Permanent traces
(2024)
author(s): Matevž Čebašek
published in: Royal Academy of Art, The Hague
Research Document of the Royal Academy of Art, The Hague, 2023. BA Photography.
The research paper serves as a base for understanding the memories on a case of a person with dementia and their connections to the medium of photography. Photography is used as an attempt to retrieve my grandmother’s autobiographical memories which are often hard to retrieve. It is based on the assumption that every memory, no matter how vague, is still accessible by restoring to a proper process, similar to the latent image on the photographic film that becomes visible only after appropriate processing. Based on existing experimental memory research I constructed a method of finding a cue that can trigger specific memories in a conversation. Photographic images from the past were used as a base of the conversation. In most cases, they didn’t directly trigger involuntary memory, but they served as a starting point for a conversation, allowing my grandmother to start actively thinking about a period of her life. Due to dementia, the responses within one conversation were often repeated, yet after some time, the chain reaction of retrieving memories allowed her to remember some specific details. Her understanding of the fragility of memories was constantly present. On multiple occasions, she expressed that an artificial device, such as photography or writing, should be used to preserve them. The research doesn’t give a complete understanding of how memories and their retrieval work in general, but it gives a better understanding of how it can efficiently be done with my grandmother. The process I developed can be applied to other people if properly adjusted to them. I believe that essentially what counts is not what kind of cue we choose, but that we patiently take time to listen and guide conversations with some previous knowledge about their past.
Spotting A Tree From A Pixel (With Remote Sensing Researchers)
(2022)
author(s): Sheung Yiu
published in: Journal for Artistic Research
This exposition contemplates the collaboration between me, a photographer, and remote sensing researchers from the Department of Geoinformatics at Aalto University, in an ongoing artistic research collaboration called Ground Truth. Ground Truth is a photography project about ‘seeing something when there’s nothing there’. Based in the research group’s initial intent to overcome the spatial resolution limits of satellite imagery, the project now investigates new imaging techniques such as computational photography and hyperspectral imaging of forests, while also referencing photography’s love affair with natural landscapes. Such a comparative approach to natural photography has allowed me to offer a vision that typically escapes human sight perception.
I open this auto-theoretical text with a personal experience, namely being on a field trip with remote sensing scientist Daniel Schraik. I use this moment to, among other things, articulate my thoughts on the construction of the ‘real’ in different disciplines. I then contemplate the body of interviews and field trips that became a two-year-long interdisciplinary dialogue, and also brought together two distinct ways of looking at the forest: one symbolized by the camera, another by the terrestrial laser scanner. Inspired by remote sensing concepts such as ground truth and the inverse problem, I have come to examine photography through a new analytical framework.
In everyday language, the term ‘ground truth’ refers, in part, to a first-hand experience. In our project, it makes sense, then, that Ground Truth connotes the documentary tradition and the act of witnessing. In the language of science, however, and specifically in remote sensing as a field, ground truth means something different. It refers to data collected on-site, which can then be used to calibrate, to build models, to predict, to interpret, and to decipher information from images; in this case, satellite images. Similarly, our interdisciplinary collaboration functions on another operational layer of photography beneath the immediately visible, one that illustrates an expanded notion of photography across contemporary discourse. Ground Truth interweaves archival imagery, documentary photography, experiment dataset, 3D digital art and conceptual photography. The constellation of employed elements contrasts the representational approaches of drawing and photography with the data-oriented and algorithmic approaches of computer-aided seeing. The two modes together allow for a parallel reading of the forest — one that contextualizes different epistemological regimes that allow for new configurations of the relationship between image and reality.
Place to Action! Art that Inteferes
(2022)
author(s): Thalia Hoffman, Yannick Schop, Lakisha Apostel, Maryam Touzani, Alicia Cotillas Vélez, Robin Whitehouse, Bødvar Hole, Miro Gutjahr, Žilvinas Baranauskas, Anne-Claire Flora Mackenzie, Gaetan Langlois-Meurinne
connected to: Royal Academy of Art, The Hague
published in: Research Catalogue, KC Research Portal
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them.
