• PHOTOFAIRS | Shanghai 2018

    PHOTOFAIRS | Shanghai 2018: Spotlight on Shao Wenhuan and Zhang Kechun
    For its fifth participation at PHOTOFAIRS | Shanghai, the Three Shadows +3 Gallery (booth D24) will bring this year the latest works from Chinese artists Shao Wenhuan 邵文欢 and Zhang Kechun 张克纯.

    Shao Wenhuan was born in Hotan, Xinjiang in 1971. In 2002 he enrolled in a graduate program for painting at the Chinese Academy of Art. During this time he also traveled to France to study at the National Superior School of Art in Dijon. After completing his degree, Shao remained at the Chinese Academy of Arts as an Associate Professor. He lives and works in Hangzhou.

    It is easy to get absorbed into the worlds of Shao’s images. Photography is very much at the center, but he manages to conjure destabilized realities and alternate existences all the same. In works like Wings of a Phoenix Bird, the multidimensional rips of aluminum showcase Shao’s break from a single, black-and-white, subjective or objective worldview in his photography. It is not necessarily a rethinking of image consciousness (that is, the way the image acts as a mirror) he strives for, but this rethinking of space.
    Zhang Kechun was born in 1980, Sichun, currently works and lives in Chengdu. He has participated in many solo and group exhibitions at domestic and international contemporary art institutions. Zhang Kechun won the National Geographic Picks Global Prize in 2008, the Daylight Photo Award and the Arles Photo Festival Discovery Award in 2014. He was nominated by the Three Shadow Photo Award in 2012, Sony World Photography Awards in 2012 and 2013, and by the Prix HSBC Pour la Photographie in 2014.

    Zhang Kechun is best known for his large format photographs of post-industrial Chinese landscapes. He produces epic vistas that dwell on the significance of the landscape in modern Chinese national identity. Mountains and rivers are always the heaviest carriers of Chinese people’s affection. The continental cultural awareness of making a sightseeing tour, the inherent cultivation consciousness of “mountains being virtuous, rivers being moral”, and the sense of visual illusion of a short distance away are always the main line of interpreting Mountains and waters. In his latest series China, he makes a new attempt. In additional to the landscape of mountains and rivers, he extends his focus on social group.
    ABOUT THE GALLERY
    Three Shadows +3 Gallery, a new independent art space founded by Three Shadows Photography Art Center in Caochangdi, first seeks to act as a channel for promoting Chinese Contemporary photography, past and present, and keeping its doors open to the future of the medium. It aims to provide a professional model for promoting and guiding China’s homegrown artists, and offer opportunities to the public to better understand and recognize the excellent photography produced in China. To this end, +3 Gallery aims to foster the further development of informed collecting of photography in China.

    While its main focus is on Chinese photography, Three Shadows +3 Gallery is also committed to showcasing outstanding photography from abroad. Through collaborations with international art spaces and fairs, Three Shadows +3 Gallery is working towards expanding the audience for these photographs at home, while also increasing Chinese photography’s exposure in other regions of the world.

    More information:
    PHOTOFAIRS | Shanghai
    From September 21-23, 2018
    Shanghai Exhibition Center
    No. 655 Changhua Road
    Jing'an District
    Shanghai
    www.photofairs.org

    http://photographyofchina.com/blog/photofairs-shanghai-2018-spotlight-on-shao-wenhuan-and-zhang-kechun

  • Singapore Art Museum To Organise Next Two Biennales With Patrick D. Flores As Artistic Director For The 2019 Edition.

    The National Arts Council (NAC) is pleased to announce the re-appointment of the Singapore Art Museum (SAM) as organiser of the next two editions of the Singapore Biennale, the country’s premier international contemporary visual arts event. Established in 2006, the Biennale presents and reflects the strength of artistic practices in Singapore, the region and internationally. Through collaborations and engagement with artists, arts organisations and businesses, the Biennale enhances Singapore’s reputation as a creative centre that embraces the visual arts.

