Here you can download FN15 catalogue

The earliest photography based portrayals of photographers themselves date back to the early steps of photography and its shaping contexts. One of the finest early portrayals of the self, and definitely one of the most haunting and peculiar ones, is from Hippolyte Bayard who was one of the originators of photography. However, at the time he was not celebrated as much as some of his colleagues. Following this, as a reaction of not being accorded the same kind of respect as Louis Daguerre, in 1840 Bayard pictured himself as a suicide victim in a photograph named Self Portrait as a Drowned man. In his studio, he undressed himself, wrapped only a light drape around his lower body, positioned himself in his chair playing dead and made a portrait of himself.

Bayard’s now 175-year-old photographic gesture could be contemporary, so fresh it appears in its style and approach. As an act of portrait making, it has had a great influence on self-portraits to come. In this beautiful picture, Bayard visualized his personal anxiety, vested his skill and tools for performing his disappointment and documented it photographically. This ability to carry multi-layered motives is in the central role in self-portraiture today.

The gestures towards the self  focuses on photographic performances by Finnish photographic artists as Elina Brotherus, Antti Laitinen, Aino Kannisto, Heli Rekula, Iiu Susiraja, Marja Helander, Kari Soinio, Marko Karo, Erica Nyholm y Harri Pälviranta. In the artworks included in the exhibition, artists’ bodies are treated as objects, tools and means to make art. Artists position themselves in staged or re-enacted settings, contexts that are playful and sometimes even humiliating. With this manner, the artists ask rather fundamental questions about the ethical issues, objectivity and documentary possibilities of self-portraiture. Often the artworks are both absurd and political at the same time: they may directly refer to body-political issues or questions of femininity or masculinity but simultaneously they express humanity and playfulness and make references to history of art and photography. They also underline the importance of nature to Finnish artists, whether understood as human nature or natural surroundings.

It is noteworthy that Finland has a very long and prosperous tradition of photographers photographing themselves. This tradition reached its golden era with women entering the photographic arts in the 1980s. Ever since photographic gestures towards the self has had a notable role in photographic arts in Finland.

Harri Pälviranta
Curator

The investigation within knowledge, the constant observation, the love towards archaeology, towards anthropology, but above all the vital passion towards photography, from photography, are the essential features of the work of Teresa Correa.

In her habitat, in the world she reflects on the deepest black, the traces of the past acquire complete sense. Loads of piled bones, the funerary bundles, the image of a jaw or a hand, or the busts made with anthropologic enthusiasm, are elements which acquire a new consistency before her lens; a genuine quality of beauty that superposes empirical knowledge.

In the course of memory involves a path through her vital, as well as her artistic journey. The dialogue established from the depths of an excavation, from the attractive secret of the museum archives, with the elements that create the spatial vision of black light or, with the funerary bundles recreated in the work of Millares or, in an even riskier way, with her own image, support a continuous dialogue with photography. A dialogue where the consistency and the immateriality of the image, are established as the constant axis of her work.

If light -metaphor of knowledge- constitutes the essential substratum in her investigation process, we should not be surprised when photography is understood in its most original concept (darkness-light), a binomial that allows Correa to establish a reflexive process in terms of human condition and its role within Nature. A vital path for, since the most immediate landscapes surrounding her, as well as the space within museums -where this nature is classified, ordered and labelled- become the places where this artist strings together her entire artistic speech.

The storage within museums such as the Canarian Museum and the Tenerife Museum of Archaeology constitute the spaces of knowledge, where Correa allows herself to break the limit and reveal the “visibly hidden”. Making us dig into the collective memory, through the unveiling of Busts of Human Races, which inevitably settled the foundations of a refuted anthropologic speech, exemplifying thus a euro-centrist dominating past.

At a time like this one, where constant uncertainty prevails and all the historical memory is threatened by forgetfulness; where the dividing line becomes more obscene, systemic and unfair, Correa, as a last request, invites us to profane the image. An act of resistance, in so much as it reverts anthropological time with a boundary work, with the only intention of asking ourselves about the validity of a hegemonic obsolete speech which, tragically, settled the foundations of all racial discrimination.

A visual anthropology which, although universal, it does not stop being autobiographical.

Ángeles Alemán – Raquel Zenker

The exhibition depicts a sea journey from Spain to South America, almost following the Trail of Columbus’s 2^nd expedition to the New World. The display is comprised of 21 photographs taken over the course of a 21-day long ocean cruise, which show waves or rather their typology.