These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere.
Here on this exposition the group will share their findings and actions.
A Diary on Slowness at Örö Fortress Island
(2021)
author(s): Francisco Beltrame Trento
published in: RUUKKU - Studies in Artistic Research
This exposition emerges from the field notes diary of the researcher during their stay in the Ores residency program at Örö Fortress Island. Örö, previously a military fortress, dates from the Russian Empire era and it was closed to visitation until 2015. The piece focuses on the temporalities enacted outside the city, in connection with more-than-human materialities, and, in contrast, discusses the neurotypical constraints of academic spaces. I criticise the (lack of) approach to neurodiversity in educational settings, and the temporalities implied in the required tasks in such settings, even when the subject is physically distant from the academic space. There is a growing interest in Slow scholarship (Ulmer, 2017; 2018). At Örö, I proposed experiments in video, photography and writing, by thinking with slowness in ontological terms. In this diary, slowness is approached conceptually and anecdotally, in a humorous autoethnographic fashion. The residence period coincided with the initial quarantine to neutralise the coronavirus pandemic, which resonated with the text, always existing in between a personal narrative and a conceptual discussion. The exposition features a photographic essay and several video clips.
Photography Bound: Rethinking the Future of Photobooks and Self-publishing
(2020)
author(s): Adria Julia
published in: Research Catalogue
Curated by Antonio Cataldo and Adrià Julià. Organised by Fotogalleriet, Oslo and KMD, University of Bergen. Throughout this three-day event, Adrià Julià's students at the University of Bergen will actively partake and lead discussions
Photo-based books and self-publishing are a vital emancipatory motor of discussion bringing communities across space and time together. The intent of this conference is manifold; firstly it aims to look at the historical structures for production that enable a multiplicity of voices to speak from their subjective positions. Secondly, addressing the current modalities that give contemporary practitioners, designers and publishers advantages and limitations within the field. Thirdly it addresses the future of photo-based publications through grant systems.
To rethink the current moment which is challenging existing structures and demanding systemic change, this seminar represents a desire to rethink the Nordic Photobook Award. Initially, Fotogalleriet ran the award from 2012–18 in order to accompany upcoming voices within the field by co-producing photobooks with chosen candidates.
The seminar's ultimate goal is to evaluate relevant structures of support providing the possibility to continuously provoke theoretical and practical change.
CONFIRMED SPEAKERS: Terje Abusdal, Abdul Halik Azeez, Heidi Bale Amundsen, Delphine Bedel, Bruno Ceschel, Paul Gangloff, Erik Gant, Hans Gremmen, Roberto Figliulo, Cosmo Großbach, Sohrab Hura, Kay Jun, Aglaia Konrad, Moritz Kung, Silja Leifsdottir, Hailey Loman, Catalina Lozano, Vijai Patchineelam, Bonaventure Soh Bejeng Ndikung, Anna-Kaisa Rastenberger, Mette Sandbye, Ursula Schulz-Dornburg, Ahlam Shibli, Æsa Sigurjónsdóttir, Ina Steiner, Niclas Östlind, Stanley Wolukau-Wanambwa, and Antonio Zúñiga. With a discussion about Nordic funding with Anne Lise Stenseth (moderator), Tom Klev, Henri Terho, Annika Thörn Legzdins, Klara Þórhallsdóttir and Tine Vindfeld.
Playing against the camera
(2020)
author(s): Erik Friis Reitan
published in: VIS - Nordic Journal for Artistic Research
In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vilém Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today’s media culture and economy.
MONUMENTS / Les frontières qui établissent les normes qui nous fondent n’existent pas ici
(2019)
author(s): Audrey Beaulé
published in: Research Catalogue
Tout a débuté par un désir et ce qui m’apparaissait comme une nécessité: tenter une relecture queer et féministe de l’abstraction.
