Saatchi Gallery’s Post

As many of you already know, our series "Heliographies of Memory" is featured in the exhibition ‘Loading: Urban Art in the Digital Age’ in Grand Palais Immersif. It includes a fragment from Juan Tamayo’s documentary ‘Nuevo Mundo’ where I explain a bit about the process, along with a series of photographs Leo Luna and I have taken over the past few years. Interestingly, it is in the ‘Invisibles’ section of the exhibition. Talking with Christian Omoedo, the curator of the exhibition, who graciously hosted us at his space, Le Grand Jeu (the most incredible book and zine collection on urban culture I have ever seen), he explained why our work ‘Heliographies’ is in that section. It’s fascinating because it’s a section dedicated to rescues and survivals: on one hand, the graffiti from very old times, like the case of Josef Kyselak (1799-1831), a traveller who inscribed his name on the mountains he conquered. Until recently, no one knew of his existence until graffiti researchers brought him to light to discuss the beginnings of graffiti before the whole hip-hop saga. Similarly, with Brassaï and his extensive classification of graffiti, following the success of his photographic essay, photographs of interventions in urban and rural spaces began to gain more attention, such as those in the Lascaux caves. Thus, it is a practice that is evanescent, fading over time, with only photographic records, lithographs, or stories remaining. What better way to represent this concept in a single moment than with the ‘Heliographies of Memory’, an ephemeral act that vanishes as it is performed but is recorded through long-exposure photography. And there you have it. Christian’s approach to urban art is truly unique, explaining things in a way that makes you connect many stories at once, weaving together phenomena from different eras and methods. I believe this is what Walter Benjamin referred to as constellations. If you are in Paris dont miss this incredible exibithion produced by Atlasv The exhibition is open until July 21st. Thanks to all the team at Grand Palais Immersif and collaborators. Thanks to Secretaria de Cultura for the support. @roeiamit @z_cat_z @superbien.studio @olivierpalatre_architectes @oscar.ferran @horah.inc @monsieurlagent @cinem.ai and @mehdimejri #saidokins #leoluna #grandpalais #grandpalaisimmersif #mexicanartists #streetartparis #graffitiparis #arturbaine #streetart #graffiti #art #paris #france #mexico #heliographiesofmemory #Publicart #Photography #trocadero #EiffelTower #expoloading #legrandjeu #ChristianOmoedo #graffiti #Street #Art #Urbanart #artinpublicspace

How can photography help people better understand their environment amidst an era of rapid development and climate change? In the final episode of Widening the Lens, artists Edra Soto, Victoria Sambunaris, and Dionne Lee discuss how photography helps them bear witness to the constantly changing American landscape, and the ways in which art can help us move forward at this critical juncture. https://lnkd.in/gUsZCcEu

Lens Lab Project are proud to present a new open call exhibition (and Christmas social), Re:ject 2024 on 4 December 2024 from 4pm until 8pm at Lens Lab Project. Has your work been rejected from a national or international photography competition or application this year? We’re looking for photography and lens-based artworks that have been rejected from exhibitions, competitions or applications to bring them together as a celebration of rejection! If you follow the rules, your work is guaranteed to be included in the exhibition. There is no entry fee, but please check to see to see if you qualify for entry** To enter, you must be:  **Based in the North of England **Your work has to have been rejected from a national competition, if not, your submission will be invalid.   We will need:  a copy of your rejected image (or images) as a JPEG sized at 3000 pixels/30cm on the longest edge, at 300dpi,  a short 50-word bio with website or social media link,  a copy of the rejection letter/email. We will redact all personal information from the rejection letter.  Sent to hello@lenslabproject.org by noon 29 November. All works will be printed by LLP on the same paper and presented in no particular order at the Lens Lab Project studio. If you are successful in getting into the show, this is no reflection on the quality of your work….

