AGENDA DOS SENTIDOS: Fotografia

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TODOS - Caminhada de Culturas no Martim Moniz (Lisboa)

Mais do que um Festival, que promete cruzar fotografia, música, cinema, dança, gastronomia e muito mais.
TODOS será uma grande Festa que, ao longo de quatro dias, irá dar voz às diversas culturas que habitam Lisboa ou por aqui passam.

De fotografia podemos destacar os fotógrafos:
Georges Dussaud, Luís Pavão, Luisa Ferreira, Camilla Watson e Carlos Morgalho

Martim Moniz
dias 10,11,12 e 13 Setembro

info: www.todoscaminhadadeculturas.blogspot.com

La Allambra

Espanha - Granada - La Allambra.

Foto: http://www.alhambra-patronato.es/

"A primeira fotografia conseguida no mundo"

Fotografia = Desenhar com a luz

"A primeira fotografia conseguida no mundo foi tirada no ver... Ler maisão de 1826 na França, da janela da casa de Joseph Niépce, encontra-se preservada até hoje. Demorou 8 horas de exposição à luz solar em ambos os lados do edifício. No lado esquerdo da imagem é um sotão da casa da família de Niépce. No centro da imagem fica o telhado do celeiro. O edifício longo atrás dele é a casa de cozimento, com chaminé. No lado direito da imagem é uma outra parte da casa. Niepce chamou seu trabalho de “heliograph” em tributo ao poder do sol." - Miguel Portas, in Facebook.

A sensação maravilhosa do mergulho....

Aqui ficam duas fotos de dois "ursinhos" no seu magnífico mergulho!!
A foto de cima é de Randy Olson e é a foto do mês do National Geographic.
A de baixo, confesso que não sei. (Que me perdoem no mundo da fotografia e dos direitos de autor.....)
Mas não resisti a mostrar estas duas fotos, aqui e agora, neste verão em que só a palavra "mergulho" nos faz sentir melhor..... ;-)))
glu, glu, glu,.........aaaaaaaahhhhhhhhhh! ;-))

1989-2009: Turbulent World - Telling Time

© Erbossyn Meldibekov/ Nurbossyn Oris (Kazakhstan)

Contemporary Photography and Video Works from Russia, Ukraine, Belarus, Georgia, Kazakhstan, Kyrgyzstan, Uzbekistan and Germany

Location: Akademie der Künste, Hanseatenweg 10, Berlin

11 July - 13 September 2009

Opening: Friday 10 July 6pm

1989-2009: Turbulent World - Telling Time

An exhibition of the Goethe-Institutes of Eastern Europe / Central Asia.
Created in cooperation with the Akademie der Künste

After its launch in Berlin, the Goethe-Institute exhibition will travel to Moscow, Minsk, Kiev, Tbilisi, Tashkent, Almaty, Bishkek, St. Petersburg, Novosibirsk and other cities.

Head curator: Dr. Jule Reuter (Berlin) in cooperation with local curators in participating countries

The exhibition, "Turbulent World - Telling Time", looks at the far-reaching processes of change symbolized by the fall of the Berlin Wall in 1989, through the eyes of artists from the former Soviet Union. It focuses on an artistic reflection on this "turbulent" period, and is to be viewed as an empirical approach to a complex theme.

Developed by Jule Reuter together with local curators, the exhibition presents 16 photographic and video positions: diverse reflections on processes and experiences of change in seven former Soviet states (today counted as part of Eastern Europe, Central Asia and the Caucasus) and in Germany. Four important themes come to the fore: family, identity, urban change and politics.

The central theme of family is exemplified in the documentary photographic series of Irina Abzhandadze and Christian Borchert. Other artists (Erbossyn Meldibekov/ Nurbossyn Oris, Vladimir Kupriyanov, Igor Savchenko) use photographs from old family albums as a point of departure for their artistic work. Using the biographies of their parents' generation, these artists raise questions about the time, place and style of photography, and prompt reflection about the role of this medium in both private and public contexts.

Confrontations with personal histories also raise the issue of personal identity. In this case, "telling" means recounting one's own story - and the artists Tina Bara/Alba D'Urbano and Oksana Shatalova achieve this goal in very different ways. The artistic self-portraits by Alevtina Kakhidze and Talgat Asyrankulov present powerful images of a hybrid, post-Soviet identity.

