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LOCANDINA SMART VIEW

Presentazione e mostra | The Smart View

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Giovedì 6 Aprile alle ore 19.00, l’Associazione 001 prosegue con il suo calendario di appuntamenti dedicati alla fotografia contemporanea, ospitando la presentazione ed una mostra del magazine “The Smart View”.
Saranno presenti la fondatrice del magazine Rosa Roth alcuni degli autori pubblicati, Antonio D’Agostino, Michaela Maier, Piero Percoco e Primor Zorko..

THE SMART VIEW è una rivista d’arte indipendente, concentrata sull’arte e la fotografia Mobile. Fondata nel 2014, editore e redattore capo Rosa Roth, seleziona artisti provenienti da tutto il mondo allo scopo di rappresentare il loro lavoro. L’essenza della curatela on-line di opere fotografiche e d’arte viene convogliato su piattaforme come Instagram, VSCO e Tumblr.
Un’ edizione cartacea della rivista esce due volte l’anno, e mostra una selezione di lavori e opere raccolte attraverso una open call, è valorizzata con testi accademici e interviste 

http://thesmartview.de/
https://www.instagram.com/thesmartview/

Info:
zerozerouno.org
info@zerozerouno.org

Via Pisoniano, 9 ROMA

LOCANDINA BARRERA (2)

The Desiring Machine | Workshop con Giorgio Barrera

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The desiring machine

Il workshop vuole tendere a incentivare lo sviluppo di un linguaggio fortemente personale e ha la finalità di produrre un lavoro collettivo.

Ci troviamo in un momento storico dove il concetto di osservare si confonde con quello di voyeurismo, dove il nostro intimo immaginario risulta quasi banale perché sembra essere prodotto da fonti esterne e dove il desiderio si è trasformato in evasione o in un puro capriccio.

Creare nuove immagini e nuove forme di rappresentazioni mostrando il nostro sguardo senza sovrastrutture in una forma quasi originaria delle nostre percezioni è probabilmente la strada per creare attraverso le fotografie un mondo più umano. Ricercare ed approfondire conduce ad avvedersi della nostra relazione con il mondo e ripensare il nostro ruolo di operatore, produttore e creatore di reale anziché di solo ricettore e consumatore.

Desiderare, etimologia: ‘cessare di contemplare le stelle a scopo augurale’.

1 GIORNATA 13 Maggio ( 10.00 – 18.00 )

MATTINA

Breve introduzione sul  lavoro di Giorgio Barrera e sul metodo di lavoro. Visione dei portfolio dei partecipanti.

POMERIGGIO

Perché un lavoro collettivo? Discussione degli elementi teorici del progetto. Esami di alcuni testi per introdurre e discutere il tema da svolgere.

2 GIORNATA 14 Maggio ( 10.00 – 18.00 )

MATTINA

Esercitazione pratica per mostrare possibili metodologie di lavoro e cercare di individuare le possibili diramazioni dell’idea di fondo.

POMERIGGIO

Tentativo di individuazione del prodotto finale per l’output del progetto cercando di individuare quali siano le caratteristiche che lo rendono adatto al contenuto e al messaggio che gli si vuole dare.

3 e 4  GIORNATA 10/11 Giugno ( 10.00 – 18.00 )

Esame e critica dei lavori svolti e immersione nel lavoro di preparazione del prodotto finale.

 

Giorgio Barrera, (1969)  lavora con la fotografia e il video. La sua ricerca si è sempre focalizzata, anche se con strumenti e metodologie diversi, sul  rapporto fra realtà e soggettività. Ha vinto, tra gli altri, i premi Baume & Mercier, Canon, e FNAC ed ha collaborato con vari Istituti di Cultura Italiani, con il Mibact altre varie istituzioni e gallerie.  Suoi lavori sono stati esposti in Europa, Russia, Canada e Stati Uniti e sono presenti in collezioni pubbliche e private. Ha realizzato tre libri di fotografia con Silvana Editoriale, Zone Attive e Postcart e con quest’ultima casa editrice ha da poco  pubblicato un saggio dal titolo “La battaglia delle immagini”. Il testo indaga i rapporti della fotografia con la socialità e la realtà e si spinge ad introdurre una forma creativa di mediattivismo da realizzarsi soprattutto con le immagini. Direttore artistico del Festival di Ragusa è tra i fondatori del collettivo artistico Fotoromanzo Italiano di recente vincitore di una residenza artistica presso Le Murate Pac a Firenze. Affianca al lavoro artistico e professionale l’attività di lecturer, curatore e insegnante. Vive a Milano.