📸 Elevate your brand's visual storytelling with photography that speaks volumes. Let's connect to explore how I can help capture the essence of your brand or project. #Photography #VisualStorytelling #HumanExperience Today I would like to talk to you about a book that inspires me in my photography practices with my clients despite all odds... "Frowst" is a photobook by Joanna Piotrowska, a Polish photographer known for her exploration of the human body, space, and the dynamics of relationships. The title "Frowst" is a term that refers to a stuffy, poorly ventilated atmosphere, often associated with a sense of claustrophobia or discomfort. Published in 2014, it features a series of black-and-white photographs capturing intimate moments and interactions within domestic spaces. Rather than producing portraits, she focuses on imaging THE FEELING OF DISCOMFORT CAUSED BY PROXIMITY. A rather abstract concept at first, hardly describable with words... It is a brand new interpretation of "A picture is worth a thousand words", where words actually would have failed. There's a sense of tension and ambiguity in many of the images, inviting viewers to interpret the relationships and emotions portrayed. As a professional photographer catering to B2B clients, I specialize in capturing emotions and narratives through careful observation of body language and spatial dynamics, facilitating empathy and connection. Taking photographs is about noticing if people are not at ease using the frame and their environment to bring them into their comfort zone and capturing those brief moments where they express themselves fully despite the unnatural presence of the camera. It's about embracing ambiguities and harmonizing them to elevate the message! When portraying 30 very different people with their individual stories, for a company that aims to use the photos to communicate a set of values and culture, those insights are most useful! I understand that those photographs might not be to everyone's taste, but 1# I love them, and 2# artists like Joanna Piotrowska, help us to understand and transcend linguistic boundaries, capturing the subtleties of human experiences that evade verbal expression. Through our lens, we freeze fleeting moments, inviting viewers to contemplate the complexities of human connection. More about her work: https://lnkd.in/eQMsrqr2

Continuation and conclusion of the report on my visit to the exhibition "Seeing Time in Colors" at the Centre Pompidou-Metz : 2. The Care of the Colors Section #12 reminds us that color fixation techniques appeared and evolved between the late 19th and early 20th centuries: there was Louis Duclos du Hauron's trichromy, Gabriel Lippmann's interferential method, and the Lumière brothers' autochromes... 🌈 This emergence of color provides a new perspective on the photographic recording of Reality. It allows archiving the planet in all its chromatic palette, as suggested by Albert Kahn's series in section #13. 🗺️ Thus, through the work of color in photography, artists have propelled this new visual medium into the academic field of Fine Arts. Section #14 highlights the Vivex process developed by Yevonde Middleton, whose aesthetic quality is demonstrated in the "Goddesses" series of 1935. 👩🎤 Section #15 also features numerous works by Saul Leiter, highlighting his ability to capture/construct life moments that become true pictorial compositions: the depth of field, the complexity of successive planes, and the colors of the Reality arranged within the frame of the lens like an impressionist painting, even though we are in a contemporary urban world. The same pictoriality emerges from the American photographers showcased in section #16, such as Joel Meyerowitz. 🖼️ Finally, the exhibition concludes with section #17 by questioning the reaction of painting to photography, which has continuously challenged it with a revolution in imagery. Sam Stourdzé concludes his reflective journey with Gerhard Richter's paintings which, not without a touch of derision, replicate the visual feats of photography through hyperrealistic metapicture (no less!), as a way of expressing that painting is not dead; as a manual work of the eye, it can indeed embrace the territory of photography and much more... 🧑🎨

PH21 Gallery presents: 'Dis/harmony' – A Curated International Photography Exhibition - Harmony is an elusive, perhaps even ineffable aspect of photographic images. The same can be said for disharmony, its potentially disturbing, but often stimulating opposite. While many photographers share the view that the communicative impact of images is enhanced by harmony, there are countless individual artistic interpretations of what makes an image harmonious or disharmonious. Some view harmony primarily as a visual compositional feature, accepting the unusual, the unexpected, or even the disturbing within the realm of compositional harmony or disharmony. For others, harmony is also a thematic concept, and they find harmonious elements in the communicative content of the image, arising from the various interactions depicted. The intentional lack of harmony can also lead to some of the most creative photographic compositions. All photographic genres utilise compositional elements to create the sense of harmony or its opposite. PH21 Gallery invites photographers to submit their work for its group exhibition themed Dis/harmony. We are seeking submissions from all photographers who consider harmony or disharmony to be a constitutive element in their work and who wish to share their art with a wider international audience through PH21 Gallery. The theme is broadly construed; harmony or disharmony may be present as a formal aesthetic feature and can be expressed visually on personal or social levels, whether literally or in abstract, symbolic ways. Deadline: October 14, 2024. https://lnkd.in/eaY6e2jj #TheArtList #PH21Gallery #Dis/harmony

