A l’occasion de la 20ème édition de Paris Photo, nous sommes heureuses de présenter GESTE, une exposition photo underground associant œuvres historiques, contemporaines et expérimentales réalisées par des artistes établis comme émergents.
GESTE est présentée dans le cadre convivial et intime d’un appartement Haussmanien. Organisée par Shiva Lynn Burgos et Hailey Widrig, l’exposition met en lumière la représentation du geste en photographie et ses diverses interprétations et sensibilités, comme celle d’entreprendre et de mener à bien une action, une technique particulière, une émotion, un idéal artistique.
Parmi les artistes sélectionnés, citons notamment Samuel Boutruche, Manuel Alvarez Bravo, Marco Breuer, Erich Hartmann, Sara Lucas, ManRay, Matt Mathurin, Daido Moriyama, Ned&ShivaProductions, Frank Perrin, Andres Serrano, David Shrigley ou encore Gavin Turk.
Shiva Lynn Burgos a initié de nombreux projets similaires à New York, Berlin, Londres, Miami, Venise, Marrakech et en Papouasie-Nouvelle-Guinée. Dans cette permanente recherche artistique underground et collaborative, elle présente GESTE pour la première fois à Paris.
On the occasion of the 20th edition of Paris Photo we present GESTE an underground photo based exhibition that brings together vintage works alongside contemporary and experimental photographic practices by both established and emerging artists.
GESTE is presented in the convivial and domestic setting of a Haussmanian apartment. Curated by Shiva Lynn Burgos and Hailey Widrig, GESTE investigates the concept of the photographic gesture in its various interpretations and sensibilities to initiate and carry out an action, a physical technique, an emotion, an artistic ideal.
Invited artists include Samuel Boutruche, Manuel Alvarez Bravo, Marco Breuer, Erich Hartmann, Sara Lucas, Man Ray, Matt Mathurin, Daido Moriyama, Ned&ShivaProductions, Frank Perrin, Andres Serrano, David Shrigley, Gavin Turk and more.
GESTE is the first of these Paris based projects by Shiva Lynn Burgos building on similar underground collaborative and renegade projects in New York, Berlin, London, Miami, Venice and Papua New Guinea .
Photography is the ideal medium for capturing the fleeting gesture and rendering it permanent in the manner of the decisive moment of Cartier-Bresson. The Alvarez-Bravo, Halsman and the Mahurin works are in this classic tradition. Roland Barthes put this approach into a more critical context in Camera Lucida (1980) when he wrote, “I imagine that the essential gesture of the photographer is to surprise something or someone through the little hole in the camera.”
Contemporary photographers have moved beyond this to pose or fabricate their own scenes; Coventry, Shrigley and Perrin are examples of this. Rosalind E. Kraus wrote, “By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy.” The search for the real amongst the artificial is at the heart of this post-modern approach.
There is however in every photograph the gesture behind the camera, that of the photographer.The geste photographique lies at the heart of Flusser’s philosophy of photography. “The photographer’s gesture, as the search for a viewpoint onto a scene, takes place within the possibilities offered by the apparatus.” he wrote in Towards a Theory of Techno-Imagination (1980).
Heidelberg is a photographer who extended the possibilities of the photographic apparatus and set in motion a light pendulum and his work is a pure record of this gesture. Hartman makes a similar gesture with the laser light played upon his daughter. Breuer and Yokata each make gestures which push the bounds of photographic apparatus beyond its limits; Breuer using a sling to shoot screws at photographic paper and Yokota directly chemically altering the film.
When the artist turns the camera on themselves we have a doubling of these gestures. We find this here in the works of Turk, Lucas and Ned&ShivaProductions, a complex interplay between the gesture made in front of the camera and the gesture made behind.
The Serrano is perhaps the most layered of works within this critique. The homoerotic statue, a cheap copy of a copy of the lost original, is frozen in a gesture and now captured forever bathed in the golden glow of the artists urine.
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