| | | | | | | | | © Todd Hido, Untitled #10473-B, 2011. Courtesy Alex Daniels, Reflex Gallery, Amsterdam | | | Todd Hido » In the Vicinity of Narrative | | | | | | | | | Guy Oberson » Naked Cothes: After Arbus and Mapplethorpe | | | | All exhibitions until 27 May 2018 | | | | | | MUSÉE DES BEAUX-ARTS Marie-Anne-Calame 6, 2400 Le Locle
Switzerland
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| | | | | | | | | | | | | | © Todd Hido, Untitled #10552-C, 2011. Courtesy Alex Daniels, Reflex Gallery, Amsterdam | | | | | Todd Hido » In the Vicinity of Narrative | | | | until 27 May 2018 | | | | MBAL presents the first exhibition in Switzerland on one of the most admired and influential American photographers of his generation, Todd Hido (1968). In the Vicinity of Narrative reveals an eminently cinematic work, with images as magnetic as they are strange. From houses seen from the outside, abandoned interiors, blurred landscapes taken from the windshield of his car, female characters photographed in motels rooms, Hido's photographs are like stills from films that the viewer must imagine, or scenarios that someone like David Lynch might develop. | | | | | | | | | | © Todd Hido, Untitled #9197, 2010. Courtesy Alex Daniels, Reflex Gallery, Amsterdam | | | | | | | In Hido's work, there is always a muted worry, a feeling of vacuity, and a form of melancholy without object. Passionate about photobooks, this artist has published more than a dozen books to date. The exhibition unites a number of distinct series in a brand new exhibition, while unveiling the working methods of the photographer, creating at MBAL a new narrative with his images. | | | | | | | | | | © Todd Hido, Untitled #10479-11-A, 2011. Courtesy Alex Daniels, Reflex Gallery, Amsterdam | | | | | | | The exhibition is made in collaboration with Alex Daniels Reflex Gallery, Amsterdam, and accompanied by a monograph published in 2016 by Textuel (French edition) and Aperture (American edition). | | | | | | |
| | | | | | | | | | | | | | | Garry Winogrand , New York, 1968. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco | | | | | | | until 27 May 2018 | | | | In 1975, Garry Winogrand (1928-1984), considered one of the greatest photographers of the 20th century, published the photobook Women are Beautiful. A documentary photographer who notably worked for Fortune and LIFE magazines, Winogrand was a keen observer of American life throughout his entire career. His favorite site was New York, his hometown. | | | | | | | | | | Garry Winogrand, Anniversary Ball, Metropolitan Museum of Art, New York, 1969 © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco | | | | | | | The cacophony of the streets was something that particularly attracted this photographer's eye. His style of instant photography thereby reveals the hustle and bustle of the 1960-1970s streets. Winogrand loved, above all, to direct his lens at women - always anonymous - whom he encountered randomly during his excursions in the park, in shops, at parties, or in various political demonstrations, and against backgrounds that reveal a society going through a period of transition, with the sexual revolution and the rise of feminism. A prolific photographer, Winogrand left behind more than 6,500 filmstrips (250,000 images), most of which remained undeveloped. His work, which has been the subject of numerous exhibitions, displays his obsession with the female figure that he so compulsively photographed. | | | | | | | | | | Garry Winogrand, World's Fair, New York,1964 © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco | | | | | | | The exhibition is organized in collaboration with diChroma photography (Madrid) and includes the 85 photographs of the book Women are Beautiful, published in 1975 by Light Gallery, New York. The portfolio is from Lola Garrido Collection. | | | | | | |
| | | | | | | | | | | | | | | © Thibault Brunet, Sans titre #12, de la série Territoires circonscrits, 2016. Courtesy Galerie Binome, Paris | | | | | | | until 27 May 2018 | | | | The work of Thibault Brunet (1982) inscribes itself within landscape photography, particularly in the tradition of major photographic surveys of the 19th and 20th centuries. Yet, this artist has never owned a traditional camera. As his previous work has shown, he excels in depicting the virtual world. | | | | | | | | | | © Thibault Brunet, Sans titre #14, de la série Territoires circonscrits, 2016. Courtesy Galerie Binome, Paris | | | | | | | This time, Territoires Circonscrits, his latest series, features real places. Equipped with a 3D scanner made available to him by Leica Geosystems, the artist records 360 degrees of the environment. This state-of-the-art apparatus restores space in a cloud of points that approximate a virtual model. Yet, these are real places that the artist unveils from a number of angles. The movement of three-dimensional images allows the visitor to literally "cross" the temporally suspended landscapes. The result, closer to drawing than photography, announces a representation of the landscape of tomorrow. | | | | | | | | | | © Thibault Brunet, Sans titre #10, de la série Territoires circonscrits, 2016. Courtesy Galerie Binome, Paris | | | | | | | The exhibition has received support from the Institut français. | | | | | | |
| | | | | | | | | | | | | | | © Guy Oberson, Paysage d'un dimanche honteux, 2017. Courtesy Galerie C, Neuchâtel | | | Guy Oberson » Naked Cothes: After Arbus and Mapplethorpe | | | | until 27 May 2018 | | | | One cannot look at the works of Guy Oberson (1960) absentmindedly. A force emerges that forces the visitor to linger. One’s vision becomes capable of discerning forms little by little, just like how, in the dark, it becomes accustomed to the darkness. | | | | | | | | | | © Guy Oberson,Alice Neel after Mapplethorpe, 2017. Courtesy Galerie C, Neuchâtel | | | | | | | Painter and drawer, the Swiss artist has a preference for pierre noir drawing, and it is not uncommon for him to take as a model photographs of his own or from the press. Here, Oberson draws on the works of famous American photographers Diane Arbus and Robert Mapplethorpe. His drawings and paintings are a laying bare – a dive into the intimacy of beings revealed through clothing, accoutrements, or places of private life. | | | | | | | | | | © Guy Oberson, Altar Girl 2, 2015. Courtesy Galerie C, Neuchâtel | | | | | | | Naked Clothes is produced in collaboration with Galerie C, Neuchâtel. | | | | | | unsubscribe here
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