News // 13 News by GoSee

featured by UPDATE-19-BERLIN : Back to BASICS – Let the VIEWING begin ! In 2019, renowned Berlin-based HMS agency basics is hosting the Portfolio Library at UPDATE-19-BERLIN for GoSee – and is now open for registration

In 2019, we are delighted to once again present you the popular PORTFOLIO LIBRARY at UPDATE-19-BERLIN. And photographers can now contact us to register. For only 180 euros, you have the opportunity to personally place your PORTFOLIO in the library for viewing and get your ticket to UPDATE-19-BERLIN.

At GoSee, we’re positive that art buyers, direct clients and representatives alike will gladly take a bit of their time to view the portfolios. The library is hosted personally by our friends from basics, Barbara Münzing and Heleen Claassen. We couldn’t be any happier ! 

So, if you’re a photographer and want to have your portfolio viewed, all you have to do is get in touch with us under (first come, first serve). We’ll see you on 15 November in Berlin ! GoSee : &

About – basics
was founded in 1995 by Heleen Claassen and Barbara Münzing, making it one of the first agencies for visagists and stylists in Berlin. Our extensive base of loyal clients is from the areas of fashion, beauty, advertising, catalogues, music, PR, events, TV, fashion shows, and e-commerce. Our domestically and internationally active artists not only work in these areas but are also booked by actors, politicians and other public figures regularly, some already for several years. This is made possible as part of events such as the red carpet and press junkets during the Berlinale, trade fairs such as the Fashion Week, Bread & Butter and Premium, Deutscher Filmpreis, and the Echo Awards.

Our stylists and outfitters put together creative concepts and realize the professional design for shop and trade show presentations. We proudly look back on countless successful projects and many years of intensive and harmonious cooperation with our clients. New clients benefit from our experience and receive comprehensive professional advise in selecting the right artist.

11.09.2019 // show complete article

featured by KEHRER Verlag : “I like you, I like you a lot” by Alicja Dobrucka – touching images of a personal story about family and loss in times of transition in Poland, appearing at KEHRER publishing

I like you, I like you a lot is a personal work about family and the experience of death and mourning. It responds to the tragic loss of the photographer’s 13-year-old brother Maks, who drowned while on a scout’s trip in 2008 in Poland. The images show the sequence of events in the aftermath of the tragedy. The camera became a shield protecting against the brutal reality of a helpless situation. The deceased brother and his closest friends formed a small group. Dressed in uniforms of American soldiers, they would play in Silesian landscapes reminiscent of paintings by Caspar David Friedrich. Communism ended in 1990 when Poland opened its borders to a flood of Western products and ideals. Maks and his friends were the first generation to grow up under that changing culture. The camera witnesses how they were enthralled by Western and especially American archetypes.

We learn from the text of Olivier Richon: “Kafka and Friedrich have been called upon as cultural off frames that inform my reading of “I like you, I like you a lot”, opening and closing the visual narrative in the manner of two book ends. A writer and a painter, both from central Europe. Here, photography is a narrative form predicated upon the restful silence of images – the silence of a crypt. It is a reliquary of sorts that uses the camera as a container that preserves images. The photographs are these visual relics that articulate an aesthetic and emotional relation to loss. They follow a structure of disavowal, what Freud called Verleugnung, which achieves a compromise wherein the memory of the departed is conserved and abandoned. To accept the verdict of reality and yet to maintain a belief in the existence of the departed through the photograph as a relic. The photograph as a relic is a frozen moment reminiscent of the arrested motion of baroque art, an art that flourished in Silesia. But these photographs are not just relics, they are also works of art with a haunting off frame.”

The book was published with texts by Thomas Frangenberg (1957 – 2018), who is not only a specialist for renaissance paintings and sculpture but also a collector of conceptual art, and Olivier Richon (born 1956), a Swiss photographer residing in London. He is a Professor at the Royal College of Art.

About - Alicja Dobrucka (b. 1985 in Poland) is a photographer based in London and Mumbai. In 2010, she received the coveted Deutsche Bank Fine Art Award and Grant for Photography. In 2016, she received the INPHA Award from Manifest in Ohio. She has exhibited internationally, and her work is in collections such as the Wienerberger Collection, Vienna, the Krakow Museum of Photography, the Paul Smith Collection, London, the Museum of Contemporary Art, Beijing, China, and the Space118 Collection, Mumbai.

I like you, I like you a lot by Alicja DobruckaTexts by Thomas Frangenberg, Olivier Richon . Design by Alicja Dobrucka & Kehrer Design (Anja Aronska) . Hardcover with a dust jacket . 19.2 x 24 cm . 128 pages, 61 color ills., English . ISBN 978-3-86828-946-6 . EUR 38.00
09.09.2019 // show complete article

featured by GoSee ART : TPG* New Talent, the group exhibition with eight artists selected for the TPG New Talent (TNT) mentoring program of The Photographers’ Gallery, London

Showing a range of approaches to both the medium and exhibition making, the artists selected for the first edition of TPG New Talent (TNT) present works which encompass the full spectrum of photographic practices today. From the experimental to the documentary, both the works and presentations test the capacity and materiality of the form, using found imagery, surface manipulation, collage and 3D processes to document contemporary stories through personal memories and collective myths.

