Exhibition: Chris Moore, Catwalking

Chris Moore, Catwalking 2 December-10 February 2012
Kings Place Gallery

Born in Newcastle, Chris Moore moved with the rest of his family to London when he was four years old. He entered the world of fashion at the age of 18 and became a Vogue photographer’s assistant, working with luminaries such as Henry Clarke, Norman Parkinson and Cecil Beaton. His early career was spent documenting the intimidatingly exclusive Paris couture shows in the late 60s and continued with the advent of the Ready to Wear Collections in Milan, London and later New York in the 80s. By the mid 90s, with the expansion of the circuit to include menswear in Paris and Milan, photographing the catwalks became a full-time occupation.

Moore moved on, was represented briefly by the Camera Press Agency, but became a freelance photographer and has worked independently ever since. As a person he is extremely grounded and in appearance is unobtrusive, almost invisible. This ability to ply his craft unobserved might indeed, be part of the secret of his becoming ‘King of the Catwalk’, as he has been dubbed by the fashion industry. During his phenomenal career he has captured images of every conceivable catwalk event from the Paris
Couture houses of the sixties with Yves Saint Laurent, Pierre Cardin and Courrèges to the extravagant, theatrical spectacles staged by Hussein Chalayan and Alexander McQueen.

In 2000, Moore launched www.catwalking.com the successful online photographic library which is used by all major fashion and broadsheet titles internationally during the fashion week circuits. His photographs appear regularly in every major newspaper and magazine including The Guardian, Observer, The Times, and Independent as well as Vogue and Harpers Bazaar and the International Herald Tribune.
This exhibition celebrates Moore’s remarkable career with a collection of his iconic images.

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Post Internet Survival Guide, 2010

Katja Novitskova, Post Internet Survival Guide , 272 pages, 180 x 230 mm, Revolver Publishing, 2010

You are holding a guide to the ecology of a severe ongoing merging of matter, social and (visual) information in the present world. The shift to a multi-polar, mobile, post-democratic, gated, real-time set of conditions effectively redistributes the global balance of powers. The existing structures of our (Western) mode of thinking and being, including the flows of energy and value, the domain of aesthetics, the currency of art, and our role in the process that is civilization are being reshaped and re-articulated. The scale of these changes are reflected in the dynamics of formats, files, gadgets, species, identities, ideologies, brands, styles, cultures, natural disasters, memes, technologies, entering the ultimate platform and player of dissemination: Internet.

Post Internet Survival Guide 2010 is organized into chapters according to the first page of Google search results for ‘survival guide’: Size up the situation, Use all your senses, Remember where you are, Value living, Improvise, Vanquish fear and panic, Act like the natives, Learn basic skills. It crosses streams of seemingly unrelated information flows, from art and news, to corporate stock photography, screenshots and scientific renderings. Post Internet Survival Guide elevates selected content from its original fragmented online environment and solidifies its temporary values and meanings in a collection of guiding narratives.

This book is a tool to assist in stepping above our daily online routine, to reach a realm that lies somewhere between reading a principal religious text, watching a colonial documentary on savages, or looking at yourself in the mirror. This is the space where we ask ourselves what it means to be a human being today.

The book features texts and works by AIDS-3D, Aaron Graham, Adam Cruces, André Carlos Lenox & Evan Lenox, Anne de Vries, Artie Vierkant, Brad Troemel (The Jogging), Brian Khek, Constant Dullaart, Chris Lee, Christian Oldham, Damon Zucconi, Daniel Chew, Emily Jones, Gene McHugh, Iain Ball, Jaakko Pallasvuo, Jack Latham, Jacob Broms Engblom, John Transue, Jon Rafman, Kareem Lotfy, Kari Altmann, Kate Steciw, Katja Novitskova, Lance Wakeling, Lauren Brick, Lauren Christiansen, Laurence Punshon, Lorenzo Bernet, Louis Doulas, Martin Kohout, Matei Samihaian, Matteo Giordano, Micah Schippa, Mike Ruiz, Orlando Orellano, Pierre Lumineau, R-U-INS?, Rachael Milton, Sam Hancocks, Sebastian Moyano, Sterling Crispin, Tabor Robak, Timur Si-Qin and Yannic Joray.


