The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits. The monumental and unnatural aspect of the baobabs turns them into strange and anthropomorphic personalities. Adding to the descriptive aspect of the film, the sound is a recording of the environment, of sounds made by animals, and participates in this peaceful contemplation. The still, almost fossilized aspect of the landscape makes it look majestic and eternal. « The camera, which examines in Baobab the ancestral and imposing trees of Madagascar, tries to capture the shadow and light effects, specific to photography. » (Essay by Julia Garimorth, in « Tacita Dean: Seven Books », published by Steidl / ARC/ Musée d’Art Moderne de la Ville de Paris, 2003).
Although Tacita Dean works with all kinds of media, her 16mm films are probably among her most well-known works. While they deal with the specificities of the medium – like the notions of time and narrative, through the use of still shots – the aesthetic quality of her films remind of photography or painting (maybe because she had studied painting in school). Memories and atmospheres are conveyed through sensual images, colors and light. In her work, Tacita Dean relates the past to the present, often creating a certain melancholy: the artist focuses on stories, characters or architectural relics, and questions the notion of narrative by using both documentary and fiction devices. Tacita Dean was born in Canterbury, UK, in 1965. She lives and works in Berlin.
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Gabriel Orozco often documents found situations in the natural or urban landscape...
“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure...
John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements...