| | | | | | | | untitled from the series Paradise © Catherine Servel | | | Adorned - The Fashionable Show | | | | | | | 13 December 2019 – 11 March 2020 | | | | | | | 13 December 2019 – 11 March 2020 | | | | | | | 13 December 2019 – 16 February 2020 | | | OFFICIAL OPENING: Thursday 12 December 2019 from 20:00 hrs onwards
The opening will take place in the presence of several featured artists. | | | | | | Foam Fotografiemuseum Amsterdam Keizersgracht 609, 1017 DS Amsterdam
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Wed-Sun 10am-6pm; Thu, Fri 10am-9pm | |
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| | | | | | | | | | | | | | | Untitled, from the series Family Work, 2018 © Hadar Pitchon/ courtesy of the artist | | | Adorned - The Fashionable Show | | | | | | | 13 December 2019 – 11 March 2020 | | | What is fashionable and what does it convey about ourselves? How do we adorn ourselves? How do we use fashion to show who we are, who we think we are, or who we want to be? The exhibition Adorned – The Fashionable Show presents intriguing and challenging fashion related photography projects created by a new generation of visual artists. They all work with fashion, but most of them are not straightforward fashion photographers. For them, fashion and style are primarily tools to construct or question identities, to empower people and to play with cultures, gender, race and ages. While some participating artists have already been discovered by well-established fashion brands, others continue to work from within their own communities. They are outspoken, challenging, critical or provocative, but always highly relevant in a time defined by fundamental power shifts in which access, diversity and identity are key words.
What we used to call fashion photography now seems to belong more and more to a spectrum of different languages. Photographers make use of fashion aesthetics to focus not so much on creating a glamorous ideal of perfect bodies with the most beautiful and precious clothes, but instead on telling stories of social and political inclusivity, diversity, identity, everyday life and an ever-changing panorama of lifestyles. This can be seen through the casting of the models, the commissioned photographers, and the geographical locations chosen for photoshoots. They challenge and question the notions and the standards of what beauty, glamour, style and ideal is. They often refuse to be labelled as fashion photographers altogether, instead creating hybrid identities for themselves in which concepts of documentary, performative arts or the chronicle are presented within a fashion(able) context. All of this is achieved by blurring and blending in categories, with the connection to the arts being more and more central to the discourse. | | | | | | | | | | untitled from the series boys of hong kong 2018 © Alexandra Leese courtesy of the artist | | | | | | THEMES
The works in the exhibition act as a measurement of our progress towards new ways of seeing and being. Artist Catherine Servel’s series of refreshingly average sized models makes a compelling case for using models who are more representative of the wider population, while Sneakers like Jay-Z, a project by artists Ambroise Tézenas and Frédéric Delangle, presents an intimate look at how identity can re-shape itself in response to a change in environment and circumstance using clothing as a signifier and catalyst. Alongside this, there is also an emphasis on young photographers representing the LGBTQ+, black and POC communities. One example being Mohamad Abdouni who explores and documents his community and queer culture in the Middle East. Justin Dingwell’s body of work A Seat at the Table refers to the phrase of widening conversation and debate and working to ensure that a broader spectrum of voices are heard and have the opportunity to sit at the negotiating table, where decisions are made, rather than it continuing to be a position for the privileged and the few. The table being the fashion industry determining the rules of beauty.
FASHION MAGAZINE INTERVENTION
The exhibition is inspired by Foam Magazine issue #53 Adorned – The Fashionable Issue. For the magazine Foam invited three of the most forward-thinking fashion magazines, Buffalo Zine, Beauty Papers and King Kong, to contribute with a curated intervention. Their vision on fashion photography will be showcased in the exhibition.
Participating artists:
Mohamad Abdouni (Lebanon), Arielle Bobb-Willis (United States), Giovanni Corabi & Roberto Ortu (Italy), Justin Dingwall (South Africa), Julia Falkner & Lorena Hydeman (Austria & United Kingdom), Casper Kofi (Netherlands), Alexandra Leese (China), Tyler Mitchell (United States), Hadar Pitchon (United States), Mateus Porto (United States), The Sartists (South Africa), Catherine Servel (United States), Suzie and Leo (France), Ambroise Tézenas & Frédéric Delangle (France).
Adorned – The Fashionable Show is made possible by Fonds 21 and Kleurgamma Fine-Art Photolab.
Adorned - The Fashionable Show can be seen from 13 December 2019 to 11 March 2020 at Foam.