Surface Tension: Material Intra-Actions within Photography
(2018)
author(s): Jane Vuorinen, Rebecca Najdowski
published in: RUUKKU - Studies in Artistic Research
How does photography materially intra-act with other material phenomena and how do these interruptions, entanglements or comings-together reveal new qualities of photographic materiality itself? In this exposition, we use the concept of intra-action to think through and problematize photographic practices by looking at two cases: ‘photo-embroideries’ and ‘landscape photography’. Through these perspectives we propose a new materialist approach to thinking about photography, one that considers and appreciates photographic materiality.
Self-portraiture: on photography’s reflexive surface
(2016)
author(s): Elisavet Kalpaxi
published in: Journal for Artistic Research
This exposition deals with narcissism, narrativity, self-portraiture, and photography. It illustrates a practice-based research project instigated in 2007 that aims to decode and recover narcissism as a useful sense-making scenario or system. This approach can help make sense of photography and self-portraiture in the present, and can be employed in the development of visual strategies in photographic self-portraiture.
Here I present the practical work that was produced and the theory that influenced my practice: namely, the revaluation of the relationship between self-portraiture and narcissism, and ideas from the semiotics of photography and narrative theory. The three main sections of the exposition illustrate the chronological development of my work, and each section is divided into two parts.
The first part of each section presents the practical work, whereas the second part illustrates the theoretical aspect of this project, which stems from a wish to reflect on my own art practice and increase my understanding of self-portraiture, while also interrogating narrative codes and devices in photography, such as the double, mise en abyme, and mirroring structures, and their association with narcissism. Drawing on psychoanalytic theory, semiotics, and narratology, I argue that narcissism in self-portraiture can simultaneously represent an imaginary withdrawal of the artist, a structure within the work, and a vehicle for narrativity. By eluding structured language systems, narcissism provides a vocabulary for narrativising procedures, as well as meeting the artist’s/viewer’s modes of engagement.
These ideas informed the practical component of the research project and provided the basis for a number of visual strategies employed in the development of the photographic self-portraits that are presented in the second part of each section. In these sections, I also explain the different strategies adopted in producing my images: the role of codes, narrative devices, layering, and reframing for understanding the density of an image and its inherent narcissism. In the process I propose that narcissism should receive a much more central role in the consideration of images and the way they communicate with a contemporary audience.
Reconfigured Image
(2016)
author(s): Tuomo Rainio
published in: RUUKKU - Studies in Artistic Research
In this exposition, I will introduce a series of works that were exhibited in my solo exhibitions Notes from the Mouth of Shadows (2013), Reconfigured image (2013) and Possible object (2015).
In the exhibitions my main interest was to investigate the transformation of an image-space into a digital realm, where the very basic questions of representing space encounter fundamental changes.
More broadly, I will try to introduce my artistic process as a two-direction orbicular movement between concepts, codes and images. I will also try to take note of the translations that occur when working with an idea back and forth between different materials and references. I am interested in the possible errors and misunderstandings that can bring a singular quality to the predetermined iteration. In other words, I will try to define what is being translated by observing what is distinguishable only afterwards.
I see an analogy between the structure of a digital image and how the world is perceived as an image – almost as if cosmos would arise from chaos. Any bitmap image actualizes only one of all the possible variations of this specific bitmap and its properties.
In a more practical sense, it could be stated that the digital image is always in a process of translation when it is viewed. In short, the digital image is dependent of a translator (computer) by default. My attempt is to activate this dependency and take it from mere automatism to a creative gesture. This attempt could only be meaningful when all the three aspects (concept, code and screen) are taken into account. By activating the process of translation the dependency of the translator can be transformed into a positive, creative act.
Hinges of correlation: Spatial devices of social coexistence
(2015)
author(s): Espen Lunde Nielsen
published in: Journal for Artistic Research
This project investigates the coexistence of and the correlation between the inhabitants within my apartment building, using artistic practices and my own lived experience. These everyday spaces form the primary interface between the individual and the larger social entity of the city. Consciously, or partly unknowingly, one interacts with others through spatial demarcations, using embedded spatial devices (such as squeaking floorboards, peepholes, mailboxes, etc.) that project life and the presence of other people through sound, light, or matter. Most of these devices are partly unintended, often serve other practical functions, and go unnoticed – but nevertheless hold a latent spatial potential for a recalibration of the social dimension of the city and an architecture to come. This exposition features a combination of photography, 3D laser scans, and creative writing, followed by a written account of the practice.
