox ·
Peter Fischli and David Weiss
1952, Zürich, Switzerland /
1946, Zürich, Switzerland
Untitled (Summer), 1997-1998
Inkjet prints · 5 x (74 x 107 cm) ·
Edition 7/9
[detail]
Pages 137-139
F 11, 2004
mounted on Dibond and Plexiglas ·
5 x (50 x 35 cm) · Edition 7/11
Robert Frank
1924, Zürich, Switzerland
N.Y.C., 1949
Page 141
My Father’s Coat, New York City, 2001
Inkjet prints · 20.16 x 40.96 cm
Page 141
387
Anna Gaskell
1969, Des Moines, Iowa, USA
Pablo Genovés
1959, Madrid, Spain
Mark xII, 2001
Edition 2/3
Untitled #100 (A Short Story
of Happenstance), 2003
181.6 x 256.5 cm · Edition 2/3
Page 143
Gilbert & George
Gilbert Prousch, 1943,
San Martino, Italy /
George Passmore, 1942,
Devon, Great Britain
Devout, 2004
Mixed media · 189 x 300 cm ·
Unique print
Page 145
Tienes tiempo, 2002
Edition 3/3
Nan Goldin
1953, Washington, DC, USA
Mysty in Sheridan Square, NYC,
1991
76.2 x 101.6 cm · Edition 19/25
Page 149
Jimmy Paulette on David’s Bike,
NYC, 1991
44 x 64 cm · Edition 12/25
Page 148
Bruno smiling at Valérie
out of the shadow, Paris, 2001
101.5 x 70 cm · Edition 3/5
Page 147
388
Pierre Gonnord
1963, Cholet, France
Akinori, 2003
Diasec · 100 x 100 cm · Edition 1/3
Page 151
Eva, 2003
Diasec · 100 x 100 cm · Edition 2/3
Page 151
Black Spot, 2000
103.5 x 103.5 x 7.5 cm · Edition 3/13
Never, Never (Black, Negative,
Mirrored), 2000
Page 153
Douglas Gordon
1966, Glasgow, Scotland
Margarida Gouveia
1977, Torres Vedras, Portugal
Self Portrait You+Me
(Jayne Mansfield), 2006
Chromogenic Process (C-Print),
burnt · 90.5 x 80.5 cm · Unique print
Page 153
Dan Graham
1942, Urbana, Illinois, USA
Untitled, 2004
120 x 140 cm · Edition of 3 + AP
Page 155
Above: Tourist-bus Portugal, 1980
Below: New Highway Restaurant in
New Housing Development, Jersey
City, N.Y., 1967
Page 158
389
Rodney Graham
1949, Abbotsford, British
Columbia, Canada
Battery Park – 2 Way Mirror Office
Building, New York, N.Y., 1991
Page 157
Old Growth Cedar (#2),
Seymour Reservoir, 2002
Edition 3/4
Page 160
High Rise Apartment, 1996
Page 157
Aneta Grzeszykowska
and Jan Smaga
1974, Warsaw, Poland /
1974, Warsaw, Poland
Paradoxical Western Scene, 2006
process, mounted in lightbox ·
147.3 x 121.9 x 17.8 cm · Edition 3/5
Page 161
Water Objects, 2005
Lambda Process) · 172.72 x 119.38 x
11.43 cm · 50.8 x 119.38 x 20.32 cm ·
Plan Composition #7,
Plac Inwalidow 20/6, 2006
aluminium · 154.94 x 210.82 cm ·
Edition 5/7
Conversations avec Narcisse X, 1989
Unique print
Auto-Retrato Narcisse X, 1993
Gelatin silver print · 33.5 x 81.2 cm ·
Unique print
Jorge Guerra
Homenagem a Luís Buñuel, 1989
Polaroid print · 26.5 x 27.5 cm ·
Unique print
390
Ramiro Guerreiro
Ensaios para Entalados (1A), 2004
50 x 75 cm · Edition 1/3 + AP
Ensaios para Entalados (1B), 2004
Acção sem título/
A pessoa-pano-do-pó (1), 2005
Schnorchler, Rias Bajas, 1988
Page 163
Dior Homme, 2004
187 x 371.3 cm · Edition 6/6
Pages 164-165
João Maria Gusmão
and Pedro Paiva
1979, Lisbon, Portugal /
Daniel Gustav Cramer
1975, Neuss, Germany
Jorge Guerra
Mãos e Caixas, 2006
Inkjet print · 16 x 68.5 cm ·
Unique print
Andreas Gursky
1955, Leipzig, Germany
Homem Magnético, 2004
Edition 2/3 + 1 AP
Page 167
Untitled (mountain) #3, 2006
Page 169
391
Mona Hatoum
1952, Beirut, Lebanon
Untitled (woodland) #43, 2005
Page 169
Static Portraits (Galen), 2000
Polaroid print · 72 x 56 cm ·
Unique print
Page 171
Static Portraits (Lisa), 2000
Unique print
Page 171
Untitled, 2005/2006
135 x 183 cm · Edition 2/5
Untitled, 2005/2006
135 x 183 cm · Edition 2/5
Untitled (Low Self-Esteem), 2003
LightJet) · 152.40 x 121.92 cm ·
Edition of 2/5
Untitled (Periodic Table), 2006
Digital Chromogenic Print
(Process LightJet) · 60.96 x 76.2 cm ·
Edition of 6/10
Bill Henson
1955, Melbourne, Australia
Static Portraits (Karl), 2000
Unique print
Page 171
Sarah Hobbs
1970, Lynchburg,
Virginia, USA
Untitled (Social Phobia), 2000
LightJet) · 152.40 x 121.92 cm ·
Edition of 2/5
392
Candida Höfer
1944, Eberswalde, Germany
Rijksmuseum Amsterdam II, 2003
185 x 152 cm · Edition 5/6
Page 173
Mosteiro da Batalha I, 2006
250 x 200 cm · Edition 1/3 AP + 6
Palácio Nacional
da Ajuda Lisboa VIII, 2006
200 x 258 cm · Edition 1/3 AP + 6
Page 174
Roni Horn
1955, New York, USA
Biblioteca do Palácio Nacional
de Mafra III, 2006
152 x 171 cm · Edition 1/3 AP + 6
Page 174
Untitled (Fox), 1998
Inkjet prints (Iris Process) · 2 x (78 x
78.5 cm) · AP / Edition of 12 + AP
Page 177
Biblioteca Geral da Universidade
de Coimbra III, 2006
260 x 200 cm · Edition 1/3 AP + 6
Page 175
Sabine Hornig
1964, Pforzheim, Germany
Clowd and Cloun (Blue) Group 2,
2000-2001
3 x (68.58 x 88.9 cm); 3 x (68.58 x
68.58 cm) · Edition 4/4
Pages 178-179
Weiber Vorhang III, 2006
Chromogenic Process (C-Print),
mounted on Plexiglas · 150 x 181 cm ·
Edition 6/6
Page 181

Four Horsemen of the Apocalypse (12)

Transcription

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