PH21 Gallery presents: 'Dis/harmony' – A Curated International Photography Exhibition - Harmony is an elusive, perhaps even ineffable aspect of photographic images. The same can be said for disharmony, its potentially disturbing, but often stimulating opposite. While many photographers share the view that the communicative impact of images is enhanced by harmony, there are countless individual artistic interpretations of what makes an image harmonious or disharmonious. Some view harmony primarily as a visual compositional feature, accepting the unusual, the unexpected, or even the disturbing within the realm of compositional harmony or disharmony. For others, harmony is also a thematic concept, and they find harmonious elements in the communicative content of the image, arising from the various interactions depicted. The intentional lack of harmony can also lead to some of the most creative photographic compositions. All photographic genres utilise compositional elements to create the sense of harmony or its opposite. PH21 Gallery invites photographers to submit their work for its group exhibition themed Dis/harmony. We are seeking submissions from all photographers who consider harmony or disharmony to be a constitutive element in their work and who wish to share their art with a wider international audience through PH21 Gallery. The theme is broadly construed; harmony or disharmony may be present as a formal aesthetic feature and can be expressed visually on personal or social levels, whether literally or in abstract, symbolic ways. Deadline: October 14, 2024. https://lnkd.in/eaY6e2jj #TheArtList #PH21Gallery #Dis/harmony

PH21 Gallery presents: 'Dis/harmony' – A Curated International Photography Exhibition - Harmony is an elusive, perhaps even ineffable aspect of photographic images. The same can be said for disharmony, its potentially disturbing, but often stimulating opposite. While many photographers share the view that the communicative impact of images is enhanced by harmony, there are countless individual artistic interpretations of what makes an image harmonious or disharmonious. Some view harmony primarily as a visual compositional feature, accepting the unusual, the unexpected, or even the disturbing within the realm of compositional harmony or disharmony. For others, harmony is also a thematic concept, and they find harmonious elements in the communicative content of the image, arising from the various interactions depicted. The intentional lack of harmony can also lead to some of the most creative photographic compositions. All photographic genres utilise compositional elements to create the sense of harmony or its opposite. PH21 Gallery invites photographers to submit their work for its group exhibition themed Dis/harmony. We are seeking submissions from all photographers who consider harmony or disharmony to be a constitutive element in their work and who wish to share their art with a wider international audience through PH21 Gallery. The theme is broadly construed; harmony or disharmony may be present as a formal aesthetic feature and can be expressed visually on personal or social levels, whether literally or in abstract, symbolic ways. Deadline: October 14, 2024. https://lnkd.in/eaY6e2jj #TheArtList #PH21Gallery #Dis/harmony

Art Scene Investigation Every once in a while [ARTEPACT] is employed by art collectors to check a piece of art before a purchase, or after one and our esteemed partners jump at a chance to have an artistic detective bonanza trying to uncover what lies beneath the surface of a seemingly ordinary painting. There could be a hidden gem, waiting to be unveiled. Ultraviolet (UV) and infrared (IR) photography offer art conservators and historians a unique glimpse into this secret realm. UV light causes certain pigments to fluoresce, revealing alterations, hidden inscriptions, or even earlier underpaintings. Imagine a portrait where a stern expression is unexpectedly replaced by a playful grin beneath UV light, hinting at the artist's initial conception or a change in the subject's mood. IR light, on the other hand, penetrates deeper, revealing layers hidden beneath the final surface. It can expose underlying sketches, forgotten details obscured by the artist, or even pentimenti – changes made by the artist as they worked. These techniques have unearthed fascinating discoveries. We at [ARTEPACT] have witnessed it. Process starts when [ARTEPACT] receives the painting in question from the client and takes it to the photographic laboratory. Curator, conservator and photographer work in the dark studio pretty much like an art forensics unit - CSArt. Who knows what might pop up when special lights and beams are switched on. From a reused canvas, old faded out price tag to a hidden inscription – a note to the framers on the back of the artwork, or more mundane calculation doodle. All the shots taken are carefully examined and further scrutinized by the keen eye of fine art professionals before being documented in the conservator's initial conditional report, a copy of which the client receives after the conclusion of the process. The curator starts intrinsic inquiries into the painting's history and tries to unravel its story, and notes everything just like some psychiatrist, while the conservator gathers all the data on the painting's condition advising the best possible treatment, just like a general practitioner to a patient, while the photographer reads the shots taken, as a sort of radiologist. The use of UV and IR photography is a testament to the detective work involved in art conservation. It's a journey of uncovering the unseen, piecing together the creative process, and shedding light on the stories that lie hidden within the layers of paint. We at [ARTEPACT] can help you discover what's beneath and see what's beyond. #art #painting #technology #creativity #insight #investigation