PARALLEL REVIEW LISBOA. THE FUTURE IS OURS – ACTION AT A DISTANCE

Exposição apresentada no Polo Cultural São Vicente, no Campo de Santa Clara, 60, em Lisboa, de 28 de novembro a 15 de dezembro de 2018.

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O PARALLEL REVIEW LISBOA apresenta pela primeira vez em conjunto todo o trabalho criado pelos artistas e curadores emergentes durante o 1.º ciclo do PARALLEL – European Photo Based Platform. As exposições serão complementadas por uma série de actividades relacionadas com a fotografia contemporânea.

A primeira edição decorrerá no Campo de Santa Clara com um núcleo central no antigo mercado de Santa Clara e actividades em locais circundantes: Palácio Sinel de Cordes (Trienal de Arquitectura) e Polo Cultural São Vicente.

Este evento pretende criar uma âncora para analisar, discutir e produzir fotografia em Lisboa, reconhecendo a importância da imagem como documento contemporâneo e promovendo o diálogo entre os seus actores: artistas/criadores, público e cidade.”,

refere a organização.

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No Polo Cultural São Vicente, no Campo de Santa Clara, 60, em Lisboa, de 28 de novembro a 15 de dezembro de 2018, são apresentadas as exposições THE FUTURE IS OURS e ACTION AT A DISTANCE.

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THE FUTURE IS OURS

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Apresenta as séries de Jacopo Tomassini , Antonina Gugala (PL), Joshua Phillips , Laura Ramo (FI), Milan Racmolnar (HU), Pedro Koch (PT), Ramona Guntert (DE). A curadoria é de Emese Mucsi.

Esta exposição foi apresentada na Landskrona Foto Festival, de 14 a 23 de setembro de 2018.

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Visions of the future by seven young European photographers from the PARALLEL Platform 1st cycle.

The Future is ours. This is a phrase which has ambivalent meanings for the emerging photographers from all over Europe who take part in this exhibition initiated by Parallel European Photography Platform at Landskrona Photo Festival.

On the one hand, the seven participating artists still remember the feelings from the 2000s when this sentence sounded so enthusiastic and emancipating to them, members of the Generation Next who were born between the 80s and the mid-90s. On the other hand, by now, in the era of the seahorse holding onto a Q-tip and the turtle deformed by a six-pack ring, its connotations became more and more depressing and gloomy. The phrase continually reminds them of their responsibilities as visual artists of capturing visions of our seemingly post-apocalyptic future.

What is the role of contemporary artists and knowledge producers in an era of crisis? Artists can combine the creative and emotionally moving power of the arts with the planning strategies of activism to bring about social change. Alternatively, they can make the viewer contemplate the possible solutions to the crisis by reminding them of the impermanence of life and inevitable death. These reminders do not activate directly and lack any form of didactics; instead, they offer a sensual influence that affects the viewer.

Contemporary vanitas snapshots; photo series based on the analysis of archival materials belonging to a historical museum; meticulously composed and captured uncanny visions of post-human body parts; seascape photo-films and conceptual photo installations based on ornamental wallpapers as photographic research projects of natural phenomena – the works on show are dynamic ‘visions-in-the-future’ grounded in a present that still has a chance, maybe the last, to alter its future to come.

Emese Mucsi

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Em todos os portfólios desta exposição, uma cadeira acolhe o catálogo aberto na entrevista com o fotógrafo correspondente.

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Pedro Koch / Epoch

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Milan Racmolnar / Substance

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Ramona Guntert / IRI- Where we stand, what we see

(exposição também apresentada em SYNTROPIC SURFACES)

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Jacopo Tomassini / Balance and shape

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Laura Ramo / Fallen matter

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Joshua Phillips / For a long time now I have fallen to sleep with the TV turned on

(exposição comum a SYNTROPIC SURFACES e ACTS OF DISAPPEARANCE)

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Antonina Gugala / Histories

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A fotografia central, mostrando uma cadeira de plástico abandonada, encontra-se em múltiplas cópias (impressão offsett), fixada superiormente em diversos pontos, que permitem que o público retire um exemplar e leve consigo.

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ACTION AT A DISTANCE

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Apresenta as séries de Emanuel Cederqvist (SE), Morten Barker (DK), Philipp Meuser (DE). A curadoria é de Gintarè Krasuckaite (LT)

Esta exposição foi apresentada no Robert Capa Contemporary Photography Center, em Budapest, de 16 de abril a 20 de maio de 2018.

