More information in French: HERE
Wednesday, January 24, 2018
Uruguay: Alberto García Alix "un expresionismo feroz"
Jointly produced by the CCE, Centro de Fotografía de Montevideo (Montevideo’s Photographic Centre) and the Xippas Gallery.
Motorcycles, women, music, night-life, drugs, life and death have always served as an inspiration to Alberto García- Alix. ‘Photographs of motorcycles, in particular, have become a focal point of his work and are part of his latest published book, entitled Moto. It covers a broad spectrum, from the first snapshots that he took in 1975, during a motocross race involving his brother, to 2007, incorporating a new block of unpublished photographs with which the artist initiated a renovated photographic discourse through a more abstract and allegorical use of images.
There is a radical transformation between his images of the 80s and 90s and those of the present. His earlier pictures comprise portraits and self-portraits of characters mounted on their machines in the midst of a number of circuits, festivals, streets and highways, introducing us into the world of motorcycling from within. In his more recent work, whole machines are never on view. More suggestively, he plays with their shadows and with the writhing effects of the light projected upon them. In short, this suite of photographs transmits the beauty and the care with which García-Alix has portrayed his life and its links to the motorcycle.’
Motorcycles and life; motorcycles and death. The motorbike is no longer an object and has become a character in itself, as important as those who ride them. It has its own life and soul; its soul is present in its shadow, with its blurred outline distorted by paving, pavement, and drains. The real object is transformed through the use of a fierce expressionism; allegory, feelings, state of mind; what is actually defined or present matters little. Motorcycles, like the buildings of Paris or China or the silhouettes of trees and railings express extreme solitude, forlornness; metaphors for abandonment or escape.
These photographs of a motorcycle-driven life have been interspersed with others, which are essential in the iconography of Alberto García-Alix and in the iconography of Spanish photography; his portraits and self-portraits, which he identifies as: ‘a confrontation in which he tends to place himself frontally, face-to-face with his model’, and which has resulted in timeless images which are now part of the rich history of photography. They represent reality from within – he has never been a peripheral artist – primarily of the movida madrileña, a countercultural movement which entailed a radical change in the culture of Spanish society during the transition to democracy and whose leading players were Pedro Almodóvar, Rossy de Palma, Emma Suárez, Alaska and many others, masterfully portrayed by the artist. But García-Alix never left it at that; rather, with the speed of a motorbike on a road without curves, he has established a fundamental distance from those photographs. His expertise continues today with his exposure of wonderfully dark characters with intense eyes, of nocturnal buildings, of vegetation which is alive and yet dead. Above all, his incredible, sincere and brutal introspection, delving into himself and his most intimate world; that is the true essence of García-Alix’s current work, his most disturbing findings.
Ricardo Ramón Jarne
Alberto García-Alix was born on 22 March 1956 in León, Spain. When he was eleven years old, he moved with his family to Madrid, where he currently resides. His earliest negatives date back to 1976. He held his first solo exhibitions in the early eighties, in galleries in Madrid such as the Buades Gallery or the Moriarty Gallery, and in international venues such as the Portfolio Gallery of London.
During the first PhotoEspaña show held in 1998, he presented a major retrospective exhibition, to huge critical and public acclaim. In 1999, he received the National Photography Award from the Spanish Ministry of Culture, and began working with the Juana de Aizpuru Gallery in Spain and the Kamel Mennour Gallery in France.
Between 2003 and 2006 he lived in Paris, where he produced a video trilogy alternating photographs and films, representing his venture into the video format, which he continues to explore to this day.
In 2009, he held a retrospective exhibition at the Reina Sofía National Museum Art Centre of Madrid, as well as at the Ullens Center for Contemporary Art of Beijing and at the Maison de la Photographie of Moscow. Recently, he has held exhibitions at the Maison Européene de la Photographie in Paris, at the Photographers’ Gallery in London, at the Contemporary Art Museum in León and at the Tabacalera Promoción del Arte in Madrid.
His work can be found in large international collections such as the Reina Sofía National Museum Art Centre (Spain), the Fonds Nationales d’Art Contemporain (France) or the Deutsche Börse (Germany), among others. García-Alix has combined his photographic activities with those of an editor; he founded the cultural journal, El Canto de la Tripulación (1989 to 1997), and, more recently, jointly founded the Cabeza de Chorlito publishing house, together with Frédérique Bangerter, under the imprint of which he has published some of his most recent creations: El paraíso de los creyentes (Believers’ Paradise) (2011); Diaporamas (2012); MOTO (2015) and Motorcycle Family Circus (2016).
More information: HERE
Motorcycles, women, music, night-life, drugs, life and death have always served as an inspiration to Alberto García- Alix. ‘Photographs of motorcycles, in particular, have become a focal point of his work and are part of his latest published book, entitled Moto. It covers a broad spectrum, from the first snapshots that he took in 1975, during a motocross race involving his brother, to 2007, incorporating a new block of unpublished photographs with which the artist initiated a renovated photographic discourse through a more abstract and allegorical use of images.
There is a radical transformation between his images of the 80s and 90s and those of the present. His earlier pictures comprise portraits and self-portraits of characters mounted on their machines in the midst of a number of circuits, festivals, streets and highways, introducing us into the world of motorcycling from within. In his more recent work, whole machines are never on view. More suggestively, he plays with their shadows and with the writhing effects of the light projected upon them. In short, this suite of photographs transmits the beauty and the care with which García-Alix has portrayed his life and its links to the motorcycle.’