On this year’s selected artists, Jim Goldberg, whose own work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream communities, commented: “I was wonderfully surprised and impressed by the scope of the work submitted for TPG New Talent, which offered a wide range of ambitious and thought provoking photography. The diversity of applicants and their working methodologies, mediums, and materials gave me hope that artists are certainly not running out of ideas on how to represent the world – and their places within it – any time soon. I look forward to seeing more from these promising artists.”

In addition to the forthcoming exhibition showcase, the artists each receive twelve months of individual mentoring. Working with TPG curators to identify a particular area of their wider practice in need of development and support, each artist will then be paired with a carefully selected mentor from the creative field, who will provide specific and ongoing advice and tutelage. Over the course of a year, the mentorship will include studio visits, meetings, discussions and critique relating to their work.

Supported by the TPG New Talent Exhibition Circle, Leica Camera, the Leonard & Judy Lauder Fund, and Tom Shaw.

The Photographers’ Gallery was founded in London’s Covent Garden in 1971 as the first public gallery in the UK dedicated to the medium and remains a leader in the presentation and exploration of photography in all its forms. It has been instrumental in promoting photography’s pivotal and influential role in culture and society and ensuring its position as a significant art form. GoSee : *

The selected Artists are:

Rhiannon Adam (b. 1985, Ireland) - Cushana and the Frigates, Down Landing, from the series Big Fence/ Pitcairn Island, 2015 – 2018. Pitcairn is the last British Overseas Territory in the South Pacific, home to descendants of the infamous Bounty mutiny. The tiny, isolated, volcanic island measures just two by one miles, and is a several-day sail away from the nearest airstrip. Despite the reality of its imposing cliffs and lack of beaches, to many outside observers, Pitcairn epitomizes Utopia – a vision cultivated by Hollywood’s romanticized adaptations of the ‘Bounty’ story. In 2004, this façade slipped when a series of child sexual abuse allegations emerged, leading to convictions of eight Pitcairn men, including the current mayor. Despite best efforts to repopulate, by 2015, fewer than forty islanders and just one child remained.

For this project, Rhiannon Adam made the long journey to Pitcairn and, due to the infrequent shipping schedule, was trapped on the island for three months. Naturally suspicious of ‘journalists’, Pitcairners were reluctant to be photographed and mostly appear alone, away from prying eyes.

Within the range of formats, Adam used expired Polaroid film, its instability echoing the scarred underbelly of the island. The project also presents a selection of audio, archive and ephemera, creating a powerful and unsettling exploration of this claustrophobic ‘Paradise Lost’ – a broken society shrouded in mistrust.

Chiara Avagliano (b. 1988, Italy) - Val Paradiso, 2017. Blending photography, poetics, text and objects, Chiara Avagliano’s practice is inspired by natural science and informed by autobiographical experience. Val Paradiso, is the name of an imaginary valley created by Avagliano and based on real locations from her childhood in Northern Italy. It provides the setting for a semi-fictional coming of age tale told from different points of view and exploring the rituals of female friendship, childhood, mythology, and make-believe. Val Paradiso features a magical lake, based on the real-life Lake Tovel, which famously turned a vivid red in the Summer months due to a strange natural phenomenon. Mysteriously, this spectacular transformation ceased in the mid-sixties, leaving scientists and researchers baffled. Interweaving science, magic and reality, Avagliano positions the lake as a potent mythological symbol exploring how the private make-believe realms of childhood change and evolve with age.

Working with her half-sister and friends to re-enact personal experiences from their youth, Avagliano creates an infinite cycle of repeated, relived and ultimately transformed memories. Through playfully staged photographs alongside maps, models and other ephemera, Avagliano offers a modern fairytale that expresses the urgency of recovering what is lost through constant reconstruction.

Alberto Feijóo (b. 1985, Spain) - Free Acid Series, Collage, 2019. Combining photography, collage, book design and model making, Alberto Feijóo brings together different approaches to the photographic medium and acts as a collector, apprentice and accumulator. Often using procedural tools more commonly associated with architects and engineers, his assemblage works call on a wide range of sources, including still life photography, video screen-grabs, portraits, objects, and new and found imagery. Intrigued by what he refers to as the ‘biography of objects’, Feijóo creates plywood constructions, offering a space for the viewer to encounter the incorporated objects and images like a roaming character within an extended tableau.

His structures are further inspired by artist Constant Nieuwenhuys’s New Babylon, which imagines a utopian city through the construction of a series of models. Feijóo’s ‘worlds’ are based on personal experiences, world events and reclaimed images that harness emotions and intuition as raw materials and offer an innovative lens through which to ‘read’ and experience his three-dimensional image-makings.