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Action at a distance is a concept in physics that describes the ability of two distant poles or objects to affect each other from a distance without being in physical contact.

Such interaction between the photographer and the landscape creates the possibility of representation which – while being inevitably subjective – does not entirely diverge from the objective documentation of the site. As Lewis Baltz (1) puts it, the scenery offers an infinite opportunity for a more profound analysis as it changes according to the observer’s point of view. The works of Morten Barker, Emanuel Cederqvist, and Philipp Meuser are also more than simple landscapes.

The discovery of uncertainty and conjuncture predetermined by a site is revealed in Meuser’s series Waiting for Buyan. Buyan is a mythical island, which probably corresponds to the actual island of Rügen in Germany. It was described as the source of all kinds of weather phenomena as well as the place where the magical stone Alatyr, the center of the universe, can be found. It is surrounded by many stories but, since there is no clear evidence of the existence of Buyan, a narrative of wonder permeates.

Cederqvist’s project The Margin of Error does not focus on a given location or its physical qualities, but rather, his images can be interpreted as reflections on the visual notion gained at the Sarek National Park in Sweden. This is where the meteorologist Emanuel Hofling disappeared in 1917. Besides his images, Cederqvist also works with archival photographs taken at the end of the 19th and beginning of the 20th centuries. These images reflect the intent of an artist reconstructing his own past as he contemplates his own presence in relation to the space that changes around him.

Morten Barker’s work Hiroshima mon amour is inspired by the movie of the same name by Alain Resnais. Just like the film is a story told as a dialogue between Him and Her, the image can be observed as a visual conversation between two different landscapes – the Terrestrial (Hiroshima after the nuclear explosion) and the Lunar. Using this structure, Barker combines elements of the observed and constructed landscape to form a particular visual order.

The exhibited photography projects balance between the genres of romantic imagery and the collage of visual codes. The works are constructed as layers that lead to comprehension beyond visual perception. The act of viewing becomes active, and the visual experience gives an impulse to thinking and reflecting. (2) The landscape, which in photography can be perceived as monotonic, is opened as a multilayered space. In the exhibition Action at a Distance, the site becomes a source of research, an experience of time, and a mythological heritage; it creates an environment for the process of discovery and exploration.

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(1) Baltz, L. “Landscape Problems“ [Review of the book Edward Weston: California landscapes, by J. Enyeart, 1984] (Tájproblémák – J. Enyeart Edward Wester Kaliforniai tájak című könyvéről írt kritikája). Aperture, 98 (2-3), 78.

(2) Merleau-Ponty, M. “Akis ir dvasia“. Baltos lankos, Vilnius, 76, 2005.

Gintaré Krasuckaité

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Philipp Meuser / Waiting for Buyan

(exposição também apresentada em RARELY PURE, NEVER SIMPLE)

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Emanuel Cederqvist / The margin of error

(exposição também apresentada em ACTS OF DISAPPEARANCE)

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Morten Barker / Hiroshima mon amour

(exposição também apresentada em ACTS OF DISAPPEARANCE)

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As exposições comuns a mais de uma exposição têm apresentações diferentes, ainda que nalguns casos se tratem das mesmas imagens.

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Compõem o PARALLEL – European Photo Based Platform, as seguintes entidades:

Procur.arte  Lisboa, Portugal (Project Leader)

Robert Capa Contemporary Center  Budapest, Hungary

Le Château d’Eau  Toulouse, France

Fondazione Fotografia Modena  Modena, Italy

Centro Artes José de Guimarães – A Oficina  Guimarães, Portugal

Format International Photography Festival – Derby Quad  Derby, UK

FotoFestiwal – Foundation of Visual Education  Lodz, Poland

Galleri Image  Aarhus, Denmark

ISSP  Riga, Latvia

Katalog – Journal of Photography & Video  Kerteminde, Denmark

Landskrona Foto  Landskrona, Sweden

Kaunas Photography Gallery  Kaunas, Lithuania

UGM – Maribor Art Gallery  Maribor, Slovenia

The Finnish Museum of Photography  Helsinki, Finland

Organ Vida  Zagreb, Croatia

Photoireland  Dublin, Ireland

YET Magazine Lausanne, Switzerland

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As outras exposições aqui e aqui.

Mais informação aqui.

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