    As a contemporary art museum focusing on art-making and art thinking in Singapore, Southeast Asia and Asia, SAM was the organiser of the Singapore Biennale in 2011, 2013 and 2016. The re-appointment for both Singapore Biennale 2019 and Singapore Biennale 2022 enables SAM to leverage and build upon their expansive artistic and curatorial networks and collaborative relationships, creating more opportunities to work with curators, artists and the art community over an extended period of time.

    “As a key cultural institution and leader in contemporary arts, the Singapore Art Museum has successfully presented three editions of the Singapore Biennale. It is well placed to present the next two editions of the Biennale on behalf of the National Arts Council,” says Chief Executive Officer for the National Arts Council Mrs. Rosa Daniel, who co-chairs the Singapore Biennale 2019 Steering Committee with Ms. Jane Ittogi, former Chair of the Singapore Art Museum. “Over the years, the Biennale has not only been instrumental in establishing Singapore as a go-to destination for Southeast Asian contemporary art, but has also proven to be an important developmental platform for art practitioners from Singapore and the region to showcase their works to an international audience. We look forward to the Biennale building upon the meaningful connections established with the many international artists and art institutions, and hope to inspire new and exciting opportunities for the regional contemporary art community and audiences.”

    The Singapore Biennale Steering Committee, comprising representatives from the arts community, has appointed Patrick D. Flores the Artistic Director for the 2019 edition of the Singapore Biennale. An established curator, art historian and educator, he is currently a Professor of Art Studies at the Department of Art Studies at the University of the Philippines and curator at the Vargas Museum in Manila. He says, “It is a great opportunity to work with the Singapore Art Museum and direct the Singapore Biennale at a time when the art world of Southeast Asia is strongly placed to fulfill the worldly potential of a lively region. I look forward to making the biennale platform more open to engaged forms of interaction with audiences through the public discourse of art. Perhaps the best way to do this is to turn the Biennale into an intersection between a festival and a seminar, a moment to think through what is happening around us and a time to take in the creative energy of the region.”

    Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015.

    More information on Singapore Biennale 2019, including the curatorial model, title and venues, will be shared in the last quarter of 2018.

    http://www.biennialfoundation.org/2018/05/singapore-art-museum-organise-next-two-editions-singapore-biennale-patrick-d-flores-appointed-artistic-director/

In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York City in the US, and Finland. In the US, around 1911, the word "tango" was often applied to dances in a 2 4 or 4 4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American tango", versus the so-called "Argentine Tango". By 1914, more authentic tango stylings were soon developed, along with some variations like Albert Newman's "Minuet" tango.

In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930, caused tango to decline. Its fortunes were reversed as tango became widely fashionable and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s, as a result of economic depression and the banning of public gatherings by the military dictatorships; male-only Tango practice—the custom at the time—was considered "public gathering". That, indirectly, boosted the popularity of rock and roll because, unlike Tango, it did not require such gatherings.

In 2009, the tango was added to the UNESCO Intangible Cultural Heritage Lists.
Photo by Shamow'el Rama Surya

  • Garry Winogrand’s Photography Retrospective Brings 250,000 Unknown Images To SFMOMA (PHOTOS)

    When street photographer Garry Winogrand passed away unexpectedly at 56 years old, he left behind approximately 250,000 images he’d never even seen. Because the extremely prolific photographer delayed editing his images, his oeuvre remained largely unexamined for years. For his first retrospective in 25 years, SFMOMA will present 300 photographs from the American icon, over 100 of which have never before been printed. By Priscilla Frank
    Link: https://www.huffingtonpost.com/2013/01/20/garry-winogrand-photography-sfmoma-retrospective_n_2481611.html

  • COMING HOME - Tandia B. Permadi

    COMING HOME

    Buku Foto karya Tandia B. Permadi

    Buku foto dengan pendekatan personal dari sang fotografer dalam konteks mencari arti dirinya melalui cuplikan visual tatkala ia pulang ke rumah.

