Bare Life, Bare Tech: Richard Mosse’s Incoming
“Agamben’s ‘bare life’ is visualized through the refugees and migrants, desperate lives in search of a better future and for us, a potential vision of a dystopia where the extreme polarity between those of us inside and those outside is distinctly highlighted.”
ASX.TV: Tokyo TV with Ren Hang (2017)
Tiffany Godoy hangs out with photographer Ren Hang. EXPLORE ALL REN HANG ON ASX
AIPAD 2017: Invisible Works of Grave Possibility
“Political will is always and will always be separate from a photographic work tendered to the categorization of falsely recognized truth de facto of real-time experience”
Hans-Peter Feldmann / Fotografieausstellung: C/O Berlin
99 SECONDS OF: Hans-Peter Feldmann Fotografieausstellung C/O Berlin 30.04. – 10.07.2016 „Wenn ich etwas richtig kann, dann ist das schauen“ Hans-Peter Feldmann Verwunderung, Zustimmung, Empörung, Unverständnis, Euphorie oder Freude – Hans-Peter Feldmanns Bilder aus dem gewöhnlichen Leben lösen heftige Reaktionen aus. Wie können die schlichten, banalen Fotografien von Frauenkleidern, Autoradios, Kühlschränken, Erdbeeren, Sonnenuntergängen, Badenixen oder […]
Wolfgang Tillmans: ‘2017’ at Tate Modern
“Certainly, Tillmans is enormously curious, yet his works offer surprisingly little insight. All is surface and rarely is it scratched”
Feng Li: White Nights & The Grayness of Skies
“Every snapshot is an unexpected and sometimes inconvenient encounter with fate”
Doug Aitken: “Electric Earth” (2016)
Doug Aitken’s first North American survey is organized as a full collaboration and dialogue with the artist. From his breakthrough installation diamond sea (1997) to his most recent event-based work Black Mirror (2011), the exhibition unfolds around the major moving-image installations that articulate his thematic interest in environmental and post-industrial decay, urban abandonment, and the […]
Incoming: Photography, Contemporary Art, Whiteness
“Is Mosse really showing us the plight of migrant subjects, or indirectly something of his work’s own quandary, and by extension, white photography’s lack of critical engagement with race?”