ArtSlant - Recently added en-us 40 Robby Müller - Ed van der Elsken Archives - November 27th - March 22nd, 2015 <p style="text-align: justify;">"I think he's like a Dutch interior painter, like Vermeer or De Hooch, who was born in the wrong century." - Jim Jarmusch on Robby M&uuml;ller</p> <p style="text-align: justify;">In Ed van der Elsken Archives, Annet Gelink Gallery proudly presents&nbsp;<em>Color &amp; Motion</em>. Esteemed cinematographer Robby M&uuml;ller &nbsp;and his wife Andrea were approached to make a selection of works from Ed van der Elsken's archive to form a show; however, the project quickly evolved into a meeting between Robby M&uuml;ller's Polaroids and mostly early work by Van de Elsken. Presenting never before exhibited works by M&uuml;ller as intriguiging prints of Polaroid &nbsp;and lesser-known photographs by Van der Elsken,&nbsp;<em>Color &amp; Motion&nbsp;</em>explores the many faceted relationship between light, camera and photographer. What does their photographic eye register when they travel round the world, camera to hand, or when they experiment in private settings?</p> <p style="text-align: justify;">Having worked with Wim Wenders, Lars von Trier, Jim Jarmusch and Steve McQueen amongst others, M&uuml;ller is widely acclaimed for his distinctive style and philosophical approach. Rather than relying on the possibilities offered by technology, M&uuml;ller's starting point was always the story being told and the emotions involved. His work, on films such as&nbsp;<em>Paris, Texas</em>&nbsp;and&nbsp;<em>Down by Law</em>, has been praised for complementing and shaping narratives through light, color and camera angles.</p> <p style="text-align: justify;">M&uuml;ller would often take Polaroids in moments in between his work on set, as studies in light and composition. As such, they mainly document his hotel rooms or the abstract patterns in urban landscapes he came upon during his walks through foreign cities. He would seek out lines in the typical square Polaroid format and find movement in light through the interplay of reflection and shadow. M&uuml;ller also often photographed complex situation, such as the 'blue hour' where artificial and natural light meet. There is a clear line to be drawn therefore between the Polaroids and the films M&uuml;ller made, with M&uuml;lller here establishing painterly tableaus through the instant medium of Polaroid. These stilled moments and compositions display the working mind and eye of M&uuml;ller.</p> <p style="text-align: justify;">The selection from Van der Elsken's oeuvre show Van der Elsken's lesser-known works. The photographs on view can also be seen as experiments; we see Van der Elsken exploring the possibilities of capturing movement or a particular atmosphere, or documenting the world around him in color. While the early black and white photographs tend towards abstraction, his color photographs possess a to us unknown array of color from a by-gone era.</p> <p style="text-align: justify;"><em>Color &amp; Motion&nbsp;</em>can be seen as a dialogue between the two individuals, who each in their own way have become known for using light and film to capture and present the world around us. The showpresents the visual back and forth between the two, on questions of light, motion, angle and color. Moreover, in true M&uuml;llerian style the exhibition argues that personal vision directs technological ability.</p> Sat, 22 Nov 2014 07:18:23 +0000 Tanja Deman - Witzenhausen Gallery - November 29th - December 18th Sat, 22 Nov 2014 07:12:45 +0000 Janis Rafa - Martin Van Zomeren - November 27th - January 24th, 2015 <p style="text-align: justify;">Martin van Zomeren is pleased to present the first solo exhibition in the Netherlands of the Greek artist Janis Rafa (Athens, 1984), currently residing at the Rijksakademie. Rafa&rsquo;s films and videos balance between an empirical perception of landscapes and events and an authentic representation of them. Her narratives are located at the margins of the urban, haunted by lifeless birds, stray dogs, roadkills, fatal accidents and dissipated death.</p> <p style="text-align: justify;">The cryptic and universal nature of these cinematic worlds is initiated by a certain realism that has very little to do with its usual representation. Dead and living, human and non-human coexist in an accord of dream and sensuality.</p> <p style="text-align: justify;">In &lsquo;A Sign of Prosperity to the Dreamer&rsquo;, a series of underground explosions relocate shot flock of birds up to the sky, in an uncanny celebratory moment of the dead nonhuman body.</p> <p style="text-align: justify;">Rafa&rsquo;s practice is based on in-situ investigations of her own and others&rsquo; experiences of space, using video as primary medium to record and later recast first encounters into carefully choreographed sets. &lsquo;Seasons&rsquo; and &lsquo;8 Kilos of Garden&rsquo; are artifacts of these investigations that have taken the form of an installation instead of a moving image narrative. Here, the notion of space does not concern the distant (as in the history of documentary) but the local, which can be unknown, invisible, marginal or buried in the city&rsquo;s infrastructure.</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p style="text-align: justify;">&nbsp;</p> Thu, 20 Nov 2014 15:10:18 +0000