Open daily 10.00 - 18.00 hrs, Thurs/Fri 10.00 - 21.00 hrs.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation. | | | | | | |
| | | | | | | | | | | | | | | Untitled, from the series Fixing shadows; Julius and I, 2018 © Eric Gyamfi | | | | | | | Winner Foam Paul Huf Award 2019 | | | | 13 December 2019 – 11 March 2020 | | | Eric Gyamfi (1990, Ghana) is the winner of the 13th Foam Paul Huf Award, which is awarded annually by an international jury to talented photographers under the age of 35. Gyamfi uses a wide array of visual techniques to create visual narratives that hover somewhere in between autobiography and fiction. His work comprises collages, texts, audio and photographs developed according to various methods, including cyanotype and silk screen printing. His portraits and diaristic installations are highly personal, yet transcend the artist’s individual experience.
Foam invited Gyamfi to apply his scrapbook aesthetic to the walls of the museum. The resulting installations are opaque and multi-layered, blurring the boundaries between storytelling and documentary photography. The photographic image is presented as a powerful yet ambiguous means of telling a story, be it fact or fiction. The exhibition consists of two of Gyamfi’s most recent series. A Certain Bed is a semi-autobiographical visual narrative about the artist’s meanderings, following his departure from the home he knew. During this period of moving from place to place he created photo collages that form an introspective report of his nomadic experience, and that question what it means to have a home – or to lose it.
Fixing Shadows; Julius and I is a study into the photographic portrait. In an act of identification, the photographer blends his own image with a portrait of composer Julius Eastman, producing thousands of photographic composites in the form of cyanotypes and silk screen prints. The work plays on Eastman’s experimental compositions, in which each new score contains elements from all anterior scores. Likewise, Gyamfi produces an endless number of unique variations on the same two images, experimenting with the effects of climatological and other circumstantial conditions on the outcome of the print. The work is scored by Whatsapp voice messages the artist accumulated that provide as many readings of the works as there are individuals. | | | | | | | | | | Untitled 5, from the series Fixing shadows; Julius and I, 2018 © Eric Gyamfi | | | | | | Eric Gyamfi
Gyamfi was born in Ghana in 1990. He obtained a BA in Economics and Information Studies at the University of Ghana in 2014. He is currently pursuing an MFA at the Department of Painting and Sculpture of the Kwame Nkrumah University of Science and Technology. He was a fellow at the Photographers’ Master Class in Khartoum, Sudan (2016); Nairobi, Kenya (2017); and Johannesburg, South Africa (2018). He was an invited participant to the Nuku Studio Photography Workshops in 2016, and the World Press Photo West African Masterclass in 2017. He is a recipient of the 2016 Magnum Foundation Fund and a member of the Nuku studio in Ghana; a collective of visual storytellers dedicated reporting on issues around Africa and beyond. Gyamfi lives and works in Accra, Ghana.
Opening and press preview
The exhibition will be opened on Thursday 12 December 2019 from 20.00 hrs onwards. | | | | | | |
| | | | | | | | | | | | | | | Ali, from the series Turunç, 2018-2019 © Solène Gün | | | | | | | 13 December 2019 – 16 February 2020 | | | The project Turunç (Bitter Orange) is an exploration of the daily lives of young men with a Turkish background in the suburbs of Paris and Berlin. Solène Gün (1996, FR/CH), herself a child of Turkish immigrants, focuses on the environment of these boys.
What she records is the fraternity, solidarity and hope that connects them as a community, despite the situations of boredom, violence and despair they are often confronted with. Gün translates the contradictory desire that she sees in these young men, on the one hand to hide and on the other the need to show oneself, into poetic images that empathise with a group that is often burdened with negative stereotyping. In her photographs, the suburbs become a universe apart, out of sight or interest of the government, in which a lack of perspective goes hand in hand with strong solidarity. | | | | | | | | | Namazlik, from the series Turunç, 2018-2019
© Solène Gün | | | | | | ABOUT SOLÈNE GÜN
Solène Gün studied photography at ECAL (CH). In 2018 she received the Photoforum Prize 2018 and the Swiss Design Awards 2019 for her graduation project Turunç. The series was also shortlisted for the MACK First Book Award in 2019. Solène Gün lives and works in Bienne (CH).
FLORENTINE RIEM VIS GRANT
Solène Gün is the third recipient of the Florentine Riem Vis Grant, which was established in memory of Florentine Riem Vis (1959-2016). The grant is awarded annually with the goal of supporting young photographic talent in the development of their artistic career.
Visit and revisit Foam 3h: Solène Gün - Turunç, other exhibitions and events as Foam Member.
This exhibition is made possible with support of the Van Bijlevelt Foundation and Kleurgamma.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation. | | | | | | unsubscribe here
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