2018/07/21

Nowy Formalizm i Nowy Romantyzm


"Nowy Formalizm"

„nowy formalizm”, „zombie formalizm”, „neoformalizm” czy inny „co-tylko-sobie-życzysz-formalizm”. Również pojęcie plastyki – przez lata deprecjonowane – na nowo wraca do łask. Sztuka tak dalece oparta na rozwiązaniach formalnych, że wręcz autonomiczna względem swojego otoczenia, oraz unikająca opowiadania historii, wróciła do galerii publicznych. Nic dziwnego, to przecież artystyczne esperanto, najbardziej podstawowy język artystyczny, dający przede wszystkim zmysłową przyjemność i czysto estetyczną radość kontaktu ze sztuką, a zdaniem niektórych zapewniający również te najwznioślejsze, transcendentne doznania.

Marcin Krasny, tekst kuratorski do wystawy: „Czysta formalność”
Czystformalnoś24.06.2015 — 09.08.2015
Miejsce: Galeria Labirynt i Galeria Labirynt 2, Lublin

"Movements in photography come and go. We’re now solidly post-Düsseldorf-School, post-staged-narrative, post-Sternfeld-School, so something had to force its way center stage. It’s not hard to see the New Formalism work as a reaction against all of these three so popular movements in photography: Here is photography, solidly centered on investigating itself, rather than looking out into the world."

[Jorg M. Collberg, FEBRUARY 24 2014, https://cphmag.com/the-new-pictorialism/]


"New Formalism" - "Academic Photography" - "Triangle Art" - just three terms for the same thing. I prefer mine ("Academic Photography")

[Jorg M. Collberg, twitter, 25 stycznia 2013]

Of course, this is much more easily said (or written) than done, especially these days. Right now, after the apparent demise of the Düsseldorf Photography trend, it’s all about the New Formalism. I’m not sure my own excitement for photography would have been triggered in much the same as it did over a decade ago if what I saw in most galleries had been those kinds of pictures – largely devoid of any real meaning (and, often, merit – but to be fair, the same can be said for any kind of photography).


[Jorg M. Collberg, https://cphmag.com/on-trends/, FEBRUARY 09 2015]

Nico Krijno:

 


"Nowy Romantyzm"

MFK 2007 Zawiedzione Nadzieje - Nowy Romantyzm we współczesnej fotografii niemieckiej (wystawa zbiorowa)



ANNABEL ELGAR – Black Flag 
Wnętrza w low key, analogowo, brud, tajemnica, mrok







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MARCO CITRON – Irregular 

Otworkowe fotografie, przekształcające budynki utrzymana w stylu modernistycznym, bardzo piktorialne






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MAURIZIO COGLIANDRO – Lidia. The sky is falling

Czarno biała klasyczne fotografie. Niedoskonałość medium + doskonałość oprawy. Graficzność, ziarnistość. Fotografia jako obiekt. Tematy: rodzina , bliskość, pamiętnik, intymność

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[x] [x]
Tego nei znalazłem:

MARCIN MORAWICKI, MARCIN PAJDOSZ – 006


 - - --

„Ballady o lekkim zabarwieniu erotycznym” Kingi Michalskiej i Sashy Kurmaza w galerii Opcja



Kinga Michalska i Sasha Kurmaz











 - - - Do zweryfikowania: - -

może GALERIA CZUŁOŚĆ,

może: Ryan McGInley
a może:

Juergen Teller

a może:  Zawiedzione Nadzieje - Nowy Romantyzm we współczesnej fotografii niemieckiej.


https://thephotographersgalleryblog.org.uk/2014/11/07/bright-star-charlotte-cotton-on-viviane-sassen/

Viviane Sassen + charlotte-cotton

"In a matter of a season, an innovator of image-making can reset the course of the fascinating and pervasive genre of fashion photography."
(...)
Nothing in Sassen’s fashion photographs makes any sense except in our act of looking.
She makes a proposal to us that we are the participants rather than mere viewers of her visions and we are conscious of them as constructs. She gives us a direct relationship with the photographic and not the fashionable
(...)

[Charlotte Cotton, November 7, 2014, hephotographersgalleryblog.org.uk]



Na pograniczu:





Doug Rickard

https://www.moma.org/interactives/exhibitions/2011/newphotography/doug-rickard/index.html


















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Definicje:

[https://www.artsy.net/gene/dusseldorf-school-of-photography]
The Düsseldorf School of Photography
A group of artists, including Andreas GurskyCandida HöferThomas StruthAxel Hütte, and Thomas Ruff, who studied under Bernd and Hilla Becher at the Kunstakademie Düsseldorf (Dusseldorf Art Academy) in the 1970s and rose to prominence in the 1980s. Responding in part to the concerns of the New Topographics, these artists’ works are characterized by a sober, documentary quality, “straight on” (and often expansive) "topographic" views of landscapes, a focus on cityscapes or interior environments, and the minimization of the human figure. Since the 1990s, aided by new technical capabilities in digital photography and printing, a hallmark of the group’s photographs has been a combination of dizzying detail and monumental size, giving the works an immersive quality and contributing to a blurring of the boundaries between photography and painting.

[https://aperture.org/shop/the-dusseldorf-school-of-photography-books/]
The Düsseldorf School of Photography presents the first comprehensive assessment of the German photographic movement commonly known as the Düsseldorf School of Photography. This impeccable survey is filled with superb reproductions of the best-known photographs by three generations of key Düsseldorf artists: Bernd and Hilla Becher, Laurenz Berges, Elger Esser, Andreas Gursky, Candida Höfer, Axel Hütte, Simone Nieweg, Thomas Ruff, Jörg Sasse, Thomas Struth, and Petra Wunderlich. With a scholarly text, extensive artist bios, and a plate section dedicated to each of these artists, The Düsseldorf School of Photography presents over 160 images in a spectacular overview from the early 1970s to today. The Düsseldorf School of Photography has become synonymous with artistic excellence and innovation. It began in the mid 1970s at the Kunstakademie Düsseldorf under the instruction of the influential photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye. This school has not only birthed some of today's most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium.
Stefan Gronert (essay) is a curator of the graphics collection at the Kunstmuseum in Bonn and teaches art history at the University of Bonn, specializing in photography. His essays have appeared in books such as Gerhard Richter: Portraits (2006), Manuel Franke: Brown Dwarf (2002), and Thomas Struth: Strassen (1995), among others. Gronert has served as editor for numerous publications about modern and contemporary art.