Another group of photographic works (Shailo Djekshenbaev, Oksana Shatalova, Viktor Marushchenko, Viktor An) deals with urban change and the affects on society of declining production and shrinking cities. While Marushchenko documents the degrading working conditions in the illegal mines of Ukraine, Viktor An's 1989 photographs of the ecological catastrophe in the Aral Sea reiterate the origin of some of these problems.

Two large-format video works by Olga Chernysheva and Koka Ramishvili shed light on the political sphere and its rituals. By coincidence, these works come from exactly those two countries in the region that faced off militarily in 2008 over a conflict of interest.

With all these elements, this exhibition takes a special approach to the often painful and troubling experiences of this period, presenting many impressive artistic contributions that confront and reflect upon turbulent times.

The exhibition includes about 200 photographic works and five video works.

Participating artists:
Irina Abzhandadze (Georgia), Viktor An (Uzbekistan), Talgat Asyrankulov (Kyrgyzstan), Tina Bara/Alba D'Urbano (Germany, Italy), Christian Borchert (Germany), Olga Chernysheva (Russia), Shailo Djekshenbaev (Kyrgyzstan), Alevtina Kakhidze (Ukraine), Vladimir Kupriyanov (Russia), Viktor Marushchenko (Ukraine), Erbossyn Meldibekov/ Nurbossyn Oris (Kazakhstan), Koka Ramishvili (Georgia), Igor Savchenko (Belarus), Oksana Shatalova (Kazakhstan)

Catalogue:
A tri-lingual catalogue (German, Russian and English) contains brief texts by the curators on works from their countries, as well as introductory essays by historian and Slavist Barbara Christophe and head curator Jule Reuter.

OLD, MODERN AND CONTEMPORARY PHOTOGRAPHS

WEDNESDAY JULY, 1st 2009 14.00 pm

ADER Auction House at
HÔTEL DROUOT RICHELIEU - SALLE 2
9, rue Drouot - 75009 Paris

Online catalogue : www.ader-paris.fr

Specialist : M. Antoine ROMAND | Tél. : +33 (0)6 07 14 40 49 | Mail : aromand@gmail.com

Hippolyte Arnoux & Justin Kozlowski
Suez Canal album, 1 & 2. Port Saïd. Construction. Workers. Inauguration. 1859-1869.

OLD PHOTOGRAPHS BY
Baldus, Braun & Dornack, Walery, Atget, Nadar, Plüschow, Gloeden, Piot, Cuccioni, Sommer, Rhomaïdes, Green, Arnoux, Kozlowski, Beato, Bonfils, Zangaki, Lehnert & Landrock, Gastaldy, Anceau de Meherent.

PARIS - REGIONALISM - PORTRAITS - NUDE - 1st WORLD WAR (1914-1918) - MEDICINE
TRAVEL PHOTOGRAPHS
Italy, Greece, Norway, Maghreb, Middle East, Asia (India, China, Japan)
Rare album about the Suez Canal construction - World Tour on board of L'Iphigénie, c.1900. - (Europe, Middle East, Senegal, Caribbean, Madagascar, Mayotte, Maghreb, Zanzibar, Reunion Island, China) - Latin America (Chile, Argentina, Brazil) - North America

Man Ray (Emmanuel Radnisky) (1890-1976)
Hanina II, 1956.

MODERN & CONTEMPORARY PHOTOGRAPHS BY
Albin-Guillot - Apesteguy - Argillet - Asano - Auradon - Batho - Bauret - Beaton - Bellon - Bert Stern - Bosser - Boltanski - Boubat - Boucher - Bovis - Brassaï - Cartier-Bresson - Castex - Chazal - Clergue - Colomb - Desrue - Doisneau - Dritkol - Dubrunfaut - Ehrmann - Feher - M. Franck - Gassian - Gaumy - Giniès - Hamilton - Hausmann - Ionesco - Jonvelle - Kertész - Kollar - Korczowski - Korda - Lebée - Liberman - Hajek Halke - Man Ray - Monier - Mapplethorpe - Martin - Mc Bride - Molinier - Morath - Nogues - Oleg Kulik - Parr - Peccoux - Quinn - René-Jacques - Riboud - Robin - Ronis - Ropp - Roth - Salgado - Shinoyama - Sieff - Sougez - Stettner - Strömholm - Saudek - Tahara - Tikhomiroff - Villers - Verger - Voinquel - Weiss