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Benjamin Valenza

Benjamin Valenza at Salon 94 Freemans, New York, 2009 and Residue 01, 2011

Art Since the Summer of ’69 is proud to present Twice upon a Time, Benjamin Valenza’s first solo show in New York City. A large L- shaped yellow metal plate, deeply corroded by acid at four points, performs as an abstract panther in the show, or simply as an abstract painting. The work is the result of Valenza’s experiments with materials and carelessness, or rather of his love of ‘heavy duty’ materials.

One could describe Valenza’s method as working ‘ Hardcore Brancusi – ish’. From heavy duty, hardcore gestures to painstaking etching, Valenza will take his ‘trademark’ stones on legs to a new level, presenting a large black stone, engraved with a mysterious poem. The fifty-five pound heavy black alabaster rock will be presented on a large round pine tabletop and act as the center of the exhibition. Less anthropomorphic than the other stones Valenza has made, the black rock pays homage to Constantin Brancusi in its use of carving. Although Valenza does not carve the stone to let a form take shape and reveal the essence of an object or an idea. He simply carves words and leaves the shape of the stone intact.

Benjamin Valenza (b.1980 in Marseille, France) works and lives in Lausanne, Switzerland. He is a founding member of Galerie 1m3. He has exhibited at Fluxia Gallery in Milan, Castillo-Coralles in Paris, Hayward Gallery in London, Jan Winkelmann Gallery in Berlin, and Musee Cantonal Des Beaux Arts in Lausanne, among others.

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Matthew Day Jackson, The Tomb, 2010

Matthew Day Jackson, The Tomb, 2010

The Tomb, a large-scale work derived from the Tomb of Philippe Pot.  Attributed to Antoine LeMoiturier, in the collection of the Musée du Louvre in Paris, the Tomb of Philippe Pot is considered one of the masterpieces of the Burgundian style of the late 15th century.
Jackson replaces the eight hooded monks who carry Pot’s effigy with astronauts that are rendered from scraps of wood and plastic.  They are then compressed into a block and cut with a CNC (computer numerical control) process.

The astronauts shoulder a steel and glass box that holds a skeletal structure based upon Jackson’s own body. The hands and feet are cast from either Jackson’s own extremities or handles from tools. Other elements of the skeleton incorporate biomedical prototypes, various industrial materials, and found wood. Viewed through a one-way mirror, which allows the viewer to simultaneously see one’s own reflection and the effigy’s contents, Jackson’s skeleton provides both autobiographical reference and explores the interconnectivity of disparate forms and narratives.

The Tomb can also be seen as Jackson’s exploration of the “Horriful”—his belief that everything one does has the potential to evoke both beauty and horror at the same time. For Jackson, the allusion to death is not a “Memento Mori,” but a claim to “Carpe Diem.”

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Timur Si-Qin


Timur Si-Qin, Untitled, and Installation view of Legend, 2011

Timur Si-Qin speaks about his work in the 2014 Taipei Biennial.

I try to make work that doesn’t believe in the separation between culture and biology. To view humans as occupying a special role in the universe—and therefore as outside of nature and separate from other animals—is a theological belief that has no evidence. There never has been nor will there ever be anything “outside” of nature. Of course, just saying that something is natural doesn’t mean that it is morally correct or that we shouldn’t work to change it. Nature is inherently dynamic and chaotic, and life has always been about a two-way interaction with the environment. The environment changes life, and life changes the environment. The universe is a dance between entropy and complexity. Fortunately, and mysteriously, matter has a tendency to self-organize and determine its own being.

I’m interested in the way commercial images reveal the processes by which humans interpret and respond to the world around them—these are the fingerprints of our cultural image-search algorithms. The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured. Common and repeated “solutions” to commercial imagery—cheesy stock photos, pop music, and formulaic Hollywood movies—are all ingrained modes of culture that can tell us something about its materiality and tendencies. When one understands the tendencies of a material—like a blacksmith who grasps the tendencies of metals—one can use that knowledge to activate the item’s capacities. In that way, a greater understanding of the materiality of culture may lead us toward unlocking its unrealized capacities.

Nicolas Bourriaud’s book The Radicant (2009) probably falls closest to the context he’s laid out for the biennial. In both, he emphasizes the importance of a globalized network, and it’s an idea that others often miss when they focus on the impact of technology. The digital-native generation is different from previous generations because of the exponential access and confrontation with other cultures that the Internet allows, which facilitates a deprogramming or reverse engineering of one’s own culture.

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Exhibition: Ann Cathrin November Høibo, “Christopher Burden On My Shoulders”


Ann Cathrin November Høibo, Christopher Burden On My Shoulders, 2012

Ann Cathrin November Høibo, Christopher Burden On My Shoulders, 20 January – 18 February 2012
Standard (Oslo)

Having graduated from the Oslo National Academy of the Arts last year, Høibo has made herself known for installations that rely on a layering of disparate elements and combining among others sculptures, framed works and textile works. While starting off studying the craft of tapestry weaving, her first solo exhibition aims at diffusing the distinction between that which is industrially, mechanically, or manually produced.

In 2002 the Belgian actor Olivier Gourmet was given the award for Best Actor at the Cannes Film Festival for his role in the movie “Le fils”. Directed by Jean-Pierre and Luc Dardenne the film had Gourmet portraying a carpentry teacher in a training school for troubled teenagers. With the camera entirely in synch with his pace we would follow him around the workshop and with an equally extreme attention to details we would learn of the trade and manual labour of woodworking – the grain of timber, the density of various wood types, and the mundane, yet meticulous, work of cutting and carrying planks. The result was a sheer ordinariness where matter-of-factness turns materials into facts.

Høibo’s choice of objects, such as instant noodles, synthetic leather and IKEA shelving units, have in common that they fit the description of ‘inferior goods’. The term stems from consumer theory and refers to a good that decreases in demand when consumer income rises (as opposed to normal goods, for which the opposite is observed). Inferiority would here apply to an observable fact relating to affordability rather than a statement about the quality of the good. “As a rule, these goods are affordable and adequately fulfill their purpose, but as more costly substitutes that offer more pleasure (or at least variety) become available, the use of the inferior goods diminishes”. These make-shift industrial materials objects serving during times of less, could not be at a further distance from the trade that Gourmet’s character is teaching in “Le Fils” or the trade that Høibo learnt herself. The textures and rhythms of manual labor, whether it be weaving and carpentry, are at once irreducibly physical and saturated with an almost spiritual significance. Contrasting in both method and matter are four framed fragments of tapestries.The work process allows Høibo a material and methodical research that in itself pushes towards permutation. Here, the four weaves are stripped down beyond structural foundation towards disintegration, willingly accepting the category of fragment. Juxtaposed with the bronze sculptures and synthetic leather monochromes they make an odd conversation about a renewed relevance of ‘arte povera’; not necessarily true to stylistic traits of the original movement but true to a time of actual poverty. If a term as ‘recessional aesthetics’ ever had a sense of purpose, there never was a more apt sculptural response than a cast of instant noodles.

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Mark DeLong

Mark DeLong, Untitled, 2011

Mark DeLong, born 1978 in New Brunswick, is a self taught artist working in a variety of mediums including drawing, painting, sculpture and video.

His work has been displayed at Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; LES Gallery, Vancouver; Little Cakes, New York; and Cooper Cole in Toronto. Delong has collaborated with such artists as Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, Canada. DeLong will be participating in a two person exhibition at Cooper Cole in March 2013 with artist Joseph Hart.