The subject doesn’t play the main part here. I focus on the theoretical and aesthetical assumptions, in a way autonomous in relation to the depicted reality. The works are continuation of a discourse between an individual and contemporary photography. Formally, aesthetics, being also the content, is the focal point of the collection and is an attempt to describe the modern aesthetics in a broader light. I further carry out my research on the blurred line between photography and painting. The theme is secondary albeit still quite relevant. I am not drawn to contextual critique of the reality, which then is translated into the visual language. My intention is not to create art but to find it, notice it, grasp it.

Experiencing the ocean and the distance responds to those requirements. Thematically, the presented reality has been heavily reduced, through which the reality can be shown fully, typologically but still in a general perspective. A deep and overtaking experience of sailing the ocean for the very first time on a greater scale is an essential part of the project. I don’t stop to work with the digital image – it’s not the primal cell phone model aesthetics, as it happened in case of the previous project. I turn to a professional cult 5D Mark II DSLR. The main motif here is structure, light and color.

You can never cross the ocean until you have the courage to lose sight of the shore. The exhibition speaks of the search of new ideas, resignation from the established forms as well as freedom and open-mindedness. The ocean is infinite, live, floating, constantly changing its surface, yet remains coherent in spite of its diversity.

I lived and worked in the region of the Balkans, Turkey and the Caucasus for more than a decade. My work focuses on the junction between chronicle and fiction, exploring ideas around concepts of borders, land, memory, desire,identity and history. I am interested in the telling of history, and in notions around periphery and edge. For me photography is a process of literacy, a journey of understanding.

Vanessa Winship

The photography of Vanessa Winship (born Barton-upon-Humber, 1960) establishes a dialogue with the mark left by the late twentieth century on people and the places they pass through: long processes defined by movements of fracture and integration, the instability of frontiers and the reaffirmation of identities. Her images, some of which are accompanied by short texts, offer a poetic gaze that is less immediate (but longer lasting) than that of photo-journalism, focusing on the effect of history on everyday life.

From the time she embarked on her project in the Balkans in the late 1990s up to her most recent work in Almería, Winship has focused on places in which human presence and the landscape seem to defy geo-political limits and historical events. All the potential and the documentary content of her photography thus shifts towards more intimate concepts such as vulnerability, the body and biography. Her series reveal the way in which physical features, clothing, customs, legacies, national and racial affiliations and governmental orders are inscribed on the skin. This is also the case with the way in which each unchanging landscape resists history or imprints on itself the wounds of a recent past through the ruined vestiges of political or social projects.

This dual nature, located between documentary research and personal investigation, is crucial to Winship’s work. Whether her images depict the immediacy of a moment that almost escapes the gaze or are based on a model posing, there is an element of authenticity, capable of generating a sentiment of what is common to all of us and shared through a gaze cast on the seemingly alien and distant.

Carlos Martín García
Curator

El ciclo Inter-video reúne un variado panorama de narrativas y experiencias formales y conceptuales del vídeo arte contemporáneo. Las obras seleccionadas están articuladas en cuatro programas que reflexionan en torno a las ideas de antropología, memoria y temporalidad; identidades colectivas/identidades individuales; apropiaciones y ficciones; tiempo/espacio.

Comisaria: Yolanda Peralta Sierra

Programa 1: ANTROPOLOGÍA, MEMORIA Y TEMPORALIDAD.
1 de diciembre de 2015, 19.00 h

Kyungwoo Chun (Corea del Sur, 1969)

18 x 1 Minute, San Sebastián, 2004.

Antonio Perumanes (España, 1963)

Mortaja, 1995.

Ana Teresa Ortega (España, 1952)

Visiones de ignomínia, 2005

Rui Calçada Bastos (Portugal, 1971)

Studio Contents, 2005.

Programa 2: IDENTIDADES COLECTIVAS / IDENTIDADES INDIVIDUALES
19 de enero de 2016, 19.00 h

Marina Nuñez (España, 1966)

Sin título (Monstruas), 2005

Willie Doherty (Reino Unido, 1959)

Non-specific Threat, 2004

Anthony Goicolea (Estados Unidos, 1971)

Classroom, 2002

Tiago Carneiro da Cunha (Brasil, 1973)

Low Attention Span – High Curiosity Rare, 2000.

Programa 3: APROPIACIONES Y FICCIONES
16 de febrero de 2016, 19.00 h

Martin Sastre (Uruguay, 1976)

Montevideo-The Dark Side of the pop, 2004.

Carles Congost (España, 1970)

That’s my impression!, 2001.

Andrew Gaston (Reino Unido, 1971)

Heaven & Hell, 2003

Rui Calçada Bastos (Portugal, 1971)

Quadrifoglio, 2001.

Programa 4: TIEMPO/ESPACIO
1 de marzo de 2016, 19.00 h

Sergio Belinchón (España, 1971)

Space I, 2004

Aitor Ortiz (España, 1971)

Sin título (El espacio recuperado: “Tabacalera”), 2005.