Co-relation that is not – photography and coming into the materiality
(2015)
author(s): Ari Kakkinen
published in: RUUKKU - Studies in Artistic Research
Sure a photograph can be divided in its mental image and its image-object. These kind of duals follow our tradition, our metaphysics.
When we rather think our corporeality as becoming to or becoming of the corpus instead of the separation of the mind and the body, we can or we even have to think the same way with photography, which traditionally has been located in-between of the nature and the culture.
This essay aims at figuring out the question of the materiality of a photograph when we have to think otherwise than with the difference between mind and body, inside and outside etc. The text argues that the ”material core” is not the origin of the materiality of the photograph, but that the essential center appears only as a trace. Instead of referring to a distant object or a distant instant the trace is the distance itself, its differing and deferring.
The materiality of the photograph consists of its materialities. In a way it is like our bodies are – actual and real, partly serving us, yet also mute and unresponsive, giving the possibility of being. Being itself, becoming.
Mosses Again a Source of Wonder, Room 18
(last edited: 2024)
author(s): Jessica Emsley
This exposition is in progress and its share status is: visible to all.
This marks the first of an anticipated sequence of iterative sharing of work within my PhD project, the methodology of which explores barefoot walking , analogue recording techniques, and a curation of indexical documents generated throughout.
Clareira
(last edited: 2024)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
"Clareira" is the result of research on the photographic representation of architecture, as space to be experienced. The project takes Trindade Metro Station, in Porto, as a laboratory for the experimentation of visual strategies that emphasize the photographer’s physical presence and sensorial perception as well as the presences of users. This public space, routinely crossed and appropriated by a great diversity of people, is observed in its relationship with the human and environmental elements that permeate it.
Taking a purposely subjective stance, the work was inspired by the writings of Peter Zumthor, namely in its search for a positioning of the self, and an attitude towards reality, marked by an attentive and available physical presence. This mode of being in space was the basis from which to develop a photographic approach that seeks to communicate subjective experience.
At a time when images are increasingly replacing the experience of architectural space and becoming a basis from which to think architecture, this project seeks to contribute to the affirmation of photographic practice as a research instrument, reflecting on the experience of built space, but also actively participating in the construction of the environments in which we live in, as architecture is also constructed through images.
"Clareira" is a printed publication, comprising a series of formally diversified elements exploring different themes. It was exhibited in its full form at "Encontros da Imagem" (2019) as a "Photobook Awards" finalist, and was part of "Cityzine Collection", an exhibition of alternative publications exploring architecture, city and territory, through photography (2019). This set of images is a short selection, curated by Pedro Leão Neto and Né Santelmo, exhibited at the "Bienal de Fotografia do Porto 2019", at Aliados Metro Station.
Where Can I Wish You Happy? [submitted to Royal Academy of Art, The Hague - 2023-06-29 22:16]
(last edited: 2023)
author(s): He Bo
This exposition is in progress and its share status is: visible to all.
Thesis of the Royal Academy of Art, The Hague, 2023
Master of Photography and Society
On 12 May 2008, at 14:28 Beijing time, an earthquake with a magnitude of 8.0 on the Richter scale struck my home province of Sichuan, China, killing 69,227 people, leaving 17,923 missing and injuring 374,643 in various degrees across China. At the time, I was at university in another city far from home.
In this thesis, My beginning question is how to fit myself who is absent from this earthquake into its history and the memories shaped by it. As a practitioner and researcher of photographic images, I want to reach out beyond the physical and psychological distance to the real memories of the earthquake understand its impact by describing, speculating and analyzing ready-made images about it and by explaining my own visual strategies, such as making and reworking photographs on this topic. These images contain 1) group photos of local people before the earthquake who were separated from each other in life and death by the it, 2) video clips taken by television camera reporters and other anonymous people on the day of the earthquake, and 3) the visual outcomes produced by people who look at or photograph the earthquake ruins which turned into tourist attractions now. In these ways, I highlight that we can encounter actively that earthquake through dealing with photographs about it and new photographic actions since then, in order to find possibilities to shape the postmemories for those Chinese who, like me, were absent or irrelevant at the time of the earthquake.