Adama Jalloh (b. 1993, UK) - SARA, 2015. Adama Jalloh’s work explores themes such as identity, race and culture; highlighting intimate moments and traditions within her own community in London. A ‘Sara’ is an Islamic custom within the Sierra Leonean community that involves Imams praying for a deceased family member or friend. During the ceremony, offerings of traditional food and money are given and condolences are expressed. Visitors are also allocated matching fabrics (known as Ashobi) which they can style to their individual taste.

Growing up in a mixed religion household, Jalloh was interested that these rituals were still shared and attended by many Christian converts who still choose to practice this element of their Islamic faith even after their conversion to Christianity. Expressions of grief and the customs that surround it vary hugely from one culture to the next and are often seen as too private to be documented. Jalloh’s father acted as the direct connection between her and the local network of Imams, with whom she was granted the access she needed in order to enter these intimate spaces. The photos in this series will be presented alongside an audio conversation between family members spoken in both Krio and English languages.

Seungwon Jung (b. 1992, South Korea) - Memories Full of Forgetting from the series Bark, 2018. Seungwon Jung is interested in how our perception situates time in relation to space. Printing fragmented photographic images onto fabric, she uses this as a surface upon which to work into, apply onto and remove from. Starting with a completely printed length of fabric, she then submits this to a series of repeated gestures of erasure and reconfiguration, including de-threading, unpicking, rethreading and reconfiguring. As a result, images are transformed by deconstruction more often than by application. For Jung, the empty space within the physical fabric become as important as any descriptive visual information, as it is through these that she considers the gaps in our consciousness and memories. By removing threads from the fabric, she references the neurological process of forgetting and memory loss, and the imperfect nature of what is left behind.

Jung’s wider practice includes sculptural fabric works and photographs transformed into a wide range of textiles. She is also interested in the intersections at which coding and digital language meet craft and more traditional processes.

Alice Myers (b. 1986, UK) - from the series Nothing is Impossible Under the Sun, 2016. Alice Myers works with photography, sound and video to engage with specific communities and places. Made over the course of two years in collaboration with refugees and migrants in Calais, Nothing is Impossible Under the Sun incorporates sound recordings, conversation transcripts, found snapshots, moving images, drawings, and closely observed photographs. Using her role as an outsider to observe how events unfold around the camera, Myers rejects neat linear narratives to evoke disorientation in both her book and video works. This mirrors the physical and psychological spaces that people without documents are consigned to.

Aware that photography can been used as a tool to oppress, misrepresent and expose migrants, as well as a means to help them communicate with and remember home, Myers aims to use the act of photographing in ways that feel generative – inviting participation from sitters in ways that they feel most comfortable. Issues of ethics and authorship are acknowledged by Myers at every turn. The impossibility of these issues being completely resolved is accepted and becomes an inherent aspect of the work itself.

Giovanna Petrocchi (b. 1988, Italy) - Monster from the series Modular Artefacts and Mammoth Remains, 2019. Giovanna Petrocchi combines personal photographs with found imagery and handmade collages with 3D printing processes. She creates imaginary landscapes inspired by surrealist paintings, virtual realities and ancient cultures. Influenced by museum displays and catalogues, Petrocchi populates these landscapes with her own collection of surreal artefacts. The received view of ancient objects is deliberately distorted. The work aims to question the very idea that culture can be contained by national boundaries and institutions, revealing instead an entity in constant flux, subject to transformative processes of migration and exchange. Some archival images are presented untouched, while others are dismembered or combined with new limbs or partners. Objects become unrecognizable and meanings fragment; presented as floating entities they belong to neither specific time or museum.

Petrocchi’s sources are predominantly online museums’ collections, images scanned from books and photographs of ancient objects taken by the artist. A recurring theme in the work is a combination of futuristic and primordial scenarios and an interchange between digital and traditional processes.

Miguel Proença (b. 1984, Portugal) - Traditional Pagan Costume from the series Behind the Hill, 2015. Miguel Proença addresses contemporary subjects engaging with ancient practices, focusing on the search for identity and meaning along peripheral landscapes. Taking the Thomas Huxley quote: “The birth of science was the death of superstition” as a provocation, Behind the Hill explores how mankind continues to search for answers from beyond an empirical framework. Men and women of faith at various points throughout history have proffered the cures for all ills and answers to all concerns. Behind the Hill investigates these urges, seeking out characters and situations that still relate to nature, superstition and belief.

Proença set out to photograph individuals and scenes easily overlooked by a twenty-first century world that increasingly seeks answers from the realms of science and technology. He started by collecting flyers left on car windows – advertising cures for hair loss, lack of love, or envy and made connections with spiritual healers and pagan priests – one connecting him to the next and so on. The journey saw him capturing masks, rituals and objects that beckon good health and prosperity. The work explores the willful struggle of these individuals and practices to master the elements and to mould the world to a collective truth.

GoSee the filmed interviews :
14.08.2019 // show complete article