| | | | | | | | Green Cotisso, Mantas, Foam, Green Fortuny, Mask, Wicker Vase, Blue Plastic in Paracas,
from the series Caminantes, 2019 © Lorenzo Vitturi | | | | | | | 18 October 2019 - 19 January 2020 | | | | | | | 18 October – 8 December 2019 | | | | The exhibitions will open on 17 October 2019 in the presence of the artists from 17.30 hrs onwards. | | | | | | Foam Fotografiemuseum Amsterdam Keizersgracht 609, 1017 DS Amsterdam
T +31 (0)20-5516500
[email protected]
www.foam.org
Wed-Sun 10am-6pm; Thu, Fri 10am-9pm | |
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| | | | | | | | | | | | | Brown Fortuny, Mantas, Ccochinilla & Ccoli Dyed Yarn, Fishing Nets, Wood in Lazzaretto Vecchio
from the series Caminantes, 2019 © Lorenzo Vitturi | | | | | | Materia Impura | | | | 18 October 2019 - 19 January 2020 | | | | The body of work of Lorenzo Vitturi (1980, Italy) investigates urban changes beyond Western cities, processes of cultural mixing and their complexities, and the movement of people and goods in a globalised world. Playing with the combination of reality and fiction, mixing photography, sculpture, painting and performance, he builds temporary sets in his studio, drawing from specific geographical environments. His projects focus on cities including Lagos, London and Venice and selected areas in Peru; on their colours and shapes and the communities that inhabit them. Vitturi uses selected materials in his sculptures and photographs to investigate the passage of time in a globalised world, capturing its mutations. | | | | | | | | | Yellow Blue Green and Red Cotisso in Paracas
from the series Caminantes, 2019 © Lorenzo Vitturi | | | | | | The exhibition Materia Impura summarises ten years of research, combining Vitturi’s earlier projects Dalston Anatomy, Droste Effect, Debris and Other Problems and Money Must Be Made. It also presents the first output of Vitturi’s new work Caminantes (Spanish for walkers). This project draws inspiration from his family history and explores the encounters between and merging of different cultures. In the 1960s, his father, originally from Venice, crossed the Atlantic to open a Murano glass factory in Peru. There he met Lorenzo’s mother. Drawing from a series of trips between Peru and Italy, Vitturi combines selected materials, which carry stories of local cultures and encounters, as well as performs ritualistic gestures related to traveling and shipping. The fusion of materials allows the viewer to question their function as cultural markers and to explore the dynamics of converging cultures, showing that no element can be seen as pure. While travelling, Vitturi combines glass with a wide range of raw materials (rocks, wood, foam, textiles, shipping materials) collected along the way and he creates series of ephemeral interventions in the environment. At the end of the trip, he fuses the glass with Peruvian soil. Returning to Venice, together with the materials processed in Peru - as a final act of transformation - he combines them in the lagoon and makes a series of physical sculptures where the materials from both places find their final stage of transformation.
In Vitturi’s photographs, we see a cacophony of texture and colour. The camera documents the makeshift sculptures and interventions in the landscape, and as such, they endure. The landscape interventions mirror the impermanent nature of a rapidly changing globalised world in which cultures fuse. Meanwhile, their reintroduction in the exhibition space as photographic images and physical sculptures allows us to reflect on constant cycles of production, destruction, and recreation. | | | | | | | | | Fused Cotisso Terracotta Manta Ccochinilla Dyed Yarn Green Pigment Plum in Gocta
from the series Caminantes, 2019 © Lorenzo Vitturi | | | | | | Lorenzo Vitturi (1980, Venice) lives in London, UK. Vitturi’s first institutional solo show took place at Foam 3h in 2013.Solo exhibitions include Dalston Anatomy at The Photographers’ Gallery, London, at Contact Gallery, Toronto, and CNA, Luxembourg. Vitturi also participated to group exhibitions at MAXXI in Rome, at Centre Georges Pompidou in Paris, at Palazzo Reale in Milan, at La Triennale in Milan, at BOZAR in Brussels, at K11 Art Museum in Shanghai, at Barbican Centre and Somerset House in London. Publications include Dalston Anatomy (2013) and Money Must Be Made (2017). Vitturi won several awards including the Photography Grand Prix at the Hyeres International Festival in 2014. More recently he was chosen as one of the winners of the Grand Prix Images Vevey in Switzerland (2018).