TRAVEL PHOTOGRAPHS
Myanmar, Bangladesh, Ethiopia, Spain, Senegal
AVANT-GARDE - CINEMA - FASHION - NUDE - EROTICISM - PARIS - HUNGARY - USA (NEW YORK CITY) - MOUTAINS - BULLFIGHTING - DANCE - PHOTOJOURNALISM - HUMANISM
ARTIST AND CELEBRITY PORTRAITS
Picasso - Maillol - Derain - Ernst - Giacometti - Vasarely - Lanskoy - Van Velde - De Staël Cocteau - Tzara - Bellmer - Breton - Dali - Alechinsky - Bacon - Haring - Hockney - Marilyn Monroe - Delon - Gabin - Piaf - Barbara - Gainsbourg - Birkin - Deneuve - Marceau - The Rolling Stones - John Lee Hooker

Rockfeller Center construction. New York City. Manhattan, 1929-1940.

Exhibition of the main items on RDV at the auction house.

Public exhibition salle 2
Tuesday June 30th from 11.00 am to 06.00 pm - Wednesday July 1st from 11.00 am to 12.00

Phone during the exhibition : + 33 (0)1 48 00 20 02
Online catalogue : www.ader-paris.fr

Specialist :

Mr Antoine ROMAND
3, rue Crespin du Gast - 75011 Paris
Phone : 06 07 14 40 49 - aromand@gmail.com

NASA. Apollo XVI. John YOUNG. 1972.

ADER Auction House
8, rue St Marc 75002 PARIS
Phone : + 33 (0) 1 53 40 77 10 / Fax : + 33 (0) 1 53 40 77 20
Mail : contact@ader-paris.fr
Web : www.ader-paris.fr

Malick Sidibé - Fotografia

Malick Sidibé

Winner of the Hasselblad prize 2003, the Golden Lion at the Venice Biennale 2007
ICP Infinity award 2008, and Baume & Mercier award at Photo Espagna 2009.

Exhibition until 31 July 2009

HackelBury Fine Art Ltd.
4 Launceston Place, London W8 5RL
Tel +44 (0)20 7937 8688
Fax +44 (0)20 7937 8868
reception@hackelbury.co.uk
www.hackelbury.co.uk
Tues-Sat 10am - 5pm

Malick Sidibé was born around 1935, in a small village in Mali. Because of his talent for drawing, he was encouraged by his school tutors to enlist in the school of Sudanese Craftsmen in Bamako where he studied jewellery and graduated in 1955. This is where he met Gerard Guillat, who was looking for a student to decorate his "Photo Service" shop and studio. He chose Malick for the job and when it was finished he asked him to stay as his apprentice.

Malick bought his first camera in 1956, and in 1958 he opened his own studio in Bagadadji, in the heart of Bamako, where he still works today. Like Seydou Keïta before him, Malick Sidibé started with studio portraits. But unlike his predecessor he soon became a street photographer and the only young reporter in Bamako at that time.

In the 60's and 70's Malick worked mainly with the burgeoning club scene of the young folk of Bamako. Clubs with glamorous names like "Les Cyclones", "Les Monkees" or "Les Chats Sauvages" were constantly sprouting up and were all the rage. Surprise parties in the evenings, river Niger on hot Sundays, football championships, boxing matches, and all sorts of events that Malick illustrated with moving photographs, lively snapshots, and leisure poses. Malick's photography studio itself became a hip hangout for Bamako's youth. Being a real inside-scenester, Malick was entrusted by his clients to photograph them at all times.

Malick Sidibé's pictures reflect the convivial and carefree atmosphere of a post-colonial African capital. But beyond that they are simple, spontaneous, yet extremely beautiful images, illustrating moments of truth and complicity. They reveal Malick Sidibé's love of people and his passion for photography and allow us to witness another face of Africa. Recent exhibitions of Malick Sidibé's work include the Deitch Projects, New York and the Museum of Contemporary Art, Chicago both in 1999. A vintage show at the Jack Shainman Gallery, New York, as well as the "You look beautiful like that" show at the Hammer Museum, UCLA, Los Angeles and at the Fogg Museum, Harvard University; all in 2002.

There was a major retrospective of his work at the National Portrait Gallery, London, alongside fellow Mali photographer Seydou Keïta, in 2003. This was also the year that Malick was awarded the prestigious Hasselblad Prize. Since then he has continued to be exhibited and added to public and private collections worldwide, and in 2007 became the first photographer to be awarded the Lion d'Or for Lifetime Achievement at the Venice Biennale.

