Pendulum (2005)
40×50″ ultrachrome

David DiMichele’s series Pseudodocumentation depicts imaginary art installations in monumental exhibition spaces. These pseudo-documents, which are actually photographs of small models in the artist’s studio, playfully engage scale and perception, while blurring the lines between fact and fiction, and questioning how we experience art. DiMichele’s work addresses the role of photography in documenting temporary installations; most people experience these artworks through photographs rather than first-hand. His constructed spectacles are homages to the grand ideas of artists like Richard Serra, Michael Heizer and Robert Smithson. “The works deal with issues of abstraction, conventions of documenting art, and the ideology of the gallery space,” DiMichele says. His rich, dream-like images draw the viewer in, to imagine oneself in the exhibition hall. Dramatically shot from an omniscient perspective, the dwarfed figures are overwhelmed, suggesting that the idea of art is perhaps, unsettlingly, larger than life. (edit from Robert Koch gallery)

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new jackson/soundcloud.com

ruins 54-56
print on dibon (125 x 155 cm)
2011

ruins 55-56
print on dibon (125 x 155 cm)
2011

ruins 56-56
print on dibon (125 x 155 cm)
2011

To realize the project Ruins, Raphaël Dallaporta has been working with a team of archaeologists from the north of Afghanistan. Using an aerial camera system – a special drone adapted by Dallaporta for the project – he has been able to fly over Afghanistan taking pictures of the sites.

The purpose of it all is to compile an inventory of the Afghan national heritage, that it is hard to get to and in danger of destruction. Quite apart from natural phenomena, the sites and monuments are primarily endangered by human actions such as pillage, dynamiting, or the location of military zones on rich archaeological terrains. The artist’s images place the country’s current situation within a historic tradition. As a result of repeated invasions, this coveted territory retains the imprint of the various civilisations that have occupied it. Fully appreciating the urgency of saving this heritage, Raphaël Dallaporta has brought all his technical know-how to the task. The figure of the ruin at the centre of his compositions indicates various signs of destruction in the remains. It breaks with the symmetry of the rectangle, causing the photographic constructions to gain in emotive power what they seem to lose in formal perfection – which reflects the state of these deteriorating remains. The forms are obtained, from several shots taken on the same flight, through calculations made with automatic reconstruction and image-recognition software. Reality is recreated from these shots by lining up different isometric projections. Like photography, ruins have a special relationship with time: they are the evidence of a time which no longer exists. The project presents a process of deterioration suspended in time. The ruin, which is the project’s raison d’être, affects us and reassures us about human precariousness. (edit from the artist’s website)

cfaal 115
archival pigment print
2011

cfaal 113
archival pigment print
2011

cfaal 69
archival pigment print
2010

cfaal 119
archival pigment print
2011

cfaal 78
archival pigment print
2010

cfaal 109
2011
archival pigment print

‘The series Cubes for Albers and LeWitt explores the possibilities of manipulating time, space, perception and, in particular, the additive system of color. The images are constructed on sheets of 4×5 film. The subject is in reality monochromatic. The photographs use a set of cubes and ground options painted white, two tones of grey, and black. Through multiple exposures the color hues in each image have been made by exposing the film to the additive primaries of red, green and blue. The reflective value of the cubes controls the value or lightness of that hue, and the black is utilized as a type of the reflective mask, holding the potential on the film for other exposure. The images are completely photographic yet not visible to the naked eye.’ Jessica Eaton

Jessica Eaton’s work is represented by Clint Roenisch gallery from Toronto, Canada.

leearnold.net

The city is a symbol, and there is symbolization of the city, but it is in the image itself, apprehended through and by discourse, that what the city represents for man is revealed and expressed. Raymond Ledrut (‘The Images of the City’)

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