giorgiobarrera.it

 

Info e costi:

Per informazioni scrivere a: info@zerozerouno.org

Costo del Workshop: € 260,00 ( € 100,00 al momento dell’iscrizione + € 160,00 nel primo week-end)

Through the window

Campi di battaglia

Andate in pace

Loss of innocence

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Florian van Roekel | Le Collège

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Le collège

Le Collège is a documentery about the experience of high schools from the perspective of students. Adolescence is a period of hormonal bursts and intense inner changes, often resulting in inner conflicts leading to outer conflicts and insecurity.
The school system on the other hand is an environment keeping those bursts and conflicts under control. This leads to friction and misunderstanding resulting in students seeking relief in friendships and different forms of escapism.

This feeling of longing to be somewhere or sometime else, is a recurrent theme in my work. By using certain visual references I steer the interpretation of the viewer to certain time periods or types of media. Documentary work is coloured by the photographer, and this is something that I see as a valuable aspect. What I felt roaming the school halls, sitting in the back of the class room again, having lunch in the cafetaria, will be recognised and felt by many others who experienced the same.

Florian van Roekel (1980) works and lives in the Netherlands. Before he graduated in 2010 from the Royal Academy of Art in The Hague with a special distinction, he studied social work. In 2011, Martin Parr voted van Roekels’ book of photography How Terry likes his Coffee one of the best books of the decade. In addition, van Roekel was nominated for the International Center of Photography Infinity Award. Le Collège was mentioned as one of the best photo books of 2016 by Markus Schaden.

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Sissel Thastum | I am here when you are here

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I am here when you are here

Throughout the making of I am here when you are here, returning to my home time after time to photograph my mother, stands as an act with direct reference to what the photographs hold: The consequence of time passing in the absence of one another, my mother and my home, and the photographic confrontation of each return.

The act of photographing my mother and my home has become ‘nostologic’. Nostology stems from gerontology, which comes from the Greek word notos; to return home. It has a reference to aging and a state of second childhood.

 

It is through existing memories and feelings towards my home and my mother, implicit as well as explicit, that I have created this work. They have enabled recognition, clarification and emotional response, which has made it possible to continue the project, the search and the identification. My mother has let me do this. She has let draw on our relationship, she lets me show her and photograph her, so I can search for identity through her, and through our relationship.

The photographs also contain an uncanny feeling, which holds the known and comfortable on the one hand, and the hidden and concealed on the other. It is this feeling of attraction and estrangement towards the known and the unknown, that is key to the development of identity. In this sense the work is both a return to the ‘chora’; the home, and a departure towards autonomy.

 

– Sissel Thastum

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Claus Lucas | Wozu

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– Human struggle in our daily life like a war

I am using photography to confront the inner psychological struggle that many and most human beings endure.
I want to reflect ourselves through these works and intend to find ourselves confront and overcome this situation.
As seen in Plato’s allegory of cave, all of us are constantly caught between fictions and realities, battling on the thin line between pleasure and pain.
“Wozu” is a series that shows the state of inner collisions among scared
egos—individuals that want to look away from the truth and who, despite the clamor of voices around them, remain largely silent.

I pay attention to human basic and animal instinct to express these states.
We maybe evolved, but deep down we are still animal.
The progress of civilization gave us many changes and convenience.
But we pay attention to gradually vanishing basic instinct by that.

We, the defective human beings, live by floating the world of chaos.
The incessant questions derived from chaos might be the reason or signification of our existence.

“Wozu” is a german word which means “what for”

These sentences written right after sudden awaken from sleep, opened the starting point of my work.

I reflected myself in water and there was a stranger.
I wish he disappeared tomorrow

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Jagoda Wisniewska | Czarna Madonna

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Czarna Madonna

Czarna Madonna is a photographic project that I realised within one year of working intimately with my subjects, to through their presence depict harmful sides of love. The aim through this project for me was to examine the conflicting dynamics of the mother-child relationship and the fantastical aspects of family environment.

I am very fascinated with mental maps and personal geographies and how they are translated and passed on in form of stories. During the development of this work I have been extensively inspired by my grandmother’s stories that she shared with me. They are based on very mysterious events that she had experienced during her own childhood. Accordingly, her stories became a certain mood-setters for me to work around, and a perfect background on which I linked my reflections on the topic I am exploring in this body of work.