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Dan Colen


Dan Colen, No Sex No War No Me, 2011 and Rama Lama Ding Dong, 2006

Dan Colen was born in New Jersey in 1979. Exhibitions include the 2006 Whitney Biennial, Whitney Museum of American Art, New York (2006); “USA Today,” Royal Academy, London (2006); “Defamation of Character,” PS1 Contemporary Art Center, Long Island City, New York (2006); “Fantastic Politics,” National Museum of Art, Architecture and Design, Oslo (2006); “Skin Fruit: Selections from the Dakis Joannou Collection,” New Museum, New York (2010); “Peanuts,” Astrup Fearnley Museum of Modern Art, Oslo (2011); “In Living Color,” FLAG Art Foundation, New York (2012); “Meanwhile…Suddenly and then,” 12th Biennale de Lyon (2013); “Dan Colen: The Illusion of Life,” Inverleith House, Edinburgh (2013); “Help!” The Brant Foundation Art Study Center, Greenwich, CT (2014); and “The L…o…n…g Count,” The Walter De Maria Building, New York, NY (2014).

Colen lives and works in New York.

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Paul Berger

Paul Berger, Whimac 1, 1994 and 750s-mc, 1999

Paul Berger have been working in the photographic medium since 1965, and in digital electronic media since 1981. He earned a BA degree in Art at UCLA in 1970, studying with Robert Heinecken and Robert Fichter.  Berger completed MFA graduate work at the Visual Studies Workshop in Rochester, New York, in 1973, studying with Nathan Lyons. His photographic work has always involved multiple images in structured sequences, often with texts.

This interest in sequence and narrative transitioned to one based in digital manipulation of electronic imagery beginning in the early 1980’s. Paul Berger had a book version of the series Seattle Subtext published in 1984, and a catalog to the Seattle Art Museum exhibition “The Machine in the Window” published in 1990.  Berger have exhibited photographic and digital artworks widely, both nationally in America and in Europe, including major exhibitions in New York, Chicago, Los Angles, San Francisco, Paris and Cologne.

Berger was the subject of a 2003 retrospective exhibition “Paul Berger: 1973-2003” at the Museum of Contemporary Photography, Chicago, which was reviewed in Artforum that same year. Berger have been published in numerous books, including Seizing the Light: A History of Photography; Robert Hirsh, 2000; Nash Editions: Photography and the Art of Digital Printing, ed. Garrett White, 2007; and The Digital Eye: Photographic Art in the Electronic Age; Sylvia Wolf, 2010. Paul Berger have taught at the University of Washington’s School of Art for 35 years, having co-founded the Photography program in 1978.

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Central Saint Martins MA 2011, Myrza de Muynck

Central Saint Martins Fall 2011 Ready-to-WearCentral Saint Martins Fall 2011 Ready-to-WearCentral Saint Martins Fall 2011 Ready-to-Wear

Myrza de Muynck, Central Saint Martins MA, 2011

Myrza de Muynck is a Dutch designer who graduated from the MA Fashion programme at Central Saint Martins London. Myrza de Muynck is based in London and was chosen as Vauxhall Fashion Scout’s One’s to Watch AW12-13. This enabled Muynck to have both a catwalk show and an exhibition space at the organisation’s prestigious Covent Garden venue of Freemasons’ Hall and also to be part of their Paris showroom. Her work has been featured in many magazine’s and blogs such as Vouge, Elle, Wallpaper, ID-online and POP magazine.

”Elsewhere, it was the very clever overhaul of a classic shell suit that caught our eye” – Says Myrza De Muynck. The womenswear designer added floral beading just beneath its knees and on to its blouson jackets – which came in pink, azure, lemon and plaid – to transform the humble sportswear attire like we’ve never seen. You could imagine wearing these and what’s more you could imagine wanting to – “striking the balance as they did between elegant, cool and casual’.’

