Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.
For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.
Born in 1957 in Neuilly sur Seine, Stéphane Couturier currently lives and works in Paris.Read More
In 1994, Stéphane Couturier showed his first works in a series called 'Urban Archaeology', viewing the city as a living organism with multiple aspects. He photographed it deliberately avoiding anything that suggested poetry, nostalgia or strangeness. From 1999 on, Stéphane Couturier was increasingly drawn to suburbs and began to focus on a different type of landscape: on the one hand, by tackling housing blocks and high-rises in his 'Monuments' series; on the other, by photographing mushrooming housing developments.These generic cities soon became his favourite subject.
In 2002, the uniformity and repetitiveness of these landscapes around the world drove him to begin working on the concept of the polyptych: the combinations and interchangeability of each of the elements in a polyptych give rise to a play with 'Landscaping' (the title of a new series), with the spectator recomposing a landscape between reality and fiction.
With a new body of work called 'Melting Point', Couturier changed his visual approach in 2005. This series presents a Toyota assembly plant in Valenciennes (France). It also evolved with new subjects like the Indian city of Chandigarh built by Le Corbusier and the city of Brasilia built by Oscar Niemeyer from 2007 to 2010. In this new series, the silver salt clichés are scanned before the digitalised images obtained are superimposed two by two with the help of image-processing software. The technical and visual protocols put into play obey a visual and deliberate conceptual orientation–to divert the documentary aspect of photography, to shift and transcend its narrative dimension and to question its reputation as a beholder of truth.
Text courtesy Christophe Guye Galerie.
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