Through this series of photographs that are translated into a photographic book I hoped to represent the duality that family life and family relationships have: the very simple division between good and bad, the real and the imaginary, and this constant flow and circulation of those forces in our life.

In this project nature plays an important role and images of nature are kept, through their aesthetic, in an oneiric way through the use of colour and light.
The idea behind mixing two languages of images in the project was to highlight this duality in the representation of my topic – play with imaginative language of colour and abstraction of black and white that allows the photographs to speak in more symbolic way.

Working within a book form for me was an idea that made sense for the project I was exploring. The book form allows the dialog for the images and highlights what photography revels and what does it hide, where the frame ends and what can be excluded from the it, and why.

I worked closely with my subjects who represent generations from a newborn to elderly and thus their age diferences touch on the aspects of time passing and the very photographic power to preserve what is about to be lost.

For me photography itself as a medium is really so much about separation as much as it is about capturing a moment, its about separating that moment. Photographs in Czarna Madonna deal exclusively with this concept of separation, of loss, of letting go of that what is familial to us. This ever lasting relationship to the maternal is always connected with the act of “splitting”. We grow to learn to leave the maternal body. Dividing ourselves – we become fully, by detaching ourselves from that what is known. Thus my photographic practice has been largely influenced by the representation of the familial and my own challenges were to experiment with approaches of how else the familial should be depicted and why.

Through this body of work I explored my interests in aspects of photographic performativity. I have imported crucial elements of gesture, the pose, the movement extensively from performance art and I tried to translated them into my images.

The photographic attempt to depict the mother-child relationship was a challenge on its own, due to the subject’s universal meaning and weight. Thus the figure of the mother that was my starting point for the development of this body of work, became a metaphorical symbol linked with loss and the act of preservation thought photographic practice.

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Farhad Rahman | Neverland

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Neverland

“All children, except one, grow up.” ― J.M. Barrie, Peter Pan

A fictional story about a 17 years old boy who has a own childish fantasy world and a way of survival through escapism. Super Hero’s not only live in tv and computer they are now belong to the world of “Himu” a young boy who loved to consider a virtual world with fictional characters as his own surroundings. From his early age due to his less eyesight and continuous social isolation headed him to refused to grow up and reject the real world. His regular day start with playing a fictional role in his own imagination after spending lot of times with computer games and watching science fictional movies. As a part of his recreation and mental diversion he put himself into a mysterious role for patronizing himself and full fill his all desires virtually.

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Nicholas Pollack | Nothing gold can stay

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Nothing gold can stay

Nothing Gold Can Stay is a body of work about the fleetingness of youth. My photographs of the boys of Branch Brook Park in Newark, New Jersey describe this ephemerality, and through these photographs I intend to access a sense of memory and vulnerability to create an experience of love amid life’s chaos and uncertainty.

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Sophie Tianxin Chen | I, etcetera

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I, etcetera

To make photographs I have placed a button in my belly button; sandwiched shoes between pairs of socks; and thrown a drowned water bird into a hole. Performance, staging, and a large format camera are the tools I use to create images. In my work I confront significant personal experiences. I turn emotions from the experience into ideas rather than documenting the real event itself. Choosing not to document I instead re­stage scenes by combining reality with artificial props and simulated effects.

Although highly constructed, my practice does not stem from a studio setting, it begins with observations made in the simplest domestic environment. The process of composing the image blurs distinctions between the literal and the metaphorical, allowing me to delight in the absurdity of disorientation.

It often appears to me that when something is forced upon us as solely literal often loses its power to effect. Influenced by films and music, I understand the importance of triggering an affect. I am interested in presenting an image through artifice, which allows me to distance and depersonalize myself from the experience to pursue an allegorical method of revealing.

I, etcetera was made in Los Angeles while becoming an American Citizen. After 10 years of living outside of my original country of birth including 5 years of dealing with the immigration services, I was left in an awkward in­between space of not knowing how to identify myself politically or culturally. Embarrassed often by the vagueness of my understanding to almost everything, I took this ‘lack’ and disorientation as inspiration for making images.

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Salvi Danés | Transmontanus

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Transmontanus

Transmontanus, the Latin term meaning “beyond the mountains”, is an allusion to the wind coming from the Pyrenees that characterises the Catalan region of the Empordà, not only defining its identity but also bringing change and erosion. Transmontanus is both a journal and a journey back to a landscape we knew as children. The journal describes a rediscovery: going back to that landscape and seeing it from a perspective that time has changed forever, and recognising that neither we nor our landscapes will ever be the same again.