Mathieu Gargam

Josephine Van De Walle

For the last five years Mathieu Gargam has built up an archive of found images, slides he accidentally or purposely encountered. This collection is not a fixed series but works rather as an ongoing flow of pictures. His book Maroc aout 1971 THE WALDORF ASTORIA ONE WAY ONE WAY The Waldorf Astoria (2015) is a selection of his archive and a way of ordering these images. In this synthesis the images meet each other.

A certain “magical” way of thinking has in the past suggested that photography has done more that impregnating itself of the luminous reflection of objects, that it took with it something of the real world; presences, interiorities, abilities, extra touches of the soul. On the contrary, some have suggested that photography gives something back to reality, that by sharing the appearance of a singular perception of the world, it could take part in the construction of everyone’s perception. But what can take, give back, possess or construct a photography – or even a slide – that has been found ? Reversal film is a particular photographic genre. Photography is not used to reveal its technical origin. An image in the era of its industrial reproduction, it restricts its negative, its matrix, in the dark room’s obscurity of the montage desk, of the development laboratory. Just as cinema, photography only exists in the second state of the photo print on media of diverse quality and format, be it in the form of copies, rushes, or versions.
In turn, the slide imposes the signature aura of its inherent uniqueness. Through its translucent film body framed with cardboard or plastic, it indecently focuses on the naked place of photosensitivity. It discovers the templum which is exclusive, positive, composed and hit at a precise moment and according to a point of view given by the glimmerings of reality. Despite being a magical lantern, the slide doesn’t escape the series logic. Precisely because it is part of the film rolls, we only find it in the form of more or less organized films, on the projector’s carousels for classrooms or living rooms, in the racks of amateur photographers, or in archives.  […] – Thierry Chancogne

Maroc aout 1971 THE WALDORF ASTORIA ONE WAY ONE WAY The Waldorf Astoria is the result of a close collaboration with Théophile Calot and Alexis Jacob, published by Théophile’s Papers (2015).

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http://mathieugargam.com

Nicolás Lamas

Josephine Van De Walle

With Layers of Meaning (2012 – ) Nicolás Lamas presents an ongoing series of images that remind us of the errors and interferences between signals from digital devices that prevent data decoding.

Lamas selects and uses different images from several exhibitions spaces and artworks found on websites such as Contemporary Art Daily, Mousse Magazine or Art Viewer, using them as raw digital material. Either by addition(1), subtraction(2) or transformation(3) of information, Lamas creates new versions of other artists’ works losing its original values and meanings. Through these exercises he attempts to find other potential combinations in the interaction between form and space in many different levels and reflects on the role played by the visual references between artists today.

The result is a selection of hybrid images in loop that question the influence of the Internet in how we consume, produce and understand contemporary art practices through a massive and accelerated proliferation of images that we can not assimilate. A retouched perception of reality that create improved and over-eastheticized versions through clean images that often overcomes its own physical existence and make us think about the limits of edition.

Nicolás Lamas is featured in the group exhibition A.N.T.R.O.P.O.C.E.N.E. at Meessen de Clercq in Brussels, until February 6, 2016.

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1.espacio 02(baja)

2.espacio 12(baja)
3.espacio 15(baja)

4.espacio 06(baja)

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5.borrados08(baja)

6.borrados27(baja)

7.borrados29(baja)

8.borrados30(baja)

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9.escultura24(baja)

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12.imagen32(baja)

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http://lamasnicolas.blogspot.be

Dominique Somers

Josephine Van De Walle

Published by APE (Art Paper Editions)
Dominique Somers, 00A
15 x 21 cm, 318 p
8 different covers