Motorcycles and life; motorcycles and death. The motorbike is no longer an object and has become a character in itself, as important as those who ride them. It has its own life and soul; its soul is present in its shadow, with its blurred outline distorted by paving, pavement, and drains. The real object is transformed through the use of a fierce expressionism; allegory, feelings, state of mind; what is actually defined or present matters little. Motorcycles, like the buildings of Paris or China or the silhouettes of trees and railings express extreme solitude, forlornness; metaphors for abandonment or escape.
These photographs of a motorcycle-driven life have been interspersed with others, which are essential in the iconography of Alberto García-Alix and in the iconography of Spanish photography; his portraits and self-portraits, which he identifies as: ‘a confrontation in which he tends to place himself frontally, face-to-face with his model’, and which has resulted in timeless images which are now part of the rich history of photography. They represent reality from within – he has never been a peripheral artist – primarily of the movida madrileña, a countercultural movement which entailed a radical change in the culture of Spanish society during the transition to democracy and whose leading players were Pedro Almodóvar, Rossy de Palma, Emma Suárez, Alaska and many others, masterfully portrayed by the artist. But García-Alix never left it at that; rather, with the speed of a motorbike on a road without curves, he has established a fundamental distance from those photographs. His expertise continues today with his exposure of wonderfully dark characters with intense eyes, of nocturnal buildings, of vegetation which is alive and yet dead. Above all, his incredible, sincere and brutal introspection, delving into himself and his most intimate world; that is the true essence of García-Alix’s current work, his most disturbing findings.
Ricardo Ramón Jarne
Alberto García-Alix was born on 22 March 1956 in León, Spain. When he was eleven years old, he moved with his family to Madrid, where he currently resides. His earliest negatives date back to 1976. He held his first solo exhibitions in the early eighties, in galleries in Madrid such as the Buades Gallery or the Moriarty Gallery, and in international venues such as the Portfolio Gallery of London.
During the first PhotoEspaña show held in 1998, he presented a major retrospective exhibition, to huge critical and public acclaim. In 1999, he received the National Photography Award from the Spanish Ministry of Culture, and began working with the Juana de Aizpuru Gallery in Spain and the Kamel Mennour Gallery in France.
Between 2003 and 2006 he lived in Paris, where he produced a video trilogy alternating photographs and films, representing his venture into the video format, which he continues to explore to this day.
In 2009, he held a retrospective exhibition at the Reina Sofía National Museum Art Centre of Madrid, as well as at the Ullens Center for Contemporary Art of Beijing and at the Maison de la Photographie of Moscow. Recently, he has held exhibitions at the Maison Européene de la Photographie in Paris, at the Photographers’ Gallery in London, at the Contemporary Art Museum in León and at the Tabacalera Promoción del Arte in Madrid.
His work can be found in large international collections such as the Reina Sofía National Museum Art Centre (Spain), the Fonds Nationales d’Art Contemporain (France) or the Deutsche Börse (Germany), among others. García-Alix has combined his photographic activities with those of an editor; he founded the cultural journal, El Canto de la Tripulación (1989 to 1997), and, more recently, jointly founded the Cabeza de Chorlito publishing house, together with Frédérique Bangerter, under the imprint of which he has published some of his most recent creations: El paraíso de los creyentes (Believers’ Paradise) (2011); Diaporamas (2012); MOTO (2015) and Motorcycle Family Circus (2016).
More information: HERE
Saturday, November 11, 2017
Sydney: Africa - The Wild
Black Eye Gallery is pleased to announce:
‘AFRIKA – THE WILD’
By photographers Ken and Michelle Dyball.
‘AFRIKA – THE WILD’ will be the international first time showing by photographers Ken and Michelle Dyball. The images have been selected from a vast archive of work shot over a ten year period whilst the couple resided in Africa. Unlike most ‘visiting’ image makers of Africa, the Dyball’s knowledge and connection to the land is apparent through their unique and unrepeatable images.
The Dyball’s work has been recognized internationally winning multiple awards, which include include ‘Nature’s Best African Photography Awards’ and ‘BBC Wildlife Photographer of the year’. The couple will also be the subject of a future publication by the prestigious Natural History Museum in London, who not only acknowledge the beauty of their work but of its ethological importance.
Black Eye Gallery director Tom Evangelids – “This is a truly unique representation of Africa by two of Australia’s foremost international nature photographers. The work is grand, intimate and most of all emotional- its compelling to see native animals in their natural habitats. Having Nick Brandt’s work in the gallery last year, we are honoured to have another fine body of images from this amazing continent and we are thrilled they are Australian!”
Black Eye Gallery blackeyegallery.com.au
Located @ 3/138 Darlinghurst Rd, Darlinghurst,
Opening night – Thursday Nov 16, 6-8pm
Exhibition details – Nov 14 – Dec 3, 2017
Tuesday, October 3, 2017
"Without Water" by Photographer Isamu Sawa
Exhibition Details: Sept 26 – Oct 15, 2017
Isamu Sawa. He will be exhibiting his "Without Water" exhibition @ Black Eye Gallery in Darlinghurst. (a Contemporary Photography Gallery)
All About the Exhibition
Tuesday, September 26, 2017
Irving Penn at The Grand Palais in Paris France
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| Mouth for L'Oréal © Irving Penn |
September 21, 2017 – January 29, 2018
Grand Palais
3 Avenue du Général Eisenhower
75008 Paris
France
More information: HERE
This incredible retrospective – which marks the birth, in 1917 – of the American master of photography Irving Penn is to be discovered until January 29 in Paris at the Grand Palais. If you live in Paris or intend to go to France soon, it is an event that shouldn't be missed!
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| Cuzco-Children © Irving Penn |
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