| | | | | | | | | Tamas Dezso: NOTES FOR AN EPILOGUE, installation view © CDI, 2017 | | | CLERVAUX - CITÉ DE L'IMAGE | | | | The project "Clervaux – cité de l’image" was launched in 2009 in response to presence of the exhibition "The Family of Man", which was conceived by Edward Steichen in 1955 and is now to be found at Clervaux Castle. Clervaux – cité de l’image is dedicated to contemporary photography, showcasing it in the public sphere. | | | Photographic season 2017 - 2018
CONTES D'IMAGES | | | | | | The series CONTES D'IMAGES triggers a wide-ranging discussion on image narration, with photographs plumbing depths that are both imaginary and real. The works are separated from all rational and predefined logic. The photography attests to several realities that encourage individual and subjective creations.
The narrative dimension celebrates ambivalent difference, the unfinished, the vague, the vast, the surrealist, in fact any visual adventure. The images manifest a tangible autonomy with respect to the real world and time. Any suspected subversion develops into a positive force, a force that constructs and invents, that diversifies without classifying, that simply tells a story.
The series CONTES D'IMAGES also includes works by : | | | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | Curtain (House of Culture, Petroșani), 2014 © Tamas Dezso, Notes for an Epilogue | | | | | | | until 30 March 2018 | | | Tamas Dezso paints a summary portrait of contemporary Romania. The country is struggling to shed the shackles of its political past, which has pervaded the country’s tangible and intangible rural heritage. This tenuous situation threatens to bury an entire cultural world. At the same time, it gives the photographs a surrealistic and narrative feel.
A stage curtain reveals a small triangular opening at floor level. Wooden floorboards extend beyond the gap, beyond the boundary drawn by the heavy material, a flowing but opaque partition. They lead the way to a backstage that is abstract and difficult to interpret: "All the world’s a stage." (William Shakespeare) | | | | | | | | | | Tamas Dezso: NOTES FOR AN EPILOGUE, installation view © CDI, 2017 | | | | | | Sometimes history, like a curtain, divides time into two distinct parts. Most stages survive these ruptures, but with time and distance take on unreal traits. They then emerge as ill-defined entities, reserved for ambiguous purposes. This setting evokes more of a story than a concrete reality. Photography is capable of identifying these subtle ambiguities and, from the appearance of things, provides multiple interpretations. The final construal is up to the observer.
Tamas Dezso’s images are characterised by their pictorial style. Their power of expression is far from unequivocal. The photographer targets the sober documentation of a contemporary and rural everyday life that is only slowly shedding its historical and political legacy. He punctuates the landscape with excerpts of individual destinies. While these stories are not the easiest to tell in all their depth, the isolated moment, captured by the camera, depicts a scene that is rich in narrative content: the shift as a result of newly formed associations produces astonishing effects, with these images reminiscent of a fairy-tale world.
www.tamas-dezso.com | | | | | | |
| | | | | | | | | | | | | | | Trial II © Sascha Weidner Estate - Courtesy of Sprengel Museum Hanover | | | | | | | until 13 April 2018 | | | | In art, as in other areas of society, it is com- mon to take a stand, to disclose what one believes or else does not believe. This is a polarising attitude that demands clarity and distinctness. It is a game of “take it or leave it”, a phenomenon of western society, which has seemingly become an end in it- self, that of pursuing a single objective, a single truth, in a bid to assume global pro- portions in a globalised world. Everything is tangible, doable and can be explained. An age of disenchantment, a legacy from the last century. This philosophy, however, takes its toll, it burns bridges, it breaks with tradition, with the natural and the original, it uproots the present ... | | | | | | | | | | Sascha Weidner (NARRATIVES), installation view © CDI, 2017 | | | | | | Sascha Weidner’s images are embedded in this era and – without prejudice to previous projections – talk of another world. They are like windows that open up onto parallel uni- verses. They draw from the past, herald the future, quote from the history of art, cinema and literature. They transform the written word into images, which are in turn trans- formed into stories. They reveal the corre- lation between private recollection and collective memory. The photographs do not illustrate oppo- sites, instead they reconcile contrasts. In a playful manner, Sascha Weidner conjures up the magic of a spirit of disenchanted times: "Touché".
With the kind support of the Sprengel Museum Hannover and the city of Hanover
www.saschaweidnerestate.com
www.saschaweidner.de | | | | | | |
| | | | | | | | | | | | | | | © La Conserverie, Album privé, Diapositives 1D-0770 | | | | | | | until 17 May 2018 | | | The association "C’était où ? C’était quand ?" was created in July 2008 under the impulse of the photographer Anne Delrez. The association found shelter at the Conserverie in Metz, a place dedicated to vernacular photography.
What makes a human life? It can be seen as a variable entity, made up of different elements – known as memories and experiences – collected in a linear chronology and attaching themselves like chemical molecules, one to another, to form a more or less coherent whole. | | | | | | | | | | Le Fonds de la Conserverie, ALBUM PRIVÉ, installation view © CDI, 2017 | | | | | | Life is structured into episodes, divided into repetitive, logical, unforeseeable phases, until it is interrupted ...
It is a story, yet does not write itself; it plays out directly in a real and ephemeral time. Each story leaves visible traces, sometimes on photosensitive paper. This substrate has great narrative potential. It focuses on individuals, their surroundings and their development in space and time: all captured in a private album. Its compilation is motivated by the sole desire to freeze a moment in time, to capture an instant like a tangible object, part of a collection ... Throughout private albums, the same images repeat themselves: births, birthday celebrations, weddings, holidays ... The iconography is identical, the narration personal, individual, unique.
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