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The Future of Photography Can Be Found at Paris Photo’s Curiosa – News

The Future of Photography Can Be Found at Paris Photo’s Curiosa  – News


In a 230-yard wing just below the Grand Palais’s gold-plated Art Nouveau staircase sits Curiosa, Paris Photo’s most dynamic new addition Introduced last year, this showcase dedicated to emerging new voices is meant to inject the annual art fair with a bit of verve by focusing on fresh perspectives and original techniques  “We know the economics of a young gallery can be tough,” said expo director Florence Bourgeois, “so we wanted to offer [a different kind of] access to Paris Photo…to give visibility to young galleries and artists ” Marie Clerel’s Janvier, 2018. Courtesy of Galerie Binomeépreuve. Thomas Hauser’s Hugo (Figure #2) Courtesy of Un-Spaced Gallery. And in exchange the entirety of Paris Photo—the world’s preeminent art fair dedicated entirely to photography—can benefit from some of that new energy “We would like to bring in a younger generation and build something new,” added Bourgeois “To do that we need to have a strong spotlight on contemporary photography, and on the different ways young artists can use the medium ” Because the Curiosa section was so deliberately designed to avoid the usual suspects and shake off familiar approaches, the organizers opted to partner with a different curator each year This go-round, Tate Modern curator Osei Bonsu was given free rein, and his first order of business was figuring out just what it meant to spotlight emerging talent  “From a curatorial standpoint, I don’t think one would ever seek to make an exhibition purely about the emerging,” Bonsu said “That’s difficult on a conceptual level. [Instead I thought], Rather than emerging artists, it’s about emerging perspectives … [To ask] who are the artists putting forward durable questions about the condition of photography in the current moment?” Andres Denegri’s A: Bandera B: Argentina, 2018 Courtesy of Rolf Art. Building on that idea, Bonsu put together a program of 14 projects that challenged received modes of representation “Photography has—and continues to have—an unstable relationship to the physical world,” the curator explained “From the early origins of photography, there’s always been a kind of communication with an invisible world…[so] we tried to think about projects that would explore the relationship between the representation of reality and a kind of other world beyond the real ” Whether by showing things from an unexpected angle or by using printing techniques to offer new meanings to the subject, the 14 Curiosa projects all turn around the question of how 2D images might exist within the space around them  Elsa & Johanna’s A Couple of Them. Courtesy Galerie La Forest Divonne. Marguerite Bornhauser’s Sans-Titre, Moisson Rouge, 2019 Courtesy of Madè Gallery. Spanish photographer Alfredo Rodriguez approaches that concern quite literally, pairing each of his cubist deconstructions of the human body alongside a vase with same image printed upon it “By reprinting these images onto the surfaces of vases, there is a question around giving this photography a kind of bodily presence,” Bonsu said David Meshki’s Untitled, 2019.Courtesy of Kornfeld Gallery. French artist Thomas Hauser has a similar focus, printing somewhat abstruse found images directly onto glass and metal surfaces, in order to emphasize the dust that accumulates upon them “He’s interested in dust as a kind of metaphor. Dust to him is a compact substance that stores within it pretty much everything, because everything of interest turns to dust,” the curator added Advertisement He sees a similar tactility in the work of American photographer Nate Lewis, who turns around ideas of representation and social history by taking images of the black body and embroidering them with detailed scarifications “Once the image is printed, he has to work on it by hand,” Bonsu said. “I think that tactile relationship between the surface of the image and the artist’s own hand imbues the image with a whole other set of meanings If he were just applying these techniques digitally, I don’t think it wouldn’t have the same impact ”Alfredo Rodriguez’s BodyBuilding, 2018.Courtesy of Rodriquez Alfredo gallery.K. Morvarid’s Ecotone 22, 2019 Courtesy of Fisheye gallery. And this notion of artistic labor wholly informs Marie Clerel’s Midi series, which Bonsu flagged as one of the works that best encompasses his vision for the exhibition The French artist would expose a different piece of chemical paper to direct sunlight every day at noon for an entire month, and would then set each piece next to one another on a calendar-like grid “They’re indexical, so they don’t represent anything except the process itself,” Bonsu said “The images are really simple, but they take an incredible amount of rigor and commitment to produce ” He continued, “It’s a photographic process that relates to one of the oldest processing techniques around, and it has extreme relevancy, this idea that technology is not the only frontier in terms of new ways for artists to engage with the medium By appropriating earlier techniques, an artist can generate something new.”More Great Stories From Vanity Fair — Catching up with David Letterman, 10 years after this writer who worked on his show criticized him in an op-ed— Here’s why Chance the Rapper is the best SNL host we’ve seen so far— Here’s what we know about Harry and Meghan’s war on the tabloids— Lori Loughlin and her family are in constant chaos— Selena Gomez shares why she finally let go of Justin Bieber drama— From the archive: Meet the dynamite socialite princess of Bavaria Looking for more? 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