Olaf Martens - Fotografia

Hochhausfassade am Thälmannplatz, Halle 1986 © Olaf Martens

Sabine I, Nordhausen, 1983 © Olaf Martens

Weimar 1986 © Olaf Martens

Olaf Martens Blockschokolade GDR 1979-1989

26^th June - 3^rd October 2009

Opening: Thursday June 26^th 6:30pm.

The artist will give an introduction to his work from 7-7:30pm

Galerie f5,6
Nicole Stanner
Ludwigstr. 7 (Odeonsplatz) . 80539 München
Tel: +49 (0)89 28 67 51 67
Fax: +49 (0)89 28 67 52 83
info@f56.net
www.f56.net

"Olaf Martens has been sighting his archive for some time now. True treasures have come to light. Nobody has photographed everyday-life in the DDR quite as unvarnished as him. Martens mastered Street Photography of the East at a time when he couldn't have even known the term existed Olaf Martens does what one is not supposed to.

" Hans Eberhard Hess Photo International

Gallery f5.6, Munich, is very proud to present for the first time ever, Olaf Martens DDR (Deutsche Demokratische Republik) works from 1979-1989. This represents the 10-year time span prior to unification of the two German states. In the last months Olaf Martens has been going through his archive for the first time in 20 years. The result is an extensive but very personal view of the DDR, not seen before. At the same time these early works shed a completely new light on - and root his more well known later and recent staged works in a very different manner.

Olaf Martens was a member of the so-called Thomas Mann Club in Nordhausen before attending East Germany's elite art school, the Hochschule für Graphik und Buchkunst in Leipzig, from 1985-1992. His fellow students at this time were Rosa Loy, Neo Rauch, Matthias Hoch or Hans Christian Schink to name but a few. It is important to contextualise how art and in particular photography was practised in the DDR. In the West, due to complete freedom of press, art and image culture was a completely normal part of every-day life. In the East, however, images could only exist within the boundaries of total state control. Contemporary art and media culture from the west were hardly to be seen in Eastern Germany. Within photography, landscape and portraits were allowed. Reportage and documentary photography, under the heading of socially engaged photography, was also encouraged and interestingly, nude photography was not taboo. In all these categories, one could of course only photograph what the state wanted to have depicted. Olaf Martens photographed in all of the encouraged categories and always carefully extended over the allowed boundaries pursuing his personal vision. He obsessively photographed street and architectural city scenes, landscapes, children, teenagers, parties of all kinds, old people in their surroundings, friends and family and shop windows. Like Ed van der Elsken, Diane Arbus or Lee Friedlander, Olaf Marten's work is never just part of the documentary tradition, they always are ironic and play with the absurdity of human existence, especially when living in a totalitarian state, where this very easily becomes one of the only forms of expression, in order to criticise. Early on in his career Martens looked for private locations to experiment with his pictorial ideas that were not possible with his daily photographic hunt on the street. By using nude photography, which was allowed, Martens used this category, kind of like a walking stick. He started meshing this more and more with all other categories that were allowed. His pictorial language ever more clearly started pointing to ruptures and his personal situation of having to work within a totalitarian state, yet always within the given boundaries. Whenever he crossed the border - the Volkspolizei would suddenly appear out of nowhere and confiscate his films. The STASI (Staatssicherheit - East Germany's organised control arm) was thus a steady presence in Olaf Marten's life. Often they are also part of his images, whether by accident or deliberately. In an image of a gathering of youths in Nordhausen in 1983 two men stick out of the masses of young people like two sore thumbs - two STASI associates.

Olaf Martens only now, almost 20 years later, felt able to go back through his archive of his early career. Together we have selected over 70 images to show Marten's personal picture of the DDR and also to gain a deeper insight into the roots of his work today. Olaf Martens has always been unique - overflowing with humour, energy and above all endless creativity.

Olaf Martens was quickly celebrated in the early nineties as one of the upcoming East German photographers with publications in Stern, FAZ Magazine and so forth. Today his work is found more within the International art world. Since the end of the nineties his work has been shown in numerous solo and group shows like the Leopold Museum Wien, Grassi Museum, Leipzig, Kunstmuseum Bonn, Kunstforum Halle, Fotomuseum Wintherthur, Deichtorhallen, Hamburg.