    Koleksi Perpustakaan Air Foto Network
    >> http://bit.ly/20x1orY
    Foto : Galih Sedayu

  • Magnum Photographers Explore Home

    Magnum Photos Press Release

    HOME (http://home-magnum.com/)

    Each participating Magnum photographer was invited to explore the subject of HOME - a theme chosen for its global nature and the inherently human sentiment – in their own style and sensibility. Collectively, these sixteen visual short stories create a poetic and complex portrait of what “home” is, and of what it can be.

    Exploring the notion of Home­ was a formidable challenge for some photographers, comfortable and experienced in documenting the lives of others – and seldom their own. To some, “home” was the place in which they lived; to others, it was a welcome and peaceful return to their childhood memories. Some chose a distanced visual approach: photographing the geographical space of their home from above or from afar.
    The resulting work reflects a personal response to a familiar subject that we all record photographically. Reminiscent of the legendary MoMA exhibition “The Family of Man”, the photographs highlight how dramatically the world has evolved since 1955, and with it, the notions of family, home, motherhood and fatherhood.
    Link :
    http://www.photographyblog.com/news/magnum_photographers_explore_home

Tate Modern’s new photography curator

12. Sep, 2018

Dr Yasufumi Nakamori is Tate Modern’s new photography curator

http://www.bjp-online.com/2018/09/dr-yasufumi-nakamori-tate-modern/
Previously heading up the photography departments at Minneapolis Institute of Art and Museum of Fine Arts, Houston, Nakamori fills the gap left by Simon Baker in January

Dr Yasufumi Nakamori has been appointed new senior curator, International Art (Photography) based at Tate Modern, heading up the development of Tate’s collection of photography and programme of photography exhibitions and displays. He’s taking up the post in October, filling the gap left by Simon Baker back in January (when he became director of the Maison Européenne de la Photographie in Paris).

For the last two years, Nakamori headed up the photography and new media department at the Minneapolis Institute of Art, staging exhibitions with image-makers such as Omer Fast, and making key acquisitions “which transformed and diversified the museum’s photography collection”. From 2008-2016 he was curator of photography at the Museum of Fine Arts, Houston, where he created exhibitions such as Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (which won the 2011 Alfred H. Barr Jr. Award for Smaller Museums), and For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979.

Nakamori is a noted scholar of Japanese art and architecture, who has contributed to numerous exhibition catalogues and taught graduate seminars at Hunter College and Rice University. He is a 2016 fellow of the Getty Leadership Institute, and holds a Law degree from the University of Wisconsin; an MA in Contemporary Art from Hunter College, the City University of New York; and a PhD in the History of Art and Visual Studies from Cornell University.
Tate was famously slow to institutionalise photography, staging its first photography show in 2003 (Cruel + Tender: The real in the 20th century photography), and appointing its first photography curator in 2003 (Simon Baker). But Nakamori’s appointment “continues Tate’s commitment to collecting and exhibiting photography”, according to Tate’s official statement, which also points out that the number of photographs in Tate’s collection has increased five-fold over the past decade. Tate acquired Martin Parr’s 12,000-strong photobook collection in September 2017, with the support of the LUMA Foundation.

Nakamori joins Emma Lewis, who was appointed assistant curator at Tate Modern after Shoair Mavlian left in January to head up Brighton’s Photoworks. Kate Bush was appointed adjunct curator at Tate Britain in September 2017 – a new role which sees her researching and building the collection of British photography and curating exhibitions and displays at Tate Britain.

www.tate.org.uk/visit/tate-modern
www.bjp-online.com/2018/01/baker-mep
www.bjp-online.com/2018/01/shoair-mavlian-photoworks-director
www.bjp-online.com/2017/09/tate-britain-appoints-kate-bush-to-the-new-post-of-adjunct-curator-of-photography
www.bjp-online.com/2017/09/tate-acquires-martin-parrs-12000-strong-photobook-collection