| | | |  | | | | Richard Mosse, still from "Broken Spectre", Roraima, Multispectral GIS aerial © Richard Mosse | | | | | | | | | | | | | | | | A CARTE BLANCHE GIVEN TO VIRGINIE OTTH | | | | | | | ... until 25 February 2024 | | |  | | | | | | | | | | | |
| | | | | | | | | |  | | | Richard Mosse, "Feu souterrain", Pantanal, Mato Grosso, 2020
© Richard Mosse. Avec l'autorisation de l'artiste,
Carlier Gebauer et Jack Shainman Gallery | | | | | | | ... until 25 February 2024 | | | | Richard Mosse (Ireland, 1980) gained recognition for his socially committed documentaires often presented via immersive and monumental installations. He is known for his landscapes in shades of red and pink from the series Infra (2010) depicting the civil war in the Democratic Republic of Congo. More recently, he has focused on migratory flows, which he captures with military thermal imaging cameras (The Castle, 2017, Incoming, 2018). | | | | | |  | | | | Richard Mosse, still from "Broken Spectre", Rondônia, Multispectral GIS aerial © Richard Mosse | | | | | | Broken Spectre, shot over three years, plunges into the heart of the Brazilian Amazon. With this monumental video installation, Mosse shows the devastating impact of deforestation in the Amazonian forest.
Playing with different scales and perspectives, the artist offers a striking portrayal of the scope and organisation of the environment's destruction. Switching between aerial views and sequences shot in remote areas of the world's lagest tropical forest, Broken Spectre represents an alarm bell that warns of the rainforest's disappearance. | | | | |
| | | | | | | | | |  | | | | Deborah Turbeville, “Untitled”, Rhode Island, 1976 © Deborah Turbeville MUUS Collection | | | | | | | ... until 25 February 2024 | | | The work of Deborah Turbeville (1932-2013) defies classification. The American photographer belonged to no school or movement. Her unique visual signature has been recognisable since she emerged as a major talent in the 1970s; a certain timelessness melancholy and a patina emanate from her haunting photographs taken over four decades.
This retrospective will present Turbeville's photographic explorations, from fashion photos to her very personal work. | | | | | |  | | | Deborah Turbeville, "Untitled", from the series "Comme des Garçons",
Passage Vivienne, Paris, France, November 1980
© Deborah Turbeville/MUUS Collection | | | | | | | The aim of the exhibition is to show how Turbeville's art, still essentially unknown, followed a very specific path, testifying to the manual work involved in producing images. By highlighting a wide variety of handmade collages spanning four decades, the show will offer a new appreciation of Turbeville's contribution to the history of photography. | | | | |
| | | | | | | | | | 
Virginie Otth, "13_quotidiennetés", 2013-2023 © Virginie Otth | 
Virginie Otth, "Doigt-scotch", 2023 © Virginie Otth |
| | | | | | | ... until 25 February 2024 | | | | A key figure in contemporary photography in Lausanne, Virginie Otth (Switzerland, 1971) presents four previously unseen works, as well as her first film. This monographic exhibition brings together works that combine the various interests and reflections that have animated the artist for many years, and which question the relationship to the fragmentary, lacunar and ever-renewed world offered by photography, but also by our gaze and our perception. | | | | |
| | | | | | | | | |  | | | | © Mathieu Bernard-Reymond | | | | | | | .... until 25 Februar 2024 | | | In this photographic exploration, Mathieu Bernard-Reymond (France, 1976) has chosen to combine extracts from the writings of C. F. Ramuz with image-generating artificial intelligence tools.
In D’après Ramuz, a project initiated by La Muette – literary spaces, he gives form to the mental images that are shaped when reading a text, gradually transforming them into a visual reality. | | | | Mathieu Bernard-Reymond is a Franco-Swiss photographer born in Gap (France) in 1976. He is a graduate of the Institut d'études politiques de Grenoble and of the Formation supérieure en photographie du CEPV in Vevey. His practice is broadened by generative technologies and data manipulation. | | | | |
| | | | | | | | | |  | | | | Marie Taillefer, "Teotihuacan", Mexico, 2020 © Marie Taillefer | | | | | One for the Other | | | | A CARTE BLANCHE GIVEN TO VIRGINIE OTTH | | | | | | | ... until 25 February 2024 | | | In tandem with her exhibition A Lake in the Eye, Virginie Otth (Switzerland, 1971) has invited ten artists with whom she has crossed paths at the Vevey School of Photography (CEPV) over the past two decades.
Having enjoyed the discussions she has had with them around images and their perception, Virginie Otth has invited them to come together to work on two short stories taken from the philosophical novel Mr Palomar – The Sword of the Sun and The World Looks at the World – which deal with gazes, illusions and our relationship with the world. | | | | | | unsubscribe here
Newsletter was sent to [email protected]
© 16 Jan 2024 photography now UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Michael Steinke
[email protected] . T +49.30.24 34 27 80 | | |
| |
|
|