Rachel Reupke (Reino Unido, 1971)

Parc Naturel, 2003

Michael Najjar (Alemania, 1966)

The invisible city. Serie NNetropolis (2003-2005)

The Atlántica Colectivas FN15 section is composed by the following participants:

AUTOR/ES	PROYECTO
Agata Serafin	Seven
Aimo Hyvärinen	VÍDEO: The Bench
Alejandro Castañeda	Memoria no acordada
Alfredo Betancor del Rosario	Hecho de mar
Alicia Martín	VÍDEO: TRAMA Y URDIMBRE
Ana de Orbegoso	VÍDEO: La Última Princesa Inca
Ana Nieto	#IFYOUCANNOTMAKEITFAKEIT
Andrés Efe. García Cuesta	Pasado y presente; África Norte
Ankor Ramos	Varanasi
Anne Sophie Costenoble	Late summer
Antonio Mas González	Lost in the museum
Ardiel J. González	El Hierro. La isla mágica
Attilio Fiumarella	The Swimmers
Bela Limenes Rosenfeld	Enciclopedia de la mujer
Belén Cerezo	VÍDEO: ¿Cómo abrir los ojos?
Carla Degenhardt	Velo
Carlos Collado	Tangibles
Carlos Savoie	Naturalezas Muertas
Carmen Dolores León Díaz	A través del cristal
Carmen Visuerte Morales	Muslimes
Catarina Diedrich	Once árboles
Chema Hernández	Saxum Fluctuo
Christian Vilar	Cosplay Project
Christophoros Doulgeris	The Schools Project
Claudia Jares	VÍDEO: La pasión y la locura
Colectivo Unlimited	AQUAM VITAE
Cynthia Estébanez	Explorando
Damián Borges	CAUTIVAS
Daniel de la Guardia Sánchez	Sin título
Diambra Mariani y Francesco Mion	Recycled Villages
Didier Bizet	Chapters
Dorian François	Paths
Edgar de Felipe	Decas-Retrato
El viajero del Faro	SIN RUMBO project: Ámsterdam, primera parada
Elena Machado	VÍDEO: RADIANT DARKNESS
Elpida Katsika	Une promenade dans la banlieue
Émili Bermúdez	La luz, nido de la palabra
Enrique Arnaiz Ibarrondo	Ksamil
Eriz Moreno Aranguren	Untitled (BERLÍN)
Escuela Artística de Fotografía de Los Realejos	Fotografía para llevar
Estefanía Martínez Bruna	IMÁGENES SUSPENDIDAS
Fernando Maselli	Infinito Artificial
Fernando Sendra	Broken
Fran Orallo	Autorretrato N1
Francisco José Macías González	Segunda Residencia
Gara García Sánchez	LAS 7 EMOCIONES de niña
Giuseppe Satriani	Ikebana
Gonzalo Ruiz Ortega	Sitios y almas
Goretty Gutiérrez Correa	Up
Guillermo Fariña Ruiz	La Luna sobre Epupa
Gwen Walstrand	Irrealis
H. H. Capor	The Sound of Music
Hamid Raffi Tabatabai	Con El Paisaje en la Retina
Hanna Jarzabek	VÍDEO: Flores de otoño
Héctor Socorro	Histoires du Marché
Imanol Marrodán	Frozen trees
Isa Sanz	BUSCADORES
Isabel M. Martínez	VÍDEO: TIEMPO
Janelle Lynch	The Llobregat
Jason Langer	Twenty years
Javier Manrique	Valientes
Jennifer Loeber	Gyrle
Jesús Duque Cranny	A State of Mind
Jiri Turek	Victims
Joan Alvado	Escuela de Pastores
Joaquín Artime	inventario
Jorge Bonet	¿Nunca has tenido un Déjà vu?
Jorge Fabián Castillo	Ausencias
Jorge Luis Santos García	Las Diosas Encarnadas
Jorge Pérez Higuera	The Other Side
José Luis López Monzón	DERROTEROS
Jose Tándem	La verdad desnuda
Josefran Santana	NIDO. La permanencia de las cosas
Juan González Fornés	Portraits of mobility / Retratos de la movilidad
Julian Salinas	Nocturnal view
Julio A. Carreño Guillén	Espacio abierto El espacio como experiencia de la espacialidad
Julio M. Romero	PLAYAS
Katia Repina y Luca Aimi	I don’t need to know you
Kristina Pérez	VERTICAL CITY
Laurent Lafolie	Y
Leonardo Oliveros	Sin título 2
Lina Manousogiannaki	Sweet Sixty
Llorenç Ugas Dubreuil	Between the line
Luna Bengoechea Peña	VÍDEO: A cuánto está la libra
Lute Déniz	SIGO
Luz Marina Déniz	Estados de densidad
Mahdyar-Jamshidi	Trace Of The Lost Moment
Maite González Laurens	Ejes y coordenadas
Manuel Lama	ArteSpacio
Mar Garrido	VÍDEO: PRESENTE CONTINUO: INSTANTES SIN TIEMPO
Marco A. Toledo	Domicilio de experiencias
Marcos Ravelo Fernández	Aurisilva
María Pérez Quintero	No Redes
Mariah Curbelo	VÍDEO: Pandora: La Renovación del Juego
Marisa Culatto	Still life-SWEDE
Marta Moreiras	CROP CIRCLES
