Library Research exercise
- Noemi Filetti
- 31 ott 2017
- Tempo di lettura: 2 min
Francis Alÿs: Walking Distance from the Studio
The ephemeral--the temporary, fleeting character of life--is a central principle in the art of Francis Alÿs. He conceives his works in his own immediate surroundings--on walks through the streets of Mexico City.
Gilles Coulon: White Night
White Night was first worked on in 2000 during a journey across Niger.In the beginning, there was this one picture of a neon light in a night market in Niamey which stood out, then the fluorescent tube became an object, and the main subject for every photograph. This light – a symbol which is universal, commonplace and yet highly suggestive – became the object of an obsessive fascination. In Shanghai, Paris, Bamako, Helsinki, New York, Khabarovsk, Marseille, Cairo, Niamey, Bordeaux, Beijing and Bagnolet, these photographs invite us to imagine the atmosphere of these cities and of each spot lit place. Be it in a restaurant, in the entrance hall of a building, in the street or in an underground car park, each photograph inspires us to look at these very familiar places under a whole new light.
Nobuyoshi Araki: Subway Love
From 1963 until 1972, the young Nobuyoshi Araki obsessively photographed his fellow passengers during his daily commute on the Tokyo subway. Yawning businessmen, women dozing with their legs splayed, kids who mugged for the camera-Araki captured them all candidly on film, without using a viewfinder. Now, over thirty years later, "Subway Love" brings back to life these vital and various "prisoners" crammed into their subway cars.
Stefan Banz: I Built This Garden For Us
For years, Stefan Banz created photographs and videos about his seemingly unspectacular family life. His ambiguously charged images record his children growing up, his wife, and their petty-bourgeois environment in Lucerne, Switzerland. He claims to construct images “of those moments when coincidence and keenness of the eye coalesce to reveal the mystery of reality in its strange abundance of possible meanings.” He photographs blue-and-white plastic deck chairs and closed parasols at night, a little rag doll hanging on a brass door handle, a white fur-trimmed baby overall on white bathroom tiles, the neighbour’s little boy lying around naked on the ground, surrounded by garden hoses. These images and their peculiarly voyeuristic, yet intimate gestures discreetly point to an abyss lurking in the idyll of the family garden where the incomprehensible runs its course.
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