In September 2022, a new strong earthquake occurred in Sichuan. I regard it as a bridge to relate the 2008 earthquake to present-day China. At that time, China was still in the midst of an extremely rigorous Covid-19 prevention and control phase, with various restrictions trying to prevent the spread of the Covid-19 cascading from the top down. By putting the two earthquakes together to discuss, I argue that Chinese people should remember the disasters of the past so that we can find our place in new dilemmas to deal with them. We should face up to the pain others have experienced and are experiencing and reach out to help, instead of ignoring or avoiding our responsibility. As a Chinese studying an English-taught MA program in the Netherlands, the differences between the Chinese and English contexts, the temporal distance between the current Chinese context and the European historical context were gaps that I could not avoid in this thesis writing. These gaps are reflected by describing and reflecting on my act of going to the former site of the Auschwitz Concentration camp. Acting as a spokesperson, I brought the inappropriate reactions of some Chinese people in the present to the plight of their compatriots to that field of traumatic memories, emphasising the importance of confronting one’s own absence and distance from the disaster from the other’s side.
Limiar
(last edited: 2023)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
“Limiar” is a personal approach to Rem Koolhaas's “Maison à Bordeaux”, exploring the house's physical and psychological boundaries and the subtleties of our relationship with space. Between interior and exterior, between intimacy and exposure, between light and shadow.
This series was produced during a workshop held by
École des Beaux-Arts de Bordeaux and OMA
Forma
(last edited: 2023)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
"Forma" is a visual inquiry on the limits of perception and understanding. It is about the moments when it seems we can grasp, understand, but the truth eludes us. About the hesitant movement that comes with this moment, about that mystery. Weight, strangeness, loneliness. Enchantment, silence, and a promise of something hidden, something that is far away, either too big or too small. About our perception and understanding of space. What is the void, what exists between things, what separates or unites them? Trying to show space, imagining shapes. In search of that emptiness, I found other things difficult to see, opaque things, abysses, darkness and too much light. I keep looking, in the night, in the snow, in the fog.
Ebifananyi : a study of photographs in Uganda in and through an artistic practice
(last edited: 2023)
author(s): Andrea Stultiens
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In Luganda, the widest spoken minority language in Uganda, the word for photographs is 'ebifananyi'. However, 'ebifananyi' does not, contrary to the etymology of the word photographs, relate to light writings. 'Ebifananyi' instead means things that look like something else. 'Ebifananyi' are likenesses.
This research project of Andrea Stultiens explores the historical context of this particular conceptualisation of photographs and its consequences for present day visual culture in Uganda. It also discusses the artistic practice as research method, which led to the digitisation of numerous historical collections of photographs. This resulted in eight books and in exhibitions that took place in Uganda and in Europe.
The research was conducted in collaboration with both human and non-human actors. These actors included photographs, their owners, Ugandan picture makers and visitors to the exhibitions that were organised in Uganda and Western Europe. This methodology led to insights into differences in the production and uses of, and into meanings given to, photographs in both Ugandan and Dutch contexts.
Understanding differences between ebifananyi and photographs shapes the communication about photographs between Luganda and English speakers. Reflection on the conceptualisations languages offer for objects and for sensible aspects of the surrounding world helps prevent misunderstandings in communication in general.
Het Urban Future-project
(last edited: 2023)
author(s): Hans Scholten
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Central to this research of Hans Scholten is the Urban Future-project, which consists of a large archive of artworks made from 2002 until now. The original question underpinning this project was: what influence do chaos, entropy and fragmentation have on the viability of the rapidly developing urbanizing world?