Marta von Poroszlay	Una Jornada en Londres
Martin Zellerhoff	Ran ans Motiv
Massimiliano Maddalena	The Double Identity of the Corner
Matteo Rebuffa	DESTERRADOS CONTEMPORÁNEOS
Mauricio Pérez Jiménez	A través del paisaje
Michael Michlmayr	KONTINUUM 2 Photo
Miguel Ángel Roldán	Sólo es
Miguel David	P N T
Mimí Mitsou	In the dark places
Miyuki Okuyama	The land of the setting sun
Monica Bellonzi	Hasta que dura el calor
Monika Ruiz-B	À la manière de Bacon
Monique Hoffman	In the Presence of Absence
Olga Ingurazova	Scars of independence
Orlando Arocha Henríquez	Una torsión de la realidad
Osvaldo Hopfer	VÍDEO: Sobre una isla mediterránea
Pablo Gimenez Zapiola	Inner Atmospheres
Paco Valverde	VÍDEO: Traducciones/Translations
Pamela Zeferino	Borrar la ciudad
Panki Rodríguez	VÍDEO: Gammvolvon pa botten av Falkträsket
Paola Rivero	para él, ser humano, tiene que ejercer una gran tragedia
Patrizio Maiavacca	Procession of hawkers
Pedro Sanfiel Cervós	Colores de lluvia
Rama Tiru	Japan At Street Level
Ramón del Pino de León	Amura
Raquel López-Chicheri	Vocación privada
Robert Harding Pittman	The Bubble
Rosa Rodríguez Sánchez	Moscow White Dreams
Rubén Plasencia	Lucha Canaria
Ruth Pérez Ruiz	VÍDEO: Sobre identidad…
Salvador Aznar	Viaje, antropología y turismo
Sebastián Almazán	VÍDEO: Personal Landscapes
SEIGAR	El Lenguaje Figurado de Figueras, reinterpretando a Dalí
Sergio Acosta	Vacíos del agua
Silvia Prió	B 612
Simon Norfolk	VÍDEO: When I Am Laid In Earth
soJin Chun	VÍDEO: Industrious Dreams of a Forgotten Past
Stanislav Shmelev	Objects Found on the Beach
Tahir Ün	Xinjiang: Re-Construction
Tarek Ode	VÍDEO: LA ZONA
Tina Sejbjerg	Attempt to construct a tree
Uve Navarro	Yo soy mi propia trampa
Varvara Shavrova	Miniature Suicides
Víctor Guntín	Tributo a Katmandú
Viviana Adonaylo Patri Cámpora	El día que las mujeres entraron en las bodegas
Wilfredo Simón Sosa	De Vietnam a Camboya: Pasajes
Xabier Vila–Coia	Los Miedos
Xisco Bonnín	PHOTO DATA CORRUPTION
Zhana Yordanova	Memoria del silencio

​

«Instituto», Vera Martín Zelich

This project revolves around the portrait, linking two elements: a space that defines and delimits a context, and an age group, that also defines and delimits the type of subject.

This work, developed in serial format, although not exclusively so in formal terms, is based on the study of some of the essential tools in the genre of portraiture: the face, as an expression of the individual, the look, as a means of communication, and the pose, as an affirmation.

The space chosen is the high school, a point of reference that establishes the age group on which the series hinges: the transition between adolescence and youth, the stage of the formation and affirmation of the individual. High school is one of the places where people at this age spend most of their time, and also where they interact, are educated and develop. It has been selected, therefore, as a familiar context in which those featured develop, the spaces that they use and experience. Look and pose, as components of expression, within surroundings that are familiar to them at that age, and complex and rich in connotations for the viewer of these images. The work is not only a portrait of individuals but of a space too, the high school. At the same time, it is not only a portrait of an isolated group of individuals but of a generational group linked by a relationship with a space common to them all. Furthermore, this series was completed entirely in the same high school, and all of those featured are the same students in the time prior to the end of the period.

The work seeks to challenge double portraiture of this group of high school students, the individual and the group, with those stereotypes and archetypes that usually develop in this age group.