Dominique Somers’ work 00A consists of a remarkable compilation of found images. The title of the series refers to the starting-point markings printed between the sprocket holes on the leader of a 35-mm photographic film. Somers has been collecting the first, automatic exposures made on this 00A strip for years. They are the result of a photographic practice that has almost become a form of archaeology: when positioning a roll of analogue film in the camera, one has to release the shutter a few times and wind a couple of frames forward to reach the starting position of the unexposed part of the spooled film. It is precisely these throwaway shots, made while loading the camera before the real work begins, that Somers had appropriated. When processing the found photo rolls in their black cassettes she is only interested in the first, “blind” exposures. Her mode of operation can be described as photography without a photographer. Somers inverts the usual procedure, cuts away what the photographer intended to record in a deliberate aesthetical gesture and keeps what he or she considered unworthy of a single glance. She gives this “failed” exposure a second life and a new meaning. Strolling in her archive of found images, the artist trusts in the poetry of the unexpected find: her gaze lights up the unconscious image and lends its autonomy. By assembling hundreds of these involuntary exposures, Somers generates a wonderful universe of technical images. – Inge Henneman

Dominique Somers will present her book 00A (Art Paper Editions, 2015) at S.M.A.K. in Ghent Sunday 17 January 2016, 11 am.

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http://www.dominiquesomers.com

Hana Miletić

Curators, Josephine Van De Walle

Hinging on social and economical issues, Croatia-born Brussels-based Hana Miletić’s work explores the residues and upheavals of political changes in Europe. Often describing her artistic practice as “street photography”, Miletić documents the objects, stories and phenomena generated in the aftermath of the disintegration of Yugoslavia and the global financial crisis. While the artist employs photography as a tool to conduct her investigations, her artistic outcomes aren’t always strictly photographic. For Miletić, photography essentially functions as a means of orientation in her ongoing exploration of social reality. During her residence at the Van Eyck in Maastricht, for example, Miletić worked on the durational project Tenir Paroles, which was born out of an exchange with La Frénétick, a collective of young rappers from Brussels. The collaboration resulted in a publication in which the artist considers the artistic and political potential of poetry, and for which she was awarded the Bozar prize in the Young Belgian Art Prize 2015 competition.

On the occasion of her solo exhibition at RIOT, Miletić presents works that are born from her practice as a street photographer, but which are all surprisingly sculptural in nature. One example is Columba, the most prominent work in the show, a large installation built with CD’s. Referring to the improvised scarecrows used in small Croatian city yards and terraces for repelling pigeons, the installation again speaks to Miletić’s interest in street observations and DIY culture. The CD’s are mix tapes, collected by the artist from different individuals, artists, musicians, curators and collaborators, and which will be put into service during a hands-on DJ Workshop for Women. The format challenges the stereotypical role of women within music culture, encouraging women to deconstruct the myth of the male DJ-guru.

Kolona, also distributed in RIOT, comprises a series of sculptures inspired by objects that are symptomatic of the current economical crisis in her home country. In the last decade, former Yugoslavia has gone through a de-industrialization process causing socio-economical asymmetries in Europe. Croatians are forced to come up with inventive ways to deal with scarcity. Buckets or flowerpots are used as molds to cast concrete mooring bollards, characterized by a very specific, almost neoclassical look, and thereby villagers succeed at bypassing official fees and taxes for mooring their boats.

Miletić’s references may be specific, her subjects are universal. As much as Miletić’s cultural roots inform her work, her research conducts a reflection on the consequences of political failures and economical recessions, which have recurred across historical time periods and geographic locales. As Jeremy Till points out, the conditions of austerity have always – be it in Weimar Germany, in Austerity Britain, or in contemporary Europe – enticed people to look for other ways of working and to approach scarcities as opportunities rather than obstacles. But, in reenacting or scrutinizing these minor actions and practices, Miletić is committed not only to bring these to attention, but also to the subversive potential of finding alternatives and outlets to the existing measures, administrations and ideologies.      – Laura Herman

Street Photography is on view at RIOT in Ghent until 16 January 2016.

The DJ workshop, organized by curator and writer Amal Alhaag and artist Maria Guggenbichler, takes place at the finissage 16/01/16 at 3 pm followed by b2b DJ set at 7 pm. Sign up at info@riot-ghent.be to participate in the workshop.

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Street Photography, RIOT, Ghent, 2015

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Open Studios Van Eyck, Maastricht, 2015

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Poppositions Off-Fair with RIOT, Canal Wharf, Brussels, 2015

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http://www.hanamiletic.com