Lorenzo Vitturi - Materia Impura is on show from 18 October 2019 until 19 January 2020. Foam is open daily from 10.00 until 18.00, Thu/Fri from 10.00 until 21.00 hrs.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation. | | | | | | |
| | | | | | | | | | | | | | f.l.t.r. Matyouz LaDurée, Vinii Legendary Father of the House of Revlon, Gigi Da Blizzard Revlon
at the ‘On The Cover of Vogue’ Ball under direction by Zueira Mizrahi, Berlin 2018,
from the series Opulence © Dustin Thierry | | | | | | Opulence | | | | 18 October – 8 December 2019 | | | Amsterdam-based photographer Dustin Thierry (Willemstad, Curaçao, 1985) began documenting the Dutch Ballroom scene in 2013. This underground phenomenon originated in 19th-century America, where LGBTQ people gathered for drag masquerade Balls where they could freely express themselves. A contemporary manifestation of the Ballroom scene is rapidly expanding on a global scale, with its epicentres in New York and Paris. Following his ongoing series on ballrooms in the Netherlands, Thierry travelled to Paris, New York, London and Berlin to document the respective local scenes. His work testifies to a vibrant and timely revival of a centuries-old phenomenon, but also points to persistent discrimination and marginalisation of black and queer communities worldwide.
Thierry employs photography to empower, to reveal what is generally invisible, and to voice what is often muted. The balls he photographs are a ‘safe space’ for self-expression, but also a place where fierce competition forces its participants to stand up and defend their identity. Competitors engage in dance-off categories such as ‘voguing’: a highly stylised modern house dance inspired by hieroglyphs and modelling poses. The dance is said to have been invented by the inmates of Rikers Island, who were copying the poses struck by models in Vogue magazine in rapid succession. Others say it originated in Ballroom culture of Harlem and downtown Manhattan in the early 1960s. The dance-style became popularised by pop-artists such as Jeannet Jackson and Madonna in her video clip for "Vogue" (1990), and by the 1990 documentary Paris is Burning, which chronicled the African-American, Latino, gay, and transgender communities of the New York City ball culture. | | | | | | | | | Thaynah Vineyard at the ‘We Are the Future – And The Future Is Fluid’ Ball
organised by Legendary Marina 007 and Mother Amber Vineyard.
Body painting by visual artist Airich. Amsterdam 2018,
from the series Opulence © Dustin Thierry | | | | | | Thirty years later Thierry shows that the spirit of resistance, manifested in uncompromised self-expression, remains vibrant and resilient. The so-called ‘house structure’ (a social system of self-chosen families that compete with each other during Balls) that was implemented in the 1970s, has since generated new generations of ‘mothers’ and ‘fathers’ around which the scene gravitates. The houses function to prepare contestants for the Ball, while constituting informal support structures for those facing discrimination or hostility in daily life. Thierry created powerful portraits of various members of the Dutch House of Vinyard and the Parisian houses of Mizrahi, Revlon, LaDurée and Ebony that followed in the wake of the very first House of Labeija.
Thierry is a self-taught photographer and started employing photography as a means of empowerment after moving to the Netherlands from the Caribbean island of Curaçao as a teenager. Becoming increasingly exposed to racial issues, he sought a way to channel and convey his own awareness to others. A defining event in his personal life – which proved transformative for his career – was his stepbrother’s suicide: a consequence of ongoing mental struggles related to his sexuality and the stigmatisation he suffered in Curaçao. Thierry describes his series as “an ode to all people who are still not free to live and express their sexuality”. | | | | | | | | | Ritchy Princess of the House of LaDurée at the ‘On The Cover of Vogue’
Ball under direction by Zueira Mizrah, Berlin 2018,
from the series Opulence © Dustin Thierry | | | | | | | Dustin Thierry (Willemstad, Curaçao, 1985) moved from Curaçao to the Netherlands at the age of fourteen. He is a self-taught artist and started in 2013 with documenting the Dutch Ballroom scene. Since then his career took off. This year, Thierry's work was part of group exhibitions such as Labs New Artists III at Red Hook Labs, New York and the 2019 Aperture Summer Open: Delirious Cities in New York. Opulence was published this year in The New York Times, Financial Times and Vice. Dustin Thierry was selected by the British Journal of Photography as One to Watch 2019. Foam presents its first museum solo exhibition. Thierry lives and works in Amsterdam. | | | | | | unsubscribe here
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© 13 Oct 2019 photo-index UG (haftungsbeschränkt)
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Editor: Claudia Stein & Michael Steinke
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