Eileen Quinlan’s abstracted images, like Swipe , rely on the manipulation of photographic materials inside the studio itself, and reject the exterior world for complex interrogations of the medium.
Eileen Quinlan makes photographic images through unusual processes, stripping the medium down to its essentials, and working experimentally with light, lenses, chemicals, reflections, and shadows. While the invention of photography enabled people to capture images of the real world, its geographies, inhabitants, and conflicts, Quinlan turns the medium back in on itself, in some ways, using the camera, liquids, mirrors, and lights to play with the apparatus and process itself, photographing photography itself.
Sélection galerie : Farnood Esbati chez Christian Berst Cet article vous est offert Pour lire gratuitement cet article réservé aux abonnés, connectez-vous Se connecter Vous n'êtes pas inscrit sur Le Monde ? Inscrivez-vous gratuitement Article réservé aux abonnés Sans titre (vers 2020), de Farnood Esbati...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Hopf’s works reference the effects that developments in economics and technology have had on our bodily and mental composition...
Plane is an inflatable sculpture in the shape of an aeroplane made from numerous pieces of plastic bags assembled by an iron...
Transgression, triggers, and the thousand cuts of “Blunt Knife” | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo courtesy of the artist June 25, 2019 By Corrie Tan (2,700 words, 13 -minute read) Content Warning: Mentions of a sexual relationship involving a teenager This response contains major spoilers for Blunt Knife by Eng Kai Er and A Doll’s House by Theatre of Europe...
Like many Asian countries, Vietnam has lost an immense amount of natural environment and rural landscape to economic growth and industrial development...
Pavel Aguilar, Carlos Amorales, Jonathas de Andrade, Pavel Aguilar, Edgardo Aragón, Fredi Casco, Rometti Costales, Sam Durant, León Ferrari, Joscelyn Gardner, Beatríz González, Pierre Huyghe, Guillermo Kuitca, Cristóbal Lehyt, Jesse Lerner, Alfredo López Morales, Teresa Margolles, Noé Martínez, Cildo Meireles, Eustaquio Neves, Nohemí Pérez, Naufus Ramírez Figueroa, Antonio Reynoso, Pablo Swezey and Carla Zaccagnini...
BIPAM 2021: Delight, despair, dialogue and the despot | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints September 17, 2021 By Nabilah Said (1,800 words, 6-minute read) I’ve never actually attended the Bangkok International Performing Arts Meeting (BIPAM)...
Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons...
They/Them by Juan Obando is a video essay and deepfake that uses Adobe Stock clips, maintaining their branded watermark, but animating the scenes underneath with a narrative of self-critical awareness...