Arte Tribo OMO, Etiópia - Fotografia de Helmut Lotti

(Agradeço à Carmo o envio destas fotos em versão "power point".)

Paolo Roversi - Fotografia

Paolo Roversi

Juni 13 - July 25, 2009

CAMERA WORK Gallery
Contemporary Photography and Vintage Masterworks
Kantstraße 149 . 10623 Berlin
Tel: +49 30 31 00 77 - 3 | Fax: +49 30 31 00 77 - 50
info@camerawork.de | www.camerawork.de
Opening Hours: Tue-Sat 11:00 a.m. - 6:00 p.m.

"From June 13 to July 25, 2009, CAMERA WORK will exhibit the works of fashion photographer Paolo Roversi in its gallery showrooms.

For over 35 years, Paolo Roversi, born in Ravenna, Italy, in 1947, has been working and living in Paris. The exhibition of around 50 photographs will show, beyond the series Guinivere and Nudi, pictures of the studio of the artist in Paris, portraits, as well as works of his lightpaintings. Owing to the well-balanced quality of colors and the clear composition of the photographs of the artist as well as the particular charm and grace of his models, the observer of these photographs is often tempted to study them more as paintings. This effect is also a result of the technique of the artist.

Since 1980 Roversi takes pictures with a 8x10 inch polaroid camera. The prints obtain their distinctive appearance through faded shades of skin color, as can, for example, be seen in the series Guinivere. Over the period of twelve years Roversi accompanied his muse of the same name with the camera in this long-term study. As a result, a mixture of abstract forms of graphic character and very intimate studies was generated. Whether the model is dressed or naked the photographs of Guinivere are unconventional and often provocative portraits.

The series Nudi is marked by a clear composition. The observer sees naked women in full-length portraits which seem to transparently merge into the white picture background. The ladies displayed in the exhibition are top models such as Kate Moss and Tatjana Patiz. This is not the primary interest of the artist. In the book Nudi, the models are simply called by their first name, and they are photographed entirely without requisites or clothing. Thus Roversi maintains the anonymity of the displayed and shows us delicate, in their purity almost heaven-like creatures and not the stars of the fashion scene.

Roversi's photographs are full of poetry and reflect, in all its facets, the beauty of the female body. The photographs show the artist's ability not to lapse into superficial aestheticism but to always bestow upon his pictures a subtle aura of the enigmatic and mysterious. Particularly his technique of lightpainting, for which he illuminates the model which is standing in the dark and thus in a way traces it, makes Roversi a traveler between the worlds of photography and painting in the true tradition of the pioneers of artistic photography - the pictorialists. Around the year 1900 artists such as Alvin Langdon Coburn and Edward Steichen began to give photography a pictorial character by using soft-focus, special printing techniques, and complex light installations.

Paolo Roversi's works have been published in various monographs, among them the lavishly arranged books Nudi (edition Stromboli, Paris: 1999), Libretto (Steidl, Göttingen:2000), and Studio (Steidl, Göttingen and edition Stromboli, Paris:2002). Paolo Roversi was the photographer for campaigns such as Cerruti, Comme des Garçons, Christian Dior, Yves Saint-Laurent, Valentino, as well as editorials for magazines such as Arena, Harper's Bazaar, I-D, Interview, Marie-Claire, The New York Times Magazine, Italian and British Vogue, L'Uomo Vogue, and W. "

CAMERA WORK Gallery

GG - Diva Para Sempre

Walker Evans - Fotografia

Walker Evans
Alabama Tenant Farmer, 1936
Vintage gelatin silver print
18 x 20.7 cm
Private collection
© Walker Evans Archive,
The Metropolitan Museum of Art

Walker Evans
West Virginia Living Room, 1935
Gelatin silver print. Printed c. 1940
19.3 x 24.2 cm
Private collection
© Walker Evans Archive,
The Metropolitan Museum of Art

Walker Evans
[Subway Passengers, New York], 1938
Vintage gelatin silver print
11.8 x 16.6 cm
Private collection
© Walker Evans Archive, The Metropolitan Museum of Art

Walker Evans

30 May - 23 August 2009

FOTOMUSEUM WINTERTHUR
Grüzenstrasse 44+45 , CH-8400 Winterthur (Zurich)
Tel: +41 52 234 10 60
Fax: +41 52 233 60 97
fotomuseum@fotomuseum.ch
www.fotomuseum.ch
Tues-Sun 11 am to 6 pm, Wed 11 am to 8 pm

With this major retrospective of the work of Walker Evans (1903-1975) Fotomuseum Winterthur pays homage to one of the twentieth century's most influential photographers. His insightful and detailed portrayals of American life, especially his images of rural poverty during the Great Depression, made photographic history and went on to influence countless photographers.

Walker Evans was extraordinarily innovative in his approach, capturing the very essence of the "American way of life". The 130 works in this retrospective exhibition, most of them from a private collection in San Francisco, represent every phase of his career: his early street photographs of the 1920s, his poignant documentation of 1930s America and pre-revolutionary Cuba, his landscapes and architectural photography, his subway portraits, storefronts, signage, and more besides.

The modernity of Walker Evans' photography lies primarily in the fact that, as early as the 1920s-1930s, he liberated the medium from all the prevailing conventions of art and style, and took a direct and candid approach to reality. Whatever he captured with his camera was henceforth to be seen as a photographed subject and not as the subject of photography. His work addressed several crucial aspects of photography: the arbitrariness of chance as a creative principle; a critical awareness of photography as a mass medium; the serial nature of the photographic process; the ambiguity of photography between documentation and art; photographic anonymity as emancipation from subjective aesthetics. These innovative approaches to the understanding and use of photography were seminal to the art of the 1960s and 70s (Pop Art, Ed Ruscha, Andy Warhol, Robert Frank, Lee Friedlander and Lewis Baltz).

The exhibition has been organized by Fundación MAPFRE in Madrid. The curator is Jeff L. Rosenheim (curator at the Metropolitan Museum of Art in New York), in collaboration with Carlos Gollonet. The curator is Urs Stahel, Director of Fotomuseum Winterthur.

"Imagens proibidas" (Forbidden Images)

Todas estas imagens foram encontradas numa bobine de 35mm em nitrato de prata, algures num velho teatro na Pensilvânia.

CLOSE - KAHMANN GALLERY - Amsterdam

Barry Kornbluh (USA 1952)

Maura Sullivan (USA 1973)

Tessa Posthuma de Boer (The Netherlands 1968)

Tiane Doan Na Champassak (France 1973)

CLOSE

Maura Sullivan | Barry Kornbluh |
Tiane Doan na Champassak | Tessa Posthuma de Boer

5 June - 20 August 2009

KAHMANN Gallery former HUP Gallery
Tesselschadestraat 15, 1054 ET Amsterdam
The Netherlands
+31 (0)20 5158589
info@kahmanngallery.com
www.kahmanngallery.com
Opening hours: Tues, Thu, Fri 10-17 + Every first Sunday of the month + by appt.

In the group show 'CLOSE' Kahmann Gallery presents work of four pronounced and distinctive photographers. The common denominator is a kind of intimacy, all photographers stay close to themselves. They leave little space between elements or parts. All in their own remarkable way.

Maura Sullivan (USA 1973) is intrigued by what is taking place behind the scenes, underneath the skin. Her images are like the torn out pages of a made up book. Sullivan explores the feelings we all share about fear, love and a time lost. Her cinematic work makes us curious. There is an intriguing tension in all of her work.

The subjects portrayed by Barry Kornbluh (USA 1952) can always be found in his immediate vicinity. His deep black and coarse grain puts the focus of his work to the content, the feeling. Technique is subordinate, emotion is what his work is about. His style is marked by both intimacy and mystery. Kornbluh is insprired by Japanese photographers like Daido Moriyama.

Tiane Doan Na Champassak (France 1973) explores many aspects of human creativity. Central in his work is the complex human being. Tiane's fascination for real craftmanship brings him to an endless search for exceptional, nearly antique photo paper. This paper is of such great value that it's a museum piece on its own. In this exhibition we will therefore show a selection of work on both the old and new paper.

According to Tessa Posthuma de Boer (The Netherlands 1968) life contains unmistakably a mixture of desire, distress and human imperfection. Her poetic work is poised on the borderline between portraiture, performance photography and art. Her work is obviously staged but never theatrical. The timeless images portray moments that never end. With tense melancholy yet sometimes quite humorous at the same time.

