Deadbeat Club: Mentally Retired is a group photography exhibition showcasing contemporary film photography featuring:
Devin Briggs
Cheryl Dunn
Nolan Hall
Grant Hatfield
Andrea Sonnenberg
Deanna Templeton
Ed Templeton
Clint Woodside
Tobin Yelland
Exhibition runs through till February 1st, 2015
Slow Culture
Art Gallery + Retail Project Space
5906 N. Figueroa Street
Los Angeles
CA 90042
Elena Kalis photographed her daughter for five years in the open ocean off the coast of the Bahamas where they live. Their collaboration produced surreal and otherworldly images.
Opposite – Ocean Song #29
Exhibition runs through till January 10th, 2015
Duncan Miller Gallery
Bergamot Station arts complex
2525 Michigan Ave, Unit A7
Santa Monica
CA 90404
My father taught me photography in 1955, when I was twelve years old. I made my first movies (they were conventional home movies) with a Brownie 8mm camera in 1956. I believed that photography and film as I found them in the 1950s would last forever.
M.F
All of the works in this exhibition were made as photographs or films. I didn’t do this to sustain my belief, it was the way I wanted to do things, and they were easy and normal things to do. But in treating some of the works after their original production I have chosen to work digitally because it is simpler.
The photographs of unused boxes of still film from the 1950s, shot recently, express the pathos of how I thought about photography and film those many years ago. Most of the manufacturers have disappeared or have stopped making film. At the time these objects were made they carried the promise of future use. Now, their expiration dates long past, they are useless, at least with respect to their original purpose, their uselessness underlined by the fact that photography on film as an amateur practice is essentially extinct. The photographs were shot on film, a practice still current in commercial photography, but scanned and then printed as archival pigment prints.
Opposite – Agfacolor Negativfilm K 24 x 36 mm August 1955, 2014
Exhibition runs through till January 25th, 2015
Maureen Paley
21 Herald Street
E2 6JT
London
With these photographs, Luc Delahaye continues to reflect on the representations of the human condition in the contemporary world. With freedom and precision, he carries forward his pursuit of images that declare their autonomy while transcending their photographic nature. This quest is above all the restless wandering of someone who, through his impersonal presence, aspires to an awareness of the world.
Starting from theaters of war, it takes him towards a more ordinary reality: that of an Indian village, of a suburb of Athens or of a financial institution. It also prompts him to broaden his modus operandi: whereas the documentary approach remains central to his work, he is now also integrating certain artifices usually linked to fiction. Thus, of the four photographs taken in the Indian village, two are classic documentary images taken directly from real life (Coal Gleaner, The Tree), another is the re-enactment of a scene witnessed during a previous visit (Father and Daughter), and the last (Boys Fighting) is the creation of an imaginary situation, using “actors”. Another example, in a very different domain, Trading Floor is a digital composition made from pictures taken at the London Metal Exchange. Death of a Mercenary and House to House, both made in Libya during the 2011 war, are more in the line of Luc Delahaye’s earlier works.
Opposite – House to House (Tawargha), 2011
Exhibition runs through till January 17th, 2015
Galerie Nathalie Obadia
3 rue du Cloître Saint-Merri
75004 Paris
France
The exhibition presents a series of photographs of various interiors, two of which were made in Düsseldorf. These are “Schmela Haus Düsseldorf | 2011”, the Nordrhein-Westfalen art collection, and the “New Stahlhof Düsseldorf | 2012”, renovated in 2002. Here she has focused on a stairwell, showing its impressive architecture. A symphony in white, created simply by the receding line of the banister.
In contrast to her earlier works, most of which were meant to show inherent relations of images, the new works more often concentrate on single objects, often in isolation and carefully staged. They explore the ontology of objects, colors, and light. For example, a neon tube in the dark interior of a stairwell becomes a form-giving entity, and dictates the minimal composition on the picture surface. In another work a thin white line runs across a concrete floor, and the photographic composition is thereby fragmented into two abstract sections. These new works often have English titles, but as in those of her earlier photographs they indicate nothing more but what there is to see. For example, the work just mentioned is simply titled “Line on the Floor 2014”.
Opposite – Blinds 2014, 2014
Exhibition runs through till January 25th, 2015
Galerie Eva Presenhuber
Löwenbräu-Areal, Limmatstr. 270
CH-8005 Zurich
Switzerland
The exhibition by Australian photographer, Murray Fredericks: a selection of large scale work from his Lake Eyre series and Topophilia, the Greenland Ice Sheets.
Lake Eyre is a continuation of Fredericks’ Salt series, as previously exhibited at Hamiltons in Salt, 2007 and Salt II, 2009. Often travelling alone with a bicycle and trailer, carrying his large format camera and supplies, Fredericks navigated this vast area in Southern Australia in extreme weather conditions, taking both a physical and mental toll, in order to capture the perfect frames.
“The project arose out of a desire to work in the most barren landscape that I could find. Lake Eyre was chosen as an appropriate location since its perfectly flat surface and razor sharp horizon provide a landscape devoid of features, which extends, once out on the Lake, in every direction.” Fredericks.
Rather than covering multiple landscapes a single location is selected and the work concentrates on drilling into that frame, that environment, that circumstance. The subject is stripped to its essence through the methodology of repetition.
Opposite – Dye2 #1, Abandoned Missile Detection Station, Greenland Ice Sheet, 2014
Exhibition runs through till January 30th, 2015
Hamiltons Gallery
13 Carlos Place
London
W1K 2EU