In the course of the research project, the (literature and field) explorations led to the assumption that there is a demonstrable and necessary link between the quality of life in the city and vital social cohesion on the one hand and chaos, entropy and fragmentation on the other. In the artistic part of the research focuses on the question: is it possible to make the supposed connection between quality of urban life and chaos, entropy and fragmentation visible in artwork and, if so, how? In the written dissertation, working methods and strategies are contextualized and analyzed. The visual part derives from an artist's position which uses non-verbal, sensorial strategies to reach new insights. It mainly focuses on the visual and aesthetic possibilities of aspects of fragmentation, chaos and entropy because Scholten considers these aspects, as productive forces, to be the core of the experience of urbanization.
Clareira: Towards a phenomenological perspective in the representation of architectural space
(last edited: 2022)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
This paper presents the results of a photography based research project on the representation of architectural space. From a phenomenological perspective, the investigation aimed to find a visual approach that would contribute to the representation of architectural space as a place for experience. Trindade subway station, by architect Eduardo Souto de Moura, was chosen as a case study, functioning as a laboratory for the experimentation of visual strategies that emphasize the physical presence and sensorial perception of the photographer, as well as the presences of users.
This paper was presented at the 5th International Conference "On the surface: photography on architecture" and later published in Sophia Journal
Ana Miriam Rebelo, Fátima Pombo, José Carneiro
Sophia Journal, 4. Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image
Pedro Leão Neto, Iñaki Berguera (ed.) Scopio Editions. 2019.
Volver, Ver, Mover
(last edited: 2017)
author(s): Belen Cerezo
This exposition is in progress and its share status is: visible to all.
This project explores the relationship between images and stones using as context stone-lifting , a rural sport played in the Basque Country and Navarre. Taking into account issues such as the materiality of photographic images, the performativity of stone-lifting and the materiality of the stones, this project utilizes photography to investigate the physical properties of the stones in relation to ultra-violet light through a series of photogrpahs. Also, the multi-channel video installation deals with the presence of rocks in the Basque landscape in places such as mountains, roads, quarries, sites of geological interest ... trying to understand how landscapes are constructed and their relationship with time and identities.
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them. These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere. Here on this exposition the group will share their findings and actions.open exposition comments (0)
In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vilém Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today’s media culture and economy.open exposition comments (0)
How does photography materially intra-act with other material phenomena and how do these interruptions, entanglements or comings-together reveal new qualities of photographic materiality itself? In this exposition, we use the concept of intra-action to think through and problematize photographic practices by looking at two cases: ‘photo-embroideries’ and ‘landscape photography’. Through these perspectives we propose a new materialist approach to thinking about photography, one that considers and appreciates photographic materiality.open exposition comments (0)
This marks the first of an anticipated sequence of iterative sharing of work within my PhD project, the methodology of which explores barefoot walking , analogue recording techniques, and a curation of indexical documents generated throughout.open exposition comments (0)
“Limiar” is a personal approach to Rem Koolhaas's “Maison à Bordeaux”, exploring the house's physical and psychological boundaries and the subtleties of our relationship with space. Between interior and exterior, between intimacy and exposure, between light and shadow. This series was produced during a workshop held by École des Beaux-Arts de Bordeaux and OMAopen exposition comments (0)
"Forma" is a visual inquiry on the limits of perception and understanding. It is about the moments when it seems we can grasp, understand, but the truth eludes us. About the hesitant movement that comes with this moment, about that mystery. Weight, strangeness, loneliness. Enchantment, silence, and a promise of something hidden, something that is far away, either too big or too small. About our perception and understanding of space. What is the void, what exists between things, what separates or unites them? Trying to show space, imagining shapes. In search of that emptiness, I found other things difficult to see, opaque things, abysses, darkness and too much light. I keep looking, in the night, in the snow, in the fog.open exposition comments (0)
This project explores the relationship between images and stones using as context stone-lifting , a rural sport played in the Basque Country and Navarre. Taking into account issues such as the materiality of photographic images, the performativity of stone-lifting and the materiality of the stones, this project utilizes photography to investigate the physical properties of the stones in relation to ultra-violet light through a series of photogrpahs. Also, the multi-channel video installation deals with the presence of rocks in the Basque landscape in places such as mountains, roads, quarries, sites of geological interest ... trying to understand how landscapes are constructed and their relationship with time and identities.open exposition comments (0)