There is a special limited edition available from every photographer for a very interesting price, varying from €350,- until € 500,-

Michel Comte Retrospective

Helena Christensen #2, Italian Vogue 1993
Silver Gelatin Print
50x50 cm
Edition of 20

Jeremy Irons Interview, 1990
Silver Gelatin Print
50x50 cm
Edition of 20

Catherine Deneuve Pomellato, 1996
Silver Gelatin Print
50x50 cm
Edition of 20

Yves Saint Laurent W Magazine, 1992
Silver Gelatin Print
50x50 cm
Edition of 20

Michel Comte Retrospective

29^th May - 1^st August 2009

Opening reception: Thursday 28^th May 2009, 7pm

75b, ave. Louise - 1050 Brussels
(Place Wiltcher's - Conrad Hotel)
Tel.: +32(0)2 3740704
Fax +32(0)2 3740201
Email: contact@younggalleryphoto.com
Website: www.younggalleryphoto.com
Hours: 11 am - 6:30 pm Tuesday to Saturday

Michel Comte, born in 1954 in Zürich and a great photographer, easily fits in the category of photography greats such as Peter Lindbergh and Mario Testino.

He was given his first advertising assignment in 1979. Since then he has been one of the most requested photographers in the industry and has worked on the campaigns of prestigious brands such as Armani, Dolce & Gabbana, Nike, Lancôme and Revlon.

Today he continues to be one of the most influential fashion photographers worldwide. He has also portrayed several prominent figures for magazines such as Vogue and Vanity Fair.

The most beautiful women have no qualms about revealing themselves in front of his camera, while the same also applies to film stars, top models and top athletes. Last year, an admirer paid 91,000 euros at Christie's for a photo of Carla Bruni posing nude.

Comte has made photos for the International Red Cross Committee and has also founded the Fondation de l'Eau Michel Comte, which aims to provide access to potable water in countries where this is an extremely rare commodity.

Miles Aldridge - Fotografia

Excerto da Colecção "The Cabinet"

Excerto da Colecção "Acid Candy"

Biography

Born in London in 1964, Miles Aldridge has published his photographs in such influential magazines as Vogue Italia, American Vogue, NumÃ©ro, The New York Times, The New Yorker, and Paradis. His work has been exhibited in numerous group shows, like at Miami Beach Art Photo Expo as a part of Art Basel Miami Beach in 2007. His solo shows "The Cabinet" (2006) and "Acid Candy" (2008) has been presented by Galerie Alex Daniels - Reflex Amsterdam. Miles Aldridge's upcoming solo shows in 2009 will be presented in May in New York at Steven Kasher Gallery, as well as in fall/winter at Galerie Alex Daniels - Reflex Amsterdam. "If the world were pretty enough, I'd shoot on location all the time," confides the photographer, who, until very recently, worked almost exclusively on elaborately constructed, meticulously lit studio sets in Europe, New York and L.A. "But the world is just not being designed with aesthetics as a priority. So I prefer to rebuild the world instead of photographing the real one. What I'm trying to do is take something from real life and reconstruct it in a cinematic way." Steidl 7L: Miles Aldridge is famous for his decadent colour-saturated fashion photography in magazines such "Pictures for Photographs" as Vogue and NumÃ©ro, but the sensual sketches that inform his photographic work are scarcely known. Pictures for Photographs addresses this descrepancy by exploring the delectable relationship between the sketches and photographs. The book opens with the manic drawings with which Aldridge fills sketchbooks in preparation for fashion shoots. Scrawled in pen or pencil, these black- and-white sketches generate ideas for potential photographs and map out series of pictures like a film storyboard. Sometimes dotted with raunchy hand-written notes such as "green/yellow bra" or "painting nipples with lipstick", Miles Aldridge's sketches are crucial to his photographs. The second half of the book presents hisphotographs, which are often as much about sex as they are about fashion. Here we experience the opulent onslaught for which Aldridge is known: a blonde woman eating lobster and caviar with an exposedbreast, an erotic couple in a darkened limousine, a school girl surrounded by her teddy beaars, and even crying Madonnas. By setting Aldridge's monotone drawings and the amplified, Pop-inspired colour of the photographs against each other, Aldridge's Pictures for Photographs offers an as yet unseen insight into imagination and working processes. David Lynch: Miles sees a color coordinated, graphically pure, hard-edged reality. Glen O'Brien: Aldridge's feverish madonna icon is both saint and sinner, her ecstasy is both religious and sexual, and how far is that from the source of myth itself, from the "reality" of St. Theresa? Marilyn Manson: There are only names like Man Ray or Breton that can serve as any measure for me to place Miles Aldridge on any artistic barometer.

in http://www.reflex-art.nl