News // 118 News by GoSee ART

GoSee Book Tip : 'Murder' by Guillaume Simoneau (MACK BOOKS) – a personal trip back in time and an homage to Masahisa Fukase's raven observations 'Karasu'

Guillaume Simoneau’s photography project 'Murder' was on display this summer as a solo exhibition during the Rencontres d'Arles Festival. Appearing at MACK BOOKS now in book form is the exciting trip back in time, which the publishing company presents you here on GoSee.

“The genesis of Guillaume Simoneau’s new book 'Murder' was in spring of 1982. At around the same time, Masahisa Fukase was producing his post-war masterpiece 'Karasu' (Ravens), Simoneau's family adopted a nest full of baby crows orphaned from a fallen tree. The photographs from this time, taken by Simoneau’s mother, paint an unusual and lyrical vision of childhood. Nearly forty years later, these moments are memorialized in dialogue with Simoneau’s new works, produced in the spring of 2016 and 2017 in Kanazawa, Japan.

This setting, the birthplace of 'Karasu', punctuates the book with a further-reaching interest in tradition and timelessness that looks beyond the scope of these events to the landscape, famous thatched houses, the pine forests, and coastline. The crisp, architectural qualities of the new photographs evoke a rendering of Fukase’s original that is, however, distinctly of its time. In 'Murder', the original black and white image of the photographer as a child, crows perched on his shoulders, is set alongside visions of violence: one crow hanging by rope, tangled and rotting, another pinned down by a large bird of prey. The mood of this contrast is never cynical; instead, it develops an ambivalent approach to nostalgia that is energetic and cathartic. Several of these photographs directly reference 'Karasu', and it is this language of violence inherited from Fukase that becomes the mode with which Simoneau challenges this inheritance.

Throughout the book, the symbolism of the crow is constantly at stake. In the childhood images, the crow becomes an unlikely symbol of intimacy; coupled with blurred glimpses of the bird in flight, Simoneau threatens to restore the bird to its cultural function as an omen of turbulent times.”

Paper-bound hardback with tip-in, includes bilingual booklet, 96 pages, 31.3 x 24.5 cm , ISBN 978-1-912339-48-8, €45 £40 $50
17.09.2019 // show complete article

GoSee loves ... 'Belvédère – White Was the Snow – a photo project by Thomas Wrede on the Rhône glacier about a landscape in transition at Gallery Wagner + Partner

Our friends from Gallery Wagner + Partner in Berlin are now showing 'Belvédère - Weiß war der Schnee' (White Was the Snow) (13 Sept. – 19 Oct., 2019), a project by Thomas Wrede, photographed around Belvédère, a town at the edge of the Rhône glacier. The photo artist spent the last two years investigating issues related to the glacier and its transformation through climate change. For over 150 years, tourists have visited the glacier and its cave however; global warming is also endangering this natural spectacle. Nonetheless, by using fleece coverings, the phenomenon of glacial melt can be reduced. The gallery is pleased to premiere Wrede's new series with this solo exhibition.

Due to weathering as well as constant glacial drift, the fleece coverings age and have to be replaced regularly. Artistically, Thomas Wrede explored this fascinating interweaving of the natural landscape with human intervention. The results are beguilingly aesthetic images, which at the same time are documentation of an irretrievable process. On display at the exhibition are both interior and exterior images of the glacial cave.

Connoisseurs of Thomas Wrede’s oeuvre – think of the significant survey exhibition in the Von der Heydt Kunsthalle – will remember his Samsø series from the early 90s, on display in the back section of the gallery. For Samsø, the artist addressed a comparable issue with the same sensitivity – the use of plastic wrap to enable an early potato harvest on the Danish holiday island. The plastic wrap became plastic garbage, which also considerably altered the perception of the landscape.

The impressive black and white silver gelatin prints highlight that Wrede had already begun investigating such issues back then, which he has developed further and in color for this new exhibition, Belvédère. In the context of an increasingly broader discussion on environmental degradation and climate change, Thomas Wrede's photographic work is a call to action that encourages awareness and dialogue regarding our changing landscape.

Thomas Wrede (b. 1963 in Iserlohn) lives and works in Münster. Thomas Wrede's various exhibited serial works often deal with the concept of nature and its visualization. His series simultaneously trigger a sense of familiarity and unfamiliarity. Wrede's choices of familiar scenes often induce a sense of nostalgia. However with the manipulation of the compositions and lighting effects of his photos, a feeling of uneasiness is inevitably evoked. He is Professor of Photography and Media Art at the College of Fine Arts Essen. Wrede has exhibited in Germany and abroad since the early 90s, and his works are held in numerous international collections.

WAGNER + PARTNER Koppenplatz 5 - 6, 10115 Berlin
11.09.2019 // show complete article

GoSee Book Tip : Sigalit Landau 'Salt Years', the Israeli artist uses the Dead Sea as a source of inspiration and sees it as her lab for immersing everyday objects in a saline bath – the exhibition at Museum der Moderne Salzburg

Israeli artist Sigalit Landau uses the world’s saltiest sea as her laboratory. Everyday objects are “baptized” by immersing them in the Dead Sea for months. Completely covered in salt, they obtain a hypnotizing effect. The transience of objects is transposed into the poetic aura of crystalline permanence.

In this form, issues of female identity and bodily experience, the shadows of the Holocaust, the tense political situation in Israel as well as questions of justice, structural violence, and economic exploitation of nature are negotiated. Salt Years is both a catalogue of these works created at the Dead Sea and a visually stunning documentation of the artist’s process.

SIGALIT LANDAU (*1969, Jerusalem) is one of the most important contemporary artists in Israel. Her works have been shown in many big venues in Israel, the US and Europe, including documenta and the Venice Biennale. Her latest exhibition at Museum der Moderne Salzburg (6 July –17 November, 2019) is comprised of several readymades, immersed in the Dead Sea, plus a selection of her most significant video works.

Sigalit Landau 'Salt Years'  (Hatje Cantz, texts by David Goss, Rona Cohen, Amitai Mendelsohn, Eli Raz, Dalia Manor, Tal Sterngast, Luna Goldberg, Sigalit Landau, Thorsten Sadowsky, 2019. 400 pages, 198 ills., hardcover, 19.3 x 26.7 cm, ISBN 978-3-7757-4623-6).
28.08.2019 // show complete article