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Books: Thomas Demand, La Carte d’après Nature

La Carte d'Apres Nature curated by Thomas Demand, Matthew Marks gallery, new york

Thomas Demand, La Carte d’après Nature, 2010

La Carte d’apres Nature, published to accompany an exhibition curated by Thomas Demand at Nouveau Musée National de Monaco, takes its title from a short-lived art magazine created by René Magritte between 1951 and 1954. Magritte’s publication ran for just fourteen issues and each consisted of a postcard, featuring loosely connected poetry, illustrations and short stories. In a similar fashion,Thomas Demand has selected artworks by eighteen artists that are related to each other in an associative manner. The selected work is connected by two ideas: tamed nature and Surrealism as an artistic form fashioned by Magritte. Just as Magritte himself related ideas from different eras, Demand chose works by different generations of artists: Saâdane Afif, Kudjo Affutu, Becky Beasley, Martin Boyce, Tacita Dean, Thomas Demand, Ger Van Elk, Chris Garofalo, Luigi Ghirri, Leon Gimpel, Rodney Graham, Henrik Håkansson, Anne Holtrop, August Kotzsch, René Magritte, Robert Mallet-Stevens, and Jan and Joel Martel.

The book, designed by Thomas Demand and Naomi Misuzaki, takes Margritte’s notion of free association further, combining the wide range of works into an elaborate exploration of the disjuncture between the representation of art and the representation itself. Christy Lange’s engaging essay traces this idea that a representation of nature is always a simulacrum through the work of the different artists, for example, relating the surrealist resonance of Italian photographer Luigi Ghirri’s ‘impossible landscapes’ to Margritte’s playful canvases and Demand’s photographs of his paper sculptures. Texts by Tacita Dean, Rodney Graham, Luigi Ghirri and Thomas Demand are threaded through the segue of images and the object is completed with a second book housed in an envelope neatly built into the back endpaper of the catalogue, a facsimile of a Luigi Ghirri manuscript for a small book of photographs.


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Nan Goldin, Scopophilia, 2011

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Nan Goldin, Scopophilia, 2011

Scopophilia, which consists of over 400 photographs culled from Goldin’s career, pairs her own autobiographical images with new photographs of paintings and sculpture from the Louvre’s collection. Organized around themes of love and desire, Scopophilia, which means “the love of looking,” reflects on Goldin’s intensely personal photographs, as well as the unique permission given to the artist to photograph freely throughout the Louvre Museum. Of this project, Goldin explains, “Desire awoken by images is the project’s true starting point. It is about the idea of taking a picture of a sculpture or a painting in an attempt to bring it to life.”

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Advertising: Lanvin


Lanvin, Fall Winter 2011-2012 Ad Campaign

Primped and adorned in Lanvin dresses, two gorgeous ladies are ready for a night on the town. Just as we believe they’re about to step out for the evening, they stand in position, fixate their eyes on their screen and on cue, start to groove to the music and sway their hips in sync.

Moving to the rhythm of the beat, the girls swing their arms in the air creating a visual show, as the audience catches glimpses of the chic evening clutch in one hand and a bejeweled cuff in the other, with wind in their hair. Suddenly, the scene switches up a bit and in comes their two male companions. At this moment, the party has begun. The rhythm of the night and the synchronized steps do not delay the revealing guest surprise.

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Taryn Simon

Taryn Simon,  From the Series, Contraband, 2010

Shot over five days for the book and exhibition, “Contraband” — of items detained or seized from passengers or express mail entering the United States from abroad at the New York airport. The miscellany of prohibited objects — from the everyday to the illegal to the just plain odd — attests to a growing worldwide traffic in counterfeit goods and natural exotica and offers a snapshot of the United States as seen through its illicit material needs and desires.

Taryn Simon (born February 4, 1975) is an American artist. Simon’s artistic medium consists of three equal elements: photography, text, and graphic design. Her practice involves extensive research, in projects guided by an interest in systems of categorization and classification. She is a graduate of Brown University and a 2001 Guggenheim Fellow.

Simon’s photographs and writing have been the subject of monographic exhibitions at institutions including Museum of Modern Art, New York (2012); Museum of Contemporary Art, Los Angeles (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); Whitney Museum of American Art, New York (2007); Museum für Moderne Kunst, Frankfurt (2008); Kunst-Werke Institute for Contemporary Art, Berlin (2004); and P.S.1 Contemporary Art Center, New York (2003). Her work is held in the permanent collections of the Metropolitan Museum of Art, Tate Modern, Whitney Museum, Centre Pompidou, and the Los Angeles Museum of Contemporary Art. In 2011 her work was included in the 54th Venice Biennale.

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